Penland Books and Paper Workshops

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Eileen Wallace, Searching, handmade paper,

serigraph, silk thread, ephemera, 18 x 24 in.

Several elements are needed to create a cohesive book that successfully conveys the ideas and intent of the author or maker; the best books allow the reader to seamlessly move through them. We will begin by cataloging ideas through writing exercises and short binding assignments designed to establish text or concepts for our books. We will combine these ideas with innovative and traditional bookbinding structures and a range of image-making techniques with a goal of creating one-of-a-kind or very-limited-edition artist’s books that display a cohesive integration of structure and content. All levels. Code 02B

Lecturer in printmaking and book arts at University of Georgia; former co-director of Paper and Book Intensive; curator for Masters: Book Arts (Lark Books).

John Mann, The Lost Raft, book of archival inkjet

prints, 9 x 10 in.

This class is for people who want to expand their photographic work into the book format. We will consider what the linear (or nonlinear!) experience of the book may offer through the possibilities of photographic sequencing and book design. The class will concentrate on individual book projects (students can bring current ones or start fresh) while examining historic and experimental examples. We will explore page design, sequencing, hand bookbinding, and finesse output through advanced inkjet printing techniques. The class will include image making, digital skills, hikes, critiques, and lots of experimentation. All levels. Code 02P

Associate professor at Florida State University; exhibitions: Ditch Projects (OR) Houston Center for Photography, Jen Beckman Gallery (NYC), Phillips de Pury (London), Conveyor Arts (NYC), Columbia College Chicago; author of Thinner Air, a limited-edition photography book.

2nd Session also includes Crafting Memory, Dreaming History: Writing from Experience, a special writing workshop with Sharona Muir.

Peter Sowiski, Service Figure-Run,

handmade paper with colored

pulps, 72 x 48 in.

This class will compare Asian and European traditions of sheet forming as we of think about our own custom production. We will meet somewhere in the middle while exploring fiber types, preparation, color, and texture and looking toward the possibilities of shape, dimension, and pulp painting. A range of methods, tools, and equipment will help optimize the particular qualities of our papers. We will take away new capabilities and forge new relationships with our own and other studios. All levels. Code 03B

Professor emeritus from Buffalo State College (NY), chief screenprinter at Abaca Press; studied papermaking in Korea, China, and Vietnam during three sabbaticals; exhibitions: Southwest School of Art and Craft (TX), Columbia College Chicago, Hartsfield Atlanta Airport.

3rd Session also includes Sound and Light for Things, a special sound and lighting workshop with Shawn Decker.

Shanna Leino, Steel and Elk Bone Awl, tool steel,

elk bone, sterling silver, 1/2 x 4 in.

Working with two handy and versatile materials--elk bone and steel--we will craft a variety of tools essential to every book maker’s kit. From bone folders to awls, needles, and knives, students will make a tool kit that will suit their personal specifications and will be housed in a leather tool roll for safe storage and transport. All levels, but this class will require some hand strength. Code 04B

Bookbinder and tool maker; teaching: Paper and Book Intensive, Garage Annex School for Book Arts (MA), University of the Arts (PA), University of Georgia Cortona, Italy Program; work featured in 500 Handmade Books and Masters: Book Arts (both Lark Books).

Melissa Jay Craig, (S)Edition (detail),

installation of 99 copies: handmade abaca

paper, embellished with cotton rag,

18 x 15 x 18 in. each

This highly individualized extravaganza of three-dimensional papermaking will focus on the specific, unique qualities of kozo and high-shrinkage fibers to make compelling paper forms, and the use of fiber-reactive dyes to create brilliant color. We will cover the construction of simple-to-complex armatures including removable, reusable, and included armatures, along with molds and adaptable forms for making editions or series. All levels, but some papermaking experience will be helpful. Code 05B

Studio artist; teaching: Columbia College Chicago, Paper and Book Intensive, Center for Book Arts (NYC); residencies: Vermont Studio Center, Jentel Foundation (MT); representation: Zia Gallery.

Lisa Blackburn, Navigation, accordian-folded book

with wrap-around board cover and slipcase: etching

ink, Lennox 100 paper, bookcloth,

6-1/4 x 3-1/4 x 1-1/4 in.

Simple book structures can form the basis for creative investigation and artistic expression. We will explore simple sewn, adhesive, and nonadhesive book structures, plus paper decorating techniques. Along the way we will add low-tech processes for building imagery and content in our books. Students will leave with an understanding of bookbinding basics along with enough models and ideas to provide a foundation for many future projects. Beginning level, but experienced students are welcome. Code 06B

Studio artist; proprietor of Commonlife Press, former Penland studio coordinator; teaching: Detroit Institute of Arts, Penland; exhibitions: Asheville Bookworks (NC), McMaster Gallery (SC), Penland Gallery.

Janna Pullman, Clamshell Book Boxes, slipcase,

four flap box, and folded cardboard box

Boxes are both visually pleasing and functional containers for books, small sculptural objects, and other works of art. We will learn basic box-making techniques and variations, including curved forms, hidden compartments, and interior walls. Our goal will be to construct unique, beautiful boxes while exploring the expressive qualities of boxes and the ways they can complete the presentation of your artwork. All levels. Code 07B

Book artist, binder, conservator; owner of Western Slope Bindery (Minneapolis) specializing in custom binding and book repair; teaching: Minnesota Center for Book Arts, Arrowmont (TN), Midwest Guild of Bookworkers; collections: Rijksmuseum (Netherlands), Milwaukee Art Museum.

7th Session also includes Business Time, a special business practice workshop with Phil Sanders.

Margot Ecke, After Your Death (detail), letterpress,

relief, silkscreen, stencil, ink, handmade abaca

paper, 10 x 15 inches

Creating an artist book can be intimidating, but it doesn’t have to be. This workshop will teach you to create sophisticated, finely considered artist books from beginning to end. We’ll start with brainstorming exercises and move on to technical explorations on the Vandercook press, linocut techniques, polymer plates, case binding construction, book design, leather application, and material choice. Each student will create an edition of books. All levels are welcome, although good hand skills and some experience with bookbinding and/or letterpress printing will be helpful. Code F00L

Director of Smokey Road Press (GA), Tamarind Institute (NM) printmaking certificate, diploma in bookbinding from North Bennet School (Boston); former professor of print and book arts at University of Georgia.

Gail Rieke, Globe of Worthless Money,

Globe of Flight, France Journal, mixed media,

dimensions variable

Do you have a pile of travel memorabilia stashed somewhere in your life? Have you promised yourself that you will return to it someday and make it into something meaningful? This workshop explores how travel has affected the lives of artists throughout history and how you can transform memory into artistic expression. The workshop will include individual and collaborative exercises in collage, drawing, mapping, writing, and bookmaking. Our pieces will be structured at the onset and open-ended in their resolution. Ignite your own unique responses! Take a leap! Beginning level. Code S03B

Studio artist; teaching: University of Edmonton (Canada), Haystack (ME), American Academy of Bookbinding (CO), Brayer Studio (Japan); exhibitions: Cheongju International Biennale in Korea; retrospective at Museum of Fine Arts (Santa Fe).