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 24; March 3, 10, 17 & 24, 2018
Copperplate - Intensive — (Marcy Robinson) 2 Sundays: March 4 & 11, 2018
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

Workshops

Retro Deco — (Gemma Black) Saturday/Sunday: February 24 & 25, 2018
Developing a Casual Script — (Anna Pinto) 2 Saturdays: March 3 & 10, 2018
Secretary Hand — (Paul Shaw) Saturday/Sunday: March 24 & 25, 2018
Modern Storybook Script — (Kathy Milici) Sunday, March 25, 2018
Gold, Gold and More Gold — (Barry Morentz) Saturday, April 7, 2018
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
Pointed Brush Alphabets — (Anthony Bloch) Saturday/Sunday: May 19 & 20, 2018

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.

Copperplate - Intensive

Marcy Robinson

2 Sundays: March 4 & 11, 2018
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
(more...)

* 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, 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."

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 and all levels
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.
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

Retro Deco

Gemma Black

Saturday/Sunday: February 24 & 25, 2018
10:00 am - 4:00 pm
$160 members/$200 non-members
Level of difficulty: Intermediate to Advanced
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
In this weekend workshop we will be taking a look back on the lettering samplers of the Art Nouveau and Art Deco movements of the late 1800’s and early 1900’s and creating not only painted coloured pieces and in designs like Charles Rennie Mackintosh & Margaret McDonald created but working with line drawn pen and ink work with substantial 1920’s modernism.
Materials List
(more...)

• 1 x sheet cold press Arches (or other) watercolour paper 300gsm (140lb) folded & cut into 4
• 1 x sheet hot press Arches (or other) watercolour paper 300gsm (140lb) folded & cut into 4
• Artist diary with good cartridge or drawing paper
• A Couple of small sheets of tracing film
• Gouache or water colours a variety of your favourite colours - tube or pan.
• A compass (pair of compasses) you may or may not use this
• A clear ruler 300mm or more
• A set of Round-end nibs such as the Speedball B Series. Brause and William
Mitchell also make these nibs.
• Ink stick with grinding stone or a bottle of black non-waterproof ink
• Graphite pencil HB or F. Highly recommended Pentel .5 mechanical pencil or
similar brand.
• A couple short round sable or imitation (Taklon) paint brush sizes 000, 00, 0
• A couple of cheap Chinese bristle brushes for mixing 1⁄2 dozen needed
• A large multi sectioned palette, plastic or ceramic or lots and lots of small white
mixing dishes (like tiny Chinese dipping dishes) or ice cube trays.
• A couple of small water jars.
• Tissues or rag & blutac/white putty.
• A drawing board only if you wish.
• 1 x black Staedtler pigment liner 0.05 & .3 OR Copic Multiliner 0.05 & .3
• A 5 to 8 line poem, quote or prose from late 1880’s to 1930’s (Think Christina
Rosetti, Oscar Wilde, William Morris, Charles Rennie Mackintosh, Edward Burne- Jones)

Instructor

Gemma Black is an artist, teacher and calligraphic-designer. In 1991 Gemma received a Winston Churchill Fellowship to study in Europe that allowed her to research, observe and learn the practice of calligraphy. She is an Honoured Fellow and Fellow of the prestigious Calligraphy & Lettering Arts Society, UK. For over 25 years Gemma has taught extensively for calligraphy, bookbinding, art & craft organisations around Australia including the Australian National University.

Developing a Casual Script

Anna Pinto

2 Saturdays: March 3 & 10, 2018
10:00 am - 4:00 pm
$160 members/$200 non-members
Level of difficulty: Intermediate or Advanced
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
A casual script is an important addition to your repertory and will enliven all the ways you use calligraphy: in artists’ books, journals, calligraphic art works, greeting cards and of course commercial work (even envelopes) as well.

Good-looking, freely-written scripts are not “just” handwriting! By giving the same attention to letterforms, spacing, rhythm, and slant that you lavish on formal calligraphy, you will develop a personal script style that is both legible and graceful, all with structured guidance and instruction.

Students should have some solid background in a cursive hand such as Italic or Copperplate to give a firm foundation to their own script style.  This class is not appropriate for beginners!
Materials List
(more...)

* fine felt tip pen (e.g. Niji Stylist, Le Pen, Pilot Fineliner etc.)
* fine (2mm or less) chisel-edged marker (e.g. Italic Fountain Pentel, Zig, Elegant Writer etc.) and/or a chisel-edged fountain pen
* a ruled or graph (grid size not important) pad
* layout bond pad (any size)
* pen holder
* pointed nibs (not too flexible/sharp)
* ink
* ruler
* pencil
* highlighting marker

Optional: other nibs like Speedball B or D series, ruling or folded pens.
You may also want to work with some good paper/gouache during the second session of the workshop, but that will be discussed during the first session.
Some pointed nibs will be available for sale.
Feel free to bring in samples of casual styles that interest you.

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 can be seen 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 Universities.

Secretary Hand

Paul Shaw

Saturday/Sunday: March 24 & 25, 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
Secretary Hand is a cursive blackletter used in English, Welsh and Scottish documents of the Tudor and Jacobean periods. It developed in the last quarter of the 14th century as an outgrowth of the influence of French hands on the native Anglicana script. Although predominantly a business hand, it was also used in books. It is an angular, low-slung script with “horns” on many letters and exaggerated descenders. Designed to save time, it is characterized by a paucity of pen lifts and a heavy use of contractions and abbreviations. It is not easy to decipher. Bastard Secretary, a later variant influenced by French Bâtarde, is more upright and has more breaks between letters. This workshop will examine both Secretary and Bastard Secretary in an attempt to create a modern interpretation of these fascinating cousins of Bâtarde that will be legible yet still powerful.
Materials List
(more...)

* favorite metal nibs with holder (Brause 2.5 mm equivalent and larger)
* Higgins Eternal ink and / or Higgins Sepia ink
* water jar
* ruler
* pencil
* 11x14 pad of 16 lb layout bond paper
* 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

Modern Storybook Script

Kathy Milici

Sunday, March 25, 2018
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 702A
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
(more...)

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.

Gold, Gold and More Gold

Barry Morentz

Saturday, April 7, 2018
10:00 am – 4:00 pm
$80 members/$100 non-members ($12 materials)
Level of difficulty: All levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
This popular workshop has now been expanded to a full day. Although part of the class is self-directed, the greater portion will focus on the application of gum ammoniac, Instacoll, gesso, and Createx, for the laying of genuine gold leaf and synthetics, culminating in the design of a gilded letter.

A touch of gold can go a long way to lift your work from the mundane to  the celestial. There are so many types of gold and metallic mediums available that it can be quite bewildering trying to decide which is most appropriate for the work at hand. In this class we will try out 32 kinds of gold pens, gouache, watercolor, acrylics, powders, pencils, and gold leaf sizes to compose a ready-reference chart of each sample for future use. We will consider the use of each kind in a particular context; e.g., a raised gold leaf background is great for a poem or manuscript, but probably is not worth the effort to adorn a simple envelope when a Uniball pen will do the trick. We shall also see how gold shadowing, outlining, and lozenges can add an extra dimension of punch and pizzazz to a finished piece, guaranteed to elicit cries of delight from your patron.
Materials List
(more...)

• a few small containers with lids for transporting liquid
size home with you. Michaels sells them in packages of 12 for about $4.
• good quality #1 or 0 brush for applying size
• a few cheap mixing brushes; CVS and Duane Reade have kids’ brushes for about 25¢ each -- good enough!
• water jar and water dispensing container
• X-acto knife w/#10 blade
• favorite dip pens including at least one rather large size, and one fairly small size for addressing an envelope
• bone folder and ruling pen, if you have them
• a few good quality envelopes you may have left over from that last wedding job
• small sheet of black paper, such as Arches or Canson
• please prepare 3 sheets about 4” high x 8” long with a name written out boldly in Italic or Uncial or Roman, or all 3 if you like.

Materials Fee $12 (payable at registration): for all mediums and gold leaf

Instructor

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

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

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 an 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 mostly with dip brushes and ink, but also brush markers for one of the styles.
Materials List
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One or two size 5 sable brushes – the most ideal would be Windsor & Newton Series 7, though there are some satisfactory alternates in the art stores. Also, bring a nylon pointed brush, size 5. Optional: one larger nylon, or sable brush, up to size 8 – no larger. Higgins eternal ink, black. (This is ideal for not clogging up your brush, as blacker inks will do.) One Tombo brush marker, black. One ledger bond pad, 11 x 14 or larger. One Biengfang Graphics visualizer pad, 11 x 14 inches or larger. 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, 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.