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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.
SUMMER session 3
JUNE 21 - July 3 2015
Andy Rubin, Kaddish, lithograph, 20 x 15"
This workshop will make multicolor printmaking fun and easy. We’ll start by making key images on etching plates and move quickly to making second, support plates to add color. We’ll cover collographs, multi-plate registration, transfers, chine-collé, monotype, a la poupée intaglio, stencils, and whatever else it takes to create vibrant, exciting, two (or more) plate images. We won’t be making editions, so be prepared to create many incredible, individual images. No experience necessary, just a curiosity about the inherent possibilities of printmaking. All levels. Code 03X
Master printer at Tandem Press at University of Wisconsin-Madison; has worked with more than 100 graduate assistants on projects with many artists, including Jim Dine, Judy Pfaff, and Sam Gilliam; Tandem’s prints are in museum and corporate collections worldwide; Andy’s work has been exhibited in more than 40 print competitions.
Béatrice Coron, Fashion Statement, cut Tyvek,
40 x 20 x 20"
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’ll 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’ll 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), Cité de l’Architecture (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).
SUMMER session 4
July 5 - 17, 2015
Jennifer Ghormley, From Here To There, stencil
screenprint, woodcut, 10 x 8 "
Mix your Matrix
Merging one of the oldest forms of printmaking with contemporary approaches to image making, students will combine woodcuts and screenprints to make dynamic, layered imagery. This combination creates a blend of colorful, graphic shapes and intricately carved wood-grain textures and mark making. Working from drawings, photographs, and other images, students will hand-cut screenprint stencils and carve textured woodblocks. Design and layering can be as simple or complex as the work calls for. Instruction will focus on technical skills, creative experimentation, individual approaches to content and concept, and contemporary printmaking methods. Once the matrix is created, the possibilities are limitless. All levels. Code 04X
Studio artist; former print studio manager at Anderson Ranch (CO); teaching: Metropolitan State College of Denver, Colorado Mountain College; exhibitions: Aspen Chapel Gallery (CO), Carson Gallery (Denver), RedLine Gallery (Denver)
SUMMER session 5
July 19 - August 4, 2015
Thomas Lucas, Spirit Tools, carborundum intaglio,
30 x 22"
Survey of Printmaking Techniques
This workshop will introduce basic printmaking processes and equipment with an equal emphasis on concept and technique. Printmaking is varied, repeatable, and tactile, with images printed as unique works, as multiples, or as variations, using an array of processes. We’ll cover monotype, relief, intaglio, lithography, and various approaches to making and printing plates in each medium. We’ll explore drawing, design, color, layering, and mark-making. Students will build on process, experiment with print media, and think creatively and critically. All levels. Code 05X
Teacher at Chicago State University and Harold Washington College (Chicago); other teaching: Tyler School of Art (Philadelphia), School of the Art Institute of Chicago, Ox-Bow (MI); founder and master printer at Hummingbird Press Editions; commission: Chicago Transit Authority; representation: N’Namdi Contemporary (Miami, Detroit).
Ashley John Pigford and Tricia Treacy, Touch,
letterpress covers, hand-sewn binding,
digitally printed pages, 11 x 9"
Ashley John Pigford & Tricia Treacy
Digital Fabrications & Letterpress Printing
Using a CNC router, we’ll design (using the Adobe Creative Suite) and produce type-high woodblocks for letterpress printing. These blocks may include text (creating original woodtype) or other forms of aesthetic expression. Then we’ll print with these blocks using the Vandercook presses and bind our compositions into an editioned, collaborative book. Throughout the workshop, we’ll experiment with ways to use materials, tools, and technology to create visual narratives, ultimately in the form of hand-crafted books. All levels. Code 05L
Ashley: associate professor of graphic and interaction design at University of Delaware; project grant from the Center for Craft, Creativity, and Design (NC). Tricia: assistant professor of design at Appalachian State University (NC); collections: Annenberg Rare Book Library at University of Pennsylvania, Frank Furnace Book Arts Collection at Museum of Modern Art (NYC).
SUMMER session 6
August 9 - 21, 2015
Keiji Shinohara, July Fifth,, woodcut print, 10 x 15"
Japanese Woodblock Printmaking
Woodcut is an ancient printmaking technique. Contemporary methods and tools can combine with the original processes in exciting ways; this workshop will explore Western and Eastern ideas. We’ll cover carving with knives, gouges, Dremel tools, etc., along with surface-building techniques. We’ll practice the Japanese printing method using watercolor, rice paste, and a baren along with the Western use of rollers and the system of printing multiple color blocks at once. All processes will be done by hand; no presses. Students will progress from single color to multiple colors on one block to multi-block prints. We’ll study prints by Rembrandt, Goya, Picasso, Munch, Hiroshige, Utamaro, and Hokusai. All levels. Code 06X
Teacher of printmaking at Wesleyan University (CT); visiting teacher at more than 100 venues; 40 solo exhibitions; Japan Foundation and NEA fellowships; collections: Fine Arts Museums of San Francisco, Cleveland Museum, Milwaukee Art Museum.
Martin Mazorra, Fickle, woodcut and letterpress
on paper, 24 x 18"
Woodcut & Letterpress Posters
This workshop explores the relationship between text and image. The direct and immediate qualities of woodcut images combined with letterpress text will be used as the operative elements in narrative, graphic statements in the poster format. Students will acquire new skills in woodcut, hand typesetting, and letterpress principles and processes. All levels. Code 06L
Teacher at Pratt Institute (NYC) and Parsons the New School for Design (NYC); Marie Walsh Sharpe Foundation residency; fellowships: United States Artists Ford Foundation, New York Foundation for the Arts; exhibitions: David Krut Gallery (NYC, South Africa), Above Second Gallery (Hong Kong), Kuntishall (Estonia), Mohs Gallery (Copenhagen), MF Gallery (NYC), Crane’s Art Space (Philadelphia), Morgan Conservatory (Cincinnati), Dishman Museum (TX).
SUMMER session 7
August 23 - 29, 2015
Kyle Durrie, US Map, ink on paper, 18 x 24"
Down & Dirty Letterpress
We’ll demystify the process of letterpress printing and learn to see it as an approachable means of communication and expression. We’ll cover basic press safety and protocol as well as the fundamentals of relief printing, typesetting, ink mixing, and impression, before moving on to an open studio approach where students will be encouraged to play with large wood type and experiment with form. We’ll look at show posters and advertising from greats like Hatch Show Print and introduce other experimental processes such as pressure printing, working with magnets, and printing with nontraditional forms. Students will leave with an understanding of the medium and a shared portfolio of posters. All levels. Code 07X
Proprietor of Power and Light Press (NM), owner of the Moveable Type Truck, a traveling educational print shop; residencies: Skowhegan (MA), Vermont Studio Center; exhibitions: SPACE Gallery (ME), Center for Maine Contemporary Art.
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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