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 spring and summer 2017 workshops is currently open.
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).
SUMMER session 1
May 28 - June 9, 2017
Tate Shaw, The Ground, book, 12 x 8 inches, 124 pages
Concepts in Book Art
In this workshop we’ll experiment with creating new work from concepts that are intrinsic to books. Students will explore a variety of techniques for generating ideas, closely reading texts and images, editing, sequencing, and designing, as well as the basics of digital book layout software. Students can expect to make at least seven different book dummies, all of which can be used as maps toward creating more complex work in the future. This workshop is for students of all experience levels and technical capabilities. Bringing digital images, texts, and other content to work with is a must. All levels. Code 01B
Director of the Visual Studies Workshop (NY); teaching: VSW MFA; collections: Tate Modern (London), Museum of Fine Arts, Houston, Yale Special Collections (CT); publisher of Preacher’s Biscuit books, author of Blurred Library: Essays on Artists’ Books (Cuniform Press).
SUMMER session 2
June 11 - 23, 2017
Jessica Spring, Burnham Unfolds, letterpress printed with
handset type, 6 x 6 inches unfolded
For printers and book artists, ephemera offers a sweet spot between mass-produced greeting cards and limited-edition books where form and content work together to elevate both. Inspired by vintage ephemera, we’ll master several folded bindings while also looking at structures designed in response to content. Folded structures offer an ideal surface for daredevil letterpress typesetting: exploring the use of traditional circular and angle quads, adapting existing tools, and experimenting with Daredevil Furniture (lasercut typesetting furniture designed at Springtide Press). Each student will complete a small edition of an artist’s book. All levels. Letterpress studio. Code 02L
Studio artist, owner of Springtide Press; teaching: Columbia College (Chicago); residencies: Pacific Lutheran University (WA); collections: Boston Athenaeum, Yale University (CT), San Francisco Museum of Modern Art, School of the Art Institute of Chicago.
SUMMER session 3
June 25 - JULY 7, 2017
Pamela Olson, Seven Cases, sewn-boards binding with three-flap
portfolio, letterpress printed, 9-1/4 x 5 x 1/2 inches
Sketchbooks & Journals: Design & Structure
This workshop unites bookbinding and letterpress through sketchbooks and journals. We’ll begin with a discussion of historical and contemporary work. Then we’ll spend a few days in the letterpress studio setting type, printing on the cylinder presses, and working collaboratively to print typographic and patterned cover papers for our books. Back in the books studio, we’ll cover structures, materials, formats, and media. Students will complete a set of blank books, including pamphlet-sewn notebooks, nonadhesive leather journals, and a casebound (hardcover) sketchbook. All levels. Code 03B
Studio artist; teaching: University of Georgia Studies Abroad (Cortona, Italy), University of Nebraska at Omaha; collections: Rhode Island School of Design, University of California Los Angeles, Newberry Library (IL); TRANSIT Residency at the Hamilton Wood Type and Printing Museum (WI); representation: Abecedarian Gallery (CO), Vamp & Tramp Booksellers (AL).
SUMMER session 4
July 9 - 21, 2017
Matthew Shlian, When you are killing what you are meant to kill
there can be no remorse, Tyvek, 80 feet long
Students will explore the medium of paper as they create sculpture using paper engineering, kirigami, and paper craft as starting points. Using a combination of Tyvek and 100-lb text and 10-pt cover-weight stocks, students will learn the elements of paper mechanics and then apply them to books, collapsible structures, interactive kinetic design, and foldable sculpture. Techniques will include curve folding, pleating systems, and modular design. Students are encouraged to bring in their own imagery, photographs, technology, and other materials to work from. All levels. Code 04B
Studio artist, founder of Initiative Artist Studio (MI); teaching: University of Michigan, Arrowmont (TN), North Bennett Street School (Boston), Haystack (ME); clients: National Science Foundation, Ghostly International, Apple, Proctor and Gamble, Facebook, Levi’s, Sesame Street, the Queen of Jordan.
Kathy Steinsberger, Jails, paper, ink, linen thread, bookboard, 12 x
5-1/2 x 2-1/2 inches
Mary Ann Zotto, Sleeping Arrows, mixed media on butcher paper,
9 x 14 inches
Kathy Steinsberger & Mary Ann Zotto
The Storyteller’s Muse
Blending concept, structure, and visual narratives, we’ll meld book-building and drawing to create personal stories. Taking chances, pushing boundaries, improvising, and experimenting with newly found imagery will be major tools in this energetic workshop. Treasure hunts, exquisite corpse adventures, ideation cards, deconstructed fairy tales, and collaborative drawings will lead to unique results in each student’s voice. The guidance will focus on energizing the creative process, rather than formal instruction focusing on facility and technique. Students should have basic bookbinding/drawing skills or a willingness to wing it! Drawing/painting studio. All levels. Code 04D
Kathy: studio artist; teaching: Pullen Arts Center (NC), Carlow College (PA), Penland. Mary Ann: studio artist and teacher in the film school of the University of North Carolina School of the Arts.
Kathy Steinsberger's Blog
SUMMER session 5
July 23 - August 8, 2017
Beth Schaible, Longstitch Spines, leather, waxed linen cord,
paper, various dimensions
Structures & Surface
We’ll begin this workshop by exploring several different binding structures including longstitch with both leather and paper covers, Coptic binding, and other folded structures. We’ll also create our own cover papers and end sheets using calligraphy and hand lettering techniques, natural dyes, and watercolor. These surface techniques will help us create one-of-a-kind books. All levels. Code 05B
Printer, binder, calligrapher; print director at 7 Ton Design and Letterpress (NC); teaching: Pyramid Atlantic Art Center (MD), Asheville Bookworks (NC), Penland; Penland Core Fellowship.
Sarah Bryant, Fond, letterpress-printed book in enclosure with a
suite of prints and an object, 7-1/4 x 4-1/8 x 5/8 inches
The Letterpress-Printed Artist’s Book
This letterpress-based workshop is devoted to books as an expressive form. We’ll begin by combining simple bookbinding techniques, writing exercises, and drawing assignments to create book sketches and drafts. We’ll waste no time moving our ideas to the press:
setting type in metal, carving imagery from linoleum, and guiding our ideas into book form. By the end of the session, each participant will create an edition of an artist’s book. Topics will include basic press operation, hand-setting type, letterpress image-making, and basic bookbinding structures. All levels. Letterpress studio. Code 05L
Studio artist; teaching: University of Alabama, University of Georgia Cortona Italy Program, London Centre for Book Arts; book arts fellowship at Wells College (NY); collections: Yale University (CT), New York Public Library, Library of Congress (DC), University of Chicago, Massachusetts College of Art.
SUMMER session 6
August 13 - 25, 2017
Andrea Dezsö, Intergalactic Gardens, paper, linen thread, glue,
9 x 13 x 6 inches
Pop-Up Artists’ Books
Learn to make artists’ books that pop up, unfold, expand, and reveal; books that become theaters, platforms, movable structures, or interactive experiences. You’ll learn paper engineering to create movable books—first with simple structures and then with more complex ones. Then you’ll experiment with combining them in innovative ways and enhancing them with collage, drawing, or coloring. You’ll be encouraged to treat form and content as an interdependent whole as you create one-of-a-kind pop-up books. All levels. Code 06B
Associate professor at Hampshire College (MA); creator of three permanent public art works in New York City; illustrations commissioned by New York Times, Harper’s, Virginia Quarterly, McSweeney’s; representation: Nancy Margolis Gallery (NYC).
Steve Miller, There Are Things Too Marvelous to Be Spoken Of,
bound letterpress-printed reduction linoleum cut,
2-1/4 x 3-1/8 inches
Just Imagine a Book
Everything comes together in the book. Let’s be struck by an idea, let’s attach words and images to that idea, let’s create a structure to support it. Then let’s set some type, create images, breathe in the mountain air, and put our shoulders to it to make a book. We’ll think about where words come from, how type is set, how images are created, how letterpress works, and how books come together. There is some magic involved. Open to motivated students of all levels. Letterpress studio. Code 06L
Professor at University of Alabama; College Book Art Association Distinguished Career Award; his Red Hydra Press work includes collaborations with Cuban artists and poets and has been widely exhibited and collected.
SUMMER session 7
August 27 - September 2, 2017
Susan Joy Share, Be the Queen Bee, paper, board, cloth, acrylic,
cord, wire, beads, photos, ribbon, felt, 15-1/2 x 24 x 4 inches
Susan Joy Share
Books & Boxes
Books and boxes are a natural fit. They may be a set or structurally integrated. They can enhance each other and the experience of opening and discovery. We’ll experiment with formats, including books sewn on tapes, paper enclosures, cloth-covered folding boxes, and Jacob’s Ladder boxes. We’ll generate content with paint, pencil, crayon, and collage. Students will create unique pieces as we fold, sew, glue, wrap, reveal, and engineer. This hands-on workshop includes demonstrations, lectures, and sample books. All levels. Code 07B
Studio artist; teaching: University of Alaska, Anderson Ranch (CO), Haystack (ME), Center for Book Arts (NYC); collections: Victoria and Albert Museum (London), Brooklyn Museum (NYC), Anchorage Museum (AK), National Museum of Women in the Arts (DC), Jaffe Center for Book Arts (FL).
Henrik Drescher, Print Magazine Cover, mixed media,
13 x 10 inches
Outer Nature: Inner Nature
This workshop will explore drawing, image generation and collection, and book making. Students will create “notebooklets” working from the theme outer nature/inner nature. Students will make these using techniques they are already comfortable with, which could include drawing, photography, image transfer, and editing (including digital layout). Then we’ll scan them and create digitally-printed editions. These will be collated and assembled into books using Coptic binding. Each student will have a hand-sewn book filled with work from the group. Intermediate/advanced level: for students with an ongoing art practice who are prepared to work with existing technical skills. Drawing/painting studio. Code 07D
Studio artist, illustrator; teacher at School of Visual Art (NYC) and Parsons (NYC); author of 30+ books; collections: Museum of Modern Art (NYC), Victoria and Albert Museum (London), Getty Museum (Los Angeles).
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