Books & Paper

Books and Paper Workshops at Penland



We have eliminated the early-registration lottery. We will begin accepting registration for 2018 summer workshops at 9:00 AM EST on Monday, January 8. Registration for full-pay students will be on a first-come, first-served basis and will continue until workshops are filled. Spaces are reserved in each workshop for scholarship students. Scholarship applications are due by February 17.

Penland School of Crafts offers 1-, 2-, and 8-week classes in the book and paper arts taught by visiting instructors in our well-equipped studios. Classes focus on topics including designing handmade books, papermaking, printing, and book binding. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Books & Paper Spring One-Week Session One
March 25 – 31
Radha Pandey
Books in a Box

This workshop will cover five book structures ranging from simple to more complex, which will be housed in a box. We’ll start with variations of pamphlet bindings and then proceed to soft and hardbound structures with multiple sections. Each day will begin with a demonstration of a binding and a range of methods that can be used in its completion. We’ll make informed choices that suit our needs, and by the end of the week, each student will have a unique selection of handmade books housed in an elegant box and the knowledge needed to create books that vary in complexity, appearance, and utility. All levels. Studio fee: $75. Code S01B

Studio artist; teaching: University of Iowa Center for the Book, Women’s Studio Workshop (NY), North Bennett Street School (MA), Leksands Folkhögskola (Sweden), Muse Moli de Paperer (Spain); collections: Library of Congress (DC), Haas Arts Library Special Collections at Yale University (CT), Fleet Library at Rhode Island School of Design, Cleveland Institute of Art.

Radha Pandey, "Books in a Box," paper, board, cloth, 5-1/4 x 7-1/4 x 4 inches
Books/Photo Spring One-Week Session Two
April 8 – 14
Claudia Smigrod
Tell Me a Story

Students will create handmade books that tell stories through photographs. Topics will include the aesthetic and technical aspects of digital photography, various forms of artists’ books, simple binding techniques (accordion, pamphlet, Japanese stab, and others), and an overview of visual artists working in book form. We’ll have group critiques and demonstrations. Photographic images may be taken during our workshop or collated from other sources such as personal archives, family collections/albums, etc. All levels. Studio fee: $45. Code S02B

Studio artist, professor emeritus from Corcoran School of the Arts and Design (DC); other teaching: Edwin Conquest Visiting Chair of Humanities at Virginia Military Institute, University of Georgia Cortona Italy Program, Swarthmore College (PA); residencies: Virginia Center for the Creative Arts; collections: National Gallery of Art (DC), Smithsonian American Art Museum (DC), Chrysler Museum (VA), Yale University (CT).

Claudia Smigrod, "Adjustment to the Light #2," silver gelatin contact print, 5 x 4 inches Silver Gelatin Print Center silo straddled by two buildings
Books & Paper Summer Session Three
June 24–July 6
Golnar Adili
Repetitive Deconstruction

This mixed-media workshop will push book arts toward architecture and sculpture through fragmentation. We’ll deconstruct images and find ways of reconstructing them, straddling two and three dimensions. This might take the form of topographical landscapes, an imposed grid, or applied patterning. We’ll push and pull surfaces, embed information, or layer the pieces to make a distorted whole. We’ll explore and reinterpret the fundamentals of crafting books including traditional binding methods and box making. Through hinging and accordions we’ll explore how movement affects book structure and the interaction between content and form. All levels. Code 03B

Studio artist; teaching: Elizabeth Foundation (NYC); Pollock-Krasner Foundation grant (NYC); residencies: Women’s Studio Workshop (NY), MacDowell Colony (NH); exhibitions: Lower East Side Print Shop (NYC), International Print Center (NYC), Craft and Folk Art Museum (Los Angeles).

Golnar Adili
Golnar Adili, "Pink Letter," transfer on paper, medical tape, board, 1-1/2 x 18 x 24 inches
Books & Paper Summer Session Four
July 8–20
Frank Hamrick
Handmade Artists’ Books

This workshop will establish a strong technical foundation for binding soft and hardcover books, which we’ll build on as we discuss cover art, layout, editing, and the sequence of content. Students will learn to choose which structures, materials, and tools are best to support their books’ concepts. We’ll cover five basic bindings: hardcover pamphlet, accordion, Japanese, Coptic, and case bound, with the option of translating these into more advanced book forms such as z-fold and dos-a-dos. All levels. Code 04B

Associate professor at Louisiana Tech University; other teaching: University of Georgia Cortona Program (Italy), Art Institute of Boston Mentor Program; collections: Art Institute of Chicago, Amon Carter Museum (TX), Ogden Museum of Southern Art (New Orleans).

Frank Hamrick, "My Face Tastes Like Salt," hardbound pamphlet book, handmade paper, relief-printed cover, 7-1/2 x 7-3/8 x 3/8 inches
Frank Hamrick, "My Face Tastes Like Salt," hardbound pamphlet book, handmade paper, relief-printed cover, 7-1/2 x 7-3/8 x 3/8 inches
Books & Paper Summer Session Five
July 22–August 7
Julie Leonard & Matt Runkle
Artists’ Books, Zines, Wordless Books & Comics

The artist’s book is a way of thinking in which form, sequence, text, image, and tactility combine to create a unique narrative experience. This workshop will explore this thinking as we make and experiment with artists’ books and their relationship to similar genres: comics, zines, and other “low-end” formats. We’ll consider where solid craft skills and multiples can happily meet. Students will learn digital printing, a variety of book structures for artists’ books, and editioning strategies, and will experiment with alternative content generation techniques. They’ll leave with an array of finished books. All levels. Code 05B

Julie: Associate professor at University of Iowa Center for the Book; collections: Sackner Archive of Concrete and Visual Poetry (Miami), Yale University (CT). Matt: studio artist and writer; teaching: San Francisco Center for the Book, University of Iowa Center for the Book, Emerging Writers Institute (CA); collections: Library of Congress Special Collections (DC), Mills College (CA), Newberry Library (Chicago).

Julie Leonard, "A History of…Vol.I," erasure text, found pages, wax graphite, 6 x 9 inches closed
Julie Leonard, "A History of…Vol.I," erasure text, found pages, wax graphite, 6 x 9 inches closed
Matt Runkle, "(Great) Catholics No. 1," zine, 5-1/2 x 8-1/4 closed
Matt Runkle, "(Great) Catholics No. 1," zine, 5-1/2 x 8-1/4 closed
Book & Paper Summer Session Five
July 22-August 7
Ann Marie Kennedy
Paper: Material & Content

Hand papermaking creates opportunities to incorporate found and natural materials into works of art. We’ll explore the processes of papermaking, choosing materials that will become part of the content of finished pieces. Paper pulps will come from materials including flax, abaca, plants, and used clothing/textiles. We’ll build a vocabulary of processes such as small and large sheet formation, working with high-shrinkage pulps, wet-collage, and pulp manipulation. The result will be 2d, 3D, or site-specific works expressing individual approaches to paper art. All levels. Code 05PM

Associate professor at Wake Technical Community College (NC); other teaching: University of Iowa Center for the Book, Women’s Studio Workshop (NY); collections: Library of Congress (DC), Yale University (CT); solo exhibitions: GreenHill Center (NC), Gregg Museum (NC); former Penland resident artist.

Ann Marie Kennedy, "Cloud Garden," abaca paper, textiles, plants, collaged paper, 20 x 16 inches
Books & Paper Summer Session Six
August 12–24
Mary Uthuppuru
The Artful Box

Boxes are commonly practical protection for artwork, but they can also be conceptual pieces. Together we’ll explore the aspects of sound box construction and delve into the creative opportunities of custom enclosures. Playing off the idea of “cabinets of curiosities,” our complex structures will include a multitude of techniques reinforcing the theme of their contents, which we will make or collect. Students can use their new skills to protect their existing and future work in intriguing ways. All levels. Code 06B

Studio artist and owner of Colophon Book Arts Supply (IN); teaching: Paper & Book Intensive (MI), Penland; collections: Massachusetts Institute of Technology, Harvard University (MA), University of Oregon; exhibitions: 23 Sandy Gallery (OR), Abecedarian Gallery (CO).

Mary Uthuppuru, "Forage," bookcloth, paper, metal, 3-1/2 x 8 x 6 inches
Mary Uthuppuru, "Forage," bookcloth, paper, metal, 3-1/2 x 8 x 6 inches
Books & Paper Summer Session Six
August 12-24
Akemi Martin & Paul Wong
Quintessential Stencil 2.0

This workshop will focus on papermaking methods that use creative stenciling. We’ll use translucent overbeaten linen and abaca with cotton pulps and pigmentation for pulp-paint formulas. We’ll cut mylar stencils and use them to create watermarks, pulp-painted pochoir, and blow-outs (pulp silhouette). We’ll expand possibilities using found stencils, lace, tape, cut vinyl, and found objects. The product will be an editioned or variable portfolio to share with each student. All levels. Code 06PM

Akemi: master papermaker and collaborator at Pace Prints (NYC); teaching: SUNY Purchase (NY), Dieu Donné (NYC), Gowanus Studio Space (NYC); publications: Hand Papermaking. Paul: master papermaker and artistic director at Dieu Donné (NYC); teaching: Haystack (ME), Paper & Book Intensive (MI); grants: New York Foundation for the Arts, Joan Mitchell Foundation (NYC).

Akemi Martin, "Sited," handmade and watermarked linen and cotton paper, 6 x 8 inches
Paul Wong, "Variable Lattice," pigmented cotton and linen pulp, 20 x 16 inches each
Books & Paper Summer Session Seven
August 26–September 1
Brien Beidler
Contemporary Historic Binding

As cultural icons, historic books enjoy a sense of timelessness that harmonizes fine craftsmanship, quirky aesthetics, and evidence of the hands that made them. With the quarter-leather bindings of the 18th and early 19th centuries as a structural baseline, this workshop will explore ways to create new compositions of these historic precedents through combinations of contemporary and historic covering materials and designs. Beginning with cutting and folding full sheets of paper into sections, we’ll cover everything from setting up a sewing frame to tooling with egg glair and gold leaf. All levels. Code 07B

Studio artist; teaching: Massachusetts Institute of Technology, Charleston Library Society (SC), Big River Bindery (Atlanta), Redux Contemporary Art Studios (SC); exhibitions: “Vessel” (Guild of Bookworkers, traveling), University of Iowa Center for the Book, “Feed Sacks” (online).

Brien Beidler, "Commonplace Book, Octavo" (detail), paper, linen thread, linen cord, millboard, goatskin
Brien Beidler, "Commonplace Book, Octavo" (detail), paper, linen thread, linen cord, millboard, goatskin
Books & Paper Summer Session Seven
August 26-September 1
Amy Jacobs
Paper & Textiles: Inside & Out

This workshop will explore ways to combine textiles with handmade paper. We’ll use fabrics as the basis for techniques including stenciling, embedding, embossing, lamination, and more. Students will experiment with a variety of textiles such as thread, trim, and fabrics from their own collections. We’ll employ different drying processes, creating a multitude of surface textures using low- and high-shrinkage pulps including cotton, flax, linen, and translucent abaca. We’ll alter paper with finishing techniques and textile manipulation after it’s dry. There will be daily demonstrations with plenty of examples. We’ll experiment, play, and get our hands wet! All levels. Code 07PM

Education manager and collaborator at Dieu Donné (NYC); teaching: University of Georgia Cortona Program (Italy), Museum of Modern Art (NYC), University of the Arts (Philadelphia); Elizabeth Foundation SHIFT residency (NYC); former Penland core fellow.

Amy Jacobs, "Lodestar," embossed and folded cotton and abaca paper, graphite, wax, 
9 x 7 inches