Linear Language: Annual Members’ Open Exhibition
November 3 through November 22, 2014
National Arts Club, 15 Gramercy Park South

All current members are invited to submit pieces for hanging on Sunday, November 2. Download our 2014 Entry Form — with all details and dates included — by clicking here. (You can type right on the form!) All pieces must be framed and contain some form of hand-lettering. Label details are due by 5pm October 28; pieces must be mailed or hand-delivered by 9:30am November 2.

We’re still looking for Volunteers to help hang! If you’re dropping off your artwork and can spare a bit of time on Sunday, November 2, please contact info@societyofscribes.org

Opening Reception on Tuesday, November 4, 2014 from 6 to 8pm
Featuring a lecture/demonstration on paleography by UK-based calligrapher Paul Antonio.

Society of Scribes’ Annual Holiday Fair!
Free Admission

Sunday, November 16, 2014 from 11:00am to 4:00pm
The Brotherhood Synagogue, 28 Gramercy Park South (between 3rd Ave/Irving Pl)

Join us for this much anticipated yearly event. This year’s Fair will feature both new and traditional attractions: * Paper & Ink Arts on-site calligraphy boutique * Marbled artwork by Katherine Radcliffe * Instructor demonstrations * NEW! PhotoBooth * Raffle * The SoS Scriptorium with Karen Gorst * NEW! The SoS Cafe and much more!

Paper & Ink Arts: Please pre-order by November 6th to pick up your items at the Fair.

Holiday Fair Volunteers needed! Please volunteer, we need your help to make the Holiday Fair a reality. Please email us: info@societyofscribe.org

(Holiday Fair 2014 by Kathy Milici)


“Calligraphy in Visual Communication,” A Slide Lecture by Luca Barcellona
Monday, October 27, 2014 from 6:30 to 8:30 pm
Rose Auditorium, 41 Cooper Square (Third Avenue between 6th/7th Avenues)

When you say the word calligraphy, you’ll get various reactions: those who practice it have a different and personal idea of this artform, while most think of it as something far from actual visual communication.

In an illustrated slide lecture, Luca Barcellona will analyze some of his artistic and commercial works, showing how calligraphy can be used in many fields of graphic design and communication, interacting with new technologies — and at the same time, giving his own views on this ancient craft that’s experiencing a new revival today: it can be difficult to recognize its real value without knowing its history and practitioners.

Writing is in constant evolution. Contemporary calligraphers are deciding today the future of hand lettering, which is not clear at all. Will it disappear or will it co-exist with digital devices? The answer is completely in our hands.

This lecture is presented in cooperation with Type@Cooper and is free and open to the public. Please register here. We’re expecting a full house, so come early for good seats. Limited copies of Luca’s book, Take Your Pleasure Seriously, will be available for purchase.

Illuminating the Word: The Saint John’s Bible
Knights of Columbus Museum, One State Street, New Haven CT
Sunday, October 12, 2014 at around 12:30pm (taking 10:04am train from Grand Central)

The St. John’s Bible (68 heavenly original manuscript pages!) will be on exhibit through November 2 at the Knights of Columbus Museum in New Haven, CT. If you go, here’s a tip from Anna Pinto: “I would recommend starting with the room to the left when you go in (called The Studio) that has tools and techniques. There are pictures of Sally Mae Joseph gilding, and then you’ll find that same spread she’s working on in the picture in one of the other rooms, finished… Spectacular! There’s also a 25-minute introductory film about the Bible in another room… Enjoy!”

If you can’t make it in person (and make no mistake: there is no comparison!), the KoC Museum website has a very nice virtual tour here.

Join us for a semi-organized “Field Trip” to see the St. John’s Bible this weekend! Everyone will be responsible for their own train ticket, or driving to New Haven:

(a) Taking the Train: Buy your own Metro North ticket and meet at Grand Central, center information booth under the big clock at 9:45am.
We will take the 10:04am train and arrive New Haven at 12:05pm.
Roundtrip Fare is $32.50 (Seniors $21.50).
The Museum is roughly 3 blocks away from New Haven Union Station: Turn right when you walk out of the station, and walk about 5 minutes until you reach a traffic light under the overpass. The Museum is the tan-colored building across the street.

(b) Driving: Meet us at the KoC Museum at One State Street in New Haven around 12:30pm.
The museum has free admission and free parking. Hours are 10 to 5 daily.

Afterwards, we’ll have a late lunch together in New Haven at a restaurant TBD.
Please RSVP here.

Pictured: On May 9, 2011 Donald Jackson writes “Amen,” the final word in The Saint John’s Bible (courtesy of Donald Jackson’s Scriptorium, Wales)

Over one hundred scribes gathered to celebrate the Society’s 40th Anniversary at the Grolier Club last Friday night with founding member Alice Koeth. Everyone enjoyed an entertaining, inspiring, and artful conversation between Alice and moderator Jerry Kelly: we learned about the early days of the Society, Alice’s travels and teaching career, her work for The Morgan Library and Steuben Glass. We were especially happy to see founding member Emily Brown Shields, longtime member Jeanyee Wong, Linda Dannhauser Setzer, Amy Chapman — founding member Abigail Chapman’s daughter, who flew in from Michigan — and so many others, without whom the Society would not be going 40 years strong.

Heartfelt thanks to everyone!

(Photography © Grayson Dantzic; Calligraphy by Alice)

This year the Society of Scribes is celebrating its 40th anniversary. It was founded by a small group of practicing scribes who wished to share their enthusiasm for calligraphy with a wider public by offering workshops and lectures on the history of the lettering and book arts. Following Donald Jackson’s landmark lectures in New York City, SoS offered a dazzling array of workshops and seminars in almost every historical script imaginable.

Renaissance Italic, Roman Capitals, Bookhand, and Carolingian headed the list of classes that newcomers flocked to. Shortly thereafter members were introduced to a rich palette of luscious, exotic Blackletter alphabets, along with the more eccentric regional hands such as Luxeuil and Beneventan Minuscule. By the early 80s pointed pen alphabets began to make their mark, attracting other members who were content to work in a more contemporary mode, while others were thrilled to journey through time to study and put to use long-forgotten scripts.

Recent years have witnessed an unprecedented interest and super-charged enthusiasm for pointed pen in all its variations. This is a welcome development in the light of increasing technology which has caused some to declare an end to the age of handwriting. What makes it more pleasing is the fact that in most guilds and at the national conferences there appears to be an increase in the younger generation exploring our art.

But it also seems that with a few exceptions, such as Blackletter variants in the hands of a Julian Waters or Luca Barcellona, interest in the historical scripts has waned considerably since the halcyon days of the 70s and 80s. This is a shame, because familiarity with these alphabets goes a long way to creating interesting, arresting designs that attract a reader’s attention and lead to a desire to know more about these scripts. And when called upon to write out a text from a particular historical period it may be more appropriate to render the text in a style of writing peculiar to that time, or at least with a modernized version as Sheila Waters so brilliantly executed Carolingian in Dylan Thomas’ Under Milkwood. I can recall passing the Morgan Pierpont Library and seeing with delight Alice’s blazing, authoritative banners heralding a particular exhibition, sometimes in a scintillating Batarde, sometimes in a majestic Uncial, always conveying the right flavor.

This term SoS is offering a most unusual, rather esoteric script, Visigothic Versals, the alphabet of 8th and 9th century Spain. At first glance one is struck by the strange, slightly weird, sometimes wacky forms. Upon closer scrutiny, however, one comes to see the incredible imagination and exuberance of this alphabet, and how winsomely they have been applied by the instructor Risa Gettler in her childrens’ books. Indeed, in that context they convey a child-like innocence that imparts a greater liveliness than the texts might otherwise have had if they were written in, say, Italic or Bookhand. An unfamiliar script may also slow the reader’s pace, resulting in a greater concentration on the words and the text’s meaning. This actually happened to me several years ago, when I was commissioned to write out the opening lines of the St John’s Gospel. The client chose a highly personal, quite eccentric version of Gothicized Italic, stating that the elaborate forms caused him to slow his reading speed and to focus on the content. And remember Edward Johnston’s admonition to his students to “think about the words.”

No less a compelling reason to study antique scripts is that they provide building blocks for the creation of new and unique, personalized versions of familiar alphabets. Once you have attained the understanding and ability to execute traditional styles, you may then start to experiment with various elements of different scripts and synthesize them into something new and exotic. So, for example, you may apply one of the quirkier elements of a Visigiothic Versal to the solid structure of a Roman or Uncial form, and develop something quite unexpected and attractive. This brings us into the realm of calligraphic playing, a time no less valuable than concentrated, disciplined study. So, for example, examining a truly bizarre lettering style, Luxeuil Minuscule, the precursor of Carolingian, that looks rather like a plate of spaghetti randomly tossed into the air, has a verve and texture that can be applied to quickly rendered gestural strokes resulting in an unusual and visually arresting composition. This is not to imply that the process is always easy or a guaranteed success, but it does expand the field of creativity.

Way back in the 90s a wave of expressionist, abstract calligraphy began to seduce scribes and other practitioners of the broad-edged pen. For all the razzle-dazzle it was often apparent who had a solid foundation and understanding of classic letterforms — and who did not. Not even the most bravura strokes and bold applications of color could mask the weaknesses and flaws in these designs, but those who knew their traditional forms understood how to break the rules and succeed in creating something new and dramatic.

So, the next time you attend a cocktail party whip out a marker and write the guests’ names in Schwabacher Fraktur or Merovingian Minuscule. Not only will you delight and fascinate your friends, but you may wind up with a contract for the next remake of 10,000 BC.

—Article by Barry Morentz; Visigothic Versals by Risa Gettler

Looking forward to celebrating 40 years and seeing members — old and new — at The Grolier Club tonight! Hope you can join us for a festive evening and conversation with founding member Alice Koeth and moderator Jerry Kelly. (Invitation designed by Anna Pinto.)

Letter Design & the Influence of the Pen: Calligraphy into Type and Back Again
A Workshop with Julian Waters
September 27 @ 8:30am – September 28 @ 4:30pm
Type Directors Club, 347 W. 36th Street, Suite 603, New York City 10018

Hey Members! Still a few spots left in this upcoming TDC workshop with Julian Waters…

This course will look at the parallel worlds of type and calligraphy (hand pen lettering), how they have influenced each other over the centuries and are again today. From Gutenberg to Jenson to Aldus, 15th & 16th century early type was heavily influenced by pen lettering of the age, and over the centuries some of the best calligraphers have been involved with typeface production, from Schöffer, Arrighi, Neudørffer to Gill, Trump, Zapf, and on up to today.

In this spirit, learn fundamental underlying proportions of classical capitals, pen written and early types including Textura, Roman and Italic. Fleshing them out with the broad edged pen reveals how the tool can naturally distribute and modulate weights throughout the shapes. This can open up possibilities for letter design not possible by drawing outlines alone. We can use the pen to analyze and learn more about pen related types, how axis relates to pen angle, how the broad edged pen line differs from the pressured pen swelled line and what types are influenced by either – eg Venetian vs Modern etc. We will go back and forth between written and drawn lettering, and focus on the optical balance of the volumes inside and between forms. Harmony of spacing is inseparable from the linear shapes.

More information and registration here.

Monumental Design: Lettering in Green-Wood with Paul Shaw
Sunday, September 14, 2014 from  1:00pm – 3:00pm
Green-Wood Cemetery, 500 25th Street, Brooklyn 11232

Here’s an event that may be of interest to our members: One of the best places for a lettering tour is in a cemetery – each stone, mausoleum and monument presents its own language and design. Join Paul Shaw, SoS instructor and lettering expert, for a look at the varied lettering and designs to be found among Green-Wood’s myriad tombs, mausoleums, monuments and more. Shaw will show how lettering styles and layouts have evolved, from the beginnings of the cemetery into the 20th century; and discuss the influences of printing, posters, pneumatic tools and materials. At the end of your visit, you’ll take home a unique stone rubbing made during the tour.

Paul Shaw is a calligrapher, author, designer and design historian. He teaches calligraphy and typography courses at Parsons School of Design and the School of Visual Arts, and has led lettering tours across the country and globe.

$25 for members of Green-Wood and BHS/$30 for non-members.
SoS members can sign up at the member price (a $5 discount) by using the code “letteropener” when ordering through the event page here.

Kathy Milici’s Modern Storybook Script sold out in just under 2 days last month! — So she’s generously agreed to do a second session for us on Sunday, December 7th. Same time, same location, same price. This is a new hand that Kathy developed with lots of swirls and flourishes; you won’t find it anywhere else. The letters — and the teacher! — are fun, playful and energetic. Don’t miss out on this second opportunity; it’s sure to be an enjoyable day. Details and registration here.

Our Fall Classes & Workshops have just been posted! More details and registration here.
(artwork above: Dancin’ Pen by Carrie Imai, September 20-21, 2014)

We’re just putting the finishing touches on our upcoming Fall season! Classes/workshops will be posted by August 15. Current members will continue to get email notification and a special 24-hour advance registration period on August 17. Registration will be open for everyone on August 18.

Workshops & Events
Friday, September 19 – Adventures with Alice & 40 Years of the Society of Scribes
Sat/Sun, September 20/21 – Dancin’ Pen with Carrie Imai
2 Sundays, September 28/October 5 – Vector Drawing with CJ Dunn
2 Weekends, October 18/19 and 25/26 – Fraktur with Luca Barcellona (pictured above)
Sunday, November 2 – Modern Storybook Script with Kathy Milici
November 3 thru November 22 – Annual Members’ Exhibition at the National Arts Club
Sat/Sun, November 8/9 – Visigothic Versals with Risa Gettler
Sunday, November 16 – Annual Holiday Fair at the Brotherhood Synagogue
Sat/Sun, December 6/7 – Roman Capitals with Marcy Robinson

Introductory Classes
Copperplate-I with Elinor Holland, 5 Sundays starting September 21
Italic-I with Anna Pinto, 5 Saturdays starting September 27
Copperplate-Intensive with Marcy Robinson, 2 Sundays starting November 2
Copperplate-II with Elinor Holland, 2 Saturdays starting November 15

All dates are subject to change, and more events may be added.
(Calligraphy by Luca Barcellona)

Excitement is starting to build and registration is now open for next summer’s International Calligraphy Conference, The Passionate Pen, at Sonoma State University in northern California. More information and registration here.

Marcy Robinson will be teaching a 2-day “Roman Capitals” workshop on Saturday/Sunday, December 6/7, 2014. (Our entire fall schedule will be posted mid-August; classes begin in late September.)

How many times have you heard: “Roman Capitals?? I don’t go near them!” or “Roman Capitals… I just can’t do them,” or “I really don’t need them for my work” or, best yet, “That’s not calligraphy… that’s printing!!!”

OY!

The truth is that the Roman Majuscule “Capitalis Monumentalis” is perhaps the most majestic and seductive alphabet produced in the West in over 2000 years. And it is with us everywhere we go, from street signs to advertising to government buildings and museums, and very often even unto our final resting places. It is far more than an accident of history that these sublime letterforms have traveled the corridors of time and show little, if any, hint of ever being deflected from their magnificent paths of deployment. Yes, they ARE difficult to render with pen and ink. But let us first remember that this alphabet was originally designed to be carved in stone, not for the writing of manuscripts. The Roman alphabet evolved from Greek forms of the 5th century BC and slowly developed into the elegant and sophisticated letters that adorn the great monuments of ancient Rome and the wealthier cities scattered throughout the Roman Empire. The letters attained their highest degree of refinement during the late 1st-mid 2nd century AD when the Empire was at peace (Pax Romana) and at the peak of its prosperity. The intention was to extol the deeds and accomplishments of the emperors in as resounding a manner as possible; hence carving them in marble on the temples, arches and great public buildings explains the nomenclature of Monumental Capitals. Just as they strike fear and trepidation in neophyte scribes, so too were they meant to convey a feeling of awe and power in the viewer as he/she wended his/her way through the crowds on the way to the forum or the gladiatorial games. “MATINÉE TODAY: CLAUDIUS vs MARIUS”

Exercitatio optimus est magister (Practice is the best instructor)

No less an authority than Sheila Waters believes that these letters are mystical and mysterious, and that “somehow you never quite get them.” What this really means is that the forms display an abundance of subtleties that are tantalizingly elusive, from the slight swelling at the heads to the even slighter swelling at the foot of the letter (a mimicry of the architectural concept of entasis, so prevalent in classical architecture), to the 4-degree angle off the vertical of the 1st stroke of M to the 6-degree of the right hand stroke. “Who cares about 4-degrees and 6-degrees?” Well, you do…  and if you don’t, then you should. Because only then, when you begin to focus on these deceptively trivial elements does your calligraphy begin to achieve a polish and refinement that hitherto you may have only sporadically attained. Studying Roman Caps trains your hand to master greater control and touch incorporating techniques of pressure and release, and to write with strength and conviction. Your eye is likewise sensitized to correct rhythmic spacing and enables you to identify active counterspace as opposed to “dead” space that can ruin a design. A heading of beautifully rendered Romans is an immediate attention grabber, just as the emperors intended, and sets a tone of anticipation for what follows.

Yes, the alphabet requires a commitment of time and patience. Precise, voluptuous forms in general will not magically emerge after only a 2-day workshop, but the building blocks will have been put securely in place. Augustus Caesar, who reigned 41 years, declared that he found Rome a city of brick but left it a city of marble. And was Rome built in a day? Obviously, the effort to build The Eternal City was worth it.

Barry Morentz began studying calligraphy 37 years ago, and like most normal newcomers avoided Roman Caps like plague for the first three years. After an intensive workshop with Julian Waters he experienced The Great Awakening, and he has been studiously challenged and happily seduced by these wondrous forms ever since. (Article and photo by Barry Morentz)

Illuminating the Word: The Saint John’s Bible
Knights of Columbus Museum, One State Street, New Haven CT 06511
Open Daily: 10 am to 5 pm

Opening on June 2 and continuing through October 2014 at the Knights of Columbus Museum, Illuminating the Word: The Saint John’s Bible showcases the first handwritten and hand-illustrated Bible to be commissioned by a Benedictine monastery in 500 years.

Illuminating the Word presents 68 original pages from all seven volumes of The Saint John’s Bible along with tools, sketches, materials and rare books. More information here.

Saturday, July 19 at 2pm
The Scripts of the Saint John’s Bible: An Introduction to the Manuscript’s Calligraphic Art
Christopher Calderhead, author of  Illuminating the Word: The Making of the Saint John’s Bible
Click here for full calendar of events.