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 summer and fall 2016 and spring 2017 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.





SUMMER session 4

july 10 - 22, 2016

Esther K. Smith, Box of Chaos, accordion book, cardstock box,

letterpress printing, 7 x 7 x 1/2 inches






Esther K. Smith
Instant Artists’ Books

Make ten books from start to finish. Make individual and collaborative books, unique books, and small editions. Along with folded and stitched book structures, students will explore hexaflexigons, magic wallets, origami forms, concertina forms, exquisite corpses, woven pockets, animations, jewelry books, etc. We’ll start with models and then make finished pieces. We’ll look at work by contemporary book artists and discuss publishing and distributing your artists’ books. This workshop is for artists who want to become book artists, book artists who want to explore content, and teachers. All levels. Code 04B


Studio artist; artistic director of Purgatory Pie Press (NYC); teaching: Cooper Union (NYC), Center for Book Arts (NYC); collections: Metropolitan Museum (NYC), Tate Gallery (London), Cooper-Hewitt (NYC), Victoria and Albert Museum (London).



SUMMER session 5

july 24 - August 9, 2016

Sean Dyroff, 38 Woodbine Circle, artist’s book, 5 x 7 x 2 inches


Sean Dyroff
Creating Photo Books

This workshop will explore the process of creating handmade books from photographs. We’ll create mock-up books, including pamphlet bindings, cased-in bindings, single-sheet books, and map-fold structures. Then students will edit and sequence a series of images and choose a book structure to present them in. Students should bring a group of photographs—even if it’s not complete–prepared as digital files. We’ll also create some new digital photographs during the workshop to accompany the structures discussed. We’ll produce our digital layouts in Photoshop or InDesign and use archival photo printers to output our final pieces. All levels. Code 05P Note: this class takes place in the photo studio.


Part-time faculty and photo technician at University of the Arts (Philadelphia); exhibitions: Napoleon Gallery (Philadelphia), Rosenwold-Wolf Gallery (Philadelphia), Gallery 633 (Philadelphia), The Clay Studio (Philadelphia), Kresge Art Gallery (AR).


Lynn Sures, Frasassi, pigmented flax and cotton paper-pulp

painting, beeswax, dimensions variable



Lynn Sures
Large Scale & Sculptural Papermaking

Papermaking is a chameleon medium, and we’ll examine its extraordinary potential for your personal art practice. We’ll begin by creating pulps from diverse raw fiber with surprising properties, assembling papermaking molds for big sheets and pulp paintings, and building sculptural armatures from various kinds of material. Then—freely pouring, expansively spraying, collaboratively dipping, gently spreading, shrinking, restraining, pigmenting, and otherwise energetically immersing ourselves in paper pulp, tools, and equipment—we’ll get amazing results in paper. All levels. Code 05PM


Professor and head of fine arts at Corcoran School of the Arts and Design (DC); founding director of the National Collegiate Handmade Paper Triennial; collections: New York Public Library, Library of Congress (DC), American Museum of Papermaking (Atlanta).




SUMMER session 6

August 14 - 26, 2016

Colette Fu, Return to the Land of Deities, from the We are Tiger

People series, archival inkjet prints, oak board, 17 x 25 inches


Colette Fu
Pop-Up Book Structures

Pop-up and flap books were originally created to illustrate ideas about astronomy, fortune telling, navigation, anatomy of the body, and other scientific principles. Complex pop-up structures are created from a combination of basic mechanisms enhanced by your imagination. Students will learn the basic elements of pop-up engineering and more complex structures including platforms, pull-tabs, and rotating mechanisms. Students will learn how to incorporate their own artwork to create unique pop-up books, cards, and works of art. All levels. Code 06B


Studio artist; teaching: Haystack (ME), Arrowmont (TN), Philadelphia Center for the Book; fellowships: Fulbright, Pennsylvania Council on the Arts, New York Foundation for the Arts; pop-up book clients: Vogue China, Canon Asia, Moët Hennessy, Louis Vuitton; collections: National Museum of Women in the Arts (DC), Library of Congress (DC), West Collection (PA).



SUMMER session 7

August 28 - September 3, 2016

Yukari Hayashida, Folding Case and Book with Suminagashi,

papers, bookcloth, bone clasp, binder’s board, thread, 8-1/2 x

6-1/4 x 1-1/4 inches


Yukari Hayashida
Japanese Binding & Decorative Papers

We’ll start by binding traditional side-stitched, pouch-bound books and a sewn-through-fold book. We’ll construct a folding enclosure for these books, and then we’ll create decorative papers: suminagashi (floating ink), orizome (folded and dyed), momigami (crumpled paper). Materials and tools for these papers are minimal: washi (Japanese paper), ink, brush, water, and your hands. We’ll also prepare our own bookcloth. Then what? You’ll make unique books with your handmade materials. All levels. Code 07B


Studio artist, book conservator at Metropolitan Museum of Art (NYC); teaching: Center for Book Arts (NYC), Penland.


Leigh Suggs, Colored Shadows, silver Mylar tape and

fluorescent acrylic on paper, 50 x 54 inches



Leigh Suggs
Paper: Dot, Line, Grid, Form

Students will use simple tools to transform sheets of paper into sculptural forms by cutting, folding, weaving, and exploring a variety of 3d paper constructions. Our conceptual guide will be the action and idea of opening and closing, folding and unfolding, expanding and collapsing as we learn the structural properties of paper. We’ll also investigate surface treatments such as collage and perforation and review archival techniques. We’ll use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper’s wonderful and surprising possibilities. All levels. Code 07L


Studio artist; teaching: Virginia Commonwealth University, Penland; North Carolina Arts Council fellowship, QUIRK artist in residence (VA); exhibitions: Weatherspoon Museum (NC), Contemporary Art Museum of Raleigh (NC), Green Hill Center (NC); representation: LIGHT Art+Design (NC), Reynolds Gallery (VA).



Fall Concentration

September 25 - November 18, 2016

Daniel Essig, Icon, holly, mahongony, milk paint, handmade paper,

mica, printers type, Ethiopian and Coptic bindings, 9-1/4 x 7 x

2-1/2 inches

Daniel Essig
Books, Relics, Curiosities

This workshop will use wood to explore and honor elements of the book. After learning the basics of woodshop safety and tool use, we’ll investigate the infinite possibilties of book-based sculpture. Techniques will include carving, turning, burning, sanding, altering, distressing, painting, and bookbinding. Students will be encouraged to collaborate and to explore alternative materials. They can expect to complete a series of book sculptures. We’ll have daily demonstrations as well as discussions of historic and contemporary book forms. Everyone is welcome: book artists, woodworkers, curious beginners, etc. All levels. Code F00W

Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Penland; collections: Renwick Gallery (DC), Mint Museum (NC); representation: Vamp and Tramp Booksellers (GA); publications: The Penland Book of Handmade Books, Masters: Book Arts (both Lark Books).








Fall ONE-Week Session 2

October 23 - 29, 2016

Mary Uthuppuru, Modified Clamshell Interior, bookcloth,

handmade and machine-made paper, mixed media,

7-1/2 x 5-1/2 x 2 inches


Mary Uthuppuru
Box Making for Book Artists

Students in this workshop will create modified clamshell boxes. We’ll discuss how boxes can reflect the nature of the items stored inside while maintaining a cohesive design. Decorative techniques will include raised and recessed surfaces, stenciling, and wrapping curved board edges. While the goal is to learn how to build a specific structure, students will be encouraged to experiment and create components of the project according to their own ideas and inspirations. All levels. Code F02B


Studio artist; teaching: Paper and Book Intensive (MI), Ohio Wesleyan University (OH), Redux Studios (SC); exhibitions: 23 Sandy Gallery (OR), Abecedarian Gallery (CO); collections: Houghton Library at Harvard (MA), University of Oregon Architecture and Allied Arts Library.



Spring Concentration

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


Anne Covell
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


Erin Keane
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


Bhavna Mehta
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).