Printmaking and Letterpress Workshops at Penland

Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Printmaking and letterpress classes include topics like etching, intaglio, woodblock printing, hand-set type, photopolymer plates, screen printing, and more. 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 6

August 14 - 26, 2016

Sage Perrott, Untitled, screenprint, 10 x 8 inches


Sage Perrott
Screenprinting: Basics & Beyond

In this workshop we値l cover many aspects of the versatile screenprinting process. Students will transform hand-drawn imagery into colorful, multi-layer screenprints using traditional and not-so-traditional techniques. Editioning, registration, ink mixing, proper squeegee technique, rubylith cutting, and more will be covered during the workshop. People who love to draw are especially encouraged to attend. All levels. Code 06X


Studio artist and adjunct professor at Utah State University; other teaching: Davis & Elkins College (WV), Lawrence Arts Center (KS); exhibitions: Wild Goose Creative (OH), West Virginia Wesleyan College, The Paper Circle (OH), PIQ (NYC), The Pioneer House (TN), Chicago Printmakers Collaborative.








Gaylord Schanilec, Pelecanus erythrorhynchos, wood engraving,

10 x 17 inches


Gaylord Schanilec
Wood Engraving & Woodcut Plus

This workshop will cover the basic techniques of cutting and printing from woodblocks, both end grain (wood engraving) and long grain (woodcut). Working with woodblocks and multiple, overlapping colors, we値l cover methods of transferring an initial image onto the block, my methodology of proofing, and my view of the finer points of press work in printing woodblocks. We値l also explore the possibility of printing on the proofing press from pieces of wood, stone, and possibly other things. All levels. Code 06L


Studio artist; American Institute of Graphics award, Jerome Book Arts fellowship; residencies: Minnesota Center for Book Arts, Gregynog Press (UK); collections: New York Public Library, Getty Museum (Los Angeles), Minneapolis Institute of Art, Yale University, Victoria and Albert Museum (London); archives held at the University of Minnesota.






SUMMER session 7

August 28 - September 3, 2016

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値l also investigate surface treatments such as collage and perforation and review archival techniques. We値l use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper痴 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

Georgia Deal, Roses and Razorwire, handmade paper, pulp

transfer, screenprint, monoprint, 24 x 30 inches

Georgia Deal
From Paper to Print!

This workshop will explore the vast possibilities for combining handmade paper and monoprints. We値l start with the basics of hand papermaking and the many techniques that enable the creation of unique substrates for printing. We値l cover a wide range of monoprint processes including reductive, multiplate, and pressure printing. The back-and-forth of working in both media will expand participants visual vocabularies and encourage them to own every aspect of the process庸rom paper to print! All levels. Code F00X

Professor of printmaking and papermaking at Corcoran School of the Arts & Design (DC); workshop teaching: University of Georgia Cortona Italy Program, Skopelos Foundation for the Arts (Greece); collections: Library of Congress (DC), Philadelphia Museum, Corcoran Gallery of Art (DC), Yale University Beineke Library (CT).







Fall One-Week Session 3
November 6 - 12, 2016

Bryce McCloud, Our Town Together Heroic, large-scale stamps

stoneware, slip, 27 x 19 x 8 inches





Bryce McCloud
Analogue Social Media

This workshop will tap into the power of printmaking as a handmade social medium.Working with relief printing痴 ability to create multiple images, our mission will be to find novel ways to work together and interact with a community. Like playful scientists we値l create socially-driven printmaking experiments, imagine ways to involve people outside of our studio, and then use the community at Penland as our testing ground. We値l brainstorm and refine ideas that may be realized during the session or at other times and places. We値l cover relief printmaking skills and discuss other tactics for engaging the public with your work when you head home. Printmaking or letterpress experience will be helpful, but this workshop is open to all levels. Code F03L

Studio/public artist, founder of Isle of Printing, a letterpress and fabrication shop (Nashville); teaching: Watkins College of Art (TN), Brighton College of Art (UK); public art: Our Town Nashville (TN), Pinewood Social (TN), Invasion UK (Brighton, UK), South by Southwest (TX).



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 inches each


Anne Covell
Image as Narrative: Letterpress & the Artist痴 Book

This workshop will examine the material connection between image and narrative. Through experimenting with alternative print techniques on the Vandercook, we値l investigate how mood and tone can be expressed through image and the sequencing of images. We値l 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値l 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).