Books and Paper
Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
SUMMER session 1
May 24 - June 5, 2015
Cynthia Nourse Thompson, Misgiven,
digital print and letterpress on handmade paper
with watermark, 24 x 18 inches
Cynthia Nourse Thompson
Within the Sheet: Contemporary
This workshop will cover the expanded use of the watermark as a means of identification and artistic ornamentation. We’ll create multi-layered editions of handmade paper and watermark sampler sets. Using a variety of sheet-forming techniques, stencils, and computer-based technology, each student will form sheets of paper containing unique watermark imagery. Traditional and innovative papermaking using multiple fibers will illustrate the limitless potential of the illustrative watermark. All levels. Code S01PM
Associate professor and director of the graduate program in book arts/printmaking and studio arts at University of the Arts (Philadelphia); other teaching: Memphis College of Art, University of Georgia Cortona Italy program, Santa Reparata International School of Art (Florence).
SUMMER session 2
June 7 - 19, 2015
Nicci Haynes, 226631 Wakewords, found book pages, Tyvek,
laser printed paper on board, 23 x 16-1/2 x 6 inches
Reconfiguring the Book:
Beyond the Alphabet
This workshop will explore alternative means for generating textual content for artists’ books. The focus will be on experimentation and exploring book concepts and writing. Students will use collage, transfer printing, sculptural items, photocopies, frottage, asemic writing, letterpress, and more to make case-bound books or alternative/sculptural book structures. All levels. Code 02B
Studio artist and teacher at Australian National University; other teaching: Megalo Print Studio (Australia), National Art School (Sydney); collections: National Gallery of Australia, National Library of Australia, State Library of Queensland, Manly Library (Sydney), Bibliotheca (Sydney); current exhibition: Center for Book Arts (NYC).
All workshops in Session 2 will be taught by artists
from Australian National University.
Read more here about this session
SUMMER session 3
June 21 - JULY 3, 2015
Cathy Adelman, Names, Words, Witch's Symbols,
leather, walnut burl veneer, 8 x 7 x 1 inches
Jack Mauch, Marquetry (detail), wood veneer
Cathy Adelman & Jack Mauch
Marquetry by the Book
In this workshop we’ll create a bradel binding, a case binding in which the spine covering and boards are completed off of the book. This is an ideal structure for combining a leather spine with wooden covers. We’ll cover the basics of binding, including sewing, rounding and backing, edge decoration, end bands, and leather paring. Then we’ll use marquetry to decorate our book covers with patterns, tessellations, and images made from inlaid wood veneer. Bookbinding experience will be helpful, but this class is open to all levels. Code 03B
Cathy: bookbinder; teaching: California chapter of Guild of Bookworkers; exhibitions: Gutenberg Museum (Switzerland), Society of Bookbinding (England). Jack: studio artist: Penland core fellowship; studio fellowship at Center for Furniture Craftsmanship (ME); exhibitions: SOFA Chicago, Green Hill Center (NC).
Béatrice Coron, Fashion Statement, cut Tyvek,
40 x 20 x 20 inches
During this intensive workshop of serious fun, students will discover the incredible variety of contemporary papercutting and the many possible applications of this art form, from fine art to public art commissions. We’ll conceive and produce works as different as unique illustrations, stenciled editions, pop-ups, dimensional work, wearable sculptures, and stop-motion animation. Cutting different materials and experimenting with scale, we’ll keep an open mind and explore new territories.All levels. Code 03L
Studio artist; exhibitions: Center for Book Arts (NYC), American Visionary Art Museum (Baltimore), Cité de l’Architecture (Paris); TED talk; commissions: MTA Arts for Transit (NYC), Charlotte-Douglas International Airport (NC); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles), Museum of Fine Arts Boston, Museum of Modern Art (NYC), National Gallery (DC).
SUMMER session 4
july 5 - 17, 2015
Lee Emma Running, Pare (detail), hand-cut wallpaper,
digital print, satin
Lee Emma Running
In this workshop students will explore handmade paper as a primary material for creating sculpture. Paper and paper pulp are uniquely suited for sculpture because they can be light and translucent as well as strong and leather-like. Starting with pulp preparation and basic sheet forming, students will learn to manipulate handmade paper into a variety of forms using plaster molds, wire armatures, and surface manipulation techniques. Beginning and advanced students will be encouraged to explore new ways of working with this versatile material. All levels. Code 04PM
Associate professor at Grinnell College; residencies: Jentel Foundation (WY), Vermont Studio Center, Anchor Graphics (Chicago); recent exhibitions: Charlotte Street Foundation (KS), Concordia University (MN), Muhlenberg College (PA).
Jana Harper, Artist Book Projects, dimensions and materials variable
42 x 42 inches
The What & the Why:
Books as Idea Generators
This workshop will use the universal metaphors of the book to explore themes across media, craft, and contemporary art. The form of the book will help us generate ideas that could later be translated into different media. We’ll spend the first week completing several short assignments, looking at tons of images, and using brainstorming methods to develop our ideas. We’ll work with simple book forms: pamphlet, drum leaf, accordion. Then each student will take one of their ideas and follow it through multiple iterations to see how it might bloom. This non-technical workshop is for artists of all disciplines. Students will come away with years of ideas and about ten “idea” books. All levels. Code 04B
Studio artist, teacher at Vanderbilt University (Nashville); residencies: The Bothy Project (Scotland), Pyramid Atlantic (MD), Cité Internationale des Arts (Paris); collections: Library of Congress (DC), Janet Turner Print Collection at California State University.
SUMMER session 5
july 19 - August 4, 2015
Shawn Sheehy, Columbine, from A Pop-Up Book of Wildflowers,
letterpress printed card stock, 9 x 6 x 6-1/4 inches
Animated Pop-Up Books
Pop-ups are three-dimensional, coming to life when a page is turned. Movables are flat and come to life when a tab is pulled. Combining the two will bring a sense of animation to the pages of your books. First you will assemble a sequence of structures that combine various foundational pop-ups and movables. Then you will develop and edition a pop-up spread, trade with others, and bind the collected spreads into a book. Finally you will conceive and develop your own book. All levels. Code 05B
Studio artist; teaching: Columbia College Chicago, Ox-Bow (MI), Center for Book Arts (NYC); pop-up clients include American Girl Company and Vintage Magazine; his book Welcome to the Neighborhood will be published by Candlewick Press in 2015.
SUMMER session 6
August 9 - 21, 2015
Doug Beube, Masked Words,
(artist's book housed in a box
altered dictionary, metal, marble stand,
19-1/2 x 6-1/4 x 5-3/4
Repurposing Found Books
This class will challenge common assumptions about the nature of the book and allow students to make their own bookwork incorporating collage, mixed media, painting, photography, sculpture, and writing. Through an exploration of various alternative structures, the physical properties of the book, and sequential relationships, students will create sculptural objects as well as paginated work with images and texts. While a few basic bookbinding structures will be demonstrated, this is primarily a mixed-media workshop using the found book as raw and repurposed material. All levels. Code 06B
Studio artist; teaching: Center for Book Arts (NYC), Parsons The New School for Design (NYC), Visual Studies Workshop (NY); solo exhibitions: Limn Gallery (San Francisco), Roseland Gallery (Toronto); monograph: Doug Beube: Breaking the Codex; collections: Museum of Modern Art (NYC), The Brooklyn Museum.
SUMMER session 7
August 23 - 29, 2015
Jeffrey Altepeter, Sewing Structure Models
calf and goat skins, sewn on linen tapes and cords,
4 x 6 to 13 x 13 inches
Skin & Bones
Forwarding refers to all of the foundational steps completed in traditional binding before the finishing (decoration and titling). Proper forwarding is arguably the most important part of bookbinding - the skin and bones of the book - and these elements of craftsmanship are the focus of this workshop. We will explore sewing (the selection of thread and sewing structures), selection and use of adhesives, board attachments, leather paring, and covering techniques such as head cap formation. Practice with traditional forwarding techniques will deepen your understanding of book structure and help improve your skills in tool use and control of typical book materials. All levels. Code 07B
Instructor and head of bookbinding at North Bennet Street School (Boston); teaching/presentations: Guild of Book Workers, Paper and Book Intensive, Harvard University (MA), Boston University, Art Institute of Boston.
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