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Spring Visiting Artist

Spring Visiting Artist

Each fall and spring, Penland invites a visiting artist to join us for one or two weeks to engage with Concentration instructors and students. This spring we are delighted to have two visiting artists.

Cristina Córdova

Cristina Córdova is a ceramic sculptor and teacher. Her awards include the USArtists Fellowship and the North Carolina Arts Council Fellowship. Her work is in the collections of the Renwick Gallery (DC), the Museum of Art of Puerto Rico, and the Museum of Contemporary Art of Puerto Rico. She has taught at Penland, Haystack (ME), Santa Fe Clay (NM), and Anderson Ranch (CO).

Cristina will give a visiting artist lecture on Tuesday, April 2 at 8:15 PM in Northlight titled Manos abiertas: making from where you are. This event is free and open to the public.

“Many of the themes that ground my practice are rooted in the identity of someone from the Caribbean, from Puerto Rico. Amidst all the vantage points that catalyze creativity this one, time and time again, offers a clear stance from which images of weight emerge. And yet, having lived for years amidst the ebb and flow of Penland, this once impermeable identity now has softened boundaries that are in constant dialogue with all that is received and understood outside of the small, evergreen territory I still consider home. This lecture will speak to the influences that have shaped my creative practice and explore the emergence of themes tied to identity and displacement through the lens of figurative ceramics.”

Jaime Suárez

Jaime Suárez is a sculptor, ceramist, installation artist, set designer, draftsman, and teacher. His work has been collected by the Metropolitan Museum of Art (NYC), the Museum of Art in Colombia, and the Museum of Art of Puerto Rico. He is an associate professor in the school of architecture at the Universidad Politécnica de Puerto Rico.

Jaime will give a visiting artist lecture on Wednesday, April 3 at 8:15 PM in Northlight titled Clay Beyond Ceramics. This event is free and open to the public.

“Three experiences during the first year of architecture studies influenced my development as an artist: reading The Book of Tea by Kakuzo Okakura, a lecture by Louis Khan, and an investigation and paper on the work of Antonio Gaudi. An appreciation for nature and the passing of time, the inherent quality of materials, and the search for originality have shaped a diverse expression through clay which has extended to paper and concrete. Through the talk, I will share both conceptual concerns and techniques.”    

Cristina Córdova, "detail of Jungla," photographic polyptych, ceramic, resin, paper, glass, plastic, wood, 7 x 18 feet
Jaime Suárez, "detail of Tótem Telúrico," ceramic, concrete, granite, 40 feet tall
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Fall Visiting Artist

Fall Visiting Artist

Each fall and spring, Penland invites a visiting artist to join us for one or two weeks to engage with Concentration instructors and students. The intent is to add an invigorating presence to the session, enhancing the experience for everyone.

Tift Merritt

Tift Merritt is a singer and songwriter. In her nearly 20-year career, she has recorded seven albums of original material and earned a Grammy nomination. Tift is known for her short-story-style songwriting and her creative collaborations. She has shared the stage with bands as varied as Nick Lowe and Jason Isbell and was a member of Andrew Bird’s band, The Hands of Glory. In 2017, she designed a fabric collection for Bernhardt Design inspired by the guitar straps she makes with vintage ribbons. Most recently, she has been a regular contributor to the Oxford American, chronicling her tours with her young daughter Jean. The New Yorker called Tift “the bearer of a proud tradition of distaff country soul that reaches back to artists like Dusty Springfield and Bobbie Gentry.”

portrait of Tift Merritt
Image: Alexandra Valenti / Sacks & Co.
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Wood Summer Session 7

Wood Summer Session 7
August 23-29, 2020
Aspen Golann & Julian Watts
Sculptural Carving: Spoons

Explore the potential of woodcarving by transforming the wooden spoon into an abstract, sculptural object. We’ll discuss the intersection of craft, design, and art, and challenge our preconceptions about the role that form and function play in the everyday objects around us. Each student will design and carve a sculptural wooden spoon that subverts, exaggerates, or illuminates something new about this familiar utensil. We’ll survey historic and contemporary designs and cover traditional and modern carving techniques, essential power tools, wood species selection, wood grain, sanding, and finishing. All levels. Code 07W

Aspen: studio artist, Penland wood studio coordinator; teaching: Lie Nielsen Toolworks (ME), Haystack (ME). Julian: studio artist; teaching: California College of the Arts, Anderson Ranch (CO), Haystack (ME); representation: Patrick Parrish Gallery (NYC).

view of the carved arm of an elaborate pink velvet chair
Aspen Golann, detail of "Pink Throne," mahogany carving, ash structure, silk, velvet
grouping of carved, non-functional spoon objects
Julian Watts, "Maple Utensil Collection," bleached maple, dimensions variable
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Textiles B Summer Session 7

Textiles Summer Session 7
August 23-29, 2020
Hillary Waters Fayle
Plants: Muse, Medium & Material

This workshop will be a blend of art, science, and natural history focused on botanical collaboration. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, sketching, pressing, printing, painting, and studying botanical material. We’ll also experiment with leaves and other plant materials as substrates that can be woven, cut, knotted, stitched, collaged, etc. We’ll source plants, nuts, seeds, and other materials to brew inks and dyes for textiles and paper. Plants and other botanical materials will be our means to explore the connections between nature and humanity. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TB

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Noel Art Museum (TX).

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 23-29, 2020
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TA

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each
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Print & Letterpress L Summer Session 7

Letterpress Summer Session 7
August 25-31, 2019
Scott Moore
Letterpress Wood Type Production

This workshop will give students a rare opportunity to use historic pantographs to make wood type from a collection of provided patterns and to create new wood type patterns of their own. We’ll also explore ways of making letterpress type using modern methods. End-grain and side-grain maple will be available. Students will use Penland’s letterpress equipment to proof their work and produce prints from their new type and graphic shapes. Basic woodworking, graphic design, and/or letterpress skills will be helpful, but this workshop is open to all levels. Code 07L

Retired teacher of industrial arts; one of four people in the world producing new wood type for letterpress printers, lecturer on wood type history.

Scott Moore, "Morgan Wilcox #7 Ampersand," end-grain polished hard maple
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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 25-31, 2019
Jay Fox
Etch a Sketch

In this workshop you’ll learn all about etching and printing copper plates. We’ll look at historic and contemporary examples of the process and discuss ways to successfully transfer your ideas and images into finished prints. We’ll cover line etch, aquatint, spit bite, monoprinting, chine collé, and multiple-plate printing. Expect to finish the week with the knowledge needed to prepare plates, etch, print, edition, and curate your work. All levels. Code 07X

Print and letterpress studio coordinator at Penland; demonstrator and presenter at Southern Graphics Council International conferences; professional printing: Gallery Stokes (Atlanta), Press Play Editions (Atlanta), Swan Coach House (Atlanta); exhibitions: Pioneer House (TN), Turchin Center (NC), Elaine Erickson Gallery (Milwaukee), Art House (Atlanta).

Jay Fox, "Salvaged:Saved," etching, 10 x 6 inches
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Photography Summer Session 7

Photo Summer Session 7
August 23-29, 2020
May Babcock & Lindsey Beal
Foraged Photographs: Cyanotypes & Handmade Paper

This workshop will integrate hand papermaking and cyanotype printing. We’ll make paper from sustainably harvested plants and traditional fibers and create sheets using deckle boxes and multiple pulps. Using cyanotype and anthotype, we’ll create photograms from foraged plants and photographs from digital negatives. Cyanotype creates blue images that can be toned to other colors. Anthotypes are made with photosensitive plant emulsions. Working in both studios, students will build a supply of handmade papers, print unique images, and learn to create environmentally conscious artwork at home. All levels. Code 07P

May: studio artist; teaching: Rhode Island School of Design, Women’s Studio Workshop (NY). Lindsey: studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art and Design.  |  @maybabcock

four abstract compositions of blue and white on gray paper
May Babcock and Lindsey Beal, "Lamina: Eddy 1–4," artist-made pulp paintings on pigmented cotton, flax, and corn husk, cyanotype, gouache, 8-1/2 x 11 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 23-29, 2020
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Code 07MB

Studio artist; teaching: University of Wisconsin-Madison (WI), San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 23-29, 2020
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 07MA

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
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Iron Summer Session 7

Iron Summer Session 7
August 23-29, 2020
Andrew Kyte
Distilling Design

In this workshop we’ll work to condense design ideas into focused sample/study pieces. Students will explore, draw, model, and experiment to produce iron sketches. These sketches will then be edited to establish a clear idea for each student’s final study piece. As we work through this process, we’ll cover a broad range of forging, fabricating, and finishing techniques. And we’ll spend some time each day discussing the work of other artists to inspire ideas. All levels. Code 07I

Owner of Kyte Metalwerks (MI) focusing on architectural commissions and public art; demonstrator at many blacksmith conferences; collections: Inglis Estate (MI), Washington National Cathedral (DC).

forged arch sculpture
Andrew Kyte, "Portal #11," mild steel, 38 x 16 x 2 inches
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Glass B Summer Session 7

Glass Summer Session 7
August 23-29, 2020
Michael Endo
Constructed Images

My work combines glass powder and frit painting, drawing processes adapted for kiln glass, and centuries-old glass painting techniques in the construction of multilayered atmospheric spaces and narratives. This workshop will focus on the techniques used in my practice and will encompass painting with glass powders, enamel painting adapted for high temperatures, and layered kilnforming along with printing and drawing techniques for kiln glass. All levels. Code 07GB

Studio artist, curator at Bullseye Projects (OR, CA, NY, UK), co-director of High Desert Observatory (CA), partner in Yucca Valley Material Lab (CA); teaching: Bild-Werk Frauenau (Germany), Pilchuck (WA), UrbanGlass (NYC), Northlands Creative Glass (UK), Pittsburgh Glass Center; exhibitions: National Glass Centre (UK), Disjecta (Portland, OR), Yuan Yuan Art Center (China).

greyscale glass panel with a pine forest scene
Michael Endo, "Crux," kilnformed glass, 24 x 39 inches
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Glass A Summer Session 7

Glass Summer Session 7
August 23-29, 2020
Michael C. Krupiarz
Observe & Execute

This workshop is for beginning glass students looking to further develop their skill sets. We’ll take a close look at what is happening with the glass when it is heated, stretched, and blown. Students will practice making geometric forms—cones, cylinders, and spheres—that will inform more complicated shapes. We’ll emphasize technique, control, problem-solving methods, and clean lines. Instruction time will be divided between daily demonstrations and plenty of individual attention. Advanced beginning level: a perfect next step for students who have taken at least one introductory glass workshop. Code 07GA

Studio artist, coordinator at More Fire Glass Studio (NY); teaching: North Carolina Glass Center, Penland; exhibitions/representation: Asheville Area Arts Council (NC), Asheville Art Museum (NC), Center for Craft (NC), North Carolina Glass Center, Green Hill Center (NC).


glass cups in green, yellow, black, magenta, and blue
Michael C. Krupiarz, "Thumbprint Cups," blown glass, 3-1/2 x 4 inches each
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Drawing & Painting Summer Session 7

Drawing & Painting Summer Session 7
August 23-29, 2020
Leigh Suggs
Changing Perspective: Experimenting with Paper

This workshop is about changing your approach to paper. We’ll explore ways to transform paper—both technically and conceptually—into more than just a flat surface. Students will use simple tools to turn basic sheets into sculptural forms by cutting, folding, collaging, weaving, and using a variety of 3-d paper constructions. We’ll use natural and synthetic papers and create samples that will introduce you to the nuances of the material. There will be daily demonstrations, discussions of contemporary work, and time for experimentation. All levels. Code 07D

Studio artist; teaching: Virginia Commonwealth University, Arrowmont (TN), Penland; exhibitions: Penland Gallery, Racine Art Museum (WI), Weatherspoon Museum (NC), Taubman Museum (VA), collections: Virginia Museum of Fine Arts, Roanoke College (VA); representation: Reynolds Gallery (VA).

Intricately cut vanishing pattern on blue paper
Leigh Suggs, "On Our Way," handcut acrylic on Yupo, 36 x 36 inches
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Clay B Summer Session 7

Clay Summer Session 7
August 23-29, 2020
Elena Renker

Kurinuki is an old Japanese technique of handbuilding. It involves carving and marking the exterior form from a solid block of clay and then hollowing it out. This sculptural approach allows complete freedom in shaping vessels. We’ll use the technique to explore various forms, from tea bowls to sake bottles, vases, boxes, and large bowls. Some of the work will be glazed and fired in a gas kiln. All levels. Code 07CB

Studio artist; teaching: Auckland Studio Potters (New Zealand), workshops in New Zealand and overseas; Shigaraki Ceramic Culture Park residency (Japan); exhibitions: Front Room Gallery (New Zealand), Mungyeong Ceramic Museum (Korea), Sogo Department Store (Tokyo); representation: Schaller Gallery (MI), Form Gallery (New Zealand), Te Uru Gallery (New Zealand).

Angled tea bowl in black and white
Elena Renker, "Kurinuki Tea Bowl," woodfired stoneware, 4 x 5 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 23-29, 2020
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Electric firing. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Code 07CA

Studio artist; Archie Bray summer residency and long-term residency (MT) ; exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
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Books & Paper P Summer Session 7

Books & Paper Summer Session 7
August 25-30, 2019
Jiyoung Chung
Joomchi! Why Not?

Joomchi is a traditional Korean method for making textured paper using water, mulberry paper, and eager hands. This workshop will cover its history, practice, and role in Korean society as well as the hands-on techniques and adaptations that have made it into a contemporary art form. Joomchi creates strong, textural, and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). Its uses are diverse, and it can be incorporated into surface design, collage, drawings, wearables, unconventional body ornaments, or sculptural objects. All levels. Code 07PM

Studio artist; teaching: Arrowmont (TN), Sacramento Fine Arts Center (CA), Pacific Northwest Art School (WA), Rhode Island School of Design Continuing Education; exhibitions include 31 solo shows in the US and abroad; collections: Fidelity Corporate Art Collection (Boston), Museum of Arts and Design (NYC); author of Joomchi & Beyond.

Jiyoung Chung, "Whisper Romance III-VI," joomchi, handmade paper, paper yarn, 24 x 18 inches
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Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 23-29, 2020
Jeffrey Altepeter
Traditional Calf Bindings

In this workshop, students will create replica 18-century trade-style bindings. Daily demonstrations will provide a foundation of traditional binding methods as we produce structurally accurate historic models. The books will be sewn on cords laced into boards then covered in leather. Equal attention will be given to the period aesthetic through the use of historical staining recipes to create sprinkled, splattered, mottled, and marbled calf. We’ll add decorative tooling with period-accurate finishing tools. All levels. Code 07B

Head of bookbinding at North Bennet Street School (Boston), other teaching: Paper and Book Intensive (MI), Guild of Book Workers, Penland.

traditional bookbinding work by Jeffrey Altepeter
Jeffrey Altepeter, "18th-Century-Style Panel Binding and Marbled Sample Plaquette," calfskin over boards, 5 x 7 inches each
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Wood Summer Session 6

Wood Summer Session 6
August 9-21, 2020
Daniel Michalik

This workshop will explore cork and the many possibilities for design and making that can emerge from this wonderful, ecological material. We’ll learn and apply traditional woodworking techniques including machining, hand shaping, lathe turning, and bending, as well as experimental techniques such as cork casting. Cork will be used to achieve structure and visual texture in combination with wood and on its own. We’ll study cork farming, harvesting, and production and make objects that reflect these systems. We’ll start with experiments and then create tabletop accessories and furniture forms in which cork plays a central role. All levels. Code 06W

Studio artist, product designer, and assistant professor at Parsons School of Design (NYC); other teaching: Central Saint Martins (London), Haystack (ME), Rhode Island School of Design; exhibitions: Renwick Gallery (DC), Fisher Parrish Gallery (NYC), Sight Unseen OFFSITE (NYC).

two textured cork stools, one light and one darker
Daniel Michalik, "Rook Stools," recycled cork, 20 x 15 x 15 inches each
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Textiles B Summer Session 6

Textiles Summer Session 6
August 9-21, 2020
Edwina Bringle
Class of Possibilities

This workshop will cover all the basics of weaving, including warping and planning, and it will give students the potential to move beyond what they imagined. There are many possibilities, including pattern weaving, tapestry, rugs, double weave, overshot, and more. We’ll explore, watch, ask and answer questions, learn from each other, and bring our ideas to life at the loom. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 06TB

Professor emerita at University of North Carolina-Charlotte; Penland Outstanding Artist Educator award; collections: Mint Museum (NC), North Carolina Museum of History, Greenville Museum of Art (SC), Southern Highland Craft Guild (NC), private collections; former Penland resident artist.

woven piece in plum, aqua, orange, pink and blue
Edwina Bringle, "Lap Robe/Shawl," handwoven wool, 53 x 60 inches
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Textiles A Summers Session 6

Textiles Summer Session 6
August 9-21, 2020
Yoshiko I. Wada
Boro Transformed

In this workshop focused on the individual’s journey of making marks on fabric, we’ll reinterpret the Japanese folk tradition of boro (tattered, mended, patched, pieced items). We’ll listen to the dialogue between maker and materials, exploring mending processes and strengthening fabric by dyeing it in an organic indigo vat. Topics will include stitching, piecing, patching, mending, fulling, mark making, painting, and distressing. This alternative, creative process records the history of reuse, repair, and time spent stitching, bringing boro’s imperfect beauty to the surface in our consciousness. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 06TA

Studio artist, curator, president of World Shibori Network, founder of Slow Fiber Studios (CA); Smithsonian Master of the Medium award; fellowships: Japan Foundation (Tokyo), James Renwick Alliance (DC), Center for Japanese Studies at University of California-Berkeley; author of multiple books on shibori, kimono, boro, and contemporary textile art.

stitched and pieced indigo cloth
Yoshiko I. Wada, "Boro Sample," various textiles, indigo
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Print & Letterpress L Summer Session 6

Print & Letterpress Summer Session 6
August 9-21, 2020
Brad Vetter
Lasers & Letterpress

Our duty as a new generation of letterpress printers is not just to communicate, but to see where we can take this medium as we move forward. This workshop will explore new techniques in letterpress with an emphasis on laser cutting and poster design. We’ll use Vandercooks, wood and lead type, computers, Penland’s new laser engraver, and the power of the printed word to discover new ways to collaborate with each other and communicate/impact/interact with the community around us. We’ll have daily demonstrations and show-and-tell with plenty of time for exploration and printing. Letterpress and/or Photoshop/Illustrator experience is a plus, but this workshop is open to all levels. Code 06L

Studio artist; teaching: Miami University (OH), Hamilton Wood Type and Printing Museum (WI); exhibitions: San Francisco Museum of Modern Art, Massachusetts Museum of Contemporary Art; publications: Low-Tech Print, Wood Type Evolved.

tour poster with graphic shapes in shades of orange, coral, and teal
Brad Vetter, "Margo Price Tour Poster," letterpress, 23 x 13 inches