PRINT & LETTERPRESS SUMMER SESSION 7
AUGUST 13–18, 2023

Eileen Wallace
Ink, Paper, Wood

Using wood type and veneer, this workshop will develop a selection of letters, shapes, and images to create abstract compositions, modular designs, and/or text and image combinations. Wood type will be used for text but also to explore its potential to create patterns and shapes. We’ll cut our own designs in wood veneer, by hand and with the laser cutter, to be used modularly or in conjunction with wood type. The group will establish a set of individual and shared matrices that can be used in infinite combinations for broadsides and small prints. Instruction will include the fundamentals of letterpress printing. All levels. Letterpress studio.

Senior lecturer in printmaking and book arts at University of Georgia; teaching: Penland, Haystack (ME), Monson Arts (ME); exhibitions: Ink on Paper, A Letterpress Showcase (CA), New Impressions (WI); former Penland Resident Artist; curator of Masters: Book Arts (Lark).

eileenwallace.com | @eileenwallace

PRINT & LETTERPRESS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023

Adriane Herman
Mixed-Media Monoprint Mayhem

Feast on a buffet of additive and reductive techniques for transferring, repeating, layering, and juxtaposing images, marks, patterns, text, and textures. The path to press-preferring methods, such as painterly monotype, collagraph, pressure printing and chine collé, will be paved by press-free processes, such as trace monotype, that offer marks no other methods yield. We’ll generate repeatable matrices and stencils that can be combined to create one-of-a-kind works on paper, fabric, and other surfaces, plus variable editions and simple book structures. Equally suited for representation, abstraction, landscape, photographic, drawn/painted, or appropriated imagery, monoprint techniques are easily harnessed to yield cohesive series and sequences of truly unique prints. All levels. Printmaking studio.

Studio artist; teaching: Maine College of Art & Design; Kansas City Art Institute; Lunder Institute for American Art Fellowship; residencies: La Ceiba Grafica (Mexico), Kriti Gallery (India), Charlotte Street (Kansas City), Spudnik Press (Chicago); solo exhibitions: Adam Baumgold Gallery (NYC), Western Exhibitions (Chicago), Center for Maine Contemporary Art; collections: Bates College Museum (ME), Colby College Museum (ME), The Whitney Museum of American Art (NYC), Yale University Art Museum (CT).

adrianeherman.com | @listress

PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023

Joanne Price
Wood Engraving: Mighty Detailed Prints

Victorian-era wood engraving technique combines the miniature, fine detail of metal engraving and the speed of relief printing. In this intensive workshop, you’ll learn to cut your own images with incredible detail and print them in limited editions. Process, printing, and experimentation will be prioritized with instruction covering specialty engraving materials, creating and transferring images, tool sharpening, engraving, hand printing, two-color printing, and historical and contemporary context. Expect to finish three to six individual images and explore post-printing image manipulation/assemblage, collaboration, and a print exchange. This technique requires close-distance vision; please come prepared. Drawing experience will be helpful but is not required. All levels. Letterpress studio.

Studio artist operating as Starpointe Studio; teaching: University of Kentucky, Highpoint Center for Printmaking (Minneapolis), Campbell Folk School (NC); president emeritus of Wood Engravers’ Network; collections: Guangdong Museum of Art (China), Museu da Casa Xilogravura (Brazil), Walker Art Center (MN), Yale University (CT). 

starpointestudio.com | @starpointestudio

PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023

Charles Hancock and John Hancock
Relief and Screen Print Mashup

This workshop will encourage the mix and mashup, no-holds-barred creation of images. We’ll cover the basics of relief and screen printing with a sharp left turn, employing the spirit of experimentation, mistake making, and collaboration. Printing on wood, cloth, metal, and, of course, paper, our methods will run from the most traditional to as wildly experimental as you can stomach as we create things of beauty along with our worst nightmare desires. Making art is fun! All levels. Printmaking studio. 

Note: the studio fee for this workshop is estimated at $200-225 per student.

Studio artists and masters of lo-tech printmaking also known as The Amazing Hancock Bros.; collections: Library of Congress (DC), Ft. Wayne Museum of Art (IN), Newark Public Library (NJ), Royal Museum of Art (Belgium), Academy Non Grata (Estonia), Billy Gibbons (Houston). 

@charleshancock7

PRINT & LETTERPRESS SUMMER SESSION 4
JULY 2–14, 2023

Karen J Revis
Intro to Linocut

This introductory workshop will teach you all you need to know to create beautiful linocuts: from first draft to final print. We’ll explore various ways to compose an image and translate it into a drawing for a linocut. Demonstrations will cover the complete process: how to transfer the drawing onto the linoleum block, how different carving tools are used, what paper to choose, tearing paper, and using a press. A slide presentation of linocuts by favorite artists will provide inspiration. Discussions and experimentation will be encouraged. Students can expect to complete editions of one or two prints. Beginning level. Printmaking studio. 

Studio artist; member of Black Women of Print and the Black Artists + Designers Guild; residencies: Haystack (ME), Morgan Paper Conservatory (Cleveland), Pyramid Atlantic (MD), Women’s Studio Workshop (NY), BACAS (Italy), Penland Summer Residency Fellowship, Robert Blackburn Printmaking Workshop Studio Immersion Project Fellowship (NYC), Henry Street Settlement (NYC); exhibitions: International Print Center (NYC), Project: Artspace (NYC), Sears-Peyton Gallery (NYC); publications: The Art of Encaustic Painting by Joanne Mattera.

karenjrevis.com | @revisionaryprints | @karenjrevis_studio

PRINT & LETTERPRESS SUMMER SESSION 3
JUNE 18–30, 2023

Nicholas Silberg
Pressing Pixels

In this workshop students will learn how to make alternative matrices for letterpress printing using laser cutting/engraving and 3D printing. We’ll also use the 3D printer to make experimental letterpress tools and furniture and the laser cutter to make delicate cuts and perforations on finished prints. Students can choose to make a small edition of prints, a book, or a series of monoprints. We’ll cover software and tools for laser cutting and 3D printing as well as hand typesetting, ink mixing, Vandercook and platen press operation, paper choices, and basic bookbinding. All levels. Letterpress studio. 

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer. studio_operations@penland.org

Professor at Savannah State University (GA); other teaching: Ashantilly Press (GA), Atlanta Printmakers (GA), Barberville Settlement for the Creative Arts (FL); Penland Winter Residency Distinguished Fellowship, On::View Residency at Sulfur Studios (GA); exhibitions: Margaret Martin Gehman Gallery (VA); collections: Savannah College of Art and Design (GA).

@carportpress

PRINT & LETTERPRESS SUMMER SESSION 3
JUNE 18–30, 2023

Aaron S. Coleman
Lithography: Drawing on the Rocks

This workshop will offer introductory to advanced techniques in stone lithography. We’ll explore dry and liquid materials using drawing and painterly approaches as well as additive and reductive processes, all of which are applicable to representational or abstract imagery. Students can expect to finish one or two pieces. All levels. Printmaking studio.

Associate professor and chair of printmaking at Herron School of Art and Design (Indianapolis); previously associate professor at University of Arizona where he received the Provost Award for Innovations in Teaching and the College of Fine Arts Undergraduate Mentorship Award; Art as Activism Grant from Black Box Press; collections: Janet Turner Print Museum (CA), University of Colorado, Ino-cho Paper Museum (Japan), Yekaterinburg Museum of Art (Russia). 

aaroncolemanprintmaking.com | @aaron_s_coleman 

PRINT & LETTERPRESS SUMMER SESSION 2
JUNE 4–16, 2023

Rick Griffith
Extending the Printed Page

What do you do when the paper isn’t big enough, when the text isn’t small enough, or when the press needs to be bigger? Letterpress as a collage mechanism can be a profound exploration of scale and is ideal for creating larger-format works. In this workshop combining letterpress printing with collage and writing, students will learn how to improvise in multiple directions simultaneously and find balance between text, form, and process. Whether they bring a theme or choose to shoot from the hip, students will develop an intuitive practice and the ability to discuss what is happening in real time. We’ll cover techniques of typesetting, printing, collage, and image manipulation. All levels. Letterpress studio.

Letterpress printer, designer, collagist, writer, optimist futurist; founder and partner in the graphic design consultancy MATTER (Denver); designer of the Black Astronaut Research Project (blarp.org); teaching: Rocky Mountain College of Art and Design (Denver), University of Denver, University of Colorado at Denver, Academy of Arts, Architecture, and Design (Prague), East Carolina University (NC); collections: Denver Art Museum, Hamilton Wood Type and Printing Museum (WI), Tweed Museum (MN).

morematter.com | @rickgriffith

PRINT & LETTERPRESS SUMMER SESSION 2
JUNE 4–16, 2023

Jenny Schmid
Intense Color Intaglio Intensive

Multiple-plate intaglio offers unparalleled color intensity, saturating paper with layers of pigmented ink. Using no specific key plate, we’ll explore three-layer printing and registration to create a full range of color. We’ll start with textural processes to create tonal range: aquatint, spit bite, soft ground, crayon resist, scraping, and burnishing. Then we’ll move on to multiple-plate registration, color combinations, and ink mixing. The work of various artists will serve as inspiration, and students will be encouraged to work in the style of their preference, as both figurative and abstract approaches will benefit from these uniquely stunning processes. All levels. Printmaking studio.

Professor at University of Minnesota; grants; Fulbright (Slovakia), McKnight Fellowship, Bush Artists Grant, Minnesota State Arts Board grants; residency: The Frans Masereel Center (Belgium); collections: Minneapolis Institute of Arts, Detroit Institute of Arts, Library of Congress; representation: Davidson Galleries (Seattle). 

jennyschmid.com 

PRINT & LETTERPRESS SUMMER SESSION 1
MAY 28–JUNE 2, 2023

Hope Rovelto
Speak Your Mind Through T-shirts and Posters

This workshop will examine the relationship between words and image as we design and screenprint single- or multiple-color posters and T-shirts. We’ll work from the prompt, “What positive message do you want to send to your community?” Starting from drawings or digital files, we’ll use direct methods to expose images on our screens, and students will learn how to screenprint with or without dedicated equipment. All levels. Printmaking studio.

Studio artist, founder of Little Chair Printing (Portland, OR); creator of the bicycle screenprinting shop, which she has used for live printing of T-shirts and poster at protests and community events; created an exhibition with students at Sweet Briar College (VA) during a two-week residency; leader of small and large screenprinting workshops including Open Door and OutMaine, both at Haystack (ME). 

littlechairprinting.com | @littlechairprinting