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Printmaking and Letterpress Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Fall Eight-Week Concentrations
September 20- November 13, 2015
Phil Sanders, Black Minorcas, watercolor, pencil, typewriter,
cyanotype, 9 x 12”
Printers in the Making
As a printer and a printmaker, I understand the difficulty of switching between “printer brain” and “artist brain.” The pull between “how to do” and “what to do” can leave you lost in the middle. Consider this class a technical apprenticeship combined with the creative space to experiment with your artistic voice. We’ll demystify all intaglio processes plus monotype, monoprint, and chine-collé. We’ll make ink, grounds, and drawing supplies, review tool maintenance, paper conservation, and more. We’ll tackle drawing, composition, design, and color theory through drawing calisthenics and composition exercises. This workshop is ideal for artists looking to hone their printmaking skills and artistic voice or working toward becoming professional printers. All levels. Code F00X
Director of PS Marlowe; former director and master printer at Robert Blackburn Printmaking Workshop (NYC), former master printer for Universal Limited Art Editions (NY); teaching: Stanford University (CA), San Francisco State University (CA); collections: Metropolitan Museum of Art, Yale University Art Gallery.
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"
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.
Spring One-Week Session 1
March 27 - April 2, 2016
Jon Lee, L0908,
woodcut on handmade paper, 24 x 18”
Japanese Woodblock Printing: Tools & Techniques
Mokuhanga—traditional Japanese woodblock printing—may seem like a daunting technique to master. The tools can be expensive and hard to find, and when they are found, it’s hard to know what to select. In this workshop, we'll make the basic tools and learn printing techniques. The workshop will be in two parts: Tool making—we will make the baren, inking brush, knife, and some miscellaneous tools and learn sharpening and other maintenance. Process—image transfer, carving, paper sizing, and printing. All levels. Code S01X
Associate professor at Trinity University (TX); master printer training at Tamarind Institute (NM); exhibitions: McNay Art Museum (TX), Haiharan Taidekeskus (Finland); representation: Hunter Gather Gallery (Houston).
Spring One-Week Session 2
April 10 - 16, 2016
Aimee Joyaux, Shop RVA, relief print on paper, 16 x 20”
This workshop will be a fun week of introductory printmaking using dozens of plates salvaged from a seed and feedbag company in Richmond, Virginia. We’ll mix and match chickens, pigs, cows, and horses to make unique posters and simple broadsides. We’ll review basic printmaking processes with an equal emphasis on fun and exploration. We’ll cover ink application, color mixing, and printing on paper and fabric (tea towels!). We’ll print with a press or by hand using oil-based inks. Students will leave with a shared portfolio of prints and will contribute to the collective work of Cornmeal Press. All levels. Code S02X
Studio artist; teaching: Visual Arts Center (VA), Ball State University (IN); exhibitions: Catherine Edelman Gallery (Chicago), National Museum of Women in the Arts (DC), Melanee Cooper Gallery (Chicago), Center for Book and Paper Arts (Chicago); representation: Quirk Gallery (VA), Walton Gallery (VA).
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