|
All classes and workshops, except where indicated, are held at
:
School of Visual Arts (SVA) Annex
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 :
| Classes and Workshops |
| Fine Writing: An
Introduction to the Art of Calligraphy (Christopher Calderhead)
|
9/28, 10/5, 10/12 |
| Graffiti 101
(MERES, aka Jonathan Cohen) |
10/4 |
Hebrew Unveiled:
The Spirit of the Letter
(Ted S. Kadin) |
10/5, 10/12 |
| Finding the Breath-Like
Flow: An Introduction to Arabic Script (Elinor Holland) |
10/18, 10/25 |
Roman Miniscules
(& caps!)
(Julian Waters) |
10/18, 11/8, 11/22 |
Italic Variations
(Julian Waters) |
10/19, 11/9, 11/23 |
| Curvaceous Copperplate
(Elinor Holland) |
10/19, 10/26, 11/9,
11/23, 12/7 |
|
In Your Own Write: Developing
a Casual Script
(Anna Pinto)
|
11/1. 11/2 |
| The Organic Manuscript
Book (Christopher Calderhead) |
11/1. 11/2 |
| Celtic Knotwork
(Gwen Weaver) |
11/15 |
| Paper and Ink
Arts: New Tools and Toys (Brenda Broadbent and PIA Staff) |
11/15 |
Fine
Writing: An introduction to the Art of Calligraphy
Christopher Calderhead
Sundays: September 28, October 5, 12, SVA Annex
9:30 am
3:30 pm
$225 members / $265 non-members
Beginners and up
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. In the first class, we'll make simple hand-sewn
notebooks, and then 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, and Italic, 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 has been a professional calligrapher for
twenty years. He studied at Londons Roehampton Institute and was
elected a Fellow of the (English) Society of Scribes and Illuminators
in 1988. He is the author of Illuminating the Word: the Making
of The Saint Johns Bible and editor of Letter Arts Review,
and the Society of Scribes Journal, Letters from New York.
See his website at www.calderhead.org.
Enroll
now [back
to top]
Graffiti 101
MERES (Jonathan Cohen)
Saturday, October 4
10:30 am
4:30 pm, 5pointz, Queens
$75 members / $115 non-members
All levels

Take the 7 subway train from Manhattan out to Queens, and as you
arrive at 45th Road-Court House Square, very close to P.S. 1 (a
young, energetic branch of MoMA), you will notice that the train
sails over a building block completely covered in graffiti. Sometimes
you'll catch a group of youngsters on the roof with ladders and
scaffolding finding spots out of reach.
Once called the Phun Factory, now known
as 5Pointz, the exterior of this building is a haven for graffiti
artists who come from around the world to leave their mark. But
5Pointz isn't just wall space, it's the only non-profit organization
dedicated to graffiti art in the country, welcoming an average of
15 to 20 new students each Sunday, offering classes, summer BBQs
and break-dancing, and hosting well known Graffiti artists. Magazines
like Glamour write about it, and fashion corporations like H&M use
the walls as backgrounds for photo shoots. Meres (aka Jonathan Cohen)
and his group have taken over this building block and created an
amazing tribute to the work of street artists; the spot is recognized
internationally, with artists coming from Germany, Japan, Brazil,
and elsewhere to do backgrounds and pieces on its walls. Critics
say 5Pointz only encourages illegal graffiti. But supporters insist
this deters illegal spray painting by giving artists both a forum
and audience for their work. The famous Lady Pink, one of the many
graffiti writers from "back in the day" who frequent the self-styled
"Institute for Higher Burnin'," says: "This sets an example for
other cities and other countries to allow graffiti writers to paint
in the daytime, to flex their skills and have a place to express
themselves without fear of persecution."
Lawless scribble or a shining example
of modern art? Decide for yourself! Come out to Queens with the
Society of Scribes, and take a tour of 5pointz led by Meres himself,
who will talk about the history of graffiti in New York City as
well as the work done at and history of 5pointz specifically. Then
try your hand with a spray can. Hint: it's not as easy to get those
effects as it looks!
Materials
6 Krylon spray paint cans (recommended colors tba)
cloth or rags for clean-up
ideas for painting
Instructor
MERES (Jonathan Cohen) is a long time graffiti artist with a talent
for organizing with other artists. 5pointz has a website at www.5ptz.com,
and an article describing it can be read at http://queens.about.com/od/thingtodo/ss/lic_art_2.htm.
Enroll now [back
to top]
Hebrew
Unveiled: The Spirit of the Letter
Ted S. Kadin
Sundays: October 5 & 12, SVA Annex
10:00 am
4:00 pm
$150 members / $190 non-members
According to
ancient tradition, the Hebrew alphabet has divine origins and remains
the oldest written alphabet still in use today. With its mystical
underpinnings, which will be described throughout this class, each
letter is infused with a spirit which makes it come to life and
creates a distinctive, versatile, and powerfully expressive letterform.
This workshop
will introduce the participant to a basic stick figure Hebrew alphabet
in order to learn the underlying structure of each letter. Handouts
will clearly identify each letter with its name in English, as well
as distinguish between closely related letterforms. The greater
part of the workshop will be dedicated to learning two exquisite
alphabets, the first of which is a simple to learn, modern, italicized
alphabet which looks beautiful when used in conjunction with the
Roman Italic hand; the second alphabet is an ancient, angular one
with a surprisingly modern feel to it.
No prior knowledge
of the Hebrew language is necessary, but familiarity with basic
broad-edge pen techniques is a pre-requisite of this workshop.
Materials
Mitchell broad edge nib #0 (in both right- and left-handed forms,
or their equivalent)
Coit or Automatic pens 1/4" or larger
smaller nibs of your choice
black ink
white bond paper
2H or 4H pencil
eraser
T-square or ruler
drafting tape
graph paper and note-taking materials
Instructor
Ted Kadin
resides in Brooklyn, NY. He received his BFA from Brooklyn College,
and studied at the Institute of Fine Arts, NYU Masters Program,
and in a Rabbinical seminary for a decade; Ted was a faculty member
at the New School for Social Research/Parsons Calligraphy Workshop
for nine years, and has taught at the 92nd Street Y, NYC. Ted currently
works as a professional calligrapher/lettering artist, and graphic
designer specializing in Hebrew, copperplate, italic, and his signature
funky but chic calligraphy; his work includes illuminated Ketubot
and most recently the design of several typefaces. Mr. Kadin's work
is in private and corporate collections worldwide and can be seen
in some major motion pictures. Mr. Kadin's Judaica work is included
in the permanent collection of the Jewish Museum, NYC.
Enroll now [back
to top]

Finding the Breath-Like Flow: An Introduction to Arabic Script
Elinor Holland
Saturdays: October 18 and 25, SVA Annex
10:00 am
4:00 pm
$150 members / $190 non-members
We are all beginners.
Maximum of 16 students.
This will be
an excursion out of our usual world of Roman letterforms. Imagine
yourself about a thousand years ago. The continent of Europe is
in darkness but there is a great light shining in the Muslim lands
to the south and east. A great civilization is flourishing and from
its pen flows the beautiful Arabic script. Translations of Greek
philosophy and science, which later inspired the Renaissance, are
being translated and copied in Arabic! In Baghdad, a school of calligraphy
is flourishing and forming the basis for the great Ottoman calligraphers.
A particular lettering style called Thuluth is in its youth, waiting
to be developed by years of practice by many devoted scribes. Returning
to this century, we now have the great fortune of enjoying the fruits
of the labors of our ancestors. Thuluth is a wide-spread, multi-use
hand, elegant and flexible, and being taught by the current masters
in Turkey. Even if you don't read the languages written in this
script, its beauty shines through.
We will introduce
the alphabet and its historical use in calligraphy before moving
onto trying reed or bamboo pens and ink to get a taste of the experience
of writing. We will not expect to master this script, but rather
expand our horizons technically, visually and culturally. Tea will
be served, and all are welcomed at the door.
Materials
Pens and paper will be provided by the instructor for $10 - 15.
Please bring Higgins Eternal ink (half a bottle is sufficient) and
something soft, similar to a piece of leather to write on.
Instructor
Elinor Aisha Holland is a student of Islamic sufism; she has studied
traditional Hat, or calligraphy, with master Mohamed Zakariya for
nearly 20 years. She is working toward the diploma in this art,
an "ijaza," and travels to Istanbul to study with other masters,
Hasan Celibi and Davut Bektash as time allows. She is also a calligrapher
of Latin script.
Enroll
now [back
to top]
Roman
Minuscules (& caps!)
Julian Waters
3 Saturdays: Oct 18, Nov 8, Nov 22, SVA Annex
10:00 am 4:00 pm
$270 members / $310 non-members
All Levels
A step by step
approach to Roman Minuscules (and matching capitals), starting with
fundamental principles, structure, proportions and spacing for sans
serif and serifed forms. After studying some historical sources,
including Carolingian and Renaissance humanist writing and typographic
sources we will develop our own clear and legible modern styles
with both simple and more refined manipulated serifs. We will also
experiment with bold, light weight and more playful lettering suitable
for different expressive uses. Although we will concentrate on the
minuscules (lowercase/small letters) we will also review principles
of Roman capitals and fine tune their style to match whatever minuscules
we are lettering.
Materials
Slant board prepared for writing
1/2" large metal poster pens (Coit, Automatic, Horizon etc.)
A good range of dip pen nibs including the largest Speedball,
equivalent
Mitchells, Brause etc, and smaller
Mitchells with reservoirs
Good smooth layout paper, approx size 14" x 17"
Other good quality papers you like, including hand made, including
some with
some tooth or resistance to the pen
Free flowing non waterproof black ink such as Pelican 4001 or
Higgins Eternal;
Sumi, stick ink and ink stone or black
gouache is ok too. TEST YOUR INK
for bleeding on different papers before
workshop!!
Small smooth sharpening stone (Arkansas stone or equivalent),
small bristle
brush, soft & hard pencils, good
rubber (eraser).
Colored pigments are optional - this is a letterform class.
3-ring binder for exemplars and notes, plus the usual stuff (paper
towels etc etc)
Instructor
Julian Waters studied extensively with legendary
type designer Hermann Zapf and he succeeded Zapf in teaching the
summer masterclasses at RIT. He has taught letterform design and
typography at the Corcoran School or Art and has lectured and taught
workshops in North America, Europe and Asia.
His clients
have included the U.S. Postal Service and National Geographic. He
was typographic consultant to Maya Lin and the Vietnam Memorial,
for the Women's Memorial at Arlington and for the new Visitors Center
at Jefferson's Monticello. His font designs include the award winning
Adobe Waters Titling, and publications include Work by Julian Waters
- From Sketch to Final Art. See his website at www.waterslettering.com.
Enroll
now [back
to top]
Italic
Variations
Julian Waters
3 Sundays: Oct 19, Nov 9, Nov 23, SVA Annex
10:00 am 4:00 pm
$270 members / $310 non-members
Intermediate or Advanced
Most
of us enjoy our Italic but are still looking for the ingredients
to take it to the next level. We will review fundamental and often
overlooked principles of Italic. We will analyse our individual
lettering for strengths and weaknesses and improve it while keeping
personal style. We will work on consistency and crispness while
keeping life in the writing. From there we will add further levels
of refinement by creating more subtlety and detail to our letters.
Variables will include speed, rhythm, weight, variations in ascenders,
descenders and flourish shape. From there we will move to more advanced
techniques such as the use of varying pressure, speed, pen angle
and cornering.

Materials
Slant board prepared for writing
1/2" large metal poster pens (Coit, Automatic, Horizon etc.)
A good range of dip pen nibs including the largest Speedball,
equivalent
Mitchells, Brause etc, and smaller
Mitchells with reservoirs
Good smooth layout paper, approx size 14" x 17"
Other good quality papers you like, including hand made, including
some with
some tooth or resistance to the pen
Free flowing non waterproof black ink such as Pelican 4001 or
Higgins Eternal;
Sumi, stick ink and ink stone or black
gouache is ok too. TEST YOUR INK
for bleeding on different papers before
workshop!!
Small smooth sharpening stone (Arkansas stone or equivalent),
small bristle
brush, soft & hard pencils, good
rubber (eraser).
Colored pigments are optional - this is a letterform class.
3-ring binder for exemplars and notes, plus the usual stuff (paper
towels etc etc)
Instructor
Julian Waters studied extensively with legendary type designer Hermann
Zapf and he succeeded Zapf in teaching the summer masterclasses
at RIT. He has taught letterform design and typography at the Corcoran
School or Art and has lectured and taught workshops in North America,
Europe and Asia.
His clients
have included the U.S. Postal Service and National Geographic. He
was typographic consultant to Maya Lin and the Vietnam Memorial,
for the Women's Memorial at Arlington and for the new Visitors Center
at Jefferson's Monticello. His font designs include the award winning
Adobe Waters Titling, and publications include Work by Julian Waters
- From Sketch to Final Art. See his website at www.waterslettering.com.
Enroll
now [back
to top]
Curvaceous
Copperplate
Elinor Holland
5 Sundays:
Oct 19, 26, Nov 9, 23, Dec 7
10:00 am 4:00 pm
$350 members / $390 non-members
Beginner to Early Intermediate
Copperplate
is an elegant hand, developed during the age of the great writing
masters in the 18th century. A luscious, curvaceous hand, this script
is used extensively for invitations and formal events in addition
to artistic work. We will introduce the use of the flexible pointed
nib and learn the basic minuscule and majuscule letterforms, with
emphasis on seeing the underlying basic forms of this hand. With
practice, this course can be used as a springboard for further development
of the Copperplate hand.
Materials
Higgins Eternal ink
Pad of Canson Marker Layout paper, or Borden & Riley 13.5 lb.
smooth marker
paper 9" x 12"
Nibs: Nikko G, Gillot 303 and 404, Hunt 22 and 56, and Esterbrook
128
Please bring at least two of these; more if you want to be adventurous.
Elbow (oblique) pen holder
Pencil or fine marker for notes
Instructor
Elinor A. Holland, a student of both Arabic and English calligraphy
for twenty years, has taught calligraphy to students of all ages
at schools, museums, and other learning institutions since 1994,
including the New York Public Library, The Smithsonian Institute,
The Center for Book Arts, and The Detroit Institute of Art. Her
freelance work includes private and commercial commissions.
Enroll now [back
to top]
In Your Own Write: Developing a Casual Script
Anna Pinto
November 1 and
2, SVA Annex
9:30 am 3:30 pm
$150 members / $190 non-members
Intermediate to Advanced

A casual script
is an important addition to your repertory and will enliven all
the ways you use calligraphy: your artist's books, journals, calligraphic
art works, greeting cards and of course commercial work (even envelopes)
as well. The freely written scripts often seen in advertising 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 with legibility and grace,
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.
Materials
Fine felt tip pen (e.g. Niji Stylist, Le Pen, Pilot Fineliner
etc.)
a fine (2mm or less) chisel-edged marker (e.g. Italic Fountain
Pentel, Zig, Elegant Writer) and/or a fountain pen
a ruled 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.
Pointed nibs will be available for sale.
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 publications
ranging from Lady Cottington's Pressed Fairy Calendar 2006
to Artist and Alphabet: Lettering Art in the 20th Century
to The Perfect Wedding Reception by Maria McBride, to Drawing
Dimensions by Cynthia Maris Dantzic, as well as in the collections
of the San Francisco Public Library, the Dana Library at Rutgers
University, Newark, and the Beinecke Library at Yale.
Enroll now [back
to top]
The
Organic Manuscript Book
Christopher Calderhead
November 1 and 2, SVA Annex
9:30 am 3:30 pm
$150 members / $190 non-members
Intermediate to Advanced
If the Book
of Kells could talk,
it would say to Picasso,
"I like the way you work."
Medieval manuscripts and twentieth century paintings have a lot
in common. They both take a direct, playful approach to the page
or canvas. This workshop explores a method of making manuscript
books which draws from the insights of these two traditions. Beginning
with a single line of writing, we build a master page step by step.
Once we've established a working grid, we begin to play with the
endless possibilities of layout and design.
When you use
this method, you begin a conversation with the page. It will tell
you where it wants to go next. The experience liberates your creativity
and produces unexpected-and beautiful-results. We'll draw our inspiration
from medieval manuscripts, modern paintings, our own writing, and
the texts we bring with us. We'll learn to use our text creatively,
and talk about ways of using our own words to complement the words
of others. You'll come away loaded with ideas, and with several
finished spreads of your manuscript book. We'll also learn a few
simple sewing structures so we can bind our books for presentation.The
Organic Manuscript Book offers holistic approach to the calligrapher's
art which will expand your abilities and unleash your creative energy.
Materials
For ruling up
2H pencil
Ruler (at least 18 inches long; preferably metal)
Pencil sharpener
Large triangle
Eraser
Divider/Compass with two sharp points (recommended)
T-Square (optional)
For writing
Bring your favorite writing implements and inks/colors.
I recommend:
Nibs in various sizes and 2-3 pen holders.
Reservoirs if needed for your nibs.
Black ink (Bottled sumi ink is good, but other inks are okay, too)
If you
wish to use color, bring EITHER
Gouache (with brushes, water pot, palette). (optional)
OR
Colored pencils (optional)
Paper
10 large sheets of bookweight paper in white or off-white. (By "large"
I mean a sheet of about 20 inches by 30 inches, so that it can be
folded to make several pages of a book.) I
recommend Arches Text Wove, Rives Lightweight, Niddegan, or Frankfurt.
Most Ingres papers are good (although they sometimes have a bit
too much texture for smaller writing).
Text
Choose a general theme for your book. Create an "Ideas" file folder
to collect texts (and images, if you wish) related to your theme.
There's no need to edit yourself at this stage - just keep adding
material that appeals to you. Bring the folder with you to class.
It will provide the raw material for your manuscript.

Please don't
begin planning the layout or design of your book in advance: that's
exactly the work we'll be doing in class. But do as much research
as you like, finding any kind of text that might make its way into
your design. And remember, a manuscript book is text-based (not
image-based), so it's good to have a lot of text to work with. We
can certainly include images, but they are secondary to the written
text.
We will begin
by working with prose text (not poetry). So choose a prose text
of 1000-1500 words to work with on the opening day.
As the weeks
progress, we can incorporate other kinds of text, including poetry,
lists, or other passages of prose.
Here are a few
examples of what might go into your Ideas Folder:
Theme:
My trip to Europe
My travel journal; poems about the places I visited; a list of things
I saw; a list of new experiences I had; a map showing where I went;
my photo album; the Fodor's travel guide I used; postcards...
Theme:
Apples
A list of heirloom varieties of apples; recipes using apples; Genesis,
chapter 2 (Adam and Eve eat the forbidden fruit); Michael Pollan's
The Botany of Desire (Chapter 1, about Johnny Appleseed); references
to apples in Shakespeare's plays...
Theme:
Jack Kerouac's On the Road .
Just bring the book with great passages highlighted. [Plus, if you're
ambitious, add-letters by Kerouac; Allen Ginsberg poems; a map of
Beat-related places in San Francisco...] You get the idea. Have
fun collecting material.
Instructor
Christopher Calderhead has been
a professional calligrapher for twenty years. He studied at Londons
Roehampton Institute and was elected a Fellow of the (English) Society
of Scribes and Illuminators in 1988. He is the author of Illuminating
the Word: the Making of The Saint Johns Bible and editor of
Letter Arts Review, and the Society of Scribes Journal, Letters
from New York. See his website at www.calderhead.org.
Enroll now [back
to top]
Celtic
Knotwork
Gwen Weaver
Saturday, November
15
9:30 am 3:30 pm, SVA Annex
$75 Members / $115 Non-members
Beginner to Advanced
(no calligraphy required)
Have you ever contemplated a page of the Book of Kells and wondered
at the amazing geometric artistry? Here's the chance to immerse
yourself in the intricate threads of Celtic Knots. Get lost in them
just once and you'll be hooked! Starting with a simple grid, watch
in fascination as the knot begins to form, curl around itself and
weave over and under its own strands to create the perfect closed
loop. We'll start with a simple one strand knot, add some simple
strategic lines, and see the complexity grow as the number of strands
increases. You'll be amazed at the simple method that seems to transform
itself into an intricate pattern all on its own! Add color and voilα!
And just in time for the holidays. You'll learn to create a simple
border pattern and a crosslet pattern, and then move on to design
an entire carpet page reminiscent of those found in the stunning
masterpieces of Durrow, Sutton Hoo and Lindisfarne.
Materials
Graph paper-8" x 8" or 10" x 10"; mechanical pencils
tracing paper; saral or transfer paper
good paper such as Arches Hot Press or Diploma Parchment, any
color
small point (.005 or similar) Pigma Micron type of marker-black
or colors
gouache in colors or black
Dr. Martin's Bleed Proof White
small pointed brush
pointed pens
mixing brushes and trays
eraser
water container and rags or towels
Instructor
Gwen Weaver has been teaching in the U.S. and Canada since the mid-
1980s. Most of her classes are based on the pointed pen, although
she also teaches broad pen techniques, various bookmaking arts,
and of course Celtic knotwork. She has been exhibited at many of
the International Conferences and at other venues including the
National Cathedral, Washington, DC; the Newberry Library in Chicago;
and the New York Society of Scribes exhibition at the Donnell Library.
Gwen has been published in Letter Arts Review, Glen Epstein's Calendars,
and Scripsit, and she has been a frequent presenter at IAMPETH conventions
and at the International Calligraphy Conferences. See her website
at www.pointedpen.com.
Enroll now [back
to top]
[IMAGE TO BE PROVIDED]
Paper and
Ink Arts: New Tools and Toys
Brenda Broadbent and PIA Staff
Saturday, November
15, SVA Annex
10:00 am 4:00 pm
$75 Members / $115 Non-members
All levels
Let Brenda,
author of Parallel Pen Wizardry and all around versatile calligraphy
expert, and the Paper and Ink Arts Staff guide you through the newest
and niftiest of the Paper and Ink Arts supplies. Get ready for the
Holiday Fair the next day!
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
or
Pearl at School of Visual Arts
207 East 23rd Street
New York, New York 10010
Tel. (212) 592-2179
www.pearlpaint.com
|