Books and Paper
Workshops at Penland
Penland School of Crafts offers 1-, 2-, and 8-week classes in the book and paper arts taught by visiting instructors in our well-equipped studios. Classes focus on topics including designing handmade books, papermaking, printing, and book binding. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Spring Eight-Week Concentrations
March 13 - May 6, 2016
Christopher Davenport, Twelve Days,
van dyke photographs on Rives BFK paper,
cotton duck, homemade oak ink, 7-1/2 x 11-1/2”
Hand in Hand: Books, Paper, and Print from the Top
This workshop is about making books—with our hands, our tools, our paper, and our ideas. We’ll cover gathering and preparing fibers; constructing molds, deckles, and tools; drying; surface treatment; finishes; Western and Eastern binding and printing techniques; and conceptual considerations of the book, book design, visual narratives, and generating content. We’ll divide our time between the paper and book studios with a week or two spent printing in the letterpress studio as we gain skills, explore possibilities, and make essential binding and papermaking tools. All levels. Code S00B
Studio artist and teacher at University of Alabama; other teaching: Robert C. Williams Museum of Paper Making (Atlanta), Kennesaw State University (PA); Alabama Arts Council Arts in Education Residency; collections: Wesleyan University (CT), School of the Art Institute of Chicago; his Pocket Knife Press books are represented by Vamp and Tramp Booksellers.
SUMMER session 1
May 29 - June 10, 2016
Anna Embree, Flight, wood, paper, cloth, linen thread, sculptural
10 x 4-1/4 x 3 inches
Bindings in Paper
Paper bindings range from simple to complex and use a wide variety of structural and material components. In this workshop we’ll examine both historical binding styles and modern interpretations of these elegant structures. Students will be introduced to a variety of sewing styles (supported and unsupported), end band types, paper decoration techniques, and several methods for soft- and hard-case construction. Students will make samples of different bindings and then combine elements to create structural variations of their own. All levels. Code 01B
Associate professor at University of Alabama; co-director of Paper and Book Intensive, vice president of Guild of Bookworkers; exhibitions: Chicago Public Library, University of Iowa Center for the Book, University of Victoria McPherson Library Gallery (British Columbia).
SUMMER session 2
June 12 - 24, 2016
Mary Hark, Handmade Paper, flax fiber, indigo,
The Topography of Handmade Paper
Soft and airy or tough and bark-like, paper can carry a smooth-as-glass surface or become a field of lush texture. This workshop will begin with a thorough investigation into paper-making fibers and traditional tools. Production of high-quality papers suitable for use in books, printmaking, and sculptural forms will lead to a personal exploration of surface, texture, color, and the use of natural dyes. Each person will find ways to fuse the materials that address their own aesthetic concerns. All levels. Code 02PM
Associate professor at University of Wisconsin-Madison, owner of HARK! Handmade Paper Studio (WI); awarded Fulbright senior research grant and is working to establish the first hand paper mill capable of producing high-quality papers in Ghana, where she spends several months each year.
SUMMER session 3
June 26 - JULY 8, 2016
Macy Chadwick and Jennifer McKnight, Observations on
Listening, letterpress, silkscreen, 11-1/4 x 8-1/4 inches
Hidden & Revealed
Explore the interactive qualities of a book: what is hidden and what is revealed at the turn of the page? We’ll create a variety of accordion and codex bindings that incorporate pockets, flaps, windows, multiple transparent layers, and more. We’ll also cover content generation techniques for both text and image. Zoom in on particular parts of images, bury information in layers of transparencies, and discover unexpected combinations as you look through, within, and under the pages of your books. Bindings include trifold leporello, concertina with transparent pages, storage book with windows, and accordion book with pockets. All levels. Code 03B
Studio artist; teaching: Academy of Art University (San Francisco), San Francisco Art Institute; residencies: Vermont Studio Center, Venice Printmaking Studio, Druckwerk (Switzerland); collections: Victoria and Albert Museum (London), Yale University (CT).
Frank Brannon with performance artist Jeff Marley, Unega nole
Gigage (White and Red), paper installation and performance, day 15
Making paper by hand is a satisfying process that yields a beautiful product, but making paper from scratch takes time, and the time invested often means the paper takes on a precious quality. We’ll question that preciousness by developing site-specific, outdoor paper installations at Penland. Students will learn the basics of papermaking with a focus on developing successful art installations. Hand-harvested tree bark will be our fiber source, and the natural degradation of the installation will be our touchstone for discussion. Students will also be able to make some paper for other uses. All levels. Code 03PM
Studio artist, instructor at Western Carolina University (NC), owner of SpeakEasy Press (NC); letterpress monograph on the historical Cherokee Phoenix newspaper of northern Georgia is held in special collections libraries in the U.S. and England.
SUMMER session 4
july 10 - 22, 2016
Esther K. Smith, Box of Chaos, accordion
book, cardstock box, letterpress printing,
7 x 7 x 1/2 inches
Esther K. Smith
Instant Artists’ Books
Make ten books from start to finish. Make individual and collaborative books, unique books, and small editions. Along with folded and stitched book structures, students will explore hexaflexigons, magic wallets, origami forms, concertina forms, exquisite corpses, woven pockets, animations, jewelry books, etc. We’ll start with models and then make finished pieces. We’ll look at work by contemporary book artists and discuss publishing and distributing your artists’ books. This workshop is for artists who want to become book artists, book artists who want to explore content, and teachers. All levels. Code 04B
Studio artist; artistic director of Purgatory Pie Press (NYC); teaching: Cooper Union (NYC), Center for Book Arts (NYC); collections: Metropolitan Museum (NYC), Tate Gallery (London), Cooper-Hewitt (NYC), Victoria and Albert Museum (London).
SUMMER session 5
july 24 - August 9, 2016
Sean Dyroff, 38 Woodbine Circle, artist’s book, 5 x 7 x 2 inches
Creating Photo Books
This workshop will explore the process of creating handmade books from photographs. We’ll create mock-up books, including pamphlet bindings, cased-in bindings, single-sheet books, and map-fold structures. Then students will edit and sequence a series of images and choose a book structure to present them in. Students should bring a group of photographs—even if it’s not complete–prepared as digital files. We’ll also create some new digital photographs during the workshop to accompany the structures discussed. We’ll produce our digital layouts in Photoshop or InDesign and use archival photo printers to output our final pieces. All levels. Code 05P Note: this class takes place in the photo studio.
Part-time faculty and photo technician at University of the Arts (Philadelphia); exhibitions: Napoleon Gallery (Philadelphia), Rosenwold-Wolf Gallery (Philadelphia), Gallery 633 (Philadelphia), The Clay Studio (Philadelphia), Kresge Art Gallery (AR).
Lynn Sures, Frasassi, pigmented flax and cotton
paper-pulp painting, beeswax, dimensions variable
Large Scale & Sculptural Papermaking
Papermaking is a chameleon medium, and we’ll examine its extraordinary potential for your personal art practice. We’ll begin by creating pulps from diverse raw fiber with surprising properties, assembling papermaking molds for big sheets and pulp paintings, and building sculptural armatures from various kinds of material. Then—freely pouring, expansively spraying, collaboratively dipping, gently spreading, shrinking, restraining, pigmenting, and otherwise energetically immersing ourselves in paper pulp, tools, and equipment—we’ll get amazing results in paper. All levels. Code 05PM
Professor and head of fine arts at Corcoran School of the Arts and Design (DC); founding director of the National Collegiate Handmade Paper Triennial; collections: New York Public Library, Library of Congress (DC), American Museum of Papermaking (Atlanta).
SUMMER session 6
August 14 - 26, 2016
Colette Fu, Return to the Land of Deities, from the We are Tiger
People series, archival inkjet prints, oak board, 17 x 25 inches
Pop-Up Book Structures
Pop-up and flap books were originally created to illustrate ideas about astronomy, fortune telling, navigation, anatomy of the body, and other scientific principles. Complex pop-up structures are created from a combination of basic mechanisms enhanced by your imagination. Students will learn the basic elements of pop-up engineering and more complex structures including platforms, pull-tabs, and rotating mechanisms. Students will learn how to incorporate their own artwork to create unique pop-up books, cards, and works of art. All levels. Code 06B
Studio artist; teaching: Haystack (ME), Arrowmont (TN), Philadelphia Center for the Book; fellowships: Fulbright, Pennsylvania Council on the Arts, New York Foundation for the Arts; pop-up book clients: Vogue China, Canon Asia, Moët Hennessy, Louis Vuitton; collections: National Museum of Women in the Arts (DC), Library of Congress (DC), West Collection (PA).
SUMMER session 7
August 28 - September 3, 2016
Yukari Hayashida, Folding Case and Book with Suminagashi,
papers, bookcloth, bone clasp, binder’s board, thread, 8-1/2 x
6-1/4 x 1-1/4 inches
Japanese Binding & Decorative Papers
We’ll start by binding traditional side-stitched, pouch-bound books and a sewn-through-fold book. We’ll construct a folding enclosure for these books, and then we’ll create decorative papers: suminagashi (floating ink), orizome (folded and dyed), momigami (crumpled paper). Materials and tools for these papers are minimal: washi (Japanese paper), ink, brush, water, and your hands. We’ll also prepare our own bookcloth. Then what? You’ll make unique books with your handmade materials. All levels. Code 07B
Studio artist, book conservator at Metropolitan Museum of Art (NYC); teaching: Center for Book Arts (NYC), Penland.
Leigh Suggs, Colored Shadows, silver Mylar tape and
fluorescent acrylic on paper, 50 x 54 inches
Paper: Dot, Line, Grid, Form
Students will use simple tools to transform sheets of paper into sculptural forms by cutting, folding, weaving, and exploring a variety of 3d paper constructions. Our conceptual guide will be the action and idea of opening and closing, folding and unfolding, expanding and collapsing as we learn the structural properties of paper. We’ll also investigate surface treatments such as collage and perforation and review archival techniques. We’ll use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper’s wonderful and surprising possibilities. All levels. Code 07L
Studio artist; teaching: Virginia Commonwealth University, Penland; North Carolina Arts Council fellowship, QUIRK artist in residence (VA); exhibitions: Weatherspoon Museum (NC), Contemporary Art Museum of Raleigh (NC), Green Hill Center (NC); representation: LIGHT Art+Design (NC), Reynolds Gallery (VA).
Back to Workshops by Studio