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

Classes
Fine Writing: An introduction to the art of calligraphy (Christopher Calderhead)	1/30, 2/6
Italic I (Eleanor Winters)	2/20, 2/27, 3/6, 3/27, 4/10
Fine Writing: An introduction to the art of calligraphy (Christopher Calderhead)	3/20, 3/27
Italic II (Anna Pinto)	4/17, 4/24, 5/1
Copperplate II (Elinor Holland)	4/18, 4/25, 5/2
Workshops
Designing Versals, Illuminating Manuscripts (Karen Gorst)	2/20, 2/27, 3/6
Bickley Script (Sheila Richter)	3/20, 3/21
Big Text Blocks, Borders and Letters, Oh My! (Melissa Dinwiddie)	4/10, 4/11
The Carolingian hand (Christopher Calderhead)	4/24, 4/25

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

January 30, February 6
9:30 am - 3:30 pm
$150 members / $190 non-members
Level of difficulty: 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 is the best first course for beginners. After you've completed the course, you're ready to go on to study any of the popular scripts offered by the Society of Scribes. The 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.

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Italic I
Eleanor Winters

February 20, 27, March 6, 27, April 10
9:30 am - 3:30 pm
$350 members / $390 non-members
All levels

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 in 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, placecards and other commercial calligraphy, as well as for calligraphic art, such as poetry and prose pieces.

Materials
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.

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; recommended suppliers are John Neal Books and NY Central Art Supply.

Instructor
Eleanor Winters: Professor of Art, Long Island University; Director of the Calligraphy Workshop at the New School (1985-1998), author of Mastering Copperplate Calligraphy (Dover), Calligraphy in Ten Easy Lessons (Dover), Calligraphy for Kids (Sterling, 2004), 1-2-3 Calligraphy (Sterling, 2006); editor of the Calligraphers Engagement Calendar (1979-2005); workshops & lectures in the US, Europe and Asia; exhibitions in galleries and museums in the US and Europe; M.A., New York University.

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

March 20, 27
9:30 am - 3:30 pm
$150 members / $190 non-members
Level of difficulty: 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 is the best first course for beginners. After you've completed the course, you're ready to go on to study any of the popular scripts offered by the Society of Scribes. The 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.

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Italic II
Anna Pinto

April 17, 24, May 1
9:30 am - 3:30 pm
$225 Members / $265 Non-members
Skill Level: Intermediate (Italic I, or the equivalent, required)

You've taken Italic I, so now what? In Italic II, you'll have an opportunity to build on a basic knowledgeof the Italic hand, and we'll help you develop better rhythm and increase your confidence writing this elegant script.

Using smaller nibs than are used in the beginning Italic class, students will work to develop both control and grace in their letterforms and writing. Other essential calligraphic techniques, such as writing with color on fine papers, and basic layout principles will be introduced. So, yes, there is more to calligraphy than just practice pages!

In addition, examples of the Italic styles of both Renaissance writing masters and contemporary scribes will be examined to help students develop a critical eye.

Materials
11"X14" lightweight layout pad like Boris Marker Layout #37 or Bienfang Graphics 360
Higgins Eternal Ink
penholder
2 nibs - one of the following: Mitchell 2 1/2 and reservoir, Brause 1 1/2, or, as a last resort, Speedball C-4; and one of the following: Mitchell 4 and reservoir, Brause 1, or, as a last resort, Speedball C-5.
If you are left-handed, get left-handed nibs.
Masking tape, paper towel or rag

(Mitchell and Brause nibs are hard to find. 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.)

A $5 materials fee will cover special papers and gouache paint.

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.

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Copperplate II
Elinor Holland

April 18, 25, May 2
9:30 am - 3:30 pm
$225 Members / $265 Non-members

This is a class for those who have mastered the basic copperplate forms and wish to continue developing their hand. Please take this course if you have taken at least one copperplate class and have practiced for 6 months. We will work on reducing the size of our writing while maintaining even line weight and spacing; we will practice a variety of alternative capital forms and review basic concepts of layout. Email the instructor at nycalligrapher@optonline.net for class materials and copy for a lettering sample to bring for the first class.

Materials

• Higgins eternal ink or your choice of gouache or McCaffery's ink.
• Pad of Canson Marker Layout paper, or Borden Riley 13.5# smooth marker paper, 9x12 or 11x14.
• Nibs of your choice (I recommend the Nikko G, Principal, Gillot 303 and Esterbrook 128 and will have some available for purchase)
• Elbow penholder
• Pencil or fine marker for notes.

Instructor
Elinor Holland is a freelance calligrapher and mother living in Rockland County NY. Although she specializes in Arabic calligraphy her work includes a wide range of subjects and styles, from envelopes to advertising, copperplate to brush. Elinor has taught adults and children calligraphy for the past 15 years.

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Designing Versals, Illuminating Manuscripts
Karen Gorst

February 20, 27, March 6
10:00 am - 4:00 pm
$225 members / $265 non-members
All Levels, must know at least one style of calligraphy

This winter/spring is rich with illumination in New York! The Hours of Catherine of Cleves is being restored and while it is unbound the Morgan Library is taking the once-in-a-century opportunity to show multiple pages. The Limbourge Brothers' Belles Heures of Jean Duc de Berry is also being restored and the Met is exhibiting this unbound masterpiece!! What better time to learn to illuminate a manuscript? Master illuminator Karen Gorst is teaching a rare in-depth workshop on design and illuminating versals.

This intensive three-day workshop will be devoted to designing and illuminating versals, and discovering their harmonious relationship to calligraphic texts. Illuminated texts typically start with versals that are decorated with gold leaf and painted details. These drawn letters bring the reader's attention to the most important part of the text. Versals can be simply made (for example Marie Angel's) or heavily encrusted with gold, layers of illustration and penwork (medieval manuscripts).

Versals, hand-drawn letters, are closely related to their calligraphic prototypes, however they can be produced with small broad edged pens, pointed pens or drafted with a pencil and finished with a pointed brush. The standard versal forms, Roman and Lombardic, are base on Trajan Inscription Capitals and uncial letters. These supremely versatile letters have a highly changeable character ranging from victorian or medieval to Irish to contemporary. Changing their weight, serif construction, stress of the letter, axis, relationship of thicks to thins; reveals new characters in the letters. Their extreme versatility makes it difficult to master their forms, however persistence makes it possible for anyone to create lovely illuminated letters.

Each day's instruction will include letter design and production, painting techniques, and gilding techniques. Since this is a three day workshop, there is plenty of time to practice and for those who are ambitious, time to create multiple projects with instruction at each stage of the process.

Be sure to bring samples of your calligraphy and artwork to the first class.

Materials
Short Text (5 to 20 words) to Illuminate for project

For Drawing:
Graph paper 2 sheets
Tracing paper at least 10 sheets
drafting pencil or mechanical pencil #2H
pointed pen nib (any kind of mapping pen or Hunt 56) and straight penholder
a few sheets of 140HP Arches Water color paper 8" x 10"
your favorite black ink or a tube of lamp black gouache
kneaded eraser and white vinyl eraser
small ruler and triangle

For Painting:
a few sheets of 140HP Arches Water color paper 8" x 10"
2 or more high quality pointed kolinsky sable brushes sizes 0, 00 or 000 (instructor's favorites are Winsor and Newton series 7 in a pinch 707 is OK they are the rejects of the series 7 )
Watercolor Palette
Rinse cup
eyedropper bottle filled with distilled water
reading/magnifying glasses (if you need them)
a few paper towels
#11 exact knife
a couple of colors tube gouache (Winsor and Newton or Turner or Schminke)(we will share in class)
1 jar Pro White

For Gilding:
100% Cotton balls
Baby Powder or ground eggshells
Gum Ammoniac
dish OK to hold hot water
Patent Gold Leaf 22k or above and it should be XX Deep or XXX Deep (available for purchase from instructor)
2 cheap brushes with a good point, sizes 0, 00 or 000
If you have a burnisher bring it
glassine paper
tapestry needle
ear wax - no kidding!
We will experiment with a few glues for gilding. The instructor will bring them to try.
soft pencil #3B
pencil sharpener

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 all of the Kate's Paperie stores. She is currently working on a 15,000 word illuminated manuscript book on parchment. Ms. Gorst designed the Morgan Library's two School Programs on Illuminated Manuscripts and Incunabula. She has also taught Illumination to the docents and summer interns at the Cloisters and the Morgan Library.

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Bickley Script
Sheila Richter

March 20, 21
10:00 am - 4:00 pm
$150 members / $190 non-members
Some experience with a pointed pen is required.

Bickley Script is an elegant, semi-informal pointed-pen script based on copperplate. The flowery capitals contrast beautifully with the delicate and reserved lower case letters. This style is very well suited for headlines and titles as well as medium length texts. The capitals can also be used as initials with other alphabets. Written slightly faster than Copperplate, Bickley Script is often used for addressing envelopes, writing place cards and table cards or any work requiring a light, refined effect. Some experience with a pointed pen is required.

Materials
Boris Marker Rag Layout Paper: 9 x 12, Smooth, 13.5 lb.
Higgins Eternal Ink (or your favorite non-waterproof black or colored non-waterproof ink)
Your favorite good paper and a small quote, etc. for a final piece.
Dinky Dip
Elbow Pen holder for right handed students, Straight Pen holder for left handed students
Nibs: Your favorites -- I will have many available for purchase: Nikko, Hunt 56, 22, Gillott 303, 404
Pencil, toweling, small water container

Instructor
Sheila Richter began studying calligraphy and the art of lettering 35 years ago. She is a freelance calligrapher and has taught private and group classes since 1998. Although she specializes in pointed pen, her work includes a wide range of subjects and styles. Sheila is an active member of Society of Scribes in New York and Island Scribes on Long Island.

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Big Text Blocks, Borders and Letters, Oh My!
Tips and Techniques from a Ketubah Artist's Treasure Chest
Melissa Dinwiddie

April 10, 11
10:00 am - 4:00 pm
$180 members / $220 non-members
All levels. (Although we probably won't be doing a lot of calligraphy in class, a lot of the topics covered will be most useful to calligraphers who are comfortable writing lots of text in very small sizes, for example with a Mitchell 5 or 6 nib. However, anyone can use the decoration and layout techniques, so if you're a game beginner you're more than welcome to attend!)

How do you make a cohesive piece of art when you're working with a big block of text AND additional decoration? As a ketubah artist (a ketubah is a Jewish marriage contract), I've been dealing with this challenge for over a dozen years. In this class I'll share with you my hard-won, secret techniques (shhh!) We'll cover:

• coming up with a design concept
• making the lettering and decoration work together, rather than against each other
• how to copyfit a long text into any shape you want (both digital and "old school" methods)
• some basic painting techniques for bringing your broadside to life
• border/decoration ideas beyond painting: collage, paper cutting and paper sculpture techniques
• dealing with (the inevitable) mistakes

We'll look at lots of examples of pieces that work, and those that don't, and we'll discuss why. And you'll come away with a bevy of ideas to use in your next "big-block-of-text" broadside, whether it's a ketubah, an epic poem, or anything else.

OPTIONAL Pre-Class Assignment:
If you've got text you want to work with, bring it along. You'll be able to use the class to help design a piece that you can then finish at home. If you have time, letter your text (or texts, if you're working with more than one language, for example, English and Hebrew) out ahead of time with a small nib so that the entire text area takes up no more than about 6" x 12", or the approximate equivalent in any shape of your choice (ie, a 10" or so diameter circle, an 8 1/2" square), and make at least 3 photocopies. We'll cut up the photocopies to create new text blocks of different shapes from the same text. (This process is very time-consuming, and you may not want to spend a lot of time on it in class, but I'll do a demo, and if you have your photocopied text(s) with you you'll have the option of trying it if you want.)

Also, if you already have some ideas and/or sketches or reference images for a piece you'd like to make, be sure to bring them along too!

Materials
(NOTE - we may not use every single thing here. I've made specific notes)

Optional pre-class Assignment stuff:
• text block photocopies (optional) from pre-class assignment
• ideas/sketches/reference images for a piece you'd like to make (if applicable - this is optional)

Stuff to write/draw/cut with:
• pencils and sharpener OR technical pencils (both hard and soft leads - H or 2H, and B or standard No. 2 are good, but any pencils will work)
• soft white vinyl eraser
• pens of all sizes (small broad-edge nibs/pointed pens for body text; larger pens for headers decoration)
• ink
• decorative media you already have (a few tubes of watercolor/gouache and or jars of acrylic inks, rubber stamps, colored pencils, etc. DO NOT FEEL LIKE YOU HAVE TO BRING YOUR ENTIRE STUDIO! Of course you may if you like, but part of the fun of workshops is making do with what you've got, and we'll all share.)
• whatever paintbrushes you have on hand; a variety of sizes and shapes is great, if you've got them
• water containers
• cutting blade (X-acto knife with extra #11 blades, Snap-off knife or equivalent - for cutting paper)
• cutting mat
• any straight edges/rulers/T-squares/triangles that you already own (it may be useful to bring a selection of sizes if you have them, but we can all share)
• other drawing/writing tools you like or have been wanting to try

Stuff to write/draw/cut on:
• layout paper (for thumbnail and concept sketches, and may also be used for full-size sketches if you have a large enough pad)
• tracing paper (we'll use smaller sizes of tracing paper for papercutting, collage, paper sculpture and if you have several larger sheets, or a large pad (18x24 is a good size), you may find them useful for full-size design sketches. Pads of this size are expensive, so you might see if a friend already had a pad, or go in with several other people to buy one. If you don't want to buy a pad, don't worry about it! We'll share, or make do with whatever you have.)
• 11x17 grid paper (for copyfitting text blocks by hand
• a sheet or two of watercolor paper (We'll probably use smaller pieces for trying out different decorative techniques, but if you bring a full sheet and you're highly motivated and extremely ambitious you may always choose to start working on a finished piece. I prefer Arches 140lb. Hot Press, because I can letter on it, AND paint/collage/whatever on it, AND it corrects well, but any smooth surface watercolor paper is probably fine, so if you've got something in a drawer just bring that.)
• whatever colored/textured/decorative papers you happen to have around (Small sheets are fine - we'll be cutting these up for collage/paper cutting/paper sculpture experiments - though you can always choose to work larger if you like.)

Other Stuff:
• Scotch repositionable tape (with the blue core) and/or white artist's tape or drafting tape (ie, low-tack, removable tape. I use the Scotch tape ALL THE TIME, but white artist's tape is a little stickier and can sometimes be useful. I'm not personally crazy about drafting tape, as it tends to tear paper, but if that's what you've got, bring it along!)
• other adhesives you might have around: StudioTac, glue stick, etc.
• scissors
• circle drawers-cutters/hole punches that you already own
• other calligraphy/art tools/supplies you like or have been wanting to try
• tacking iron (if anybody has one! I'll be showing you a collage technique that requires a tacking iron, and I'll bring mine for everyone to share, but if you have one, please bring it!)

Instructor
Melissa Dinwiddie started making art and letters in 1995 as a way to procrastinate from what she was supposed to be doing at the time. It didn't take her long to realize that she was meant to be an artist all along. She soon embarked on a full-time career as a freelance artist/calligrapher, and has since found other ways to procrastinate. Melissa's commercial work has ranged from illuminated manuscripts to logo and web design, but her the core of her one-person business is her line of ketubah prints, matching invitations and chuppah canopies. Her artwork is in private collections around the world and has been exhibited internationally.

Melissa was on faculty at Writing Beyond Words, an international calligraphy conference in 1999, and has taught for calligraphy and book arts guilds across the U.S., as well as privately. Melissa has also served on the faculty of the Palo Alto Art Center, and as a tutor in the Cyberstudy correspondence course (Copperplate). Publication credits include Letter Arts Review; Hand Lettering; Wedding Invitations, Announcements, Placecards and More; Writing Beyond Words; Tabellae Ansata; The Art and Craft of Handmade Books, and Alphabet. Melissa lives and works in Mountain View, California, and when she's not making art she can be found practicing yoga, dancing Argentine tango, or pursuing her "night job" as a professional jazz singer. (More info at www.ketubahworks.com, www.ketubahdiva.com and www.melissasings.com.)

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The Carolingian hand
Christopher Calderhead

April 24, 25
10:00 am - 4:00 pm
$150 members / $190 non-members
Level of difficulty: Appropriate for all levels.

Materials
Bring some quotations to work with -- 20-60 words long.

Metal nib with reservoir (see note below)
Pen holder
Black ink (Higgins Eternal or bottled Sumi Ink)
2H pencil
Eraser (Mars Staedler or kneaded rubber are good)
Pencil sharpener
18 inch ruler
Small water pot for cleaning nibs
Rag to wipe nibs
Pad of Strathmore 400 Series Drawing Paper. (11x14 inch or larger). These pads are spiral-bound and come with 24 sheets per pad.

Note on nibs: William Mitchell Roundhand #2 pens are recommended. You may also use a Brause 2.5mm nib. Please do not bring Speedball nibs. The instructor will bring extra Mitchell nibs and reservoirs for purchase at cost.

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.

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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