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.
Enrollment for summer and fall 2016 and spring 2017 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.
SUMMER session 2
June 12 - 24, 2016
Mary Hark, Handmade Paper, flax fiber, indigo, other dyes
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).
September 25 - November 18, 2016
Daniel Essig, Icon, holly, mahongony, milk paint, handmade paper,
mica, printers type, Ethiopian and Coptic bindings, 9-1/4 x 7 x
Books, Relics, Curiosities
This workshop will use wood to explore and honor elements of the book. After learning the basics of woodshop safety and tool use, we’ll investigate the infinite possibilties of book-based sculpture. Techniques will include carving, turning, burning, sanding, altering, distressing, painting, and bookbinding. Students will be encouraged to collaborate and to explore alternative materials. They can expect to complete a series of book sculptures. We’ll have daily demonstrations as well as discussions of historic and contemporary book forms. Everyone is welcome: book artists, woodworkers, curious beginners, etc. All levels. Code F00W
Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Penland; collections: Renwick Gallery (DC), Mint Museum (NC); representation: Vamp and Tramp Booksellers (GA); publications: The Penland Book of Handmade Books, Masters: Book Arts (both Lark Books).
Fall ONE-Week Session 2
October 23 - 29, 2016
Mary Uthuppuru, Modified Clamshell Interior, bookcloth,
handmade and machine-made paper, mixed media,
7-1/2 x 5-1/2 x 2 inches
Box Making for Book Artists
Students in this workshop will create modified clamshell boxes. We’ll discuss how boxes can reflect the nature of the items stored inside while maintaining a cohesive design. Decorative techniques will include raised and recessed surfaces, stenciling, and wrapping curved board edges. While the goal is to learn how to build a specific structure, students will be encouraged to experiment and create components of the project according to their own ideas and inspirations. All levels. Code F02B
Studio artist; teaching: Paper and Book Intensive (MI), Ohio Wesleyan University (OH), Redux Studios (SC); exhibitions: 23 Sandy Gallery (OR), Abecedarian Gallery (CO); collections: Houghton Library at Harvard (MA), University of Oregon Architecture and Allied Arts Library.
March 12 - May 5, 2017
Anne Covell, Natural Order: A Game of Pairs, letterpress prints
from polymer plates, 3-3/4 x 2-3/4 x 3/4 inches
Image as Narrative: Letterpress & the Artist’s Book
This workshop will examine the material connection between image and narrative. Through experimenting with alternative print techniques on the Vandercook, we’ll investigate how mood and tone can be expressed through image and the sequencing of images. We’ll cover printing from found objects, collographs, carved surfaces, pressure print templates, and plates made from handmade negatives, just to name a few. Our experiments will be editioned and traded. Then we’ll move from two dimensions to three as we explore the interplay between image and structure through the creation of handprinted artists’ books. Binding options will include traditional book structures as well as movable and sculptural books. All levels. Code S00L
Studio artist; teaching: University of Georgia Cortona Italy Program, University of Iowa Center for the Book; collections: Yale University Art Gallery (CT), San Francisco Museum of Modern Art; representation: 23 Sandy Gallery (OR), Abecedarian Gallery (CO), Vamp and Tramp Booksellers (AL); published in 500 Handmade Books Volume 2 (Lark Books).
Spring ONE-Week Session 2
April 9 - 15, 2017
Erin Keane, Vignettes, journals with encaustic covers,
3-1/2 x 2-1/2 x 3/4 inches
Encaustic Books: Wax, Paper, Thread
Wax nostalgic, wax poetic, wax philosophical, and wax creative. We’ll explore the use of encaustic painting in the creation of books and journals. Thin wood panels will be transformed into richly-layered and textured book covers. Papers infused with beeswax, imagery, and words will become journal pages, and these pages will be bound into tactile, tantalizing books. Daily demonstrations in encaustic, journaling, and bookbinding (Coptic/longstitch) will guide experimentation. Your books can be thematic, conceptual, or simply full of creative meanderings. All levels. Code S02D
Studio artist; teaching: EncaustiCamp/OPENstudio (WA/KY), Campbell Folk School (NC), River’s Edge Studio (NC); published in Encaustic Arts; collections: Mission Health (NC); representation: Southern Highland Craft Guild (NC), 310 Art Gallery (NC).
Spring One-Week Session 3
April 23 - 29, 2017
Bhavna Mehta, Gush (detail), paper, 60 x 48 inches
Cut, Fold, Sculpt
The flatness of paper will serve as an inviting platform for the transformation of ideas. Students will explore cutting, folding, sewing, and manipulating paper. We will begin with simple exercises that will start to expand the medium of paper into objects and stories. Paying attention to color, shape, pattern, and texture, students will learn to take an idea, drawing, or story and translate it into paper using various cutting techniques, with an emphasis on the personal and the collaborative. We’ll discuss contemporary works and paper as a hot design medium. All levels. Code S03B
Studio artist; teaching: University of California San Diego Extension, San Diego Book Arts (CA), Lux Art Institute (CA); Creative Catalyst Grant, San Diego Emerging Art Prize; recent exhibitions: Oceanside Museum of Art (CA); collections: Geisel Library Special Collections (CA), public art commissions: Long Beach Transit Mall (CA).
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