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 25 - June 6, 2014

Aimee Lee, Paper Dress,

hanji, 33 x 17 x 1.5 inches

Aimee Lee
Eastern Papermaking Possibilities

This workshop will cover the breadth and depth of Eastern papermaking and paper arts as we learn to prepare fibers, form and finish sheets, use local fibers for paper and color, and manipulate sheets until they retain hardly a trace of their origins. Early in the workshop, to allow for practice and experimentation, we’ll cover the Korean practices of paper weaving (jiseung) and paper texturing and felting (joomchi), as well as the shifu-related practices of making paper yarn and thread. All levels. Code 01B


Studio artist; teaching: Oberlin College (OH), Mills College (CA), North Bennet Street School (MA); residencies: Fulbright, Jentel Foundation (WY), Ragdale Foundation (IL), King St. Stephen Museum (Hungary), Vermont Studio Center; exhibitions: Islip Art Museum (NY), University of Dallas; collections: Dartmouth College (NH), Metropolitan Museum (NYC), Museum of Modern Art (NYC), Yale University libraries (CT).

Elizabeth Alexander, Still Life with Gates,

paper, glue, dimensions variable

Elizabeth Alexander
Forms in Paper

This workshop will be an in-depth exploration of sculpting with one of the most versatile raw materials: paper. We’ll study contemporary and historical uses of this medium as we conduct technical exercises and develop our own language with paper arts. We’ll cover cutting, folding, forming, assembling, and pop-ups, as we create small sculptures, three-dimensional drawings, and, finally, paper installations. As the work evolves, we’ll have critiques and group discussions. This workshop welcomes anyone who enjoys experimentation, exploration of materials, and working with their hands. All levels. Letterpress studio. Code 01L


Studio artist; adjunct faculty at Lasell College (MA) and Montserrat College of Art (MA); Massachusetts Cultural Council fellowship; residencies: Vermont Studio Center, I-Park (CT); exhibitions: Jane Deering Gallery (CA), Boston Sculptors Gallery, Dana Hall Gallery (MA), Bromfield Gallery (Boston).




SUMMER session 2

June 8 - 20, 2014

Julie Leonard, Palimpsest, found book pages, Tyvek,

typewritten, handwritten, found text, varnish,

26 x 21 x 5 inches


Julie Leonard
Word, Image, Text, Books

In this workshop, we’ll develop narratives for artists’ books using structure as a portal for meaning. We’ll cover a range of versatile bookbindings, collect materials, and print by hand on paper and fabric. As we learn traditional and innovative binding techniques, we’ll use structures to “sketch”—finding ideas and methods for working artistically in book form, building a whole from the parts: words, images, structures, texts. One day will be spent printing in the letterpress shop with artist Sara Langworthy. All levels. Code 02B


Associate professor at University of Iowa Center for the Book; other teaching: University of Georgia Cortona Program (Italy), Paper and Book Intensive; exhibitions: Habatat Galleries (VA), Waverly Street Gallery (MD), Conrad-Wilde Gallery (AZ); collections: Sackner Archive of Visual and Concrete Poetry (FL), University of Delaware, Savannah College of Art and Design (GA); former Penland resident artist and core fellow.




SUMMER session 3

June 22 - JULY 4, 2014

Sara Glee Queen, Playing Pool,

chip board and museum board, 12 x 16 x 8 inches



Kathy Steinsberger, Persephone's Soliloquy and

Defense, walnut-dyed paper, tea bags, handmade

paper, string, silk bookcloth, book board, comic

backer board with letterpress printing


Sara Glee Queen & Kathy Steinsberger

Living Inside the Book

This workshop will consider the qualities shared by books and architecture as we investigate the role that a book’s structure can play in defining the “rooms” or spatial moments of a narrative. Sculptural book structures will allow students to engage principals of scale, tectonics, sequencing, design, composition, and interiority/exteriority to enhance and transform the experience of the book. We’ll connect content and form through demonstrations, discussions, and generative creative processes. Students will build a foundation in basic bookmaking and engage in collaborative storytelling, writing, and image making. All levels. Code 03B


Sara: assistant professor of architecture at North Carolina State University; design studios: Harvard University (MA), Contemporary Art Museum (NC). Kathy: studio artist; teaching: Pullen Arts Center (NC), Cary Arts Center (NC); exhibitions: Green Hill Center (NC), Boxheart Gallery (Pittsburgh). Kathy Steinsberger:












SUMMER session 4

july 6 - 18, 2014

Daniel Essig, Icon, carved and painted

holly, printers type, mica, velvet, thorns,

egg, Ethiopian and Coptic binding,

9 x 7 x 2.25 inches



Dolph Smith, Humpty Dumpty, mixed media

assemblage, 12.5 x 9. 6 inches






Daniel Essig & Dolph Smith
Books with Bulk

Do you have too many blank pages and not enough time or thoughts to fill them all? Have you thought about turning the book form itself into a vehicle for your message? We’ll guide students through the boundless possibilities of giving content volume within the book structure. By cutting, piercing, sawing, carving, and burning into the leaves of the book, we’ll create a vessel that will emphasize the physical core of your story. Books with ladders? Books on stilts? Books inside books to double your treasure? An extra measure of risk presents one with an extra measure of self-discovery. All levels. Code 04B


Daniel: studio artist; teaching: Campbell Folk School (NC), San Diego Book Arts (CA), Arrowmont (TN); collections: Renwick Gallery (DC), Mint Museum (NC); author of a chapter in The Penland Book of Handmade Books. Dolph: professor emeritus from Memphis College of Art (TN), Tennessee Governor’s Distinguished Artist Award; author of a chapter in The Penland Book of Handmade Books.





SUMMER session 5

july 20 - August 5, 2014

Jo Stealey, Forest (detail),

river willow, overbeaten flax, abaca

handmade paper, (dimensions variable)

Jo Stealey
Sculpting with Handmade Paper

Would you like to break through the boundaries of your creative process using simple everyday materials? We’ll explore the potential for sculptural handmade paper using found molds, soft molds, and permanent armatures with cotton, abaca, flax, kozo, and other plant materials. We’ll investigate the world of overbeaten fibers for their high shrinkage and translucent, skin-like qualities that speak a language of their own. And we’ll connect multiple cast forms and incorporate surface treatments such as layered transparent papers, pulp painting, collage, drawing, and more. All levels. Code 05B


Professor at University of Missouri-Columbia; other teaching: Arrowmont (TN), Escuela De Arte, Granada (Spain), Bennington College (VT); exhibitions: Craft Alliance (St. Louis), Museo de Papel (Spain), 9th International Fiber Biennial at Snyderman-Works (Philadelphia), retrospective at Ann Lamar Switzer Center (FL).

Julie Chen, A Guide to Higher Learning,

letterpress printed, box size: 31 x 31 inches

Julie Chen
It’s All in the Game: The Playful Artist’s Book

The interactive potential inherent in both artists’ books and board games invites a range of possibilities for combining elements from each to create a new hybrid form. Each student will create a piece that is part artist’s book and part functioning board game. We’ll use letterpress printing and other bookart techniques to print and assemble the game boards and to make rule booklets, spinners, and various game pieces that will be part of each set. Students will create a compartmented box to house all the elements of their book/game. Intermediate: letterpress printing experience required; bookmaking experience will be helpful. Letterpress studio. Code 05L

Associate professor at Mills College (CA); studio artist publishing limited-edition books under the Flying Fish imprint for more than 25 years; collections: Museum of Modern Art (NYC), Yale University Special Collections (CT). “My work is heavily rooted in the ideas of the book as a physical object and a time-based medium. I view reading as an intimate act in which the reader must be in close physical proximity to the book, can control the pace of reading through the self-directed turning of pages, or equivalent action, and must interact with the book through the manipulation of the book’s physical structure.”






SUMMER session 6

August 10 - 22, 2014

Sarah Bryant, Fond, (artist's book housed in a box

alongside object and set of prints), binders board,

book cloth, Ingres paper, 8.75 x 7.75 x 1.5 inches


Sarah Bryant
Box Making & Enclosure Design

A box is not merely an empty vessel, it’s an invitation to open and explore. In this workshop, students will design and produce beautiful enclosures for personal collections of objects, books, prints, or other mysterious contents. In addition to covering a wide range of box structures, we’ll make our own book cloth and investigate the attachment of ribbons, strings, buttons, and bone clasps to our boxes. Students will be able to work independently to create complex variations of different box forms. Come and experience the pure satisfaction of making boxes by hand. All levels. Code 06B


Studio artist operating under the name Big Jump Press; teaching: University of Georgia, University of Alabama, Wells College (NY); collections: Art Institute of Chicago, New York Public Library, Yale Arts Library (CT), Houghton Library at Harvard University (MA), University of Iowa Library, University of California Los Angeles Darling Biomedical Library.




SUMMER session 7

August 24 - 30, 2014

Benjamin Elbel, Okaeri Project,

paper binding, 8 2/3 x 12 4/5 x 1 inches


Benjamin Elbel
Onion Skin Binding

This workshop will explore a structure in which the spine of the book is built up with layers of papers of different colors. The way the spine grows from the center to the outside and the resulting pattern inspired its name: onion skin binding. The spine can act as a stub onto which a signature can be sewn, or the pages can be incorporated into the spine, which creates a space between each page—making it ideal for mounting artwork or photographs onto the pages. Taught by the originator of the binding, this workshop will explore the strong expressive potential of this recently-developed structure. All levels. Code 07B


Binder, conservator, instructor; teaching: Centro del Bel Libro (Switzerland), Le Vesinet (Paris), London Centre for Book Arts, Boekbinderij Wilgenkamp (Netherlands), Binding re: Defined (London); exhibitions: London Artbook Fair at Whitechapel Gallery, Flow Gallery (London), Robert Frew Antiquarian Bookshop (London).


FALL session 1

OCTOBER 5 - 11, 2014

Beth Schaible, Group of Leather Longstitch Books,

leather, paper, linen cord, dimensions vary


Beth Schaible
Nontraditional Longstitch Binding

In this workshop students will create an array of functional longstitch books, starting with basic stitching and moving quickly to nontraditional patterns. Students will learn to plan and sew their own longstitch patterns and designs using cloth, leather, and paper covered boards as cover materials, creating beautifully exposed spines. Some binding experience will be helpful, but this class is for all levels. Code F01B

Printer, binder, calligrapher, and operator of Quill and Arrow Press; teaching: Pyramid Atlantic Art Center (MD), Asheville Bookworks (NC), 7 Ton Letterpress Collective (NC); former Penland core fellow.





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.






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.