Classes & Workshops

** Our classes are necessarily small and often sell out quickly. If a class is filled to capacity, please sign our Waiting List: we will try to accommodate everyone — and if possible, we may add another session. To receive an email when new seasons are posted, sign up for our Newsletter. Please read our Registration Policy at the bottom of this page. **


Italic I — (Anna Pinto) 5 Saturdays: October 5, 12, 19; November 2 & 9, 2019
Copperplate I — (Elinor Holland) 4 Sundays: October 20, 27; November 3 & 10, 2019


Decorated Letters — (Kathy Milici) Sunday, November 17, 2019
The Art of Chalkboard Lettering — (Cora Pearl) Saturday/Sunday, March 21 & 22, 2020

Italic I

Anna Pinto

5 Saturdays: October 5, 12, 19; November 2 & 9, 2019
9:30 am - 2:00 pm
$260 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
Italic is the graceful, elegant handwriting of the Italian Renaissance.  Students use traditional tools — broad-edged dip pens and ink, rather than fountain pens or markers — in this beginner class which covers minuscule (small) and majuscule (capital) letters, numerals and punctuation. Letterform consistency and spacing are emphasized to help students develop their eye as well as their hand. By developing skill with the broad-edged pen, students will be ready to continue their study of Italic or try other calligraphic styles such as Blackletter (Gothic), Uncial, Carolingian and Foundational.

Note: this is a four hour class with a half hour lunch break (9:30-2:00), so please bring your lunch.
Materials List

Higgins Eternal Ink OR small bottle of Walnut Drawing Ink
Two pen nibs:
one Speedball C-2 and one of the following: Mitchell 2½ and a reservoir, Brause 1½, or, as a last resort, Speedball C-4. If you are left-handed, get left-handed nibs.
9” x 12” or 11"x 14" Borden & Riley #37 Boris Marker Layout pad,
or Boris Cotton Comp pad
Masking tape, paper towel or rag

Calligraphy mail order suppliers have everything and are reliable and fast:
Paper & Ink Arts (800) 736.7772
or John Neal Books (800) 369.9598

Basic supplies can be found locally at Dick Blick & Da Vinci.


Anna Pinto divides her time between all sorts of freelance work — from envelopes to awards to props for the film industry — and teaching. Her work is included in The World Encyclopedia of Calligraphy by Christopher Calderhead and Holly Cohen, and Italic and Copperplate Calligraphy: the Basics and Beyond, by Eleanor Winters, and is in the collections of the San Francisco Public Library, and libraries at Rutgers and Yale.

Copperplate I

Elinor Holland

4 Sundays: October 20, 27; November 3 & 10, 2019
10:00 am - 4:00 pm
$290 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
Copperplate is an elegant hand developed during the age of the great writing masters. This script is used extensively for invitations and formal events. We will introduce the use of the flexible pointed nib and learn the basic letter forms for minuscules and majuscules with emphasis on learning to see the underlying basic forms of this hand.

Note: This class runs 5.5-hours each Sunday with a half hour for lunch.
Materials List

Calligraphy supplies can be difficult to find...
John Neal has created an "Elinor Holland" package with all supplies on one page, here:

Higgins Eternal Ink,
Pad of Canson Marker Layout paper (size 9x12),
Dinky Dip,
Oblique (elbow) Penholder for right-handed students,
Straight Penholder for left-handed students,
Nibs: Nikko G, Gillot 303, 404, or Hunt 22
Drafting tape.

Materials fee: $1 to $10 (payable to instructor) for purchase of additional nibs


Elinor Holland works in both Latin and Arabic scripts. She teaches hands-on workshops in both types of script as well as lectures on Islamic Calligraphy. Her calligraphic work scans the range from invitation design to fine art commissions. She continually works toward refinement in her work through study and practice. Clients include Smithsonian Institute, Metropolitan Museum of Art, New York Public Library and the Linearis Institute.

Prototyping Letterforms with Unconventional Tools

Lynne Yun

Saturday, November 2, 2019
10:00 am - 4:00 pm
$85 members/$105 non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 703A
Ever been stuck while trying to come up with letterform ideas? Often the best way to get unstuck from a creative block is to start experimenting with ink and paper. In this workshop, we will examine the principles of calligraphy and explore how we can use them to rapidly generate ideas for letterforms. Using both conventional and unconventional writing tools, we will use analog methods to spark creative ideas and discuss how we can construct visual rhythm.
Materials List

• Grid paper
• Pads of paper larger than 9x12 inches (Student-grade watercolor paper recommended, but layout paper is ok also.)
• Ruler
• Pencil
• Tape (artist’s or masking)
• Non-waterproof ink (e.g. Higgins Eternal, black, walnut, or other dark color)
• Shallow dish or bowl for ink


Lynne Yun is a Brooklyn-based type designer, calligrapher, lettering artist, and graphic designer. She holds a BFA from the School of Visual Arts and a postgraduate certificate in typeface design from the Type@Cooper Extended Program. She currently works as a full-time type designer at Monotype and previously held positions at Apple, Publicis, and Deutsch. She serves as Scholarship Co-Chair on the Board of Governors of Society of Scribes. Lynne’s work has been featured in Letter Arts Review, Print Magazine, and various other publications. She has been recognized by the Type Directors Club, Art Directors Club, and AIGA. Her work was included in the Grolier Club’s “The Calligraphy Revival: 1906–2016” exhibition.

Decorated Letters

Kathy Milici

Sunday, November 17, 2019
10:00 am to 4:00 pm
$85 members/$105 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) , Room 703A
The illuminated letter has been used to highlight and enhance handwritten texts throughout history.

In this one-day workshop, you will be guided through the process of designing, drawing, painting simple Roman and Versal capital letters based on a system of historic techniques. You’ll learn, step-by-step, how to create beautifully decorated initial(s), both modern and traditional, with applied gold paint. From basic outlining to detailed, colored embellishments, these detailed methods are easy to learn and have many creative applications, from simple greeting cards to more formal documents.

* Please note: This is a drawing and design class. A basic knowledge of calligraphy is helpful, but not necessary.
Materials List

Dr. Martin’s Black Star Ink (matte, truly waterproof)
Dr. Martin’s Bleedproof White
Straight pen holder and nibs (like Nikko G)

12” Clear plastic ruler, Pencil, Kneaded Eraser
Micron Pigma pen, black .005mm, .05mm and .03 mm
Gold gel pen, Sakura Gelly Roll (or other)
Uniball Signo White gel pen, (Or Sakura Gelly Roll white)

Any watercolor set (not tubes)
Recommended: Gansai Tanbi, Koi, Prang
Fine Tec Gold Palette, or just the Arabic Gold color (sold separately)

Paintbrushes, very small (#1, 00, 000)
Dinky Dip
Dropper bottle

Any Hot Press watercolor paper, 4 sheets, 8 ½” X 11” size is ok
(I will provide some too) pads are ok, cut into small pieces
Tracing paper, a few sheets

6- hole plastic palette
Small plastic water container
Paper Towels

Small light pad (bring extension cord)
Colored Pencils, a few colors
Scotch Removable Tape
Notepad and pen


Kathy Milici is a nationally known calligrapher, designer, instructor and mentor. She happily admits to being obsessed with letters since early childhood. Owner of Kathy Milici Creative in Newton, New Jersey, her work has been seen in national magazines and on television. A very popular instructor at the IAMPETH calligraphy conferences (her workshops sell out!), Kathy travels the country, lecturing and teaching calligraphy and the related arts. The originator of Gratitude Script, a modern typeface, she also mentors fellow artists and art students in how to create a living and maintain a viable business as a working artist. After almost 40 years as a professional calligrapher and teacher, Kathy is still enjoying her lifelong passion for “everything calligraphy.” See more at

Dancing in the Night: The Romance of Writing on Dark Paper

Barry Morentz

Sunday, December 8, 2019
10:00 am to 4:00 pm
$85 members/$105 non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Writing on black, dark brown, and navy blue paper can be intimidating, but once you are comfortable with the mediums it is lush and visually exciting. We shall write with various white and pastel and metallic colors, while considering the opacity of gouache and the transparency of inks. Beginning with solid colors, we will move on to color blending, wet-on-wet techniques, the use of salt, alcohol and gold powders to create dazzling backgrounds for writing text. We will learn to control our palettes by the incremental addition of white to dark colors. Practical tips for effortless writing on black envelopes will be demonstrated.
Materials List

• favorite dip pens, including a few large and small nibs
• several tubes of gouache: including white, gold, silver and however many colors you wish to bring
• several colors of transparent inks (such as Dr. Martin’s)
• a few cheap mixing brushes
• palette
• few small sheets black paper (such as Canson, Arches, Cranford)
• ruler
• HB pencil
• Micron Pigma pen size 01
• brief quote


Barry Morentz owns and operates his Manhattan studio where he creates calligraphic works and hand-made books, boxes, and portfolios. He holds an MA in Medieval History, but abandoned pursuit of a doctorate in favor of an even less likely career in calligraphy. Initially self-taught, he began his formal calligraphic studies, primarily with Sheila Waters, in 1977, and eventually with almost every internationally recognized master. A seminal experience was participation in the Hermann Zapf Master Class at Rochester Institute of Technology in 1985, and subsequent paleographic studies in Rome and the Vatican Library. He has taught numerous workshops throughout the US, Canada, Japan, Hong Kong, and Singapore, and at five international Calligraphy Conferences.

In his midtown studio he ministers to the needs of The New York Public Library, Estee Lauder Companies, Cartier, Columbia University, and The Museum of Modern Art, where he has been The Living Anachronism since 1986. His day-to-day work includes Illuminated Resolutions and Awards Design, Publications Headings, Book and Portfolio Design, and the application of fine lettering in a range of areas. A life-long love for Shakespeare informs and inspires his personal work, which can be seen in numerous publications. In 2002 he realized a long-time goal of studying classical mosaics in Ravenna, Italy, where he learned to execute letters in an ancient format.

After more than 34 years, he remains inspired by the visual and emotional power of letterforms to communicate on a deeply-felt level and to challenge the viewer to discover and interpret the layers of meaning within a text.

The Art of Chalkboard Lettering

Cora Pearl

Saturday/Sunday, March 21 & 22, 2020
10:00 am to 4:30 pm
$160 members/$200 non-members
Level of difficulty: Advanced beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 703A
Chalkboard lettering has become very popular in recent years. In this workshop, students will learn several different styles of hand drawn lettering as well as other design elements (such as flourishes, borders, and ribbons) and we will combine these components to create chalkboard style pieces of artwork. We will explore the essential elements of chalkboard design and layout and will work in both black on white and white on black. Students will create a sketch for one complex chalkboard layout and we will do several smaller designs, all working on paper. We will also touch on working large scale on chalkboard surfaces. This class is ideal for students who want to better understand this style of lettering, for students wanting to learn more about layout and design in lettering art, for students who want to explore the art of hand drawn lettering, and for students who want a new area of lettering to explore.
Materials List

• 1 General’s White Charcoal Pencil
• 1 General’s Black Charcoal Pencil
• Canson Pro Layout Marker Paper 9” x 12”
• Micron Pen in size .05 (and any other sizes you may already have)
• Faber Castell Dust Free Eraser or any similar dustless eraser you may already have
• Factis Black Eraser
• 12” or 18” T-square Ruler
• A few sheets of Graph Paper
• 12” Ruler
• Pentel Graphgear 500 size .05 Mechanical Pencil or any mechanical pencil in .05 that you have
• Scissors
• Pencil Sharpener (any kind)
• 2 Sheets of Canson Mi-Teintes Paper in black (19” x 22”)
• $12 Materials Fee (payable to instructor)

Optional (but helpful):
• Fons & Porter Fabric Pencil - It is a little pricey at $14 so if you don’t feel like spending that much on one tool, you will be fine without it (Can be found at JoAnn’s Fabrics)
• Dividers (Blick sells Alvin dividers for about $10)


Cora Pearl started studying calligraphy at age 11 and has been doing calligraphy and hand lettering ever since. She has a BA in Art and Art History from Oberlin College. Cora works as a full-time calligrapher and teacher of lettering arts. She teaches full credit calligraphy and hand lettering courses at Portland Community College and teaches independent workshops, classes and private sessions, including year-long courses in Design for Lettering Art. She has taught at several calligraphy conferences including Letters of Joy, IAMPETH, Letterfest, Typecon, the International Calligraphy Conference, and Letters California Style. Cora also does calligraphy commissions in addition to her teaching. Cora is passionate about teaching and values a holistic approach to learning based on building trust and safety in the classroom environment.