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Spring Short Session Papermaking

Papermaking – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Shannon Brock
Imagery in Papermaking

This workshop will explore image making in handmade paper. We’ll begin with an overview of basic sheet forming, including a discussion of fiber preparation and why we are using specific fibers. Then we’ll mix additives and pigment pulp that will be used throughout the workshop. On the second day, students will learn to prepare stencils with a variety of materials, and we’ll cover pulp transfers, pulp painting, watermarks, and blowouts. The rest of the time will be used to put these techniques into practice. Students may choose to create finished work or a library of examples. All levels. 

Studio artist; owner of Gaptoothed Studio (MO); teaching: Melbourne Grammar (Australia), Montclair State University (NJ), Museum School (MA); collections: Metropolitan Museum (NYC), Yale University Art Gallery (CT); publication: Papermaking for Printmakers by Elspeth Lamb.

@gaptoothedstudio

handmade paper by Shannon Brock
Shannon Brock, Untitled Card, cotton base, red cotton veil; Yupo stencil blowout, 7 x 5 inches
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Books & Paper Spring Concentration

Books Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Alex McClay
Form, Content, Book

In this workshop we’ll create meaningful and moving works of art by making books that merge form and content. We’ll begin by covering a plethora of bookbinding techniques, including one-page books, zines, pamphlet stitch, coptic stitch, drum leaf binding, case binding, and box-making. At the same time, we’ll practice creative exercises that will evoke your artistic voice and encourage content development. Then we’ll spend some time in the letterpress studio getting that content onto paper. You’ll learn to set type, make polymer plates, pressure print, and collagraph print, all while planning carefully for the book form. We’ll put it all together back in the books studio. Demonstrations, presentations, discussions, meditations, and exercises will enrich the workshop experience. Students will leave with a collection of handbound artists’ books and a working knowledge of bookbinding and letterpress printing. All levels. 

Studio artist; teaching: University of Cincinnati (OH), University of Georgia (GA); residencies: Tiger Lily Press (OH), Penland Core Fellowship (NC); exhibitions: Weston Art Gallery (OH), ArtSpace (NC), Haggerty Gallery (TX), Robert C. Williams Museum of Papermaking (GA).

alexmcclay.com | @raaalex

Alex McClay, Up and to the Right, book cloth, kozo, tracing paper, waxed linen thread, 4 x 5 x 1/4 inches
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Fall Weekend Books and Paper

Books and Paper – Fall Weekend Session
October 21-23, 2022
Ann Marie Kennedy
Paper and Light

Making paper by hand allows for an investigation into its material nature and the interaction between paper and light. Starting with natural fibers such as flax and abaca, students will learn how to create translucent paper from overbeaten pulps. We’ll cover sheet forming techniques, including the use of a deckle box, and add content via stencils, collage, and texture. All levels. 

Associate professor at Wake Technical Community College (NC); other teaching: Women’s Studio Workshop (NY), Paper and Book Intensive (MI), Penland; residencies: Penland Resident Artist Program; installations/exhibitions: Gregg Museum (NC), Light Art + Design (NC), Cantor Art Gallery (MA); collections: Yale University (CT), Library of Congress (DC). 

annmariekennedy.net | @paperhouse17

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ann Marie Kennedy
Ann Marie Kennedy, detail of Plant Page, abaca, 16 x 20 inches
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Books and Paper Fall Concentration

BOOKS AND PAPER FALL CONCENTRATION
October 2 – November 11, 2022
Cathy Adelman and Alice Vaughan
Books and Boxes: Divine and Sublime

This workshop will cover a broad range of traditional and modern techniques for making well-crafted, thoughtfully designed fine bindings and boxes. Through daily demonstrations and hands-on instruction, students will learn to make case bindings (both flexible and hard), slipcases, and portfolios using the primary materials of leather, paper, and book cloth. We’ll embellish our work using finishing techniques such as leather tooling, inlay, and gilding.  Two instructors with complementary and wide-ranging experience will present students with plenty of information and alternate approaches. All levels.

Cathy: studio artist; teaching: Guild of Bookworkers, Penland, private lessons; exhibitions: Gutenberg Museum (Switzerland), Grolier Club (NYC), American Bookbinders Museum (San Francisco), Bibliothèque Lausanne (Switzerland), Médiathèque Intercommunale (France), Bibliotheca Wittockiana (Belgium); work in private and public collections domestic and international.

cathyadelman.com

Alice: owner and principal binder at Hudson River Bindery (NY); teaching: State University of New York-New Paltz, Penland, private lessons; 40-years of experience binding books beginning with trade, commercial, and library bindings, and now working with clients from many parts of the book world with an increasing interest in repair and restoration. 

hudsonriverbindery.com

Cathy Adelman, The Bark of Memory/L'Ecorce du Souvenir, flexible leather binding, reliure a cru, bound in black leather, doublures and flyleaves in grey suede, leather endbands, titled in white foil, text by Helene Dorian, illustrations by Carol Bernier, 17.7 x 12.7 x 1.7 centimeters; 7 x 5 x 4-1/4 inches
Cathy Adelman, The Bark of Memory/L'Ecorce du Souvenir, flexible leather binding, reliure a cru, bound in black leather, doublures and flyleaves in grey suede, leather endbands, titled in white foil, text by Helene Dorian, illustrations by Carol Bernier, 17.7 x 12.7 x 1.7 centimeters; 7 x 5 x 4-1/4 inches
Alice Vaughan, Red Leather Chemise and Box, red harmatan leather, 5 x 4-1/4 x 1 inches
Alice Vaughan, Red Leather Chemise and Box, red harmatan leather, 5 x 4-1/4 x 1 inches