Classes & Workshops
Classes
Workshops
Copperplate I – Winters
Eleanor Winters
February 17, 24, March 3, 10, 17, 2013
9:30 am - 3:30 pm
$325 members and non-members
Level of difficulty: All levels
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This class is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
Materials List
(more...)Higgins Eternal Ink
Canson Pro-Marker Paper
or Borden & Riley 100% Cotton Comp Paper, 11" x 14"
5 Nikko G Nibs
Copperplate Oblique Penholder (for right-handed students)
or Straight Penholder (for left-handed students)
Water container & Cloth or Paper Towels
Masking Tape
Nibs will be available for purchase in class, if you can't get them. Pen nibs and ink can be difficult to find but NY Central Art Supply at 62 Third Avenue between 10th & 11th Streets usually has them. Calligraphy mail order suppliers like Paper & Ink Arts (800.736.7772) www.paperinkarts.com or John Neal Books (800.369.9598) www.johnnealbooks.com have everything and are reliable and fast.
Instructor
Eleanor Winters Author of Italic and Copperplate Calligraphy: the Basics and Beyond (Dover Publishing, 2011),1-2-3 Calligraphy! (Sterling Publishing, 2006), Calligraphy for Kids (Sterling, 2004), Mastering Copperplate Calligraphy (Dover, 3rd Edition, 2000), Calligraphy in 10 Easy Lessons (Dover, 2nd Edition, 2002), Professor of Art, Long Island University (1992-2010), Director of the Calligraphy Workshop, New School University (1985-1998), Workshops & Lectures in US, Europe, Asia, Exhibitions in Museums and Galleries, US and Europe, Master of Arts, New York University.
Copperplate I – Holland
Elinor Holland
March 2, 9, 16, 23, April 6, 2013
9:30 am - 3:30 pm
$325 members and non-members
Level of difficulty: All levels
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This class is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
Material fee: $1 to $10 for purchase of additional nibs
Materials List
(more...)Please look for calligraphy supplies at:
http://www.johnnealbooks.com/
and
http://www.paperinkarts.com/shop.html
Do not expect to find calligraphy supplies at art supply stores!
Canson Marker Paper, 18 lb.,
Higgins Eternal Ink,
Dinky Dip,
Oblique (elbow) Pen holder for right handed students, Straight Pen holder for left handed students,
Nibs: Nikko, Gillot 303, 404, Hunt 22 (I will have some available for purchase for a cost of between $1 and $10),
Pencil,
Drafting tape.
E-mail me with questions: nycalligrapher@gmail.com
Instructor
Elinor Holland works in both Latin and Arabic scripts. She teaches hands-on workshops in both types of script as well as lectures on Islamic Calligraphy. Her calligraphic work scans the range from invitation design to fine art commissions. She continually works toward refinement in her work through study and practice. Clients include Smithsonian Institute, Metropolitan Museum of Art, New York Public Library and the Linearis Institute.
Italic I
Eleanor Winters
April 13, 27, May 4, 11, 2013
9:30 am - 3:30 pm
$260 members and non-members
Level of difficulty: All levels
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This class is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
Materials List
(more...)Higgins Eternal Ink;
Penholder;
Brause 2mm and 3mm nibs (left-handed students, please ask for left-handed nibs);
Canson Pro-Marker layout Paper or Borden & Riley 100% Cotton Comp Paper, 11"x 14" pad;
Masking tape;
Water container and cloth or paper towels;
Pencil
Pen nibs and ink can be difficult to find but NY Central Art Supply at 62 Third Avenue between 10th & 11th Streets usually has them. Calligraphy mail order suppliers like Paper & Ink Arts (800.736.7772) www.paperinkarts.com or John Neal Books (800.369.9598) www.johnnealbooks.com have everything and are reliable and fast.
Instructor
Eleanor Winters Author of Italic and Copperplate Calligraphy: the Basics and Beyond (Dover Publishing, 2011),1-2-3 Calligraphy! (Sterling Publishing, 2006), Calligraphy for Kids (Sterling, 2004), Mastering Copperplate Calligraphy (Dover, 3rd Edition, 2000), Calligraphy in 10 Easy Lessons (Dover, 2nd Edition, 2002), Professor of Art, Long Island University (1992-2010), Director of the Calligraphy Workshop, New School University (1985-1998), Workshops & Lectures in US, Europe, Asia, Exhibitions in Museums and Galleries, US and Europe, Master of Arts, New York University.
Classical Kufic
Elinor Holland
February 24, March 3, 2013
10:00 am - 4:00 pm
$130 members / $170 non-members
Level of difficulty: All levels; students don't need to know Arabic to take this class.
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
Our introduction will begin with our eyes as we look at and study samples of Kufic script. We will learn about the traditional tools and of writing Arabic, as well as a study of the Kufic alphabet. During the second week we will write words and sentences with an eye to how Kufic writing defines space on the page.
Materials List
(more...)Higgins Eternal Ink. All other supplies will be available for purchase from the instructor on the first day of class for approximately $15.
Instructor
Elinor Holland works in both Latin and Arabic scripts. She teaches hands-on workshops in both types of script as well as lectures on Islamic Calligraphy. Her calligraphic work scans the range from invitation design to fine art commissions. She continually works toward refinement in her work through study and practice. Clients include Smithsonian Institute, Metropolitan Museum of Art, New York Public Library and the Linearis Institute.
The Voice of the Brush: Pointed Brush Calligraphy - Part 2
Karen Charatan
March 10, 2013
10:00 am - 4:30 pm
$65 members / $105 non-members
Level of difficulty: intermediate, advanced
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
After some time to practice and formulate questions, we should be ready to take up part 2 of the workshop we began in October before Hurricane Sandy. If you didn't attend the first session and have a little brush experience that you'd like to improve upon, we'll gladly do a bit of reviewing of Day 1 for newcomers and to refresh those who were present.
As was described in the autumn 2012 workshop listings, we will explore the structure of brush made italic letterforms and practice rhythm and speed with various pointed brushes (and a few flats and sharps!) and some media that goes with the flow.
Dancing with the brush to music frees the hand inviting strokes to have life and energy. After some serious playtime to warm up we will focus on the shapes, proportion and spacing of letters based on a standard italic form. The quest to master the brush is endless so humility and openness is a necessity.
Although the potential results are virtually endless and each student will vary in expertise, the focus will be to improve the details of what makes the lettering aesthetically pleasing. We will find that certain characteristics make letters more legible and attractive and conversely, less attractive and illegible is an option too!
Shape, weight, rhythm and personality will be explored with various real and synthetic brushes and markers. Serious students are most welcome, and brush beginners as long as they have a strong understanding of the structure of a broad pen italic hand. Those proficient with a pointed pen will breeze through the concept of pressure and release but will need to focus on the italic letter shape.
For homework during our time apart, it was suggested that we work on some text of any length, very short (one or two words?!) or even ambitiously long, so that we can begin to critique our own work and take our compositions to the next level.
Also, bring along what you have found in the way of printed clippings of brush lettering that inspires you, either beautiful or not so...for an observation session of commercially produced work.
Materials List
(more...)A 12” or 18” ruler, pencil, eraser, and note taking materials
11” x 14” bond paper or marker layout pad
Higgins Eternal ink or any similar black calligraphy ink
A few small tubes of gouache colors, water cup and a few paper towels
Pointed brush markers, black is preferred, colors optional.
(Only one new fresh one is necessary but a few types might be interesting to try.)
Brand names: ZIG, Pentel, Staedtler Mars, Marvy, Niji, Sakura
Pointed watercolor brushes: synthetic brushes such as Niji or Pentel, or sable watercolor brushes such as Winsor & Newton Series 7 or similar less expensive brands
Recommended synthetic or real hair brushes:
Takara, Pentel or Pentel Color Brush. Winsor & Newton, Isabey, Richeson, Raphael, and Arttec make pointed brushes that are commonly found in art supply stores. Japanese brushes for calligraphy are great if the hairs are not too long or pointy and better if the hairs spring back quickly when released. You do not need to spend a lot of money. One reasonably priced brush will do.
Instructor
Karen Charatan With pens, brushes and traditional tools, Karen Charatan designs and digitally customizes calligraphic and drawn lettering for commercial work. She also creates abstract calligraphic paintings which she exhibits internationally with a group of Asian and Western artists. Some of these works are included in the collection of the Mobile Museum of Art in Mobile, AL. Karen has taught for the international lettering arts conferences and for guilds in the US and abroad. Her work has been featured in various lettering journals and books. A gallery of her work is found at www.karencharatan.com
“My word-based abstract work is often about the complexities of human emotional struggles. Illegibility doesn’t frighten me. In some compositions words may be decipherable, but visual content is the main focus. However, as a commercial artist who also experiments with type design, I do feel the shapes of letters are always important. Whether they are a major focal point or a textural rhythm, letters are dressed simply as themselves or costumed to perform center stage.”
Copperplate Continued
Elinor Holland
April 7, 21 2013
10:00 am to 4:00 pm
$130 members / $170 non-members
Level of difficulty: Intermediate
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
Materials List
(more...)Please look for calligraphy supplies at:
http://www.johnnealbooks.com/
and
http://www.paperinkarts.com/shop.html
Do not expect to find calligraphy supplies at art supply stores!
Higgins Eternal ink or your choice of gouache or McCaffery's ink;
Pad of Canson Marker Layout paper, 9x12;
Nibs of your choice (I recommend the Nikko G, Principal, Gillot 303 or Esterbrook 128 and will have some available for purchase);
Oblique (elbow) penholder for right-handed students;
Straight penholder for left-handed students;
Pencil or fine marker for notes
Instructor
Elinor Holland works in both Latin and Arabic scripts. She teaches hands-on workshops in both types of script as well as lectures on Islamic Calligraphy. Her calligraphic work scans the range from invitation design to fine art commissions. She continually works toward refinement in her work through study and practice. Clients include Smithsonian Institute, Metropolitan Museum of Art, New York Public Library and the Linearis Institute.
Drawing for the Cowardly Calligrapher
Annie Cicale
April 20, 21, 2013
10:00 am - 4:00 pm
$160 members / $200 non-members
Level of difficulty: some calligraphic experience, but no drawing necessary
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This workshop is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
The pen moves, the letter is made. The mind is occupied with the meaning of the words and the rhythm of the hand dancing across the page. We follow a planned layout, working our way from left to right down the page. We are writing.
The serif twists, the swash leaps, the shape we have just made dictates our next move. The hand darts around the page adjusting, adding, erasing. The words become secondary, the forms all important. We are drawing.
With this sensitivity, we begin to look at the objects around us, the flowers, trees, the people, animals, landscapes. As a scribe, you are already attentive to shape and line quality; adding value to your drawings brings a third dimension to the image.
Bringing text and image together will expand communication. We’ll work with your drawings to bring the two together to develop meaningful imagery.
This workshop consists of exercises to pull you over to the right brain mindset used in drawing. We will work with letter contour, calligraphic line quality and figure/ground relationships, experimenting with a variety of effects to create an expressive setting for the words. I have always felt that calligraphy is a covert way to teach people to draw; you will surprise yourself with your expanded ability, and will return to your pens with a new awareness of their potential.
Materials List
(more...)Variety of drawing tools, such as:
- Pencils in various hardnesses. You will need the following at a minimum: 2H, HB, 2B and perhaps 4B. Optional; look for graphite sticks or woodless pencils, which are solid pencil lead. These come in a few hardnesses, such as 2B, 6B and 9B.
- Fine point black pens such as a roller ball; I like Pentel Precise, V7 or V5, available at office supply stores.
- Pointed brush or brush pen, such as Pentel Color Brush, with black ink
- Pen nibs and holders, such as Brause, Mitchell or Speedball in large sizes
- Ruling pen, if you have one
- Black ink, such as Higgins Eternal or your favorite
- A few soft watercolor brushes, sizes 2 or 4, flat or round, or a water bruch, such as made by Pentel, Zig or Niji (see page 46 of Paper & Ink catalog)
Paper:
- Bond or inexpensive drawing paper, 11x14" or larger
- One sheet of colored paper, such as Canson or Strathmore (for a cover for our work)
- Tracing paper, 9x12"
Other stuff:
- Drawing board and easel if you use one, ruler, T-square & triangle OR rolling ruler, craft knife and/or scissors, glue stick (such as Uhu), notebook, a few short texts to work on
- Please bring a commercial OBJECT, packaging or some such, with some intriguing letter incorporated into its graphic design. Examples might include an old spice can, a fancy bar of soap or a soup can. Other small still life objects are welcome as well.
Materials fee $10 or less, for paper and some drawing suplies
Two excellent mail order companies that supply calligraphic tools are paperinkarts.com and johnnealbooks.com
See you soon!
Instructor
Bâtarde: Blackletter with Verve
Paul Shaw
April 28, May 5, 2013
10:00 am - 4:00 pm
$130 members / $170 non-members
Level of difficulty: Intermediate
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This workshop is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
Materials List
(more...)Pad of 11x14 layout bond (16 lb to 24 lb; NOT 32 lb). Borden & Riley is suggested.
Your favorite good paper (e.g. Arches, Saunders, Canson, Fabriano, etc.) - white or off-white
Higgins Eternal
Optional: Higgins Sepia or walnut ink and gouache (red preferred)
Pens: Brause 2.5mm, 3mm, 4mm and 5mm nibs; or equivalent in Mitchell nibs; or Pilot Parallel Pens large sizes
Optional: 1/2-inch Automatic pen (or Coit, Powell, Lozada, etc. equivalent)
Masking tape
Water jar
Pencil
Ruler or straightedge
Eraser
Fine marker or ballpoint pen (e.g. Uniball) - black
Instructor
Paul Shaw is a letter designer and graphic design historian. He is the sole proprietor of Paul Shaw / Letter Design, a studio specializing for thirty years in calligraphy, lettering and typography. Among his clients have been Clairol, Origins, Lord & Taylor, Campbell’s Soup, Cinzano, Vignelli Associates, and Pentagram. Paul was formerly a partner in LetterPerfect, a digital type foundry based in Seattle. Since 1980 he has taught calligraphy, lettering, typography and graphic design history at a variety of New York area design schools. Currently he is at both Parsons School of Design and the School of Visual Arts. He writes on letter-related subjects for Print, Eye, Baseline, Letter Arts Review, and AIGA's Voice. His book Helvetica and the New York City Subway sold out in two months, with a trade edition planned to be published by MIT Press. In 2002 Paul was a fellow at the American Academy in Rome. Finally, Paul is the reigning authority on W.A. Dwiggins, having spent 30 years researching his life and work.
http://www.paulshawletterdesign.com
Ornate Pictorial Calligraphy
Linda Schneider
May 18, 19, 2013
10:00 am - 4:00 pm
$160 members / $200 non-members
Level of difficulty: Some pointed pen experience is helpful
Location: School of Visual Arts (SVA) Annex,
214 East 21st Street, (between 2nd and 3rd Ave)
New York, NY
*SOLD OUT*
This workshop is currently filled, but if you would like to be put on the waiting list please continue with enrollment. You will only be charged if a spot opens up.
My goal is for every calligrapher to have some success and a solid foundation of what was taught so as they return to their studios they will enjoy practicing ornate pictorial calligraphy and use their own unique designs to bless others.
Some pointed pen experience preferred but not mandatory, creative imagination encouraged, willingness to have fun required.
Day Two: Calligraphic Line Doodles to Designs — The beauty of this class is the creative use of line taught from a classical approach, allowing elaborate designs to emerge. The creative use of lines (doodles) is the foundation for the techniques used in ornate pictorial calligraphy. The sky is the limit and surprisingly there can be a creative addiction once you get started. The fundamentals of design – positive and negative space, value, and composition – will be taught along with the creative use of line.
I will demonstrate how to incorporate the designs into a card format, so each calligrapher can use their art to make a card collection.
My goal is that every calligrapher will have some success and have a solid foundation of what was taught in order to build on their own creativity when designing from doodles to finished designs.
Materials List
(more...)Pencil – any soft leaded pencil, not mechanical
Kneaded Eraser – any eraser (I prefer the grey kneaded eraser)
Layout Paper – semi-transparent layout paper, suggested Borden and Riley Boris Layout Paper, or any paper that works well with pen and ink
Monoline Pens – any ultra fine black tip pen is fine; I prefer the Pigma Micron pen or Sharpie ultra fine marker
Pointed Pen – the oblique pen holder except for those who are left handed then use the straight pen holder
Pen Nibs – Brause 66 EF or Hunt 56 School nib or your favorite
Ink – suggested Higgins Eternal with about 10 drops of Gum Arabic per bottle or your preferred black ink
Embellishments – Stickles Glitter Glue, or other small embellishments
I also recommend looking at rare books and watching some of the free teaching videos on how to write using the pointed pen at www.iampeth.com or www.zanerian.com by Joe Vitolo before the workshop, if possible.
Instructor
Linda Schneider is a professional calligrapher and watercolor artist working out of her studio in Liberty Lake, Washington. Ornate Pictorial Calligraphy done with the pointed pen is one of her favorite styles. It is the thick and thin strokes looping into flourishes which take on a form, looking ornate but yet simple in design.
http://www.lindaschneiderart.com/
*Registration Policy: Your payment must be received well in advance of the class or workshop to ensure a reservation. It is advisable to register early; some classes/workshops fill early and admissions are limited. At times, due to low enrollment, a class or workshop may have to be cancelled.
If you decide to attend a class/workshop a few days before, call 718-793-2160 (Mon-Fri 10 am - 4 pm) to see if space is still available and to make arrangement for payment. Seats cannot be 'held' over the telephone. Because we must ensure that sufficient space and supplies are available, no one will be permitted to attend without making prior arrangements with the Registrar.
