Books and Paper Workshops at Penland

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

 

 

 


 

 

 

SUMMER session 3

June 21 - JULY 3, 2015


Cathy Adelman, Names, Words, Witch's Symbols,

leather, walnut burl veneer, 8 x 7 x 1"

 


Jack Mauch, Marquetry (detail), wood veneer

 

Cathy Adelman & Jack Mauch

Marquetry by the Book

In this workshop we値l 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値l cover the basics of binding, including sewing, rounding and backing, edge decoration, end bands, and leather paring. Then we値l 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).

 

 

 

 

 

 

 

 

 

 

 


 

 


B饌trice Coron, Fashion Statement,

cut Tyvek, 40 x 20 x 20"

 

B饌trice Coron
Contemporary Papercutting

During this intensive workshop of serious fun, students will discover the incredible variety of contemporary papercutting and the many possible applications of this art form, from fine art to public art commissions. We値l conceive and produce works as different as unique illustrations, stenciled editions, pop-ups, dimensional work, wearable sculptures, and stop-motion animation. Cutting different materials and experimenting with scale, we値l keep an open mind and explore new territories. All levels. Code 03L


 

Studio artist; exhibitions: Center for Book Arts (NYC), American Visionary Art Museum (Baltimore), Cit de l但rchitecture (Paris); TED talk; commissions: MTA Arts for Transit (NYC), Charlotte-Douglas International Airport (NC); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles), Museum of Fine Arts Boston, Museum of Modern Art (NYC), National Gallery (DC).

beatricecoron.com

 

 

 

 


 

 

 

 

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"

 

 

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値l spend the first week completing several short assignments, looking at tons of images, and using brainstorming methods to develop our ideas. We値l 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 妬dea books. All levels. Code 04B


 

Studio artist, teacher at Vanderbilt University (Nashville); residencies: The Bothy Project (Scotland), Pyramid Atlantic (MD), Cit 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"

 

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,

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"

 

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.


 

fall one-week session 1

October 4 - 10, 2015


Steve Miller, Twelve Fables Set in the Shawnee Hills,

letterpress printed Arches text paper, text by Rodney

Jones, nest images by Dana Moore, binding by Anna

Embree, 8-1/4 x 5 x 1/4"

 

 

 

Steve Miller
The ABCs of VANDY: Letterpress and the Small Book

Let’s figure out how the Vandercook proof press works, and then use it to its best advantage printing a small book. Each participant will leave with a small, printed chapbook and a newfound respect for the letterpress process. This tightly focused session will cover typesetting, photopolymer plate making for drawings or patterns, small book design, printing, and basic binding. This workshop welcomes beginners and will also be challenging for students with some experience. All levels. Code F01L


Professor at University of Alabama; distinguished career award from the College Book Art Association; his Red Hydra Press work has been widely exhibited and collected.

redhydrapress.com

 

This class will be held in the letterpress studio.


 


 


Ann Marie Kennedy, Holding Up, abaca paper

with plants and textiles, 25 x 19”

Ann Marie Kennedy
Paper & Place

Students in this workshop will create art made from paper pulp, incorporating natural materials that will become part of the content of their work. Linen, flax, and abaca pulps will provide a neutral palette for mineral colors, natural dyes, and plant and seed textures. As students gain proficiency in making sheets of paper, engaging with the rich natural environment of Penland will allow them to create works that reflect the colors, shapes, and textures of the changing seasons. We’ll cover sheet forming, using a deckle box, processing plants for paper making, wet collage, and creating simple sculptural forms. All levels. Code F01PM


Faculty at Wake Technical Community College; residencies: Penland, Oregon College of Arts and Crafts, Headlands Center for the Arts (CA); North Carolina Arts Council fellowship; exhibitions: Cantor Art Gallery at Holy Cross College (MA), Visual Art Exchange (NC), University of North Carolina-Wilmington.

annmariekennedy.net


 

 


 

 

Fall One-Week Session 3

November 1 - 7, 2015


Rory Sparks, Drum Leaf Binding, letterpress printed paper,

7 x 5-1/2”

Rory Sparks
Drum Leaf Books

Explore the versatility of the drum leaf binding, an ideal format for 2D artists because it provides a page with unbroken imagery and no gutters. Each spread can be a print, painting, or photograph. This structure provides a simple, intuitive way of laying out a book, and it’s perfect for small editions. We’ll include several cover variations and many versions of stiff-leaf bindings and board books. Windows and wells will provide a wealth of opportunities for incorporating artwork and flat objects into these books. Come prepared to invent and push the boundaries of your book forms. All levels. Code F03B


Studio artist, edition binder, printmaker; teaching: Oregon College of Art and Craft, Pacific Northwest College of Art (Portland), Minnesota Center for Book Arts; founder of Em Space Book Arts Center (OR); exhibitions: Tacoma Art Museum (WA), Portland Art Museum (OR).

 

 


 

 

Spring Eight-Week Concentrations

March 13 - May 6, 2016


Christopher Davenport, Twelve Days,

van dyke photographs on Rives BFK paper,

cotton duck, homemade oak ink, 7-1/2 x 11-1/2

Christopher Davenport
Hand in Hand: Books, Paper, and Print from the Top

This workshop is about making books謡ith our hands, our tools, our paper, and our ideas. We値l cover gathering and preparing fibers; constructing molds, deckles, and tools; drying; surface treatment; finishes; Western and Eastern binding and printing techniques; and conceptual considerations of the book, book design, visual narratives, and generating content. We値l divide our time between the paper and book studios with a week or two spent printing in the letterpress studio as we gain skills, explore possibilities, and make essential binding and papermaking tools. All levels. Code S00B


Studio artist and teacher at University of Alabama; other teaching: Robert C. Williams Museum of Paper Making (Atlanta), Kennesaw State University (PA); Alabama Arts Council Arts in Education Residency; collections: Wesleyan University (CT), School of the Art Institute of Chicago; his Pocket Knife Press books are represented by Vamp and Tramp Booksellers.

pocketknifepress.com