Calligraphy: Society of Scribes: Workshops

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 London’s 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 John’s Bible and editor of Letter Arts Review, and the Society of Scribes Journal, Letters from New York. See his website at www.calderhead.org.

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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.

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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.

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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.

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.

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)

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.

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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.

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.

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.

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 voilá! 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.

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!

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

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