Books and Paper Workshops at Penland

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

 

 

 


 

 

 

Spring Concentration

March 8 - May 1, 2015


Lauren Faulkenberry, The Heart Wants What It Wants,

(covers of the three books + clamshell case) paper,

letterpress printed with photopolymer plates, 6 x 6 inches each

Lauren Faulkenberry
Letterpress Books: Guts to Glory

In this workshop students will produce letterpress-printed books from start to finish. We’ll make handmade paper from natural fibers, explore book design, and learn the fundamentals of letterpress printing. Image-making processes will include multi-color linoleum prints, woodcut, collagraph, pressure printing, monoprinting, photopolymer, pulp painting, paper inclusions, and other techniques. Through layers of words and images, we’ll create compelling narratives that invite multiple readings. We’ll put it all together using traditional and experimental binding structures. All levels. Code S00L


Studio artist; teaching: University of Iowa Center for the Book, Asheville BookWorks (NC), University of Alabama; collections: Washington University, Duke University (NC), University of Florida, International Library of Chile.

firebrandpress.org

 

 

 

 


 

 

 

Spring Session 2

APRIL 5 - 11, 2015


Joy Seidler, Two Moon Journals, paste paper coptic binding,

9 x 12 inches, dust jacket journal with image sewn, 10 x 8 inches

Caverly Morgan & Joy Seidler
Mindfulness & Making

Our workshop will focus on discovering authentic personal entry points into the creative process. Together we’ll explore mindful participation with creativity and with life as we avoid the temptations of control and end-gain. We will use crafts—including pastepaper, journal making, clay work, and other forms—as a vehicle for the practice of presence and receptivity and for experiencing interconnectedness. We’ll also explore meditation, strategies for bringing mindful practices into your life, and the role of service in craft. And we’ll address questions such as, “What does it mean to be a vehicle for creative life force while being an object maker?” and “How can our creative processes assist us in being more awake in the world?” All levels. Code S02CB


Caverly: meditation teacher, Zen practitioner and founding director of One House of Peace.

 

Joy: studio artist, consultant, educator, trainer of teachers; 20 summers of pastepaper journal workshops in Massachusetts.

onehouseofpeace.org

 


 

 

 

 

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 Watermarks

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, 23O x 16-1/2 x 6 inches

 

Nicci Haynes
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).


 

 

 

 

SUMMER session 3

June 21 - JULY 3, 2015


Cathy Adelman, Bicycle Diaries,

leather, bird’s eye maple, aluminum rods, 9-1/2 x 6 x 3/4 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).

 

 

 

 

 

 

 

 

 


 

 

 

 

SUMMER session 4

july 5 - 17, 2015


Lee Emma Running, Pare (detail), hand-cut wallpaper,

digital print, satin

 

 

 

 

 

 

 

Lee Emma Running
Sculptural Paper

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

 

 

Jana Harper
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.

janaharper.com


 

 

 

 

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

 

Shawn Sheehy
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

 

Doug Beube
Radical Bookworks: 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

 

Jeffrey Altepeter
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.