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. **

Classes

Copperplate - Intensive (Sept) — (Marcy Robinson) 2 Sundays: September 17 & 24, 2017
Italic I — (Anna Pinto) 5 Saturdays: September 30; October 7, 21, 28 & November 4, 2017
Copperplate I — (Elinor Holland) 5 Sundays: October 1, 8, 15, 22 & 29, 2017
Introduction to Copperplate — (Kathy Milici) Saturday/Sunday, October 28 & 29, 2017
Introduction to Copperplate — (Laura Di Piazza) Saturday/Sunday, November 18 & 19, 2017

Workshops

NEW! Modern Storybook Script — (Kathy Milici) Sunday, August 13, 2017
Pointed Brush Lettering for Beginners — (Debra Dick) Saturday, September 16, 2017
Intro to Uncial — (Debra Dick) Sunday, September 17, 2016
The Telling Magic of Storybook Illumination — (Renee Jorgensen) Saturday/Sunday, September 23 & 24, 2017
Designing Flourishes — (Lynne Yun) Saturday/Sunday, September 30 & October 1, 2017
Cadels — (Vivian Mungall) Saturday/Sunday, October 14 & 15, 2017
Spencerian — (Michael Sull) Saturday/Sunday, October 21 & 22, 2017
Big Magic: Taking Calligraphy Out of the Box — (Sherrie Lovler) Saturday/Sunday, November 4 & 5, 2017
Drawn Letters — (Anthony Bloch) Saturday/Sunday, December 2 & 3, 2017

Copperplate - Intensive (Sept)

Marcy Robinson

2 Sundays: September 17 & 24, 2017
10:00 am - 4:30 pm
$175 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
This elegant and graceful script is written with a pointed pen by means of a pressure and release movement. Today this hand is used mostly for invitations, envelopes, and place cards. The upper and lower case alphabet will be introduced and analyzed with an emphasis on basic forms. All levels of experience are welcomed.

This is an intensive 2-day course, with an even smaller class-size than our usually-small introductory classes. Students will be given much individual attention.
Materials List
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* Brause EF 66 or similar nib such as Gillot 303, 404, Hunt 22, etc.
* Oblique pen holder (or straight holder for lefties)
* Black ink (non-waterproof, sumi ink in green bottle)
* Bond paper (Borden & Riley Cotton Comp, slight tooth to paper, 9" by 12")
* Dinky dip or empty bottle cap (an inch in depth)
* ruler
* pencil and pad for note taking

Instructor

Marcy Robinson is an award-winning lettering artist residing in New Jersey. She has studied with Julian and Sheila Waters and has taken workshops with many other calligraphic artists. Her work may be seen in Brides Magazine, the Calligraphy Engagement Calendars, Letter Arts Review and other calligraphic publications. Marcy was on the faculty of several calligraphy conferences. In addition, two pieces of her work were purchased by the Richard Harrison Collection of the San Francisco Library. She was one of 12 lettering artists featured in the "Alphabet" - the Journal of the Friends of Calligraphy, Spring 2011 issue. She also did the logo for "Alphabet."

Italic I

Anna Pinto

5 Saturdays: September 30; October 7, 21, 28 & November 4, 2017
9:30 am to 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
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Higgins Eternal Ink OR small bottle of Walnut Drawing Ink
Penholder
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 www.paperinkarts.com
or John Neal Books (800) 369.9598 www.johnnealbooks.com

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

Instructor

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

5 Sundays: October 1, 8, 15, 22 & 29, 2017
10:00 am - 3:30 pm
$325 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-hours each Sunday with a half hour for lunch.
Materials List
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Calligraphy supplies can be difficult to find...
John Neal has created an "Elinor Holland" package with all supplies on one page, here:
http://www.johnnealbooks.com/prod_detail_list/880

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
Pencil,
Drafting tape.

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

Instructor

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.

Introduction to Copperplate

Kathy Milici

Saturday/Sunday, October 28 & 29, 2017
10:00 am to 4:30 pm
$175 members/non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
A great place for the beginner to start! Also known as English Roundhand, this 18th century script style of writing is still fresh and versatile today! Using a flexible, pointed nib and an oblique (elbow) pen holder, this formal, elegant writing style is a beautiful way to begin your journey.

In this 2 day workshop, we will first become familiar with some of the calligrapher’s writing tools, including inks, nibs, and pen holders. We will then learn the principal strokes and foundation of each individual letterform, including upper and lower cases. Enter the alphabet necklace, a writing exercise, to help you learn proper spacing. Also ligatures, writing proper names and text will be covered. We will also have fun with writing smaller, and some fun lists to copy!

This is a weekend not to be missed!
Materials List
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(no substitutions please)

3 Nikko G nibs
Oblique Pen Holder, Ziller 40 (gray)
Sumi Moon Palace Ink (black bottle, green cap)
--OR-- Higgins Eternal Ink
Canson Pro Marker Layout paper, 9 x 12, 50 sheets
Ruler, pencil, kneaded eraser
Dinky Dip (screw caps)
Dropper Bottle

Other Items:
Matches
Pen & Notepad
Viva Paper Towels
Scotch Removable tape

Optional for Reading and Study:
The Universal Penman, by George Bickham
The Technique of Copperplate Calligraphy, by Gordon Turner
Mastering Copperplate Calligraphy, by Eleanor Winters

Supplies available at www.paperinkarts.com or www. johnnealbooks.com.

Instructor

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 kathymilicicreative.com.

Introduction to Copperplate

Laura Di Piazza

Saturday/Sunday, November 18 & 19, 2017
10:00 am - 4:00 pm
$160 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Steet (between 2nd/3rd Avenues) Room 702A
In this intensive weekend calligraphy workshop we will examine and practice letterforms in the Copperplate hand, a pointed-pen script that was developed in 16th century England. We will work with an oblique pen holder, pointed pen nib, ink, and guidelines. Our main focus will be on practicing varying amounts of pressure to apply to our pens to produce thick (shaded) and thin (hairline) strokes, letter slant and letter form. We will begin our practice with minuscule and later majuscule letters, which will be grouped according to similar letterforms. Feel free to bring in your favorite quote and/or project ideas for practice and discussion.

See a video of Laura's Copperplate lettering here.
Materials List
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• Oblique pen holder (suggested: Speedball or better)
• Nikko G nib or Zebra G nib
• Black ink (suggested: small 2 oz. bottle of sumi ink)
• Dinky dip and pipette or 1/2 oz. or 1 oz. ink jar (glass or plastic)
• Small 4-6 oz. plastic or glass water container to clean your pen nibs (yogurt cups work)
• 4 sheets of paper towels or rag to clean your pen nibs
• T-square, 12" (John Neal sells a c-thru one for $2.50)
• Marker Layout Paper (semi-transparent) 9" x 12"
• Pencil
• Black ballpoint or rollerball pen

Instructor

Laura Di Piazza (b. 1972, Brooklyn, New York) holds a MFA degree in Interdisciplinary Arts from Goddard College in Plainfield, Vermont. Laura teaches calligraphy workshops at Dartmouth College, AVA Gallery and Art center and MAKE! Skilled Hands. She has exhibited artwork in Austria, Canada, Germany and the USA. www.lauradipiazza.com

NEW! Modern Storybook Script

Kathy Milici

Sunday, August 13, 2017
9:30 am - 4:00 pm
$80 members/$100 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
This playful alphabet has fun written all over it! This charming, casual script gives a fresh, modern twist to the traditional alphabet. In this one-day workshop, you'll first learn some of the tools of calligraphy and how to use them. Then you'll learn a series of simple strokes that form this whimsical yet elegant alphabet; first lower case letters, then upper case capitals. We'll also examine letter endings, connectors, numbers and punctuation. Strokes into letters, letters into words, words to sentences… and voila! You have a brand new, useful and versatile alphabet style that is so easy to make uniquely your own.
Materials List
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Straight Pen Holder, Speedball, black plastic, or your favorite holder
Nikko G nibs (OR your favorite, like Zebra G, Hunt 22, Blue Pumpkin, Brause EF66, Gillott 303/404, make sure nib fits in your holder)
Higgins Eternal Ink OR Sumi Moon Palace Black Ink
Dinky Dip
12” clear plastic ruler
Pencil
Kneaded eraser
Dropper Bottle (OR pipette)
Borden and Riley Boris Marker #37 Layout Bond pad, 9 X 12, 50 sheets
Matches

Optional:
Scotch Removable Tape (blue label)
Rhodia grid pad, orange cover
A few Viva Paper Towels
Bottle water

Supplies available here:
http://www.paperinkarts.com/storybook.html
http://www.johnnealbooks.com/prod_detail_list/999

Instructor

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 kathymilicicreative.com.

NEW! Getting Your Calligraphy onto Digital Images

Laura Di Piazza

Saturday, August 19, 2017
12:00 pm to 2:30 pm
$40 members/$50 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
Ever wonder how artists get their calligraphy/lettering onto digital photographs and illustrations? This 2.5 hour workshop will focus on the detailed steps needed to do just that. Laura will walk you through scanning your calligraphy, choosing quality photography or illustrations (stock images and your own) and layering your calligraphy onto digital images in Adobe Photoshop. A laptop and Photoshop are not needed to take the workshop. Please bring paper and calligraphy supplies to letter quotes, a saying or single words that Laura will scan in class. You’re also welcome to email Laura an image ahead of time to laura@lauradipiazza.com (before August 18th). Otherwise Laura will have plenty of standard licensed stock images to use with your calligraphy.

Light refreshments (bagels/coffee/juice) will be provided.
Materials List
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Please bring paper and calligraphy supplies to letter quotes, a saying or single words.

Optional: Bring your laptop if you like. You can download a free one-month trial of Adobe Photoshop at creative.adobe.com

Instructor

Laura Di Piazza (b. 1972, Brooklyn, New York) holds a MFA degree in Interdisciplinary Arts from Goddard College in Plainfield, Vermont. Laura teaches calligraphy workshops at Dartmouth College, AVA Gallery and Art center and MAKE! Skilled Hands. She has exhibited artwork in Austria, Canada, Germany and the USA. www.lauradipiazza.com

Pointed Brush Lettering for Beginners

Debra Dick

Saturday, September 16, 2017
10:00 am to 4:00 pm
$80 members/$100 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
Learn the graceful art of modern, western brush lettering in this popular one day workshop. The emphasis will be on laying a strong foundation and becoming familiar with the unique aspects of writing with a pointed brush marker. We’ll begin with individual strokes, and build upon them to form expressive, stylish letterforms, numerals and punctuation. As the day progresses we’ll make our way from single letters to dynamic, brush-lettered words, phrases and quotes. During the process of learning we’ll also experiment with letter variations and connectors, try a few simple design techniques, and view inspiring works of brush lettering art.

Whether you’re a rank beginner or already have some calligraphy experience under your belt, “Pointed Brush Lettering for Beginners” will help you gain useful lettering skills along with a thorough understanding of the essentials of pointed brush writing.

Use what you learn in this workshop as a jumping-off point for creating your personal brush-lettering style, and to make greeting cards, signs, logos, monograms, patterns, and much more. No previous lettering or calligraphy experience necessary to participate.
Materials List
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Please bring to class:
o Two Tombow Dual Brush Pens (or whatever brand you may already have on hand as long as they are similar in size and flexibility to the Tombow): 1 black; 1 gray -- available at Blick Art stores or online at http://www.dickblick.com/products/tombow-dual-brush-pens/#21334-3109 (scroll down web page to see available colors)
o Marker Layout Pad ( minimum 9” x 12”) Please choose either:
• Borden and Riley Boris Marker Layout pad, 9 X 12, 50 sheets, or….
• Bienfang Graphics 360 Marker Pad, 9 x 12, 50 sheets
o Important Miscellaneous Items:
• 12”--18” Ruler
• 2H Pencil
• White Vinyl Eraser: Alvin Erase-Clear; Staedtler Mars Plastic, or similar
• Scotch brand removable tape (blue label)
• A list of words, phrases and short quotes that appeal to you
o Optional Items for Play time allowing:
• Gel Pens such as Sakura Gelly Roll (suggested brand, but use what you like or what you have on hand)
• Uni-ball Signo UM 153 White gel pen (wonderful opacity)
• Notebook and Pen

Materials are available at local art/craft supply stores, or online at: dickblick.com; jet.com; utrecht.com; jerrysartarama.com; paperinkarts.com; johnnealbooks.com; michaels.com

Instructor

Debra Dick became a freelance lettering artist/graphic designer in the early 1990s. Her commissions have included logos, t-shirt designs, corporate resolutions and one-of-a-kind calligraphic art on paper and canvas. Her work has been published in Letter Arts Review and the Calligraphers’ Engagement Calendar. In 2004, Paper Kite Press invited her to illustrate Zoo Haiku, a book of poetry and broad-pen drawings.

Debra became a roster artist with the Pennsylvania Council on the Arts in 2000, and has since conducted numerous calligraphy-related arts residencies in schools, libraries and museums. In addition to traditional calligraphy pieces, she also incorporates beautiful writing into paintings, drawings, and hand-made books.

Intro to Uncial

Debra Dick

Sunday, September 17, 2016
10:00 am - 4:00 pm
$80 members/$100 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
Uncial calligraphy is more than 2,000 years old yet looks surprisingly modern and fresh. Its voluptuous, elegant letterforms make it a unique fit for hand-lettered greetings, short quotes, titling/headlines, and t-shirt designs. Plus, Uncial is the perfect “hand” for the beginning calligraphy student!

Working with a broad-edge marker or pen you’ll explore this easy-to-learn style starting with the basic strokes then building upon them to create beautiful letterforms. In this one day workshop you’ll also complete a small finished piece and do several pen exercises that will boost your lettering skills and confidence. By the end of the day you’ll have a thorough understanding of how the broad-edge pen works, and you’ll even notice an improvement in your ability to make lovely letterforms.

So, whether you’re brand new to calligraphy or already have some broad-edge writing under your belt, and simply want to learn a new “hand,” this workshop is right for you!

No previous experience is necessary to participate.
Materials List
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==> For Beginners: your choice of:
• Good quality black, waterproof calligraphy marker such as: Zig Memory System Twin Tip Calligraphy Pen, OR
• Pilot Parallel Pens, sizes 2.4 and 6.0 mm

==> For Intermediate Students:
Choose from one of the above, OR
• Speedball-C, broad-edged calligraphy nibs, holder and Higgins Eternal ink
• Note: have one large nib (C-1), and one small nib (C- 3 or C- 4)

(Choose writing implements according to your experience level and personal preference)

==> Additional “Must Haves” for ALL Students:
• Marker layout paper, minimum 11” x 14”; 50 sheet pad; Please choose either:
• Borden and Riley Boris Marker Layout, OR…
• Bienfang Graphics 360
• T-Square, 12” minimum, OR 12”- 18” ruler
• 2H or 3H pencil
• White plastic eraser such as Alvin Erase-Clear, Staedtler Mars Plastic, or similar
• Scotch Brand removable tape (blue label)
• A few paper clips
• Color Pencils of your choice
• A list of words, phrases and short quotes that appeal to you

==> Optional Materials:
• Gel Pens, including white, such as Sakura Gelly Roll, Uni-ball Signo
• Fine Tip Markers in various colors
• Notebook and Pen

Instructor

Debra Dick became a freelance lettering artist/graphic designer in the early 1990s. Her commissions have included logos, t-shirt designs, corporate resolutions and one-of-a-kind calligraphic art on paper and canvas. Her work has been published in Letter Arts Review and the Calligraphers’ Engagement Calendar. In 2004, Paper Kite Press invited her to illustrate Zoo Haiku, a book of poetry and broad-pen drawings.

Debra became a roster artist with the Pennsylvania Council on the Arts in 2000, and has since conducted numerous calligraphy-related arts residencies in schools, libraries and museums. In addition to traditional calligraphy pieces, she also incorporates beautiful writing into paintings, drawings, and hand-made books.

Designing Flourishes

Lynne Yun

Saturday/Sunday, September 30 & October 1, 2017
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Beginner to intermediate (no calligraphy experience necessary, but students must have some familiarity with letterforms)
Location: 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
Good flourishing is not the result of “happy accidents.” Flourishing is most effectively employed in a systematic way, instead of relying on spontaneity. In this class, we will go over the basic rules and principles of designing the flourished line.

We will examine high quality flourished work, learn how to identify basic elements of well-executed flourishes, dissect what makes good flourishing pleasing to the eye, and combine the elements to create our own designs. As we go through exercises, we will cover methods of combining flourishes in a visually pleasing way, with particular emphasis on white space and hot spot control, scale, intersecting angles, smoothness, and rhythm. Ultimately we will learn how to attach flourishes to letterforms and incorporate them into your compositions.
Materials List
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• Grid paper
• Tracing paper
• Layout bond paper (Borden & Riley #37, Canson Marker Layout, or Bienfang Graphics 360)
• Ruler
• Pencil and sharpener or mechanical pencil with refills
• Eraser
• Tape (artist’s or masking)
• 1-2mm chisel tip marker or pen (e.g., Sakura Pigma calligraphy markers, Zig calligraphy chisel tip markers, chisel tip fountain pen, etc)
• 1mm or smaller chisel-edge dip pen nibs with ink, plus any flexible points you are comfortable with
• (Optional) Any existing flourishing design that you would like to improve

Instructor

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.
www.lynneyun.com

The Telling Magic of Storybook Illumination

Renee Jorgensen

Saturday/Sunday, September 23 & 24, 2017
10:00 am to 4:00 pm
$160 members/$200 non-members ($10 materials)
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
The Storybook Illumination is designed to tell a story, your story, any story! We will explore conceptual brainstorming techniques, and learn how to harness and organize visual ideas. Step-by-step instruction is based on the techniques Renee has developed to create her modern storybook illuminations. Demonstrations and hands-on exploration will include time saving mixed media techniques, drawing and layout design applications, inking and painting strategies, and embellishing with gold.

Join Renee as you create your own personal illuminated story ready for framing or for reproduction. This workshop will be filled with creative ideas and designed to guide you toward developing a new way to tell a story!
Materials List
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Drawing Pencils: 2H or HB (any brand) White Rubber Eraser: Staedtler Mars or click style eraser (Sanford Tuff Stuff)
1 - Sketch pad to take notes and work out design ideas in: Any size will do.
Tracing Paper Pad or Roll
Pencil Sharpener: Handheld or battery operated
Color Media of your choice: No need to bring both media. Select one or the other.
• Watercolor Pencils: Bring a 12-pencil set (minimum): The brand I use for watercolor pencils is Caran d’ache Supracolor. However, Faber Castell Albrect Dürer, Staedtler Karat, or Prismacolor will do just fine. Inktense, the watercolor pencil brand manufactured by Derwent, are also acceptable. Come to class with your pencils already sharpened to save time.
• Watercolor Paint & Palette: Make sure that the palette has at least 2-different yellows (lemon yellow and yellow/cadmium yellow), 2-reds (red-orange & deep red/magenta), 2-blues (blue- green, and green), and other colors that inspire you. One of my favorites is a rich violet – either red violet or blue violet, also umber and sepia for earth tones.
Brushes: Choose a good quality in sizes 00 & 0. Include a few brush sizes in between the two.
A very good and cost effective brush is the Winsor Newton Sceptre Series 101. These brushes are made from a mix of sable/synthetic blends that point up nicely. However, you are welcome to bring your favorite brushes to work with.
1 – Inexpensive mixing brush (#4 is my favorite)
Black Ink (waterproof preferred) or Walnut Ink (not waterproof but will work nicely)
• Or you may bring 2 Black Waterproof pens: .005 and one with a thicker line width. I like the Copic Multiliners, however, there are many other brands so bring your favorite brand.
Drawing quills with handles: My favorite quill nib is the Tachikawa G nib. Or your favorite pointed pen nib should work just fine.
1 - Tube White Gouache: Permanent White
(Artist grade recommended: Winsor & Newton, Michael Wilcox or Dalor Rowney)
Gold: Winsor & Newton Gold Ink or Gold Gouache Paint: Holbein (G641 – Pearl Gold)
Burnishing Tool: This could be a small polished stone (agate or hematite). If you already own a pencil
point burnisher or dog tooth burnisher, either will do. Water container, roll of paper towel, 12” C-Thru Ruler
Reference Photos or sketches: Bring photos that you will use to help build your story and ultimately your illumination.
Not required but recommended: 45 degree triangle, Kemper fluid writer, color wheel, small 2” paintbrush (to use as an eraser crumb brush), small lightbox/pad, (and extension cord). I have students who have purchased this very reasonably priced TiktekA4, Ultra-thin Portable LED Light Box on Amazon for under $25.00. A real bargain for a light weight and efficient light pad.

Materials Fee:
$10 (payable at registration) for handouts, paper & misc. supplies.

Instructor

Renee Jorgensen lives and works in Lakewood, Colorado. She is an instructor for the School of Botanical Art and Illustration at the Denver Botanic Gardens. She not only instructs methods for botanical art and scientific illustration, but also teaches calligraphy for the school, and other venues. With reverence to the early works of Medieval Illuminated manuscripts, Renee’s focus on traditional technical processes lead her to the work that she creates to date. Renee’s background in the fine arts, certification and degrees in commercial art, graphic design and botanical illustration have always captivated her interest in letterforms. Whether formal or contemporary, she notes how hand lettering has influenced her illustration and contemporary illuminated works. www.ReneeJorgensenArtist.com

Cadels

Vivian Mungall

Saturday/Sunday, October 14 & 15, 2017
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
A Cadel is a letter composed of a series of tape-like strokes, nearly parallel lines which interweave and knot together to produce a complete letter—ranging from simple to complex. These capital letters were used as a single initial letter or versal or multiple letters in headings and historically were confined to secular work. The cadel initials were most common in the fifteenth century, and they were occasionally used in sixteenth and early seventeenth-century documents and writing manuals as well. The oldest example found was in the 1409 prayer book, the Trés Riches Heures du Duc de Berry by Jean Flamel. There is no one standard lettering style for cadels. The class will cover how the scribes have interpreted them over the years. After learning several of the letters, basic strokes and cadel designs, you will be ready to start creating your own beautiful Cadels. This class covers a very unique and individualize style of lettering with no standard forms.
Materials List
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• Pencil, eraser
• Favorite black ink or colored ink
• Broad pen holders and nibs like Mitchell nibs with reservoirs – sizes 2, 1.5 1, 0. – can also use a pilot pen
• straight holder and favorite pointed pen for drawing lines
• Practice or layout paper at least 8.5” x 11”
• Graph paper if you like to use it (just make sure your pen nibs, ink and paper all get along)
• Plastic centering ruler by Westcott or C Thru Ruler Company
• Wooden ruler with edge to use with pointed pen
• Tracing paper
• Your imagination
• Finetec gold, gold gouache, or gold ink brushes, water, etc. for adding detail
** OPTIONAL, but not necessary: **
• Water color or gouache
• 8” x 10” Arches 140# hot press or equivalent for finished piece if desired
• Portable light box
• I always work flat but a slant board if desired
• Electric eraser
• Scratch knife

Instructor

Vivian Mungall is a member of Ziller’s LLC, and took her first calligraphy classes from Larry Menser in Plantation, Florida. When she moved to Kansas City, Missouri, Larry suggested that Vivian meet with his friend, Stephen A. Ziller. He was the owner of Ziller of Kansas City and a 1932 graduate of the Zanerian College in Columbus, Ohio. In 1936, he became the second owner of the studio founded in 1894 by Frederick W. Tamblyn, a well-known lettering artist and teacher of penmanship. After meeting him, Steve offered her a job in the studio. There she started to learned the art of engrossing. In 1985, her husband, Richard, became the victim of corporate downsizing. So, with his business expertise and her artistic expertise, they became partners of Ziller of Kansas City. In 2012, they moved the studio to Orlando, Florida. Vivian specializes in lettering and illumination of certificates, diplomas, awards, scrolls and resolutions. Some of the people who have received her resolutions are: Barbara Bush, Margaret Thatcher, Bill Clinton, Sandra Day O’Connor and Walter Cronkite.
In 2015, Vivian taught the cadel class at IAMPETH. She became addicted to researching the subject and had more information than needed. Since no books have been written on cadels, she wrote an Ebook of 300+ pages with hundreds of how to and historical illustrations. It is now available on IBooks for Apple devices. Vivian also has an illuminated letter in the new Speedball book.
In 2002, Vivian was inducted as a Master Penman by IAMPETH at their annual convention. In 2010, she was president of IAMPETH and organized the convention in Orlando, Florida. To see more of her work and information about the studio go to www.zillerofkc.

Spencerian

Michael Sull

Saturday/Sunday, October 21 & 22, 2017
10:00 am to 5:00 pm (Please come early 9:00 am Saturday if you'd like to purchase one of Mike's custom penholders!)
$180 members/$220 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
*SOLD OUT*

This workshop is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.

Spencerian Script was the most graceful and attractive form of vintage penmanship in 19th century America. Join us to learn the proper methods to produce this beautiful handwriting from the past! Subjects included in the class will be: the fundamentals of Spencerian Script penmanship, including tools, musculature, the Writing Zone, paper movement, lowercase and capital letters, and an introduction to Off-Hand Flourishing.

All levels are welcome, from beginner to advanced; no prior experience required.

Students are invited to come early (at 9 am on Saturday) to purchase a custom penholder and/or have one adjusted by Mike.
Materials List
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• an oblique penholder
• iron gall ink (such as McCaffery's)
• a lined Rhodia or Clairefontaine tablet
• a small container of water
• a pen to take notes

If anyone wishes to have the fun of writing in white on a dark paper, I suggest that they also have some suitable dark paper (I prefer Strathmore Artagain), a white writing fluid (I prefer Dr. Martin's Bleed Proof White), and an inexpensive artist's brush for mixing the Dr. Martin's (I like a No. 2 Winsor & Newton Sceptre Gold).

Instructor

Michael Sull is a certified American Master Penman known internationally for his work, teaching ability, and publishing efforts in Spencerian Script and Ornamental Penmanship. He is credited as being the primary force in bringing back the American heritage of vintage handwriting which has led to the current renaissance of interest in Spencerian penmanship. Accomplishments; author of the texts "Spencerian Script and Ornamental Penmanship", "Learning to Write Spencerian Script", "American Cursive Handwriting", "Spencerian Practice Set", and "Poems of a Penman"; served as former President Ronald Reagan's personal calligrapher, 1990-2003; Lettering Artist for Hallmark Cards, 1981-1986; founder of the Spencerian Saga workshop program, 1987 and its director for 26 years; President of IAMPETH, 2001, founder and director of the IAMPETH Master Penman program, 2001-2015, Zaner-Bloser Corporate Master Penman, 2010-present; and founder of the Spencerian Monument for American Handwriting, 2012. Currently he serves as the Academic Director of the Ink Academy and is Associate Producer of the documentary film for PBS now in production, "With Pen In Hand- the Journey of American Handwriting". He has taught workshops in American penmanship and engrossing in 40 states and 11 foreign countries.

Big Magic: Taking Calligraphy Out of the Box

Sherrie Lovler

Saturday/Sunday, November 4 & 5, 2017
10:00 am to 4:00 pm
$160 members/$200 non-members ($15 materials)
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
The marks we make doing calligraphy can be strong, fluid, sensuous, and downright yummy. Each tool we use brings a distinct personality that creates a unique mood. In this class, we will explore the different traits of the pointed brush, flat brush, folded pen and wood veneer pen to develop abstract paintings based on calligraphic form.

Beginning with a bamboo brush, we will create marks that will become the basis of our first painting. We will explore gestures from our handwriting and textures from the Neuland style of lettering to use as integral parts of our paintings. We will begin with ink and add color as the days progress to make complete works of art and a book that each participant will make.

Lessons on the elements and principles of design will be woven into the fabric of this workshop; so even those with no formal art-training can learn this process of using calligraphic mark-making as a portal into the exciting world of artistic expression.
Materials List
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PAPER:
2 sheets of black Canson or Strathmore.
6 sheets of Arches Text Wove, 20” x 25” (or 3 of the full size sheets, 25” x 40”)
Pad of Strathmore 300 series drawing paper 11x14” 50 sheets or similar

BRUSHES:
Flat brushes: ½” wide and 1” wide.
Pointed Brushes: Variety of sizes.
Large brush: 2” wide natural bristle brushes (like house painting brushes) or foam brushes
Mixing brushes: Cheap, synthetic (white nylon) #4 or 5 round i.e. Loew Cornell #795 round

PENS:
Favorite pens – the larger the better.

INK:
Moon Palace sumi ink
Walnut Ink

PAINT:
At least 2 tubes of complementary colors (blue and orange, or red and green, or purple and yellow), either gouache or watercolor. Plus black gouache (ivory or jet) and white gouache. Recommended brands: Winsor & Newton or M. Graham & Co.

MISC:
Breakable utility knife + solid cardboard to cut on (like the back of a pad of art paper or a cutting mat), metal ruler, scissors, palettes (at least 2 with 10 wells), 2 containers for ink (yogurt style – preferably with covers), water containers, notebook and pen for notes, 2B pencil and sharpener, glue stick, artist tape or masking tape.

Optional: color pencils, pan pastels or NuPastels.

Materials Fee:
$15 (payable at registration) for Bamboo brushes, handmade pens, extra paper and other items.

Instructor

Sherrie Lovler learned calligraphy in high school and has continued studying and advancing her art since then. Her two most important teachers have been Hermann Zapf, who taught her about precision and Dick Beasley, who taught her about freedom. She has a BA in Studio Art and has been teaching for over 30 years, including accredited classes at Northern Arizona University, International Calligraphy Conferences, Ghost Ranch, La Romita School of Art in Italy, and Sonoma Valley Museum of Art. Her work has been published in The Art & Craft of Hand Lettering, Letter Arts Review Annual Juried issues, Bound and Lettered, and many other books and journals. Her abstract paintings have been shown in solo exhibitions and many juried and group shows. Her newest book, On Softer Ground: Paintings, Poems and Calligraphy, won a Gold Award for Most Outstanding Book Design of the Year for 2016 from Independent Publishers IPPY Awards. Her work can be seen at www.artandpoetry.com.

Fancy & Fearless: Super Flourished Script Caps

Kathy Milici

Sunday, November 19, 2017
10:00 am - 4:00 pm
$80 members/$100 non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 701A
This workshop is not for the faint of heart! Ramp up your existing pointed pen style by learning the detailed principles and structure of successfully super-flourished script capital letters, indepth techniques and alternate stroke combinations.

First we will observe and study historic examples from English, French and Dutch writing masters, like Bickham, Van den Velde, Milns, Girault, and Ames. With exercises to loosen your hand and challenge your brain, we’ll then move to basic strokes that gradually increase in intricacy and difficulty. We’ll play with capital stem extensions, loops, ovals, intricate spirals, graceful direction changes, unusual shapes, tricky intersections and turned exits. Close attention will be paid to managing visual space. The result is super flourished, classic caps with character!

Kathy believes that anything worth flourishing is worth over-flourishing. Come build your repertoire and have FUN!

Please Note: This is a design class. Knowledge of pointed pen script lettering (Copperplate, Engrosser’s Script or Spencerian) is necessary to fully benefit from this workshop.
Materials List
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• Straight pen holder AND oblique pen holder
• Your favorite nibs, like Nikko G, Zebra G, Gillott 303, Gillott 404, Hunt 22 or Leonardt Principality
• Black Ink, Higgins Eternal or Sumi Moon Palace (or your favorites)
• Dr. Martin's Bleed Proof White
• Dinky Dip or ink well/holder
• 12” ruler (any kind)
• Pencil or mechanical pencil
• Kneaded eraser
• Small dropper bottle
• A few Viva paper towels

Paper:
• Tracing paper, 5 sheets
• Rhodia grid pad (orange cover)
• Borden and Riley Boris Marker Layout pad, 9 X 12
• 3-4 sheets of dark colored card stock

Optional:
• Scotch Removeable Tape
• Compass

Instructor

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 kathymilicicreative.com.

Drawn Letters

Anthony Bloch

Saturday/Sunday, December 2 & 3, 2017
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
The aim of this workshop is to develop skills that instill a unique fluidity into the letterforms, that computer fonts can never replicate. Those who have taken last year’s Drawn Letters, as well as those who have not, will be fully accommodated, as both upper and lower case will be taught and demonstrated consecutively in a “one room schoolhouse” approach. Plenty of time will be spent one-on-one, drawing with the intructor.

Time tested techniques, and significant variables will be taught. We will begin with a new, revised intro to some outstanding drawn letter art that has emerged over the centuries, into the current era, also as relates to the styles we are working with. After pencil warm up exercises, the first day will focus on drawing old style letterforms, while incorporating significant adjustments in serifs, stem, stress and so on. The second day will branch out into drawing modern styles, after an overview of the underlying structural dynamic for even width characters. The workshop will be completed with an expanded presentation of, and exercise in the variables of shading.
Materials List
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HB pencils (or your choice of mechanical pencil) with eraser and sharpener, an 18 inch flexible metal ruler, white art tape, any sized triangle (plastic or metal), Bienfang Graphics 360 translucent marker pad, 11 x 14 (or 14 x 17) inches, tracing paper or velum pad, 11 x 14 inches.

Instructor

Anthony Bloch is an award winning lettering artist residing in New York City. He has studied with Hermann Zapf, Michael Harvey, Tony DiSpigna, Ed Benguiat, Sheila Waters and other distinguished typography and calligraphy teachers. His work has been featured in Letter Arts Review, Rockport Publications: "Label Design 3", 1992, "The Creative Stroke", 1992, "The Creative Stroke 2",1994, “New Vintage Type”, Watson-Guptill, and “Lettering Arts”, Rizzoli International Publications, 1993, and was awarded for excellence in design, "365: AIGA Annual Design Competition 29”, 2008. Anthony has taught hand lettering at the School of Visual Arts for 14 years, and also teaches Typography at Pratt Institute, Manhattan.