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 spring and summer 2017 workshops is currently open.
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).
Work-study scholarships still available for this workshop.
SUMMER session 1
May 28 - June 9, 2017
Curtis Bartone, Strike, stone lithograph, 18 x 27 inches
Pushing the Stone
This class focuses on getting the most out of stone lithography—a process unchanged since 1796! Numerous demos will introduce the basics: preparing a stone, using various drawing media, processing, proofing, printing, and curating. We’ll also explore reductive techniques and ways to rework images. For intermediate and advanced students, exploration of multiple color runs and other lithographic matrices (aluminum plates and polyester plates) will be possible. We’ll emphasize process and exploration, but students can expect to complete at least two small editions of lithographs during the workshop. All levels. Code 01X
Studio artist; teaching: Savannah College of Art and Design (GA), Harrington Institute of Design (Chicago); residencies: Emmanuel College (Boston), Gil Society (Iceland); solo exhibitions: Alberta Printmakers (Canada), Telfair Museum of Art (GA), Erie Art Museum (PA).
Lynda Sherman, Short Cut, ink on paper, 28-1/4 x 6-1/2 inches
Letterpress: Text Is Image
This workshop will focus on press and print shop skills and the dissemination of hand-composed information. We’ll discuss and experiment with content and layout using Penland’s collection of type. Through individual and collaborative exploration we’ll experience creative decision making on press. Techniques discussed in daily demos will include typesetting on the stick and on the bed, type-high content from reductive and additive techniques, flip turn, overprints, and moiré. The workshop will culminate with a multiples exchange with a focus on adhesive and nonadhesive presentation. All levels. Code 01L
Studio artist and founder of Bremelo Press (Seattle); teaching: Lit Fuse (WA), Type on the Cob (IA); collections: Swedish Collection (Seattle); publications: Mid America Print Journal, Vandercook Book (Just Vandy Press), Ladies of Letterpress (Princeton Architectural Press).
SUMMER session 2
June 11 - 23, 2017
Valerie Lueth and Paul Roden, The Moon, color woodcut print,
35-1/2 x 30-1/2 inches
Valerie Lueth & Paul Roden
Multi-Block Color Woodcut
Working from prepared drawings or creating images directly on blocks of wood, students in this workshop will explore the contemporary application of the craft of multi-block woodcut printmaking. The atmosphere will be relaxed, informative, and personalized. General instruction will be given to the group, followed by individual attention during work periods. The workshop will be broken into several stages: drawing, carving, proofing, transferring, color separation, history, etc. We will not use computers. All levels. Code 02X
Studio artists and owners of Tugboat Printshop; exhibitions: Society for Contemporary Craft (PA), Pyramid Atlantic (MD), Monserrat College of Art (CT), The Arm (NYC); collections: Library of Congress (DC), West Virginia University; publications: People of Print (Thames & Hudson), Contemporary American Printmakers (Schiffer Publishing).
Jessica Spring, Burnham Unfolds, letterpress printed with handset
type, 6 x 6 inches unfolded
For printers and book artists, ephemera offers a sweet spot between mass-produced greeting cards and limited-edition books where form and content work together to elevate both. Inspired by vintage ephemera, we’ll master several folded bindings while also looking at structures designed in response to content. Folded structures offer an ideal surface for daredevil letterpress typesetting: exploring the use of traditional circular and angle quads, adapting existing tools, and experimenting with Daredevil Furniture (lasercut typesetting furniture designed at Springtide Press). Each student will complete a small edition of an artist’s book. All levels. Code 02L
Studio artist, owner of Springtide Press; teaching: Columbia College (Chicago); residencies: Pacific Lutheran University (WA); collections: Boston Athenaeum, Yale University (CT), San Francisco Museum of Modern Art, School of the Art Institute of Chicago.
SUMMER session 3
June 25 - JULY 7, 2017
Delita Martin, The Watching Girl, gelatin printing, relief, conté,
acrylic, decorative papers, hand stitching, 50 x 39 inches
Crossing Boundaries: Mixed-Media Printmaking
With an emphasis on printmaking, this workshop will explore the vast possibilities of combining traditional and contemporary image-making techniques. Students will build imagery rich in texture and complexity by layering prints with other media. We’ll begin by making and printing from relief and collagraph plates. Then we’ll use drawing and painting materials along with collage techniques—including paper, fabric, photographs, and found objects—to create finished works. The workshop will include daily demonstrations, critiques, and discussions on contemporary art making. All levels. Code 03X
Studio artist; teaching: University of Arkansas–Little Rock; solo exhibitions: University of Arkansas–Fayetteville, The Community Artist Collective (Houston); collections: Crystal Bridges Museum (AR), Purdue University (IN), Bradbury Museum (AR).
Pamela Olson, Seven Cases, sewn-boards binding with three-flap
portfolio, letterpress printed, 9-1/4 x 5 x 1/2 inches
Sketchbooks & Journals: Design & Structure
This workshop unites bookbinding and letterpress through sketchbooks and journals. We’ll begin with a discussion of historical and contemporary work. Then we’ll spend a few days in the letterpress studio setting type, printing on the cylinder presses, and working collaboratively to print typographic and patterned cover papers for our books. Back in the books studio, we’ll cover structures, materials, formats, and media. Students will complete a set of blank books, including pamphlet-sewn notebooks, nonadhesive leather journals, and a casebound (hardcover) sketchbook. All levels. Books and letterpress studios. Code 03B
Studio artist; teaching: University of Georgia Studies Abroad (Cortona, Italy), University of Nebraska at Omaha; collections: Rhode Island School of Design, University of California Los Angeles, Newberry Library (IL); TRANSIT Residency at the Hamilton Wood Type and Printing Museum (WI); representation: Abecedarian Gallery (CO), Vamp & Tramp Booksellers (AL).
SUMMER session 4
july 9 - 21, 2017
Margot Ecke, Heart, letterpress print, airbrush, 12 x 12 inches
Lily Smith+Kirkley, Dallas Neighborhoods, letterpress print,
20 x 14 inches
Margot Ecke & Lily Smith+Kirkley
This workshop will push the boundaries of letterpress printing. We’ll play with printable materials, such as woodblock, linoleum, copper plates, scavenged materials, and more, to create prints that are unexpected, whimsical, and impressive. We’ll explore multiple-block printing, tight registration, flocking, and blend rolls, and we’ll use distressing techniques to produce varied and nontraditional printing surfaces. Students will produce work that is big, bold, and experimental, giving them newfound freedom in their approach to letterpress printing. Intermediate level; basic letterpress skills required. Code 04L
Margot: studio artist and owner of Smokey Road Press; teaching: University of Georgia, North Bennet Street School (Boston). Lily: studio artist and owner of Lilco Studio; 2013 Scion/Motivate winner; ICON10 board member.
SUMMER session 5
july 23 - August 8, 2017
Clay Harmon, Conversation, polymer photogravure printed with
oil-based ink, 13 x 16 inches
Photopolymer plates are a nontoxic, water-etched alternative to traditional acid-etched copper plates for printmaking. In this workshop, we’ll use them to make photographic-quality, continuous-tone photogravure plates for intaglio printing on etching presses. While this will be of special interest to photographers, the same techniques can be used to create intaglio plates from hand-drawn sketches and other artwork. We’ll have abundant time to create a portfolio of around a dozen images and experiment with techniques that stretch the boundaries of traditional photographic printing. All levels. Code 05X
Studio artist; teaching: Glassell School of Art (Houston), Houston Center for Photography, Asheville Bookworks (NC), Project Basho (Philadelphia); collections: Museum of Fine Arts, Houston, private collections in Europe, Asia, and the Americas.
Sarah Bryant, Fond, letterpress-printed book in enclosure with a
suite of prints and an object, 7-1/4 x 4-1/8 x 5/8 inches
The Letterpress-Printed Artist’s Book
This letterpress-based workshop is devoted to books as an expressive form. We’ll begin by combining simple bookbinding techniques, writing exercises, and drawing assignments to create book sketches and drafts. We’ll waste no time moving our ideas to the press: setting type in metal, carving imagery from linoleum, and guiding our ideas into book form. By the end of the session, each participant will create an edition of an artist’s book. Topics will include basic press operation, hand-setting type, letterpress image-making, and basic bookbinding structures. All levels. Code 05L
Studio artist; teaching: University of Alabama, University of Georgia Cortona Italy Program, London Centre for Book Arts; book arts fellowship at Wells College (NY); collections: Yale University (CT), New York Public Library, Library of Congress (DC), University of Chicago, Massachusetts College of Art.
SUMMER session 6
August 13 - 25, 2017
Amanda Lee, Safely, screen-print, dye, 7-1/2 x 17 feet
To Sober & Quiet the Mind
John Cage said that the purpose of art is “to sober and quiet the mind, so that it is in accord with what happens.” In this spirit we will approach the process of creating prints from etched copper plates. We’ll use etching for its rich mark- and image-making abilities, while looking for ways to incorporate meditative and chance actions into our process. Techniques will include, but not be limited to, soft ground, hard ground, aquatint, drypoint, and multi-plate printing. All levels. Code 06X
Studio artist; teaching: University of Arkansas, University of Iowa, University of Georgia Cortona Italy Program; residencies: McColl Center (NC), Scuola Internazionale di Grafica (Italy); exhibitions: SG Gallery (Italy), Southern Graphics Council (OR), Bellevue Art Museum (WA), University of North Carolina, Public Space 1 (IA).
Steve Miller, There Are Things Too Marvelous to Be Spoken Of,
bound letterpress-printed reduction linoleum cut, 2-1/4 x 3-1/8
Just Imagine a Book
Everything comes together in the book. Let’s be struck by an idea, let’s attach words and images to that idea, let’s create a structure to support it. Then let’s set some type, create images, breathe in the mountain air, and put our shoulders to it to make a book. We’ll think about where words come from, how type is set, how images are created, how letterpress works, and how books come together. There is some magic involved. Open to motivated students of all levels. Code 06L
Professor at University of Alabama; College Book Art Association Distinguished Career Award; his Red Hydra Press work includes collaborations with Cuban artists and poets and has been widely exhibited and collected.
SUMMER session 7
August 27 - September 2, 2017
Tonja Torgerson, untitled (death & life), screen-print,
22 x 20 inches
Screen-Printing: Multi-Colored Multiples
This workshop will explore the fundamentals of screen-printing and the broad versatility of this process. We’ll use hand-drawn imagery to create colorful, multi-layer screen-prints. Students will tackle photo-emulsion, hand-drawn films, rubylith, editioning, color layering, registration, and more in this densely packed workshop. Perfect for people who love to draw! All levels. Code 07X
Studio artist; teaching: Lawrence Arts Center (KS), The Percolator (KS), West Virginia Wesleyan College; exhibitions: Arkansas Art Museum, Torpedo Factory Art Center (VA), Ulrich Museum of Art (KS), Texas Tech University School of Art, Gamut Gallery (Minneapolis), SGC International Conference (TN).
Leslie Smith, It Is Filled with Rain, letterpress print,
8-1/4 x 4 inches closed
This workshop will cover the fundamental skills of letterpress printing including typesetting and image-making. Students will hand-set type and explore the use of ornaments, pressure printing techniques, and pochoir. Beginners will learn all the basics and produce an engaging piece that pairs text and image, while more advanced students will plan more complex projects such as broadsides, French folds, or small chapbooks. All levels. Code 07L
Studio artist; works on drawings, prints, and books based on her interests in early modern natural philosophy, language, and translation.
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