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

Foundational — (Eleanor Winters) 3 Saturdays: April 14, 21 & 28, 2018
Copperplate I — (Elinor Holland) 4 Sundays: April 15, 22, 29 & May 6, 2018
Introduction to Copperplate — (Laura Di Piazza) Saturday/Sunday: May 19 & 20, 2018
Italic I — (Eleanor Winters) 5 Saturdays: February 24; March 3, 10, 17 & 24, 2018

Workshops

Intro to Uncial — (Debra Dick) Saturday, April 14, 2018
The Art of Celtic Knots — (Debra Dick) Sunday, April 15, 2018
Fraktur — (Ethan Cohen) Saturday/Sunday, April 21 & 22, 2018
Copperplate Variations — (Rachel Yallop) Saturday/Sunday, April 28 & 29, 2018
Looking Beyond the Literal Letter — (Rachel Yallop) Saturday/Sunday, May 5 & 6, 2018
Pointed Brush Alphabets — (Anthony Bloch) Saturday/Sunday: May 19 & 20, 2018
NEW! Gothicized Italic — (Marcy Robinson) Saturday/Sunday, June 2 & 3, 2018
NEW! The Flourished Envelope — (Kathy Milici) Sunday, June 3, 2018
NEW! The Graceful Curve — (Harvest Crittenden) Saturday/Sunday, June 9 & 10, 2018

Foundational

Eleanor Winters

3 Saturdays: April 14, 21 & 28, 2018
9:30 am - 3:30 pm
$195 members and non-members
Level of difficulty: Advanced Beginner
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
The Foundational hand was developed by Edward Johnston in the early twentieth century as a beginner’s alphabet, the foundation (basis) of a calligraphic education. Based on tenth century English Carolingian, Foundational has evolved in usage from a student script to an elegant, legible hand, suitable for both small manuscript calligraphy and large, bold writing for signs and posters. This workshop will present the anatomical structure of the Foundational hand in a step-by-step method. Recommended for students with some familiarity with the broad-edged pen, as well as more experienced calligraphers.

Taking Italic I and Foundational 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 $40 of your Foundational fee.
Materials List
(more...)

• Higgins Eternal or other non-waterproof ink
• Brause 2mm, 3mm and 4mm nibs (if you are left-handed, please bring left-handed nibs, either Brause 2,3, and 4mm or Speedball C-0, C-1, C-2)
• Penholder
• 11" x 14" layout pad -- either Canson Pro-Marker or Borden and Riley Cotton Comp
• Water container and cloth or paper towels
• Ruler, Pencil (hard, such as H or 2H), Eraser
• Fine-point black marker
• Masking tape

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.

Copperplate I

Elinor Holland

4 Sundays: April 15, 22, 29 & May 6, 2018
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 -- except on 4/29, when the times will be 12:30 to 4:00 pm with no lunch break.
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.

Introduction to Copperplate

Laura Di Piazza

Saturday/Sunday: May 19 & 20, 2018
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
(more...)

• 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

Italic I

Eleanor Winters

5 Saturdays: February 24; March 3, 10, 17 & 24, 2018
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 Foundational 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 $40 of your Foundational fee.
Materials List
(more...)

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.

Intro to Uncial

Debra Dick

Saturday, April 14, 2018
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 703A
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. Not only will you learn several pen exercises that boost your lettering skills and confidence, you’ll also complete a small finished piece suitable for framing. By the end of this one-day workshop you’ll have a thorough understanding of how the broad-edge pen works and see an improvement in your ability to make lovely letterforms.

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

No previous experience is necessary to participate.
Materials List
(more...)

==> 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: one large (C-1), AND one small (C- 3 or C- 4)
• Pen-holder
• Higgins Eternal ink (Recommended; a non-waterproof, carbon black ink for dip pens.)
• 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)

==> “Must Haves” for ALL Students:
• Marker layout paper, minimum 11” x 14”; 50 sheet pad—such as Borden and Riley Boris Marker Layout Pad or Bienfang Graphics 360 Pad (if using any other brand, paper must be translucent, not transparent)
• 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.

The Art of Celtic Knots

Debra Dick

Sunday, April 15, 2018
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 703A
Celtic knots are stylized, two-dimensional drawings of interlaced knot work. Primarily found in the stunning seventh and eighth century monastic manuscripts of the British Isles, Celtic knots are among the most well-known graphic designs dating back to antiquity. In addition to some of the earliest known books—Durrow, Kells and Lindesfarne Gospels—these knots appear in architecture, metalwork and jewelry. The art of Celtic knots provides a creative connection to a rich and beautiful culture as well as a lively way to adorn modern-day greeting cards, book marks and other surfaces. They also pair well with Gothic, Uncial and Roman lettering.

In this workshop you’ll learn an easy, step-by-step process for drawing and coloring beautiful Celtic knots, and view copies of manuscript book art from the period. You don’t have to be an artist—or Irish—to learn this decorative art.

Note: This course is for beginning students and anyone with art or calligraphic experience who wants to learn something new and exciting. Previous experience is not necessary!
Materials List
(more...)

• 2-H Drawing Pencil
• White Plastic Eraser
• Waterproof, Black, Fine-Tip Marker—such as Sharpie Pitt Artist Pen or Pigma Micron
• Assorted Color pencils
• Marker layout paper, minimum 8 ½” x 11”—such as Borden and Riley Boris Marker Layout Pad or Bienfang Graphics 360 Pad (if using any other brand, paper must be translucent, not transparent)
• A few sheets of good bond/printer paper
• Removable Tape such as Scotch Blue Label

OPTIONAL MATERIALS:
• 6” see-through ruler
• Gel Pens (Gold; Silver; other colors of your choice)
• Watercolor Pencils or Pan Set
• Watercolor Brush
• Water Container
• Paper Towels (if using watercolor)

Instructor

Debra Dick became a freelance lettering artist/graphic designer in the early 1990's. 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.

Fraktur

Ethan Cohen

Saturday/Sunday, April 21 & 22, 2018
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
(more...)

* 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 NYC-based calligrapher and typeface designer. He holds a post-graduate certificate in typeface design from the Type@Cooper Extended Program and works as a typeface designer at Mucca Design. He has served on the Board of Governors of Society Scribes since 2015. www.ethancohenstudio.com

Copperplate Variations

Rachel Yallop

Saturday/Sunday, April 28 & 29, 2018
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Intermediate/Advanced
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
*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.

This class is about looking at the essential components of the copperplate style and exploring a new way of looking at it. Many of the "rules" are the same, but stroke terminals, joins, spacing and letter shapes can be altered to make a style which can be fine and elegant, or fun and quirky.

• Pen Handling. The correct angle to the page and the correct position in the hand to achieve the perfect elegant line. Particularly for those who wish to use, as I do, the straigth pen holder.
• Looking at three different variations in style and analysing the characteristics and key elements of each one.
• Concentrating on the basic rules of thick and thin and where to put the weight.
• Practicing the subtle variations in letter height and depth and experimenting with a varying x-height.
• Looking at letter spacing and how it can vary yet still achieve a balanced piece.
• Experimenting with placing words together and how to make a successful design.
• Students may concentrate on one style or experiment with all of them.
Materials List
(more...)

• Gillott 303 or Hunt 101 nibs.
• Pen holder – straight, or angled if preferred.
• Free-flowing ink or gouache. I use Pelikan 4001 and Schmincke calligraphy gouache. If you would like to try writing white on black, please bring Dr Martin’s Bleed Proof White.
• Water pot, palette and small mixing brush if using gouache.
• Pencil and ruler.
• Paper - For practice I use marker paper. For finished pieces, I use Canson Mi-Teintes and black Canson Mi-Teintes for writing white letters on black paper.

Instructor

Rachel Yallop is a British calligrapher and lettering designer. Her love of letters stems from a lifelong passion for drawing, with her original calligraphic works exploring form, space, tension and freedom of line. Rachel studied at Ravensbourne and then the Central School of Art & Design in London, gaining an MA in 1985.

Rachel has pursued a freelance career specialising in creative and expressive calligraphy for more than 30 years working with design consultants handling accounts from major UK companies. For much of this time she has also taught a wide variety of calligraphic and design disciplines in art schools, at conferences and workshops both in the UK and internationally.

Looking Beyond the Literal Letter

Rachel Yallop

Saturday/Sunday, May 5 & 6, 2018
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 703A
*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.

Once one masters the ductus and has a thorough understanding of the structure of letterforms, we need to make them our own. This class will explore ways of looking at letters in a more abstract way while moving away from the rigidity of writing between two lines. The ultimate goal of this class will be to develop a fresh and unique style based on your own existing style.

• Writing common groups of letters, both upper and lowercase in skeletal form.
• Looking at the length, angle and position of each stroke and their relationship to one another and how they can be altered for effect.
• Analysing the counter and exterior spaces of each letter and positioning ensuing letters accordingly.
• Exploring how far the strokes can be pushed and the extremes of letter design without losing clarity.
• Looking at how they change when weight is added and different tools are used.
• Designing whole alphabets and assembling words to make unique and expressive designs.
Materials List
(more...)

• Pencil.
• Lots of paper: layout, cartridge or lining paper for practice. Paper of choice for finished pieces.
• A variety of tools you would like to use, eg. ruling pens of whichever sort, automatic pens, round brush, flat brush, pointed/edged nibs, balsa wood or any other tools.
• Free-flowing ink. I use Pelikan 4001. Any other medium you’d like to use, such as gouache.

Instructor

Rachel Yallop is a British calligrapher and lettering designer. Her love of letters stems from a lifelong passion for drawing, with her original calligraphic works exploring form, space, tension and freedom of line. Rachel studied at Ravensbourne and then the Central School of Art & Design in London, gaining an MA in 1985.

Rachel has pursued a freelance career specialising in creative and expressive calligraphy for more than 30 years working with design consultants handling accounts from major UK companies. For much of this time she has also taught a wide variety of calligraphic and design disciplines in art schools, at conferences and workshops both in the UK and internationally.

Pointed Brush Alphabets

Anthony Bloch

Saturday/Sunday: May 19 & 20, 2018
10:00 am - 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 703A
Pointed brush script styles cover quite a broad range, from very rough to semi formal, and even flourished. The workshop will begin with a brief intro presentation, for insight into the evolution of western brush styles, and some significant work down to the present day. Four brush alphabets will then be studied, breaking down techniques for mastering the strokes that constitute the letterforms. Each style will then begin with appropriate warm-up exercises, using these strokes, moving on to the alphabet, and culminate in lettering a short quotation. We’ll work with both dip brushes & ink, and brush markers.
Materials List
(more...)

One size 5 kolinsky sable brush. Recommended brands are Dynasty, Raphael, Escoda or Windsor & Newton Series 7 (the later most costly). Also, bring a nylon pointed brush, size 5. Higgins eternal ink, black. (Ideal for not clogging up your brush, as blacker inks tend to do.) Two or three Tombow brush markers, black. One ledger bond pad, 14 x 17 inches . One Biengfang Graphics visualizer pad, 14 x 17 inches. One HB pencil, one 18 inch ruler, one eraser. A water jar.

Instructor

Anthony Bloch is an award winning lettering artist residing in New York City. He has studied with Hermann Zapf, Karlgeorg Hoefer, 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.

NEW! Gothicized Italic

Marcy Robinson

Saturday/Sunday, June 2 & 3, 2018
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Students should have some broad-edge experience, and be proficient in at least one other hand: Italic, Roman Bookhand or Foundational.
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Designed by Edward Johnston in the early 1900’s, this alphabet is a compressed upright lower case foundational hand incorporating the density of Blackletter with the liveliness of less formal scripts such as Italic. The important characteristics are a pointed narrow shape of the lower case letter “o” and the corner manipulation of the alphabet's ending strokes.

It is a vertical rhythmic hand with even spacing between the letters. The minuscules can be combined with its own capitals, Uncials, Roman or Versal capitals. Students should be proficient in at least 1 hand - Italic, Roman book hand or Foundational. This alphabet, popularized in the United States by Sheila Waters, may be used for poems, certificates, invitations, etc. Please see examples by Sheila Waters and Barry Morentz.
Materials List
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1. Nibs - Speedball C1 or C2 or their equivalent.
2. Straight pen holder
3. Paper - Borden & Riley/Smooth Cotton Comp or similar
4. Ink - non waterproof - Sumi or Higgins Eternal
5. Pencil/pen and notebook for taking notes

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, Calligraphies in Conversation 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."

NEW! The Flourished Envelope

Kathy Milici

Sunday, June 3, 2018
9:30 am - 4:00 pm
$80 members/$100 non-members ($5 materials fee)
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 703A
This workshop is all about envelopes as art! It’s also designed for those who wish to learn the proper way to address envelopes using their existing calligraphy skills, and add a WOW factor through additional flourishing and ornamentation, while still working within USPS (postal service) guidelines. From traditional to trendy to funky and fun, you will be guided through the process of creating an envelope composition that pops!

You will learn the following:

• Envelope layout and composition
• Setting up guideline templates for all sizes
• Centering techniques
• Writing on an angle/curve
• Determining proper scale for writing in various sizes
• Dealing with dark and heavily lined papers
• Decorating and Ornament
• Integrating flourishing with lettering
• Choosing the right nib/ink for the job
• Postal Rules & Regulations for mailing
• Phantom Liner Demonstration

This workshop includes valuable tips for creating unique designs using your own style! Kathy will demonstrate the Phantom Liner, along with her “Spontaneous Writing” technique… no guidelines used! We will also cover the basic rules of etiquette for both formal and informal affairs as it applies to addressing.

Please note: This is not a letterforms class. A basic knowledge of calligraphy is necessary to fully benefit from this workshop.
Materials List
(more...)

• Straight Pen Holder and/or oblique holder, your favorite
• Various pointed pen nibs, your favorites, 2 or 3
• Black india ink (Higgins Eternal or Sumi Moon Palace are good)
• Dr. Martin’s Bleed Proof White
• Sakura Gelly Roll pen in white OR Uniball Signo white roller ball pen
• Sakura Gelly Roll marker in clear sparkle, gold or silver
• Black fine line marker, like a Millennium marker, Micron Pigma .05 mm or fine black gel pen
• Dinky Dip
• 12” clear plastic ruler
• #2 Pencil or mechanical pencil
• Fons & Porter White Mechanical Pencil
• Kneaded eraser
• Dropper Bottle
• 2 Plastic Pipettes
• Small watercolor set with one small paintbrush
• Colored Pencils and/or fine line markers, just a few colors
• Plastic cup or container for water
• Notepad and pen

Optional:
• Scotch Removable Tape (blue label)
• A few Viva Paper Towels
• Matches
• Small light pad, if you have one.

** Please bring a few blank envelopes in various sizes, if you have them.

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 teaches both at home and travels the country, lecturing and teaching calligraphy and the related arts. She also mentors fellow artists and art students in how to create a living and maintain a viable business, working as an artist. After 35 years as a professional calligrapher and teacher, Kathy is still enjoying her lifelong passion for “everything calligraphy.”

NEW! The Graceful Curve

Harvest Crittenden

Saturday/Sunday, June 9 & 10, 2018
10:00 am to 4:00 pm
$160 members/$200 non-members ($8 materials fee)
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Beautiful pointed pen lettering is a wonderful place to start, but sometimes you need a little more to really kick your work up a notch. This class is being offered to those who wish to further study the art of flourishing to use with their pointed pen or broad edge lettering. Lettering will not be taught in this class. We will spend time going over a variety of entry and exit strokes, flourishing text, stand alone cartouches, the principals of correct shape, size and design. We will spend time going over wedding envelopes and invitations.

This class is open to persons of intermediate to advanced skill level. Comprehensive instruction is given in every manner of flourishing, with special attention paid to color work, work on black or colored paper, a variety of stationery that the wedding industry uses, means of lining and using a light table, making corrections, banners and so much more. We will spend time exploring all the birds, feathers, borders, cartouches, banner and ribbons that you could ever want!
Materials List
(more...)

• Graph paper with 8 squares per inch
• Mechanical pencil
• Kneaded eraser
• Nikko G or Zebra G nib
• Straight or oblique pointed penholder, your preference. You may want to try both.
• Iron Gall black ink, OR walnut ink OR sumi ink watered down slight.
• Bleed Proof White
• Translucent layout paper. I usually use Borden & Riley or Canson
• A few sheets of Artigan black paper appx. 8” x 10”
• Viva paper towels and a small container of glass cleaner for the nibs

Materials fee: $8, payable at registration.
I will bring French curves and oval templates to share, colored pencils, pastels and applicators, Fine Tec gold, colored foils, tiny gems with glue and many other supplies to share so students don’t have to bring much.

Instructor

Harvest Crittenden is a Master Penman, and has been a professional lettering artist for more than 30 years. Past owner of The Gold Leaf and founder of Acorn Arts, Harvest specializes in calligraphy, illumination, and engrossing. Harvest is a past winner of the Marjorie Pavelich Calligraphy Grant, and past president of The Michigan Association of Calligraphers. She has studied illumination and lettering in the United States and Italy and has served on the faculties of numerous regional, national and international conferences. Harvest has taught workshops to calligraphy guilds and other organizations for over 20 years. Harvest specializes in online classes and also teaches for The Sacred Art Institute, The Religious Sisters of Mercy, The Poor Handmaids, and offers workshops internationally.



In 2010 Harvest was inducted as a Master Penman by IAMPETH at their annual convention. IAMPETH is an international, non-profit association dedicated to practicing and preserving the beautiful arts of calligraphy, engrossing and fine penmanship. IAMPETH is one of the oldest lettering arts associations in America. In 2013 Harvest became the director of the Spencerian Saga, a very special series of 2 week-long workshops held each year at Geneva on the Lake, Ohio, where Platt Rogers Spencer is from. Spencerian lettering remains one of her most popular workshops. Her work can be seen in museums, galleries and private collections throughout the United States and Europe. She has been published in numerous publications worldwide.

More of her work and a client list can be seen on her website at www.acornarts.org