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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.
spring 8-week concentration
march 9 - may 2, 2014
Rory Sparks, Live Specimen: 4 Line French
Clarendon, thread, paper, letterpress-printed type,
4 x 2-1/2 x 1-1/2 inches
Rory Sparks - Moving Pictures: Animated Letterpress
Let’s get things moving! We’ll explore various methods of incorporating kinetic design and animation into our letterpress work, including flip books, thaumotropes, zoopraxiscopes, red/cyan 3d anaglyphs, mobiles, and combinations of all of the above. We’ll cover the fundamentals of letterpress including press operation, typesetting, and polymer plates, and we’ll use various low-tech methods for getting images onto paper. We’ll sharpen skills and employ the letterpress as a perfect modular system for stop-frame animation. Inspiration will come from Marcel Duchamp’s film, Anémic Cinéma, Bruno Munari’s useless machines, and, of course, Eadweard Muybridge. All levels. Code S00L
Studio artist; founder and director of Em Space Book Arts Center (OR), teaching: Oregon College of Art & Craft, Pacific Northwest College of Art (OR); lead printer for Penland’s winter letterpress residency.
Read more about this workshop here
spring one-week session 1
march 23 - 29, 2014
Emily Arthur, Water Moccasin (with Shot), etching,
aquatint, chine collé, 15 x 20 inches
Emily W. Arthur - The Language & Practice of Etching
his intaglio intensive will introduce beginning printmakers to the major acid-etching techniques of line etch and aquatint. Experienced printmakers will be able to work with more advanced methods such as sugar lift, pochoir, chine collé, spit bite, water bite, and multiple-plate color printing. Bring your curiosity, energy, and ideas along with drawings, found imagery, and/or previous plates and prints of any kind. All levels. Code S03X
Associate professor at University of North Florida; residencies: Venice Print Studio (Italy), Vermont Studio Center, A.I.R. Vallauris (France); lead printer for Penland winter print residency; work in collections in Russia, Estonia, Japan, New Zealand, U.K., Italy, and France.
summer session 1
may 25 - june 6, 2014
Kristen Martincic, Polka Dot Fade Suit,
monotype on kozo, stitching, 26 x 16H x K inches
Ready, Set, Relief!
This workshop will explore the full range of relief mark-making and wood-block printing methods. Techniques will include carving with hand and power tools as well as visual effects made possible by carving out the reverse side of the block. We’ll explore black and white and color inking methods including reduction, jigsaw, multiple block, shaped block, and stencils. The goal of the workshop will be to use these and other printing methods to further develop your own imagery. All levels. Code 01X
Studio artist; teaching: Indiana University, Bowling Green State University (OH); exhibitions: International Print Center (NYC), Editions/Artists’ Book Fair (NYC), Wellesley College (MA); residencies: Kimmel Harding Nelson Center for the Arts (NE), Brush Creek Foundation (WY), Watershed (ME), Prairie Center (IL).
Elizabeth Alexander, Still Life With Gates (detail), paper, glue
Forms in Paper
This workshop will be an in-depth exploration of sculpting with one of the most versatile raw materials: paper. We’ll study contemporary and historical uses of this medium as we conduct technical exercises and develop our own language with paper arts. We’ll cover cutting, folding, forming, assembling, and pop-ups, as we create small sculptures, three-dimensional drawings, and, finally, paper installations. As the work evolves, we’ll have critiques and group discussions. This workshop welcomes anyone who enjoys experimentation, exploration of materials, and working with their hands. All levels. Letterpress studio. Code 01L
Studio artist; adjunct faculty at Lasell College (MA) and Montserrat College of Art (MA); Massachusetts Cultural Council fellowship; residencies: Vermont Studio Center, I-Park (CT); exhibitions: Jane Deering Gallery (CA), Boston Sculptors Gallery, Dana Hall Gallery (MA), Bromfield Gallery (Boston).
summer session 2
june 8 - 20, 2014
Erika Adams, Puffer Fish, two-color intaglio,
6 x 5 inches
Owls & Antlers
What if you made images of anything you wanted (kittens, anyone?). Here is a chance to explore your guilty pleasures—work that compels you but might not fit into your artistic oeuvre. This workshop will focus on multi-plate copper etching with all the trimmings: color, registration, transparency. We’ll move from the basics of preparing your plate through dry techniques, etching, aquatint, and various inking methods. We’ll look for inspiration in sketchbooks, the outdoors, and the work of artists like Walton Ford, Odilon Redon, Kiki Smith, and others. And we’ll print whatever we want. All levels. Code 02X
Assistant professor at Concordia University (Montreal); Tamarind Institute (NM) master printer; residencies: Hall Farm Center for the Arts (VT), Frans Masereel Centrum (Belgium), Vermont Studio Center, Djerassi (CA); lead printer for Penland winter print residency.
Sara Langworthy, New Patterns in Old Style,
letterpress printed artistís book, 9 x 17 inches
6 x 5 inches
Drawing at the Vandercook
The focus of this workshop is using the cylinder press as a dynamic image-making tool, applying fluid approaches to traditional and innovative letterpress techniques. We’ll cover pressure printing, photopolymer, experimental relief surfaces, and monoprinting on the Vandercook, with an emphasis on strategies for designing at the press. As we work, we’ll pay attention to constructing a visual narrative and using text as a prompt to further understanding of images. Students will complete a suite of print samples and a print or artist’s book. We’ll spend one day working with Julie Leonard in the book studio. All levels. Code 02L
Studio artist; lecturer at University of Iowa Center for the Book; workshop teaching: Women’s Studio Workshop (NY), Minnesota Center for Book Arts (Minneapolis); fellowships: Jerome Foundation (St. Paul), Women’s Studio Workshop (NY); collections: Walker Art Center (Minneapolis), Library of Congress (DC), Yale University (CT).
summer session 3
june 22 - july 4, 2014
Karen Kunc, Systems, woodcut, 14 x 14 inches
Color Woodcut Printmaking
This intensive workshop will awaken the possibilities of the woodcut printing process for the beginning and advanced printmaker. The approach will not be tradition-bound; it will be inventive, with contemporary methods that can be spontaneous, simple, and direct. We’ll explore cutting techniques, oil-based ink and modifiers, and printing by hand as well as using the press. Students will design images, cut blocks, and print several projects using a variety of methods and individual discoveries. All levels. Code 03X
Professor at University of Nebraska-Lincoln; has taught in Egypt, Italy, Poland, japan, and Iceland; Fulbright scholarships for study in Finland and Bangladesh, National Endowment for the Arts fellowship; Venice Printmaking Studio residency (Italy); collections: Beach Museum (KS), Huntington Museum (WV), Brooklyn Museum (NYC), Philadelphia Museum, Milwaukee Art Museum, Museum of Modern Art (NYC), Smithsonian American Art Museum (DC), Zimmerlie Art Museum at Rutgers (NJ).
Steve Miller, There Are Things Too Marvelous To Be
Spoken Of, words and reduction linocuts,
3 x 2 inches
A Treasured Object
What makes a text treasured or sacred? What kind of printed object would reflect this treasure? If you are intrigued by the power of words and their translation into letterpress-printed work, this class is for you. Let’s start with powerful words. Yours? Perhaps add linocuts and alternative mark-making to the mix. Then embark on the design, typesetting, and letterpress processes to create something more powerful than words or images alone. All levels. Code 03L
Professor at University of Alabama; owner of Red Hydra Press, producing handmade books and broadsides; Distinguished Career Award from the College Book Art Association; exhibitions: Tradition/Innovation: American Masterpieces of Southern Craft & Traditional Art (touring, 12 venues), Pierre Menard Gallery (MA), Pepper Place Gallery (AL); his current Red Hydra work revolves largely around ongoing collaborative book projects with Cuban printmakers and papermakers.
summer session 4
july 6 - 18, 2014
Timothy Maddox, Haybale Studio Sign, sheet metal,
enamel, 18 x 26 inches
The Sign Painter
This workshop will guide students through the traditional techniques of sign painting. We’ll learn to draft letters by hand, practice techniques with lettering brushes, develop casual and script alphabets, create patterns, study 23k gold gilding, and more. After a hands-on study of the basics, students will develop their own projects, at their own pace, in their own style. We’ll paint on any surface that needs a sign, just as a sign painter in the trade would. The history of sign painting will be revealed as we work through the materials and techniques of traditional sign painting. All levels. Code 04X
Studio artist, signmaker; teaching: Arrowmont (TN); Windgate fellowship (NC); exhibitions: Green Hill Center (NC), Converse College (SC), Herron School of Art and Design (IN); collection: Gregg Museum of Art and Design (NC).
John Horn, Souls Dwell in Printer’s Type,
letterpress print, 24 x 18 inches
Beth Lambert, The Curb Feelers, silkscreen,
letterpress print on Bristol, 12 x 9 inches
John Horn & Beth Lambert
The sarge is back and he’s bringing corporal Lambert with him. Together they’ll take green letterpress recruits and turn them into typesetting, Vandercook-cranking machines. You’ll learn printing terminology, the printer’s measurement system, and the proper way to handset type. You’ll learn to operate a Vandercook proof press and a Pilot platen press and produce your own small projects such as cards and small posters. It will be intense. Beginning level. Code 04L
John: printer for 52 years; teaching: University of Alabama, University of Iowa Center for the Book, University of Arkansas, Penland; has ten apprentices at his private press; exhibitions: University of Alabama, Hamilton Wood Type Museum (WI), Henry Zarrow Center for Art and Education at University of Tulsa (OK).
Beth: studio artist, adjunct instructor at Hendrix College (AR), instructor at Arkansas Arts Center Museum School; exhibitions: Arkansas Arts Center, Arkansas Studies Institute.
summer session 5
july 20 - august 5 , 2014
Robert Mueller, Landmaelinger Island (detail),
muslin, coffee, thread, pigment
Experiments in Drawing & Printmaking
We’ll use the unique setting and experience of Penland as a starting point to explore making images through a variety of drawing and printmaking processes. We’ll begin with a focus on capturing a sense of place through drawing and observing the world of Penland. Then we’ll bring these collected drawings and experiences into the print studio to prompt our experiments in monoprinting, soft and hard ground etching, and combinations thereof. This workshop will collaborate extensively with Evie Woltil Richner’s workshop in the drawing and painting studio. All levels. Code 05X
Associate professor at University of Florida; Fulbright scholarship for study in Iceland; exhibitions: SOFA Chicago, Harn Museum at University of Florida, Icelandic Print Studio Gallery (Rekjavik); collections: New York City Public Library, Kennedy Museum of Art (OH), Universal Graphic Museum (Egypt).
Julie Chen, A Guide to Higher Learning,
letterpress printed, box size: 31 x 31 inches
It’s All in the Game: The Playful Artist’s Book
The interactive potential inherent in both artists’ books and board games invites a range of possibilities for combining elements from each to create a new hybrid form. Each student will create a piece that is part artist’s book and part functioning board game. We’ll use letterpress printing and other bookart techniques to print and assemble the game boards and to make rule booklets, spinners, and various game pieces that will be part of each set. Students will create a compartmented box to house all the elements of their book/game. Intermediate: letterpress printing experience required; bookmaking experience will be helpful. Code 05L
Associate professor at Mills College (CA); studio artist publishing limited-edition books under the Flying Fish imprint for more than 25 years; collections: Museum of Modern Art (NYC), Yale University Special Collections (CT). “My work is heavily rooted in the ideas of the book as a physical object and a time-based medium. I view reading as an intimate act in which the reader must be in close physical proximity to the book, can control the pace of reading through the self-directed turning of pages, or equivalent action, and must interact with the book through the manipulation of the book’s physical structure.”
summer session 6
august 10 - 22 , 2014
Jan Serr, Pink Tulips, monotype, 30 x 22 inches
Monotype: The Painter’s Print
Discover the unique, transformative qualities of the monotype, which involves drawing or painting on a nonabsorbent surface and then transferring the image to a sheet of paper. Learn how to make monotypes on paper or fabric, with or without a printing press, as you paint and draw with materials you already love to use: watercolor, oil, acrylics, inks. If you are already a printmaker, bring existing plates and blocks so you can layer and combine the monotype with etching, drypoint, woodblock, linocut, etc., for a mixed-media print. To give context to our work, the workshop will include an illustrated history of the monotype. All levels. Code 06X
Studio artist; teaching: University of Wisconsin, Sheridan College (Canada); collections: U.S. State Department Art in Embassies, Milwaukee Art Museum, Leigh Yawkey Woodson Art Museum (WI), Ontario Museum, Racine Art Museum (WI), Canada Council (Ottowa), Haggarty Museum of Art at Marquette University (Milwaikee); author of About Face: Figurative Paintings, Drawings and Works on Paper (University of Wisconsin); subject of the documentary About Face | Jan Serr from Pozole Films.
Katie Baldwin, 7080 Miles, woodblock,
letterpress, 22 x 15 inches
Text, Image, & the Narrative
Students in this workshop will combine text with images, using wood type and wood blocks to create narrative prints. Learn to achieve complex colors in a woodblock image in perfect registration through reduction and multiple-block printing on the Vandercook press. Students will learn about the tools, materials, carving sequence, typesetting, and printing methods associated with relief printing. All levels. Code 06L
Assistant professor at University of Alabama-Huntsville; grants and fellowships: Women’s Studio Workshop (NY), Ludwig Vogelstein Foundation (NY), College Book Arts Association, Pennsylvania Council on the Arts; exhibitions: The Print Center (Philadelphia), Korea National University of Arts (Seoul), Center for Book Arts (NYC), Kyoto Art Center (Japan), Philadelphia Museum; one of seven international artists selected in 2004 to learn traditional Japanese woodblock printing from master carvers at the Nagasawa Residency on Awaji Island, Japan.
summer session 7
august 24 - 30 , 2014
Jay Ryan, The Incursion, screenprint,
24 x 18 inches
Screenprinting with a Fellow Who Makes Fun Rock Concert Posters
This class will make screenprinted posters with a focus on hand-drawn artwork. We’ll learn about cutting rubylith, burning screens, mixing ink, and printing multiples by hand with music playing in the background. All levels. Code 07X
Owner/operator of The Bird Machine print shop (Chicago); named a Chicago cultural hero by Time Out Chicago; lectures: School of Visual Arts (NYC), School of the Art Institute of Chicago, Rochester Institute of Technology (NY); solo exhibitions: Rotofugi Gallery (Chicago), Richard Goodall Gallery (England), Foundation Project (Los Angeles); author of two monographs; plays in a band called Dianogah.
No letterpress class Session 7. The studio will be used for Joseph Dinwiddie’s class, Dry Stone Masonry.
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