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

Classes and Workshops
Color Play (Anna Pinto)	2/2, 2/3
Fine Writing: An Introduction to the Art of Calligraphy (Christopher Calderhead)	2/9, 2/23
The Foundational Hand (Christopher Calderhead)	3/1, 3/2
Curvaceous Copperplate (Elinor Holland)	3/2, 3/9, 3/30, 4/6, 4/13
Adding More Pizazz to Your Calligraphy (Marcy Robinson)	3/29
Black Letter: Past and Present (Eleanor Winters)	3/30, 4/6, 4/13, 4/17
Seeing: "Let the Pen Tell You" (Patricia Buttice)	4/26, 5/3
The Art of Cut Paper (Christopher Calderhead)	5/17, 5/18
Introduction to Italic Calligraphy (Eleanor Winters)	5/22, 5/29, 6/5, 6/12, 6/19
Copperplate (Eleanor Holland)	To be announced (Late June through early August)

Color Play
Anna Pinto

Saturday and Sunday, February 2 and 3
9:30 am

Fine Writing: An introduction to the Art of Calligraphy
Christopher Calderhead

Two Saturdays: February 9 and 23
9:30 am – 3:30 pm
$150 members / $190 non-members
Level: Beginner and Intermediate

OK, you’re interested in calligraphy, but where do you begin? This short course is a good starting place. We look at all the basic tools, materials and techniques you need to explore the world of calligraphy. We begin by learning about the different kinds of papers and vellum scribes use. Then we look at the tools: pens, pencils, brushes, T-squares and triangles. And we discuss the different kinds of ink and watercolors you can write with.

The course takes a hands-on approach. You’ll learn how to handle paper, how to rule lines, and how to use the edged pen. We’ll explore a pared-down roman script as a way of gaining mastery of the basic lettering technique.

We’ll also look at many examples of historical and contemporary calligraphy. 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
Nibs: Preferred option: William Mitchell nibs (#2 size) and reservoirs. Or Speedball C2, or Brause #11.2 , #21.2
Pen holder. Higgins Eternal Black Ink, 2H pencil, 2B pencil, Eraser (Mars Staedler or kneaded rubber are good)
Pencil sharpener, 18 inch ruler (metric measurements preferred).
A packet of papers will be supplied by the instructor. A $10 paper fee will be payable at the first session.

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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The Foundational Hand

With its logical structure and simple sequence of strokes, Edward Johnston's Foundational Hand has been used for almost a century to train aspiring calligraphers. Join us for a weekend exploring this important script.

Based on the writing in the Ramsey Psalter, a tenth century English manuscript, the Foundational Hand is noted for its clean lines and legibility. As its name suggests, Foundational provides a firm basis for exploring the calligrapher's art. It's a great script for a beginner. It's also a great script for an intermediate scribe who wants to develop a deeper understanding of the logic of the roman minuscule alphabet.

We will explore the minuscule letters, concentrating on proper letter formation, consistent pen angle, and good spacing. We'll also look at the right kind of capitals to use in conjunction with small letters. And, we'll finish the weekend by writing out a short quotation of your choice.

Materials
• Nibs: Preferred option – William Mitchell nibs (#2 size) and reservoirs OR Brause #1 ½, #2 ½
• Pen Holder
• Higgins Eternal Black ink
• 2H pencil
• 2B pencil
• Eraser (Mars Staedler or kneaded rubber are good)
• Pencil, sharpened
• 18-inch ruler (metric measurements preferred)
• Pad of good quality paper – I recommend Strathmore Series 400 Drawing Pad – 18"x24"

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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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: I recommend 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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Add More Pizazz to Your Calligraphy

Want to be stress free and have fun while learning new techniques or revisiting old ones? Then this workshop is for you! We will use pastel dust to create background effects which are receptive to lettering (Hint: It was a hit at the Holiday Fair). Participants will have ample opportunity to try different tools including blow pens, stamps and glitter, and to learn a simple nearly foolproof gilding technique. Other demonstrations will include writing with masking fluid, writing on Christmas ornaments, and ceramic cups and embossing. The workshop is open to all who want to have fun and enhance their design abilities. If you have questions about the tools or materials you already use, please bring them.

Materials
Special supplies will be provided for a fee of $5.00 payable to the instructor. Please bring the following with you to class:
• Soft pastels - colors of your choice
      (Rembrandt, if you have)
• Paper – Arches Text Wove, Canson
      Mi-Teintes, Rives BFK, or Hot Press
      Watercolor paper cut to 9" x 12"
• Sandpaper block, soft cotton cloth (like an old tee shirt), paper towels
• X-acto knife/ blades #11 and #16, a ruler and a pencil
• Your favorite pens with nibs in smaller sizes such as Rexel # 4, # 5 # 6 or similar.
• Dust mask if you are sensitive to dust
• Your favorite stamps and pads
• Extra fine glitter and blow pens, any color
• Non Waterproof black ink – Gouache – your favorite colors

Instructor
Marcy Robinson is a freelance lettering artist residing in New Jersey. She has studied with Sheila and Julian Waters, and has taken workshops with many calligraphic artists. Her work may be seen in the Calligraphy Engagement Calendars. Marcy was also on the faculty of several calligraphy conventions. When not doing calligraphy, Marcy may be found selling watches at a local Macy's.

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Black Letter: Past and Present
Eleanor Winters

Four Sundays, March 30, April 6, 13, and 27
9:30 am – 4:00 pm
$275 members / $315 non-members
Levels: Some experience with broad-edged pen is recommended

From the classical 12th century Textura to the modern Gothicized Italic, Black Letter has delighted calligraphy students and graphic artists with its dense, ornamental quality and its rich texture. In this class, we will begin with the traditional "picket fence" Gothic, which is the basis of many other styles of Black Letter, and a key to the texture and spacing of all Gothic alphabets. This will be followed by an introduction to Edward Johnston's 20th century Gothicized Italic alphabet; an elegant and legible variation on the medieval Black Letter, and a favorite of calligraphers around the world. The class will also learn a variety of capital letters and concentrate on the rules of good spacing. Homework will be assigned so that students can learn to design artwork using these exciting alphabets.
 
Materials
• Penholder and large nibs, such as Brause 3mm, 4mm, or Mitchell #1
• Black non-waterproof ink, such as Higgins Eternal
• Smooth bond paper, such as layout paper (11" x 14" pad)
• Ruler and 2H or 3H pencil
• Water container and cloth or paper towels
• Fine point black felt-tipped pen
• Masking Tape
 
Instructor
Eleanor Winters is Professor of Art at Long Island University. She was the Director of the Calligraphy Workshop at the New School (1985-1998). She is the author of Mastering Copperplate Calligraphy (Dover), Calligraphy in Ten Easy Lessons (Dover), Calligraphy for Kids (Sterling, 2004), 1-2-3 Calligraphy (Sterling, 2006), Editor of Calligraphers Engagement Calendar (1979-2005). She has taught workshops and lectured in the US, Europe and Asia. Her work has appeared in exhibitions in galleries and museums in the US and Europe. She holds an M.A. from New York University.

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Seeing: "Let the Pen Tell You"*
Patricia Butice

Two Saturdays, April 26 and May 3
9:30 am – 4:30 pm
$150 members / $190 non-members
Levels: 'Experienced' Beginner and Intermediate

A concert violinist needs to know how to play the scales before mastering a concerto. In our calligraphic repertoire, the scales take the form of shapes, of letters. Within these forms, we create our music; the truer the form, the more beautiful the music. In this class, the broad-edge pen will be the principal instrument for our visual concert.

This two-part workshop will examine five major hands, from the 2nd century through the 20th. Expect plenty of exciting analysis and hands-on work by you. The major point of this class will be for you to learn to see more clearly than you ever have before. You may not leave with a product, but you will leave with a process that will empower you when you are at the board with the pen, the paper and the word. I chart the route; you make the discoveries.

*Rule #1 from Patricia's Scribal Seven.

Materials
Bring a wide variety of broad-edged instruments including your favorite steel pens, wooden pens, reeds, quills, broad-edged brushes and (for contrast) pointed instruments from ballpoint pens, flexible pointed nibs and brushes. If you have one, bring an adjustable triangle, and the usual other calligraphic supplies (paper, ink, gouache, ruler, pencil, water containers, etc.). Also, bring an open mind and lots of curiosity.

Instructor
A founding member of Island Scribes, New York ('78), Pat has been teaching calligraphy at the college level since 1980, presently as Adjunct Professor in Adelphi University's Art Department. She has taught in workshops throughout the US, Puerto Rico and Canada, and the international conferences. Her work has been exhibited in the US, Canada, Puerto Rico, France and Argentina (by invitation of the US State Dept.) Her work has been published in a dozen Calligraphers Engagement Calendars, Contemporary Calligraphy, Modern Scribes & Lettering Artists, Florilege, The Speedball Book, Letter Arts Review, and Artist & Alphabet: 20th Century Calligraphy & Letter Art in America. She was a reader at the Morgan Library for four years researching historic alphabets, particularly Chancery Cursive and Uncial.

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The Art of Cut Paper
Christopher Calderhead

Saturday and Sunday, May 17 and 18
9:30 am – 3:30 pm
$150 members / $190 non-members
All levels

In a two-day workshop, Christopher Calderhead introduces the exciting potential of working in cut paper. Cultures from across the world have used this technique to produce beautiful works of art. Balinese shadow puppets, Mexican Day of the Dead decorations, Jewish Mizrach panels, Japanese stencils, and Pennsylvania Dutch Frakturs are just some expressions of this lovely tradition.

Using a simple method, participants will learn the principles of cut-paper design and explore the artistic potential of the medium. We will look at many examples of contemporary and historical paper-cuts. We will discuss ways to mount or present works in cut paper, and learn to make a small book format, useful for greeting cards and small gift books.

Join us for a creative weekend exploring this exciting artform.

Materials
• X-acto blades (#11) or scalpels (10-20 per person; they go dull quickly)
• Self-healing cutting mat (11 X 17 preferred)
• One 2H and two 2B pencils
• Eraser
• Metal ruler
• 5-10 sheets pf Canson Mi-Teintes paper in a variety of colors
• Stout sewing needle and thick thread (colored embroiderers' thread recommended)

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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Introduction to Italic Calligraphy
Eleanor Winters

Thursdays: May 22, 29; June 5, 12, 19
6:30 pm – 9:00 pm
$290 Members / $330 Non-members

Brotherhood Synagogue
28 Gramercy Park South, 4th Floor
New York, NY 10003
(between 3rd Avenue and Irving Place)

Italic calligraphy – or Chancery Cursive – is the elegant, graceful handwriting of the Renaissance. In this intensive class, students will be introduced to the classical principles of calligraphy, the art of beautiful writing. Using professional tools and materials, students will learn the relationship between the broad-edged pen and the proportions of the letterforms. The class will cover minuscule (lower-case) letters as well as capitals, and will emphasize rhythm and visual balance. With this in-depth approach to the study of calligraphy, students can develop an understanding and appreciation of this ancient yet enduring art.

Materials
• 11" x 14" layout bond pad
      (such as Borden & Riley Cotton Comp, Canson Pro-Marker Layout or Graphics 360)
• Higgins Eternal Ink (non-waterproof)
• Brause 3mm and 2mm nibs (some will be available for purchase from instructor)
• Penholder
• Water container & cloth or paper towels

Instructor
Eleanor Winters is Professor of Art at Long Island University. She was the Director of the Calligraphy Workshop at the New School (1985-1998). She is the author of Mastering Copperplate Calligraphy (Dover), Calligraphy in Ten Easy Lessons (Dover), Calligraphy for Kids (Sterling, 2004), 1-2-3 Calligraphy (Sterling, 2006), Editor of Calligraphers Engagement Calendar (1979-2005). She has taught workshops and lectured in the US, Europe and Asia. Her work has appeared in exhibitions in galleries and museums in the US and Europe. She holds an M.A. from New York University.

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Copperplate
Eleanor Holland

Dates and location to be announced
(Late June through the beginning of August)

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