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Calligraphy School

Classes and workshops, except where indicated, are held at:

    School of Visual Arts (SVA) Annex, 7th floor
    214 East 21st Street, Manhattan
    (between 2nd and 3rd Avenues)

The Society of Scribes is pleased to announce the following classes and workshops on calligraphy and the related arts:


Winter 2012 Class
A "Taste" of Letterpress for Calligraphers
(Roni Gross)
1/11/2012

Fall 2011 Classes
Fine Writing: An introduction to the art of calligraphy
(Christopher Calderhead)
9/11/2011, 9/18/2011
Italic I
(Anna Pinto)
9/24/2011, 10/1/2011, 10/15/2011, 10/22/2011, 10/29/2011
Copperplate I
(Elinor Holland)
9/25/2011, 10/2/2011, 10/16/2011, 10/23/2011, 10/30/2011
Fine Writing: An introduction to the art of calligraphy
THIS CLASS IS SOLD OUT
(Christopher Calderhead)
11/20/2011, 12/4/2011

Fall 2011 Workshops
Pen Written Roman Capitals
(Marcy Robinson)
10/22/2011, 10/23/2011
Pointed Brush Intensive (& Ruling Pen Casual)
(Carl Rohrs)
11/5/2011, 11/6/2011
Copperplate: Do it with a Flourish!
(Karen Gorst)
11/12/2011, 11/13/2011
The Ins & Outs of Envelopes
(Nan DeLuca)
12/3/2011
Gothicized Italic
(Barry Morentz)
12/3/2011, 12/4/2011
Tool-Time Treat and Watercolor Dabbling with Brenda Broadbent of &Ink Arts
(Brenda Broadbent)
12/10/2011


Letterpress Society of Scribes presents A "Taste" of Letterpress for Calligraphers
Roni Gross

Wednesday, January 11, 2012
7:00 – 9:00 pm
$20
All Levels

This workshop will be held at
The Center for Book Arts
28 West 27th Street, 3rd Floor
(between 6th and Broadway)
New York, New York 10001

The Society of Scribes is offering a two-hour "tasting" lecture on the art of photopolymer letterpress geared toward calligraphers who would like to expand their repertoire. Letterpress is currently in vogue for wedding and social stationery, but this isn't the entire story. Holiday cards, books, and gifts are just a few possible applications with letterpress for calligraphers. A brief review of foil stamping will also be included in this lecture.

So warm up with some hot cocoa this January, spend a few hours with us and learn if this printing technique is for you. The Center for Book Arts lecturer will take you through the process with an actual calligraphy project using one of the Center's presses. Papers, inks, techniques, and an idea of costs will be covered as well as suggestions for beginner classes.

Enroll now       [back to top]



Fine Writing: An introduction to the art of calligraphy
Christopher Calderhead

Fine Writing September 11, 18, 2011
9:30 am - 3:30 pm
$130 members / $170 non-members
Skill Level: Beginner. (Intermediate students who want a fresh overview of the subject may also benefit from the course.)

OK, you're interested in calligraphy. But where do you begin? This short course is a good starting place.

We look at all the basic tools, materials and techniques you need to explore the world of calligraphy. We begin by learning about the different kinds of papers and vellum scribes use. Then we look at the tools: pens, pencils, brushes, T-squares and triangles. And we discuss the different kinds of ink and watercolors you can write with.

The course takes a hands-on approach. You'll learn how to handle paper, how to rule lines, and how to use the edged pen. We'll explore a pared-down roman script as a way of gaining mastery of the basic lettering technique.

We'll also look at many examples of historical and contemporary calligraphy. You'll learn about the different scripts - Rustics, Uncial, Carolingian, Gothic, Italic, and Copperplate, to name a few. You'll see where they came from and how they developed. We'll also look at the work of twentieth century and contemporary masters of the art such as Edward Johnston, Rudolf Koch, Donald Jackson, Thomas Ingmire, and Denis Brown. Lists of books, periodicals, and websites will be provided for further study.

This course will also fill in the gaps for intermediate students who want to gain a richer appreciation for the tradition and learn good workshop practices.

Materials
Most materials will be supplied by the instructor (see below).
You should bring these things to class:
2H pencil
Eraser (Mars Staedler or kneaded rubber are good)
Pencil sharpener
18 inch ruler

A pen holder, nibs, ink, and packet of fine papers will provided for each participant. A materials fee of $20 will be collected at the first class.

Instructor
Christopher Calderhead is a lettering artist, author, and educator. He studied calligraphy and bookbinding at the Roehampton Institute under Ann Camp. He is editor and designer of Letter Arts Review, and he created Letters from New York. He wrote Illuminating the Word: the Making of The Saint John's Bible. He teaches at the Pratt Institute. See more at www.christophercalderhead.com.

Enroll now       [back to top]



Italic 1 Italic I
Anna Pinto

September 24, October 1, 15, 22, 29, 2011
9:30 am - 3:30 pm
$325 Members / $365 Non-members
All Levels

In this introduction to calligraphy, students will concentrate on the Italic style, using a broad-edged pen to write this graceful, elegant handwriting of the Italian Renaissance. Using professional tools -- dip pens and ink rather than fountain pens or markers -- students will learn the relationship between the broad-edged pen and the proportions of classic Italic letterforms. The class will cover both minuscule (small) and majuscule (capital) letters. Emphasis will be placed on consistency, rhythm, and spacing to achieve a hand that is pleasing to the eye. By developing skill with the broad-edged pen, students will be ready to try other lovely styles such as Blackletter, Uncial, Carolingian and Foundational, or to continue their study of Italic. This course is for beginners; it can be taken on its own or as a follow up to Intro to Calligraphy.

Materials
11"X14" lightweight layout pad like Boris #37 Bright White Translucent Visual Bond or Bienfang Graphics 360.
Higgins Eternal Ink,
penholder,
two nibs: one Speedball C-2, and one of the following: Brause 1 1/2, Mitchell 2 1/2 and reservoir (sold separately), or, as a last resort, Speedball C-4. If you are left-handed, get left-handed nibs.
Masking tape,
paper towel or rag.
(Brause and Mitchell nibs are hard to find but NY Central Art Supply on 3rd Ave. between 10th & 11th St. usually has them. Calligraphy mail order suppliers like Paper & Ink Arts (800) 736.7772 or John Neal Books (800) 369.9598 have everything and are reliable and fast.)

Italic Instructor
Anna Pinto divides her time between freelance work and teaching, in the Art Department of Long Island University's Brooklyn Campus and for various calligraphy guilds. Her work can be seen in such diverse publications as: Lady Cottington's Pressed Fairy Calendar 2006, Artist and Alphabet: Lettering Art in the 20th Century, The Perfect Wedding Reception by Maria McBride, and Drawing Dimensions by Cynthia Maris Dantzic, as well as in the collections of the San Francisco Public Library, and the libraries at Rutgers and Yale.

Enroll now       [back to top]



Italic I Copperplate I
Elinor Holland

September 25, October 2, 16, 23, 30, 2011
$325 members / $365 non-members
9:30 am - 3:30 pm
All Levels

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.

Material fee: $3 to $5

Materials
Please look for calligraphy supplies at:
http://www.johnnealbooks.com/
and
http://www.paperinkarts.com/shop.html
Do not expect to find calligraphy supplies at art supply stores!

Canson Marker Paper, 18 lb.,
Higgins Eternal Ink,
Dinky Dip,
Elbow Pen holder for right handed students, Straight Pen holder for left handed students,
Nibs: Nikko, Gillot 303, 404, Hunt 22, (I will havesome available for purchase),
Pencil,
Drafting tape.
E-mail me with questions: nycalligrapher@gmail.com

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.

Enroll now       [back to top]



Fine Writing: An introduction to the art of calligraphy
THIS CLASS IS SOLD OUT

Christopher Calderhead

Fine Writing November 20, December 4, 2011
9:30 am - 3:30 pm
$130 members / $170 non-members
Skill Level: Beginner. (Intermediate students who want a fresh overview of the subject may also benefit from the course.)

OK, you're interested in calligraphy. But where do you begin? This short course is a good starting place.

We look at all the basic tools, materials and techniques you need to explore the world of calligraphy. We begin by learning about the different kinds of papers and vellum scribes use. Then we look at the tools: pens, pencils, brushes, T-squares and triangles. And we discuss the different kinds of ink and watercolors you can write with.

The course takes a hands-on approach. You'll learn how to handle paper, how to rule lines, and how to use the edged pen. We'll explore a pared-down roman script as a way of gaining mastery of the basic lettering technique.

We'll also look at many examples of historical and contemporary calligraphy. You'll learn about the different scripts - Rustics, Uncial, Carolingian, Gothic, Italic, and Copperplate, to name a few. You'll see where they came from and how they developed. We'll also look at the work of twentieth century and contemporary masters of the art such as Edward Johnston, Rudolf Koch, Donald Jackson, Thomas Ingmire, and Denis Brown. Lists of books, periodicals, and websites will be provided for further study.

This course will also fill in the gaps for intermediate students who want to gain a richer appreciation for the tradition and learn good workshop practices.

Materials
Most materials will be supplied by the instructor (see below).
You should bring these things to class:
2H pencil
Eraser (Mars Staedler or kneaded rubber are good)
Pencil sharpener
18 inch ruler

A pen holder, nibs, ink, and packet of fine papers will provided for each participant. A materials fee of $20 will be collected at the first class.

Instructor
Christopher Calderhead is a lettering artist, author, and educator. He studied calligraphy and bookbinding at the Roehampton Institute under Ann Camp. He is editor and designer of Letter Arts Review, and he created Letters from New York. He wrote Illuminating the Word: the Making of The Saint John's Bible. He teaches at the Pratt Institute. See more at www.christophercalderhead.com.

Enroll now       [back to top]



Roman Capitals

Pen Written Roman Capitals
Marcy Robinson

October 22, 23, 2011
10:00 am - 4:00 pm
$130 members / $170 non-members
Skill Level: Beginning/intermediate level students.

This workshop is an introduction to pen written Roman Capitals. It is designed for the beginner and anyone wanting to improve their skills in this elegant hand. Starting with a monoline writing tool, students will examine the classical proportions, structure, letterspacing, and rhythm associated with the capitals. Students will then use a broad edge tool - making adjustments and refinements to the letters. Simple serif systems, variations of the letterforms, and the basic applications (headings, initials, etc.) will be demonstrated and then tried by the student. Beginning/intermediate level students.

Materials
HB pencil
monoline tool such as a felt tip pen or Speedball B series nib (3, 4, 5)
Broad edge tool - Speedball C-1/C-2 or equivalent in other nibs
black ink (non-waterproof)
bond paper (Borden & Riley/slight tooth to paper)
T-square
ruler
eraser
and notebook for note taking

Roman Capitals

Instructor
Marcy Robinson is an award winning freelance lettering artist residing in New Jersey. She has studied with Julian and Sheila Waters and has taken workshops with many calligraphic artists. Her work may be seen in Brides Magazine, the Calligraphic Engagement calendars, Letter Arts Review and other calligraphic publications. Marcy was also on the faculty of several calligraphy conferences. In addition, two pieces of her work were purchased for inclusion in the San Francisco Library's Richard Harrison collection.

Enroll now       [back to top]



Love Your Letters Map Pointed Brush Intensive (& Ruling Pen Casual)
Pointed Brush Techniques with a little Ruling Pen
Carl Rohrs

November 5, 6, 2011
10:00 am - 4:00 pm
$160 members / $200 non-members
Skill Level: Intermediate and Advanced students, but no brush experience is necessary.
Or adventurous beginners, although a solid base of knowledge of the principles of edged tool writing make the variations on those rules easier to grapple with

I love so many things about calligraphy and use just about all the tools available. But if you aimed a Samurai sword at my head, I guess I would admit that the pointed brush is my favorite. Around here, it is virtually always the first thing that has been grabbed for any project. There is a flowing freedom about it that just can’t be felt with any other tool. With a pointed brush we have stroke shape that a pen or flat brush can’t even think about, and there is the spectacular advantage of displaying the texture of the paper only available to those who use brushes.
PointedBrush
We’ll start with the bedrock of pointed brush lettering — perpendicular strokes — but we’ll definitely go on beyond that flat headed mark to the sharp, swelling and feathery beauty of parallel strokes with vertical pressure, which is the key to making your lettering look LIKE its tool and UNLIKE any other kind of calligraphy. Only two moves, but, combined with variations of rhythm, speed, pressure, kinds of brushes & papers, mood and color, a lifetime of unlimited expression awaits.
PointedBrush
We can also investigate the pointed brush’s metal cousin, the ruling pen, for a little comparison shopping. The approach to the paper is the same, and they share some basic forms, but the similiarities end there and new expression begins.

We’re aiming for an eye-opening introduction for the brush novice, and a leap & deepening of understanding for the brush-experienced.

Materials
Flat Brush:
1/2" W/N Series 995 flat brush or similar (clear handle, gold bristles). I get these from MisterArt.com for half the price of art stores, and will bring some if folks wish to get one from me. $8!

Pointed Brush:
Pentel Color Brush or similar (if you like those empty-handled water brush things, get a MEDIUM, or a large, but stay away from the small); plus any pointed brushes you like to use: Lebenzon, Series 7, Chinese, etc.

Paper:
Large paper (11x17 or larger) with a bit of tooth (I like STRATHMORE Charcoal Pads for pen, flat brush AND pointed brush, but NOT CANSON'S charcoal pads: pen work [only] will bleed), plus any fancier papers you might want to work on -- Canson Ingres or Mi Tientes, Bugra, watercolor, etc.)

A tube or two of gouache (W/N Indigo and Prussian Blue has excellent texture and power. All colors are not created equal!)

Pro White or Dr. Martin's and/or tube of light or bright gouache and black or colored paper if you wish to write in reverse.

Pencil &/or colored pencils

A ruler

Optional: You might want to bring along a few of your favorite pens and some ink.

Please feel free to call or email Carl with any questions about supplies or the class itself. 831-429-8849 or rohrs@baymoon.com

There will be a $14 -$20 charge for each workbook, spiral-bound and personalized for each student.

PointedBrush

Instructor
Lettering artist and signpainter in Santa Cruz, CA since 1977. Teacher of Lettering & Typography and Graphic Design at Cabrillo College since 1984. Workshops and conferences since ‘86 in U.S., Canada, the Netherlands, Belgium, England, Japan, Australia and South Africa. Editor of Alphabet, the Journal of the Friends of Calligraphy ‘89–’92. Hobbies include typographic errors and spilling paint on good clothes, but has managed to keep the splashing of ink on students to a minimum.

PointedBrush

Enroll now       [back to top]



Do it with a Flourish! Copperplate: Do it with a Flourish!
Karen Gorst

November 12, 13, 2011
10:00 am - 4:00 pm
$130 members / $170 non-members

You've made friends with your pointed pen and oblique pen holder. You've learned copperplate and maybe spencerian. Now what? Are you trapped by fear of flourishing? Those envelopes still look bland or even worse when you try to spruce them up with flourishes you only make noodle soup! Like every other aspect of calligraphy, flourishes have basic shapes, are made of basic strokes (with a few hard ones thrown in) and can be combined using basic rules to produce classic elegant or contemporary, wild designs. One flourish can be made of one stroke or as many as five base movements. Practicing these base movements will build your muscle memory and bring your flourishes to a new level. Spend the weekend building a repertoire of flourishes, alternate lettter forms and combination flourishes, then apply them to simple projects. Learn to get the biggest visual bang from flourished letters and make your calligraphy "Pop." By the end of the workshop your pen will be dancing and your letters singing a new song.

Flourishing

Materials
Hunt 56 nibs (a few) or a variety of your favorites
Oblique and straight pen holders
Your favorite inexpensive paper for practicing copperplate at least 50 sheets (I often use Hammermill Brite White Premium Inkjet Paper)
Flourishing Tracing paper (at least 50 sheets)
2 #3B pencils and sharpener
12" ruler
30/60 triangle any size
tape
blotting paper
kneaded eraser
white vinyl eraser
your favorite black ink for copperplate OR a tube of lamp black gouache or watercolor with a small deep dish to mix ink
a bad, stiff brush to mix ink or paint
liquid gum arabic
a small raw potato
several high quality envelopes to make samples
Text (3 to 10 words) to use for a sample project
2 sheets (or more if small) of your favorite better quality paper to make project
a small container of baby powder or powdered gum sandarac
bone folder or a tefflon burnisher

Materials fee: $6

The Gorst Studio
For samples of Karen Gorst's artwork
www.gorststudio.com

Flourishing

Instructor
Karen Gorst, past president of SoS, took her first calligraphy class in 1978. Since 1981 she has worked as a calligrapher and manuscript illuminator. Her line of invitations and illuminations is carried by Kate's Paperie and Thornwillow Press. Ms. Gorst curated NYPL's 2010-2011 exhibition, "Three Faith Scriptorium" and the Morgan Library's summer of 2011 display "Color a la Cart". She is currently collaborating on an illuminated Haggadah.

Enroll now       [back to top]



Contemporary Scripts The Ins & Outs of Envelopes
Nan DeLuca

December 3, 2011
10:00 am - 4:00 pm
$65 members / $105 non-members
Skill Level: Intermediate
Prerequisite: Needs to be able to write in different sizes (x-height can be as small as less than ¼ inch) and to be able to make and use guidelines.

For personal or professional use, a gracefully addressed envelope is a mini-lesson in layout and etiquette. We will look at a variety of layouts, types and sizes of envelopes as well as issues with papers, linings and addresses. What are the choices for formats? What kind of guidelines are needed? How can I write on opaque envelopes? And those inner envelopes---is there a fast, easy way to center names? We will explore a variety of methods to work with both opaque and translucent envelopes. Samples will be provided in class to practice on; guidelines for Italic and Copperplate will also be provided.

Envelopes


Materials
pen/nibs of choice (you will need to write in different sizes so bring nibs that allow you to write in medium x-height -- either broad edge or pointed pen);
Sumi, Higgins Eternal, Mc Caffery, or Old World ink for blacks; Ziller or McCaffery for white inks; Envelopes
soft black pencil and kneaded eraser;
a soapstone if you have;
a few(3-4) contrasting colored pencils;
a ruler (the C-thru is terrific), a protractor or adjustable triangle and a small t-square are helpful to make guidelines;
Canson Pro-Marker paper,
water container/cloth.
Optional: to be able to work properly, a light box is essential. If you have a portable one, bring with an extension cord/surge protector. (I will bring a light pad for sharing in class if you do not have one to bring.)

Instructor
Nan DeLuca, a professional calligrapher in NYC for over 20 years, works exclusively in pointed pen (does Italic under duress). Nan has had her work featured in Brides’ Magazine, InStyleWeddings, Martha Stewart Weddings, and Entertainment Weekly, as well as providing props for photo shoots and TV shows (Law and Order: Criminal Intent). She has been on the board of Society of Scribes and is currently on the board of IAMPETH. See her website: scribenyc.com.

Enroll now       [back to top]



Gothicized Italic Gothicized Italic
Barry Morentz

December 3, 4, 2011
10:00 am - 4:00 pm
$130 members / $170 non-members
This class is not for the newcomer to Calligraphy or for the faint-hearted. Prior experience, and some fluidity in Foundational and Italic is essential.

Edward Johnston’s last major manuscript hand, developed in 1924, was a compressed Foundational characterized by a rich, dense texture quite similar to a Gothic Textura. The name Gothicized Italic is, however, somewhat misleading, because the forms themselves bear little, if any, affinity to Italian Renaissance styles. Yet because of its compressed, pointed character, and when written on a slight slope, it does take on something of the lively rhythm of Italic, culminating in an evocative, often sumptuous style of writing. It is most effective for wedding invitations, formal documents, and some poetry.

In this workshop we begin by looking at Johnston’s forms and their historical antecedents. Then we zoom into the 21st century and consider the forms stripped of anachronisms, and apply modern techniques to make them more viable. Day 1 deals with the minuscules and the rhythm of writing and spacing. On Day 2 we will work with the variables that create an entirely different feel, as well as with the bounty of styles that permit us to create an endless repertory of Capitals.

This class is not for the newcomer to Calligraphy or for the faint-hearted. Prior experience, and some fluidity in Foundational and Italic is essential. There will be demonstrations of pen manipulation and pressure, elements critical to the proper structure of the alphabet and to the sophistication of the forms.

Italic
Materials
• usual calligraphalia
• Speedball C1 or C2, or Mitchell 0 or 1 for practice; some smaller sizes for actual writing. NO FOUNTAIN PENS -- you cannot understand or perform the subtleties inherent to this style with these instruments; save them for your next flight.
• Favorite inks; stick ink preferable; some colors if desired

Italic

Instructor
Barry Morentz is a free-lance lettering and book artist, and box-maker from New York City. He holds an MA in Medieval History and Comparative Literature. Initially self-taught, he began his formal calligraphic studies, mainly with Sheila Waters, in 1977, and eventually with Gottfried Pott, Hermann Zapf, and many other renowned calligraphers. He has taught numerous workshops throughout the US, Canada, Japan, Hong Kong, and Singapore, and at five international Calligraphy Conferences. In his midtown studio he slaves away primarily for the New York Public Library, Estee Lauder Companies, Cartier, Christie's, and The Museum of Modern Art. His day-to-day work includes illuminated resolutions, award design, headings, book and portfolio design, and the eternal envelope. His extracurricular interests include reading and lettering Shakespeare, listening to classical music and opera, and getting lost in gourmet food markets.

Enroll now       [back to top]



abc Parallel Pen Tool-Time Treat and Watercolor Dabbling
Brenda Broadbent of
Paper and Ink Arts

December 10, 2011
10:00 am - 4:00 pm
$65 members / $105 non-members
All levels

Enjoy a day that includes:

*two hours exploring the Parallel Pen: Basics, New Tips, New Sizes

* Parallel Pen basics, color blending and the new slant 6mm Parallel (abc shown here).

* Favorite tools from IAMPETH last summer and new items from the 2012 Paper & Ink Arts catalog: FineTec golds, Kuretake brush pens, Noodler's Flex Pen AND... one of my favorite techniques shown in this illustration by Katherine Malmsten - folded pen with walnut and iridescent inks.
Walnut Ink

* Tiny, successful watercolors. Relax and let the water do the work. Easy to finish, tiny gems.
Watercolor

* And an introduction to Zentangle: A relaxing, meditative and fun exercise that can lead to unexpected results. Zentangle can create beauty, increase confidence, change your mood, improve focus, and stimulate creativity as it provides a counterbalance to our increasingly hectic, techno world.
(See Zentangle.com for examples.)

Tool TimeBrenda is now a CZT! (Certified Zentangle Teacher)

Materials
Parallel Pens (Empty if possible. Loaner pens available in class.), pencil, mixing brush & palette, water container, tube of gouache (any color), white gouache or Bleedproof white, .01 Pigma Micron pen (or purchase in class for $2.80), your favorite dip pens (pointed or broad edge), 5-10 sheets any brand layout paper.

White artist tape, 1 or 2 small brushes in good condition, basic watercolors, couple of watersoluble pencils if you have them, piece of rigid cardboard or masonite - 8x10 or so. Cold press watercolor paper & a palette will be supplied.

$5.00 supply fee.

Instructor
Brenda Broadbent is the calligrapher and creative force behind Paper & Ink Arts, a stellar resource for calligraphers, book artists and paper fanatics. Brenda's store at our annual Holiday Fair provides a unique opportunity for our members to see and buy the latest and the best tools, supplies, books and gift items. See http://www.paperinkarts.com.

Enroll now       [back to top]



Some Recommended Suppliers

New York Central Art Supply
62 Third Avenue at 11th Street
New York, New York
Tel. (212) 473-7705
www.nycentralart.com

Paper & Ink Arts
P.O. Box 35
Woodsboro, MD 21798
Tel. (800) 736-7772 or (301) 898-7991
Fax (888) 736-7773 or (301) 898-7994
www.paperinkarts.com

Letter Arts Book Club, Inc. (John Neal Books)
1833 Spring Garden Street
Greensboro, NC 27403
Tel. (336) 272-6139 or (800) 369-9598
Fax (336) 272-9015
www.johnnealbooks.com

Dick Blick
1-5 Bond Street
New York, New York 10012
Tel. (212) 533-2444
Fax (212) 677-6955
www.dickblick.com/stores/newyork/newyork

Pearl Paint
308 Canal Street
New York, New York 10013
Tel. (212) 431-7932
www.pearlpaint.com

Venues

Classes and workshops, except where indicated, are held at:

    School of Visual Arts (SVA) Annex, 7th floor
    214 East 21st Street, Manhattan
    (between 2nd and 3rd Avenues)

How to Enroll

You can enroll by sending a check or money order payable to Society of Scribes, Ltd. together with an accompanying Class and Workshop Registration Form to the following address:

Janet Barry
Society of Scribes, Registrar
106-15 Queens Blvd., Apt. 2R
Forest Hills, NY 11375
718.793.2160

For more information, e-mail : registration@societyofscribes.org

Reservations

Your check must be received well in advance of the class or workshop to ensure a reservation. It is advisable to register early; some classes/workshops fill early and admissions are limited. At times, due to low enrollment, a class or workshop may have to be cancelled.

If you decide to attend a class/workshop a few days before, call 718-793-2160 (Mon-Fri 10 am - 4 pm) to see if space is still available and to make arrangement for payment. Seats cannot be 'held' over the telephone. Because we must ensure that sufficient space and supplies are available, no one will be permitted to attend without making prior arrangements with the Registrar.

Cancellations

The SoS must have sufficient enrollment to cover the costs of the class/workshop. Therefore, if you withdraw we may not be able to issue a refund if a waiting list does not exist. If the SoS must cancel a class your payment will be refunded in full. If you know you cannot attend, please call or email registration@societyofscribes.org; we may have a wait list with other members wishing to attend.

icon

Society of Scribes, Ltd.
P.O. Box 933
New York, NY 10150
Tel: (212) 452-0139
Weekdays 10AM-7PM
E-mail: info@societyofscribes.org

©2007Society of Scribes. All rights reserved.