Penland Books and Paper Classes

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

Paul Wong, Oil Lamp, photo-copy

solvent transfer on joss-embedded

abaca paper, 35 x 24 in.

This class for the serious-minded paper/book artist will include papermaking techniques such as simple watermarking, stenciling, multi-laminations, embedding, and color-pulp applications to produce imagery through this ancient but contemporary process. Eight-hour beaten linen and abaca with standard cotton base pulps will be available. The class will include a collaborative partnership with Steve Miller and Mary Wehner’s letterpress class to create unique paper images with letterpress printed text. Intermediate level; basic papermaking skills required. Code 01b

Artistic director at Dieu Donné Papermill (NYC); teaching: Paper & Book Intensive, Penland, Dieu Donné; grants: NEA, New York Foundation for the Arts, Joan Mitchell Foundation.

Jody Williams, Still Sense, artist's book of three

hinged specimen boxes, Japanese papers over

bookbinders' board, intaglio, specimens, mixed

media, 2¾ x 2¾ x 2¾ in.

Students in this class will start by making several basic box structures with detached and hinged lids using bookbinder’s board and decorative papers. We will cover skills such as measuring, cutting, and gluing along with possibilities for decoration and making more complicated boxes with windows, drawers, shelves, and compartments. Students will then design and construct their own boxes in consultation with the instructor. A wide range of samples and images will provide ideas for content, which may include text, imagery, and found objects. All levels. Code 02b

Proprietor of Flying Paper Press; teaching: Minneapolis College of Art and Design (MN), Minnesota Center for Book Arts; exhibitions: Minneapolis Institute of Arts (MN), Philadelphia Museum of Art.

Barbara Tetenbaum and Julie Chen,

Glimpse, letterpress printed from

hand-set type, printer’s ornaments

and engravings, wood type and

polymer plates, 100 copies, 8 x 11 in.

Barbara Tetenbaum - Intuition & Chance: A Playful Approach to Printing Books on the Vandercook

We will explore methods for freeing up the creation of letterpress-printed books using a combination of chance operations and idea-generating exercises to jump-start projects. Students will learn low-tech image techniques that allow for spontaneity while maintaining print quality: printing from shaped wire, flexible surfaces, and pressure printing. We will also cover handset type, registration, inking, and editioning, plus a look at edition binding. Some prior experience with letterpress, printmaking, or bookbinding required. Code 02l

Head of book arts department at Oregon College of Art and Craft; founder of Triangular Press; Sally Bishop Fellowship at Center for Book Arts (NYC), Oregon Arts Fellowship.

Frank Hamrick, Chasing The Sun, hardcover book

with 7-panel accordion gatefold, tea-stained Bugra

paper, letterpress text, Canapetta bookcloth, Davey

binder’s board, litho ink and PVA glue, 6 x 6 in.

In this class we will make paper from cotton rags and use that paper to create books, including hardbound pamphlet, accordion, Japanese, Coptic, and case-bound structures. Each structure will introduce techniques and materials including bookcloth, bookboard, magnets, bone clasps, and binding posts. Students may bring their old 100 percent cotton clothes to use in making paper. Beginning level, but experienced students are welcome. Code 03b

Assistant professor at Louisiana Tech University; other teaching: Maine Media Workshops, Santa Reparata International School of Art (Italy); collections: Center for Creative Photography (AZ), Georgia Music Hall of Fame, Hargrett Rare Book & Manuscript Library (GA).

Bea Nettles, Aging Gracefully, tunnel book,

laser-cut Epson prints mounted on grey

paper with gold cloth and slipcase, edition

of 5, 6-1/2 x 5 in.

Based on my textbook of the same name, this class will be a hands-on exploration of bookbinding styles, including accordion, Japanese punch binding, pamphlet stitch, exposed spine sewn with multiple needles, sewn-on leather straps, and hardbound codex. The second week, students will be encouraged to create independent projects with content—generated through drawing, collage, and found materials—and integrate that content with the unique properties of the book. All levels. Code 04b

Professor emerita from University of Illinois-Champaign/Urbana; collections: MOMA (NYC), International Museum of Photography (NY), National Gallery of Canada, Metropolitan Museum of Art (NYC).

Matthew Shlian, We Are Building this Ship As

We Sail It, folded paper, 8 x 6 x 9 in.

Students will explore the medium of paper as they create movable works of art. Using pop-up books as a starting point, students will learn the elements of paper mechanics and then apply them to books, collapsible structures, interactive kinetic designs, and foldable sculpture. All levels. Code 04x

Studio artist and designer of folded paper structures; teaching: University of Michigan-Ann Arbor, Alfred University (NY); collections: Art Institute of Chicago, The Drawing Center (NYC), Kohler Library (WI); design commissions for Apple, Proctor & Gamble, the US Mint, the Queen of Jordan.

Kathleen O'Connell, Talking In My Sleep, wood,

pigment, thread, 14-1/2 x 29 x 8-1/4 in.

Paper has a special relationship with the book. Using blends of cotton and abaca fibers, the class will learn the basics of Western papermaking. Students will form a range of sheets, thick and thin, and play with various surface design techniques. Then we will introduce two sewn bindings, coptic and stab, and combine papers and bindings to create book objects. Collaboratively, the class will also create a limited-edition sculptural book. All levels. Code 05b

Studio artist; director of Taller Libros Artisticos (Peru); teaching: Oregon College of Art and Craft, University of Wisconsin-Madison, Print Studio 250 (VT), SUNY-Plattsburgh (NY); collections: Silver Buckle Press (WI); represented by Oleos Peruanos (Peru).

Laura Wait, Flexible, unique book,

painting and handwriting, collographs,

hand stamps, BFK Rives paper sewn on

linen cords with linen thread, wood boards

laced onto cords, copper patinated,

lacquered, and attached with brass tacks,

felt-lined drop back box,

5-3/4 x 15 x 7/8 in.

Handwriting and medieval sewing methods are the basis of this workshop. We will use the nonadhesive codex structure with exposed sewing and cords and straps. Handwriting will be developed to use as content and image in our books, along with painting using gouache and watercolor. Intuitive work practices and the use of alternative tools will facilitate the enjoyment and development of your handwriting and painting. The result will be unique, hand-illustrated books. All levels. Code 06b

Studio artist; teaching: San Diego Book Arts (CA), Ghost Ranch (NM); work featured in Masters of Book Arts (Lark Books); representation: Priscilla Juvelis Rare Books (ME), Hunter Kirkland Contemporary (NM).

Macy Chadwick, The Topography of Home, limited-

edition artist’s book, letterpress, pressure prints,

polymer plates, and pochoir, 10-1/2 x 14 in.

We will combine a variety of image generation techniques on the letterpress to create richly layered book pages. We will begin with low-relief pressure printing to generate prints with atmospheric fields of color and texture. Responding to these first layers, we will add subsequent imagery and text with linoleum blocks, photopolymer plates, wood type, and metal type. Each student will come away with his or her own printed book in a variable edition. All levels. Code 06l

Studio artist; teaching: Academy of Art University (San Francisco), San Francisco Art Institute, Wells Book Arts Summer Institute (NY), San Francisco Center for the Book, The Press at Colorado College; work in collections in the US and abroad.

Yukari Hayashida, photo album with Japanese

paper-hinged paper, paste paper cover,

8-1/2 x 11-1/2 in.

Japanese bookbinding is a simple process, which is varied through the materials—paper, thread, fabric—and how you color, dye, and paint them to make them your own. This class will start by making a set of book models in a folding case. Then we will make decorative papers: suminagashi, orizome, momigami, and paste paper. Bring fabric to make bookcloth and then a side-stitch, sewn, hardcover binding. We will leave the rest of the class to your creativity.
All levels. Code 07b

Bookbinder and book conservator; teaching: The Center for Book Arts (NYC), The Ink Shop (NY), Penland.

This fun and inspiring class will focus on crafting books with content. After exercises in written and illustrative imagery, we will create books that complement their content. Images will be created through a variety of means, including paste-paper paintings, transfers, collage, and cut paper. Binding begins with folded and pamphlet stitched zines, eases into exposed longstitch bindings, retreats with the hidden hinge book, and finishes the story with a casebound book. All levels. Code f02b

Studio artist and proprietor of Orange Lantern Press; teaching: Pullen Arts Center (NC), Cary Arts Center (NC); exhibitions: Pullen Arts Center (NC), Gallery Shibui (NC), Barton College (NC); collection: North Carolina State University.

This class will cover a variety of book structures, from historical to contemporary, with a focus on creating innovative forms that embody each student’s intentions. Beginning with simple, nonadhesive book forms (pamphlet, accordion, link stitch, long stitch), we will progress toward more advanced structures, exploring variations on the case binding and crafting a variety of handmade boxes. Through demonstrations, experimentation, and discussions, students will develop a strong bookmaking foundation. We will become self-publishers, craftspeople, conservators, librarians, and artists—all in pursuit of understanding the creative potential of the book as both an information technology and an art form. All levels. Code s00b

Studio artist, bookmaker, letterpress printer; teaching: Asheville Bookworks (NC), Florida State University (FL), Ox-Bow (MI); exhibitions: Abecedarian Gallery (CO), Creative Arts Workshop (CT), Minnesota Center for Book Arts; collections: California College of the Arts, Yale University (CT); publications: 500 Handmade Books (Lark Books).