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 5
July 24 - August 9, 2016
Lisa Bulawsky, Tender Remember, monotype, silk collagraph,
collage, 18 x 15 inches
Etching: Fix & Flux
This workshop will embrace the dualities that make intaglio printmaking so attractive and complex. We’ll dive into a variety of traditional etching techniques including soft ground, aquatint, lift ground, and spit bite. We’ll also experiment and discover new techniques using resources in and around Penland. Our work will balance mastery and surrender, intention and chance, fast and slow. Each student will have the opportunity to accomplish an ambitious body of work and participate in a class portfolio exchange. All levels. Code 05X
Studio artist, director of Island Press (St. Louis), and professor at Washington University (St. Louis); other teaching: Frogman’s Print Workshop (IA), Anderson Ranch (CO); residencies: Frans Masereel Centrum (Belgium), Cité Internationale des Arts (Paris); collections: Spencer Museum (KS), University of Wisconsin, Royal Academy of Fine Art (Belgium).
Eileen Wallace, Festina Lente, letterpress print (wood type,
lead rule), 14 x 11 inches
Drawing with the Press
This workshop will teach good printing practices in tandem with a healthy dose of experimentation. We’ll use handset type, carved blocks, and photopolymer plates and expand our choices through alternative materials. We’ll build our own type-high blocks and design creative lock-ups in the press in an effort to stay connected to the process and use the press as a way of drawing. To escape the ease and convenience of digital tools and enlarge our material vocabulary, we’ll experiment with alternatives andbring a new voice to the letterpress conversation. All levels. Code 05L
Lecturer at University of Georgia; other teaching: Haystack (ME), OxBow (MI), Washington University (St. Louis), Columbia College Chicago; residencies: Haystack (ME), Arrowmont (TN), Penland; exhibitions: Lamar Dodd School of Art (GA), University of Georgia, Southern Graphics Council (WI), American Academy (Rome).
SUMMER session 6
August 14 - 26, 2016
Sage Perrott, Untitled, screenprint, 10 x 8 inches
Screenprinting: Basics & Beyond
In this workshop we’ll 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
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’ll 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’ll 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
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).
September 25 - November 18, 2016
Georgia Deal, Roses and Razorwire, handmade paper, pulp
transfer, screenprint, monoprint, 24 x 30 inches
From Paper to Print!
This workshop will explore the vast possibilities for combining handmade paper and monoprints. We’ll start with the basics of hand papermaking and the many techniques that enable the creation of unique substrates for printing. We’ll 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—from 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
Analogue Social Media
This workshop will tap into the power of printmaking as a handmade social medium. Working with relief printing’s 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’ll 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’ll brainstorm and refine ideas that may be realized during the session or at other times and places. We’ll 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).
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
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).
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