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

Italic I — (Eleanor Winters) 5 Saturdays: February 22, 29; March 7, 14 & 21, 2020
Copperplate I — (Elinor Holland) 4 Sundays: March 1, 8, 15 & 29, 2020
Italic II — (Eleanor Winters) 3 Saturdays: April 4, 11 & 18, 2020
Introduction to Copperplate — (Laura Di Piazza) Saturday/Sunday: May 30 & 31, 2020

Workshops

Play on Writing/Writing Textures — (Denise Lach) Saturday/Sunday, March 7 & 8, 2020
The Art of Chalkboard Lettering — (Cora Pearl) Saturday/Sunday, March 21 & 22, 2020
Polish Your Penmanship — (Kathy Milici) Sunday, March 29, 2020
Art Nouveau Letters — (Paul Shaw) Saturday, April 4, 2020
The Calligrapher's Process — (Rick Paulus) Saturday/Sunday, April 25 & 26, 2020
Designing Flourishes — (Lynne Yun) Saturday/Sunday, May 16 & 17, 2020
Fraktur — (Ethan Cohen) Saturday/Sunday, June 13 & 14, 2020

Italic I

Eleanor Winters

5 Saturdays: February 22, 29; March 7, 14 & 21, 2020
9:30 am - 3:30 pm
$325 members and non-members
Level of difficulty: Beginner or more experienced calligraphers who want a detailed review of the basics
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
Italic, or Chancery Cursive, is the handwriting of the scribes of the Renaissance, and remains an ever-popular introduction to calligraphy.  In this beginner class, students will learn this elegant, graceful alphabet, following a step-by-step approach covering basic strokes, minuscules (lower-case letters), capitals, numbers, and spacing.  Italic is a modern, legible alphabet, frequently used for invitations, envelopes, place cards, and other commercial calligraphy, as well as for calligraphic art, such as poetry and prose pieces.

Taking Italic I and Italic II with Eleanor will give you a very good foundation for all broad-pen hands; if you enroll in both classes this spring, we will refund $25 of your Italic II fee.
Materials List
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Higgins Eternal ink, Brause 3mm and 2mm nibs, penholder, 11" x 14" pad of layout paper (such as Canson Pro-Marker Layout or Bienfang Graphics 360 or Borden and Riley 100% Cotton Comp), water container and cloth or paper towels, masking tape.

Note: Left-handed students should either get Brause Left-Handed 3mm and 2mm nibs or Speedball Left-Handed C-1 and C-2. Left-Handed Brause nibs will need to be ordered by mail.

Instructor

Eleanor Winters is the author of Italic and Copperplate Calligraphy: the Basics and Beyond (Dover Publishing, 2011),1-2-3 Calligraphy! (Sterling Publishing, 2006), Calligraphy for Kids (Sterling, 2004), Mastering Copperplate Calligraphy (Dover, 3rd Edition, 2000), Calligraphy in 10 Easy Lessons (Dover, 2nd Edition, 2002), Professor of Art, Long Island University (1992-2010), Director of the Calligraphy Workshop, New School University (1985-1998), Workshops & Lectures in US, Europe, Asia, Exhibitions in Museums and Galleries, US and Europe, Master of Arts, New York University.

Copperplate I

Elinor Holland

4 Sundays: March 1, 8, 15 & 29, 2020
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
(more...)

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.

Italic II

Eleanor Winters

3 Saturdays: April 4, 11 & 18, 2020
9:30 am - 3:30 pm
$195 members and non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 702A
For students who have completed a beginning class in Italic, this class helps you develop a broader understanding of this elegant Renaissance script. We will review and fine-tune your basic Italic alphabet and then study letter variations, including simpler and more ornate forms of the minuscules and capitals. We will learn other ways to vary the alphabet, including size, weight and proportions, and look at examples from the  Renaissance writing masters. Emphasis will be on the consistency and beauty of letterforms and spacing.
Materials List
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Brause Nibs (1mm, 2mm, 3mm, 4mm)
Penholder
Non-waterproof ink (Higgins Eternal)
Smooth layout paper, such as Canson Pro-Marker Layout or Borden & Riley's 100% Cotton Comp
Water container and cloth
Masking tape
Pencil
Ruler

Instructor

Eleanor Winters Author of Italic and Copperplate Calligraphy: the Basics and Beyond (Dover Publishing, 2011),1-2-3 Calligraphy! (Sterling Publishing, 2006), Calligraphy for Kids (Sterling, 2004), Mastering Copperplate Calligraphy (Dover, 3rd Edition, 2000), Calligraphy in 10 Easy Lessons (Dover, 2nd Edition, 2002), Professor of Art, Long Island University (1992-2010), Director of the Calligraphy Workshop, New School University (1985-1998), Workshops & Lectures in US, Europe, Asia, Exhibitions in Museums and Galleries, US and Europe, Master of Arts, New York University.

Introduction to Copperplate

Laura Di Piazza

Saturday/Sunday: May 30 & 31, 2020
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

Play on Writing/Writing Textures

Denise Lach

Saturday/Sunday, March 7 & 8, 2020
10:00 am to 4:00 pm
$180 members/$220 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street, Room 703A
The word texture comes from the Latin word textura which means “yarn weaving.” It also applies to the links of the chapters of a literary work, as well as the mineral constitution of rock. In the 15th Century, a gothic small letter is named “textura” which points out its precision and the way of interlacing each letter to write a word.

First, the participants will practice interlacing letters starting from their handwriting. Then, they’ll work on capital letters practicing their calligraphic knowledge. After that, they’ll progressively get free from readability and experiment a playful approach leading to a very large range of writing textures.

The first objective of this workshop is to show how endless the possibilities of creating textures are and also their parts in a composition. A second objective is to enrich graphic vocabulary and scriptural composition.
Materials List
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- Any writing tools such as pencils, nibs, brushes, fine and broad felt pens, chalk, drawing-pens, etc
- Black ink, watercolor or gouache
- A4 or A3 paper pad (for example Ingres 160g/m2)
- Various differently-structured sheets of paper (large sheets are not necessary)
- Rough paper
- A ruler, an eraser, a roll of paper towel, a tumbler

Instructor

Denise Lach teaches serigraphy and conceptual writing at the Basel School of Design, Switzerland, and has held teaching posts all over the world. Her works are shown internationally.

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
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• 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)

Instructor

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.

Polish Your Penmanship

Kathy Milici

Sunday, March 29, 2020
10:00 am to 4:00 pm
$90 members/$110 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street, Room 703A
Do you love to write, but wish your handwriting looked better? Do you long to send more handwritten notes?  Do you love making fancy, swirly letters and doodling? This is the perfect class for you!

You’ll first be led through a full review of proper cursive script letterforms and their structure, according to the gold standard of the Zaner Bloser method: lower case letters, upper case letters, numbers and punctuation. We will also explore proper line placement, size, slant, and the proportion of letters as we write. Connecting letters for ideal spacing is also an important detail. We will practice it ALL!

Kathy will also show you how to successfully add some flourishy details and doodles to help you create your own style!

Please note: This is not a calligraphy class; no ‘dip pen’ is used. This class focuses on cursive writing forms, and is open to tweens, teens and adults. Bring a pen friend!
Materials List
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All you need are pens and lined paper! Recommendations:
PENS:
Kakuno Fountain Pen, your choice of nib size and ink color
Pilot Varsity Disposable Fountain Pens (colors set)
Pentel Energel Roller ball pens, .07 OR .05 size (colors set)
AND
Uniball Signo Rollerball White Pen (broad .38mm or fine)
OR Sakura Gelly Roll White Gel Pen
PAPER:
Your favorite lined notebook (8 ½ x 11, smooth paper)
Rhodia lined stapled notebook (large)
Pacon black lined filler notebook paper

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.

Art Nouveau Letters

Paul Shaw

Saturday, April 4, 2020
10:00 am to 4:00 pm
$90 members/$110 non-members
Location: SVA Annex, 214 E. 21st Street, Room 703A
This one-day workshop investigates the fluid, expressive, and idiosyncratic lettering created by Art Nouveau artists and designers in the 1890s and early years of the 20th century.

In the 1890s and early years of the 20th century artists and designers throughout Europe created lettering that broke free from traditional expectations of classical proportions, predictable placement of thicks and thins, notions of internal balance, consistent spacing, and legibility. Sometimes the letters undulated, swelled, or slithered. Serifs were abandoned. Other times they were packed together like sardines in a can or distorted to fill the spaces left by their neighbors. Concepts of stasis and harmony were jettisoned in favor of an emphasis on gestalt and gesamtwerk. Letters were seen as an integral part of a design, co-equal with illustrations and ornament. They were adapted and altered in response to different materials and techniques of fabrication. The Art Nouveau era was a moment of glorious freedom for letters.

Students will be introduced to the wide range of Art Nouveau lettering approaches and then focus on the work of the members of the Vienna Secession (Gustav Klimt, Koloman Moser, Josef Hoffmann, Alfred Roller, Joseph Maria Olbrich, and more) and their mentor Rudolf von Larisch. We will analyze and explore the methods and techniques these artists and designers used, focusing on making individual letters subservient to the overall design. Students will create a small poster.

This class is open to all levels and does not require any prior experience with calligraphy using a broad-edged or pointed pen. WARNING: this workshop may be harmful to those who believe in the notion of perfect and eternal letterforms.

 
Materials List
(more...)

* Speedball B-2 and B-4 nibs
* Higgins Eternal ink
* Uniball fine pen or equivalent (black)
* mechanical pencil .5 mm lead
* kneaded eraser or white eraser
* ruler
* masking tape

Instructor

Paul Shaw is a letter designer and graphic design historian. He is the sole proprietor of Paul Shaw / Letter Design, a studio specializing for thirty years in calligraphy, lettering and typography. Among his clients have been Clairol, Origins, Lord & Taylor, Campbell’s Soup, Cinzano, Vignelli Associates, and Pentagram. Paul was formerly a partner in LetterPerfect, a digital type foundry based in Seattle. Since 1980 he has taught calligraphy, lettering, typography and graphic design history at a variety of New York area design schools. Currently he is at both Parsons School of Design and the School of Visual Arts. He writes on letter-related subjects for Print, Eye, Baseline, Letter Arts Review, and AIGA's Voice. His book Helvetica and the New York City Subway sold out in two months, with a trade edition planned to be published by MIT Press. In 2002 Paul was a fellow at the American Academy in Rome. Finally, Paul is the reigning authority on W.A. Dwiggins, having spent 30 years researching his life and work.

http://www.paulshawletterdesign.com

The Calligrapher's Process

Rick Paulus

Saturday/Sunday, April 25 & 26, 2020
10:00 am to 4:00 pm
$180 members/$220 non-members
Level of difficulty: Beginner to Intermediate
Location: SVA Annex, 214 E. 21st Street, Room 703A
The challenges of placing text on a page in a meaningful way can be a daunting leap for one who has never attempted to do so. This comprehensive studio workshop is designed to introduce beginner and intermediate calligraphers to the process of creating a finished piece. Through a series of independent assignments, Rick will gently guide you through the process of taking your work from concept to completion, using easily acquired meth- ods and processes. Using a review of two formal hands as a launching point, we will move on to explore layout, design, texture, pattern, nuance, and more in the process of interpreting the meaning of text through calligraphy. Guided exercises will introduce the use of watercolor, gouache, gold leaf and a wide range of papers.

This is your opportunity to enjoy two days in the studio with former White House chief calligrapher, Rick Paulus. With over 30 years experience in commercial calligraphy and fine-art calligraphy, Rick is eager to share his tips of the trade through the exciting forum of this workshop.

Beginner to intermediate. Beginners should be familiar with the use of a dip pen. Knowledge of a formal hand is helpful but not required.
Materials List
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Slant board/desk that slants up to 45 degrees.
Any stiff board, measuring at least 18” x 20” (Masonite, gatorfoam, or plexiglass work well also)
Pen holders and nibs
Minimum of three sizes of your favorite broad-edge dip pen, full set suggested.
Minimum of two pen holders, best to have enough for full set of nibs (6-8 holders)
Oblique holder and pointed nibs can be used if you choose.
Ink — Black ink. Your favorite (Sumi Moon Palace recommended)
Gouache
Small tube(s) (Holbein, Winsor & Newton, Schmincke, etc....)
You will be creating much of your work in color during this class, please use your judgement as to how many colors you need on hand. Minimum one color in addition to the black ink you will be using.
Watercolor
Small tube(s) (Winsor & Newton, Daniel Smith, Dr. Martin, QoR, etc.....)
You will be creating much of your work in color during this class, please use your judgement as to how many colors you need on hand. Minimum one color in addition to the black ink you will be using.
An old “retired” small brush for mixing colors (can be poor quality!) The more, the merrier! Nylon bristles +
Paper
Marker Layout paper (Canson Pro Layout Marker or Borden and Riley #37
Boris Bright White Layout Visual Bond, etc........either 9X12, or 11X14)
1 sheet, Arches 90#, or Arches 140# hot or cold press, or other high-quality paper. Can be cut to 1/2 size for transport, or, if you know that you work small, it can be cut to 1/4 size.
Tracing Paper. (12” roll is preferred and most cost effective). Tracing paper pads are acceptable.
Pencil — .05, HB in a mechanical pencil. Other pencil’s acceptable providing you can keep them sharp. Erasers — Clean plastic eraser such as Staedtler/Mars, Tombow, or clean kneaded eraser.
Ruler — Metal will give you more accurate measuring and a good, straight, sharp edge.
Tape — Artist tape, or removable scotch tape, 1/2” or 3/4” roll.
Xacto knife — #11 blade (The sharp, pointed blade)
Water container and paper towels or clean up cloths
Any favorite writing tool which I may have left out, that you enjoy working with.
Text from which to work:
One short poem/passage (10-15 words) and one long poem/passage (8 line poem, 40-50 words)

OPTIONAL:
T square — Recommended but not required.
Triangle — 90 degree plastic triangle recommended, but not required
Scissors
Extra Brushes
Thin, LED lightbox

Instructor

Rick Paulus has been a calligrapher for over 40 years. He apprenticed for several years at the legendary Tolly Studios in Washington, DC, before becoming the engorsser for the US State Department. In 1998 Rick was appointed chief calligrapher for the White House, where he served for 8 years under the Clinton and Bush administrations.

Designing Flourishes

Lynne Yun

Saturday/Sunday, May 16 & 17, 2020
10:00 am to 4:00 pm
$180 members/$220 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 703A
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 NYC-based type designer and educator who specializes in typography, hand lettering, and calligraphy. She is a board member of AIGA NY and was previously a full time type designer at Monotype. During her tenure, she created custom typefaces for clients and a number of retail typefaces, including the Trade Gothic Display and Inline families. Prior to working at Monotype, Lynne held positions as a graphic designer at companies such as Apple Inc. and served on the board of Society of Scribes. She holds a BFA from the School of Visual Arts and a postgraduate certificate in typeface design from the Type@Cooper Extended Program. Lynne's work has been recognized by organizations such as AIGA, Type Directors Club and Art Directors Club, notably the Ascenders award which honors designers under the age of 35 who show remarkable achievement in typography, type design, and lettering. www.lynneyun.com

Fraktur

Ethan Cohen

Saturday/Sunday, June 13 & 14, 2020
10:00 am - 4:00 pm
$160 members/$200 non-members
Level of difficulty: All are welcome :)
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Fraktur is an eclectic genre of blackletter forms that was used widely both in calligraphy and in type beginning in the 16th century. It remained prevalent in German-speaking countries until 1941, when it was phased out by the Third Reich. Like all blackletter hands Fraktur is characterized by a bold and dense texture, though it is more decorative and less rigid than its close relative, Textura. In this workshop we will learn a basic fraktur alphabet, focusing on spacing, rhythm, and texture. We will then explore how these expressive fraktur forms lend themselves to modification and personalization.
Materials List
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* Higgins Eternal ink or Walnut ink
* Straight penholder
* Two nibs: one Speedball C-0 and one Speedball C-1
* 9” x 12” or 11"x 14" Borden & Riley #37 Boris Marker Layout pad, or Canson Marker Layout pad
* Masking tape
* Paper towel or rag

Instructor

Ethan Cohen is a type designer and calligrapher born and raised in New York City, currently living in Berlin and working as a type designer at LucasFonts. Before moving to Berlin, Ethan received a masters degree in type design from the Royal Academy of Art in The Hague (KABK), worked at Mucca Design, studied type design at The Cooper Union’s Type@Cooper Extended Program, and served on the Board of Governors of Society of Scribes, where he co-founded the Society of Scribes scholarship program. Ethan likes cats, letters, music (he plays guitar and 5-string banjo), coffee, board games, and coding (in that order), and nothing else. ethancohenstudio.com