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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 14–19
Heinrich Toh
High-Rolling Monoprints

In this workshop artists and image makers who want to create one-off pieces will discover opportunities for working on paper with the layered monoprint. We’ll balance process and content as we build layers using color, composition, and imagery. We’ll cover various applications for monotypes and inked-xerox image transfers (paper lithography). We’ll explore materials and methods for creating depth and space between background and foreground with texture, mark-making, and brushstrokes. Incorporating pattern, shape, and personal imagery from your photographs or drawings will further define your personal aesthetic. All levels. Printmaking studio.

Studio artist; teaching: Kansas City Art Institute, Arrowmont (TN), Pratt Fine Arts Center (Seattle), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Wing Luke Museum of the Asian Pacific American Experience (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (Kansas City), Albrecht-Kemper Museum (MO).

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
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Print & Letterpress L Summer Session 6

Print & Letterpress Summer Session 6
July 31–August 12
Bryce McCloud
Interactive Portraiture Print-O-Rama

Howdy, friends! Do you want to make prints? Would you like to use art to bring people together? Then join us to explore how to use printmaking and interactive public art to bridge the gaps between us. We will:

  • Experiment with letterpress, relief prints, laser cutters, and more 
  • Discuss the basic ideas of interactive, socially-minded public art
  • Collaborate on an interactive public art project based around portraiture
  • Consider how to create your own public art campaign back home

Bring an open mind and your dreams. Letterpress or printmaking experience will be helpful, but this workshop is open to all levels. Letterpress studio.

Studio/public artist, director of Isle of Printing letterpress/design/fabrication shop (Nashville); teaching: Watkins College of Art (Nashville); public art: Automat Idea Exchange (TN), Southwest Print Fiesta (NM), Our Town Nashville, All Are Welcome (Nashville), Pinewood Social (Nashville), Invasion UK (UK), Chopper (Nashville). 

isleofprinting.com | @isleofprinting

Isle of Printing, Our Town: Together Heroic, large-scale stamps, ink
Isle of Printing, Our Town: Together Heroic, large-scale stamps, ink
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Print & Letterpress X Summer Session 6

Print & Letterpress Summer Session 6
July 31–August 12
Kristina Paabus
Intaglio and the Hybrid Print

This workshop will introduce students to intaglio printmaking through drypoint and copper etching, using additive and subtractive techniques. Employing hand-drawn approaches, students will be encouraged to experiment as they investigate personal directions for their work. We’ll focus on learning to create and manipulate the malleable intaglio matrix while also combining strategies to form hybrid prints. Along with hard ground, soft ground, aquatint, and multiple color-plate intaglio printing, we’ll explore introductory elements of monotype, relief, screenprint, and lithography. All levels. Printmaking studio.

Associate professor at Oberlin College (OH); other teaching: University of Iowa, School of the Art Institute of Chicago, Ox-Bow (WI); exhibitions: Akron Art Museum (OH), Hobusepea Galerii (Estonia); collections: Harvard Art Museum (MA), Cleveland Clinic, China Printmaking Museum, Novosibirsk State Art Museum (Russia).

kristinapaabus.com | @kpaabus

Kristina Paabus, The Guards, intaglio, relief, screenprint, 24 x 20 inches
Kristina Paabus, The Guards, intaglio, relief, screenprint, 24 x 20 inches
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Print & Letterpress L Summer Session 5

Print & Letterpress Summer Session 5
July 17–29
Rebecca Chamlee
Photorealistic Letterpress

Continuous-tone images, characterized by gradual transitions between shades and colors, have frustrated letterpress printers for decades. Traditional halftone screens often produce course prints, difficult registration, and color issues. We’ll explore techniques for using the letterpress to produce successful photorealistic, multiple-color–including four-color process–continuous-tone imagery and strategies for printing in tight registration. Students will work with their original photographs and handset type to create content for a collaborative, handbound book filled with our experiments. All levels. Letterpress studio.

Associate professor at Otis College of Art and Design (Los Angeles); other teaching: Paper and Book Intensive (MI), Focus on Book Arts (OR), Shakerag Workshops (TN); collections: Yale University Beinecke Rare Book and Manuscript Library (CT), Metropolitan Museum of Art Artists’ Book Collection (NYC); Getty Research Institute Artists’ and Fine Press Book Collection; representation: Vamp and Tramp Booksellers (AL). 

pieintheskypress.com | @pieintheskypress

Rebecca Chamlee, Giant: A Deity with Leaves, letterpress from photopolymer plates on Zerkall book wove paper, 11-1/4 x 7-3/4 inches
Rebecca Chamlee, Giant: A Deity with Leaves, letterpress from photopolymer plates on Zerkall book wove paper, 11-1/4 x 7-3/4 inches
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Print & Letterpress L Summer Session 4

Print & Letterpress Summer Session 4
July 3–15
Bill Moran and Jim Moran
On the Record

In this workshop we’ll delve into the Hamilton Wood Type and Printing Museum’s vast collection to create letterpress album covers using halftone blocks of forgotten musicians and vocal groups of the 1950s and 1960s. Students will design their own cover and add text using wood type from Hamilton along with Penland’s type collection. Minor research into the musicians will allow us to set the back cover, including song titles, band members, and brief information. Our design, layout, typesetting, and printing will evoke the music of the era. All levels. Letterpress studio.

Bill: artistic director emeritus at Hamilton Wood Type and Printing Museum (WI), third-generation printer; teacher of typography and printing history at University of Minnesota; exhibitions: Tipoteca Italiana (Italy), Country Music Hall of Fame (Nashville), Gutenberg Museum (Germany), Hamilton Wood Type and Printing Museum.

letterbugs.net | @billstype

Jim: master printer, collections officer, and former director at Hamilton Wood Type and Printing Museum (WI), third-generation printer; teaching: AIGA, HOW Design, Atypl, and TypeCon conferences, University of Quebec, Tipoteca Italiana (Italy); residencies: Wells College (NY), Hatch Show Print (Nashville), Tipoteca Italiana. 

woodtype.org | @jimmyonthepress 

Jim Moran, Rodeo, Rodeo, letterpress, 40 x 26 inches
Jim Moran, Rodeo, Rodeo, letterpress, 40 x 26 inches
Bill Moran, LetterBee, letterpress, wood type, foundry type, 24 x 18 inches
Bill Moran, LetterBee, letterpress, wood type, foundry type, 24 x 18 inches
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Print & Letterpress X Summer Session 4

Print & Letterpress Summer Session 4
July 3–15
John Hitchcock
Screenprint Demo City!

This workshop will focus on the post-matrix and pushing the surfaces of paper, wood, and fabric. We’ll work with water-based screenprinting and low-tech stencil methods, stressing the current trends of print media in contemporary culture. Demonstrations will include hand-cut and photo stencils, manipulation of the surface, sculptural prints, hand dyeing, sewing, drawing back into, and water soluble markers as we create experimental, unique prints. We’ll emphasize gaining both proficiency in the techniques and an awareness of how these skills can be used within the larger cultural context. All levels. Printmaking studio.

Professor at University of Wisconsin-Madison; grants: Robert Rauschenberg Foundation (NYC), Jerome Foundation (MN); solo exhibitions: American Culture Center (Shanghai), Missoula Art Museum (MT), Mulvane Art Museum (KS), Museum of Contemporary Native Arts (Santa Fe).

hybridpress.net | @hybridpress

John Hitchcock, She Scattered Her Beads on the Table, screenprint and acrylic paint on wooden panel, 30 x 30 x 2 inches
John Hitchcock, She Scattered Her Beads on the Table, screenprint and acrylic paint on wooden panel, 30 x 30 x 2 inches
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Print & Letterpress L Summer Session 3

Print & Letterpress Summer Session 3
June 19–July 1
Chandler O’Leary and Jessica Spring
All-You-Can-Eat Letterpress Smorgasbord

In this feast of a workshop, students will consume the basics of typographic composition and digest the intricacies of digital file prep for found or original illustrations. We’ll stir together a rich mix of techniques as we combine photopolymer images with curved, angled, and circular daredevil typesetting. The combination of innovative analog and digital media will make for a full plate spiced with linoleum carving and hand coloring. Students will concoct an editioned print exchange and leave with recipes for a sumptuous printer’s banquet. All levels. Letterpress studio.

Chandler: studio artist, owner of Anagram Press; teaching: School of Visual Concepts (Seattle), Minnesota Center for Book Arts, Penland; Artist Trust GAP Award (WA), McMillen Foundation MAC Fellowship (WA); collections: Rhode Island School of Design, Library of Congress (DC), National Museum of Women in the Arts (DC), Newberry Library (Chicago); publications: Best Coast, Dead Feminists (both Sasquatch Books). 

chandleroleary.com | @drawntheroad

Jessica: studio artist, owner of Springtide Press; teaching: Pacific Lutheran University (WA), Paper and Book Intensive (MI), Hamilton Wood Type and Printing Museum (WI), Morgan Conservatory (OH); residencies: Edition/Basel (Switzerland), InCahoots (CA), International Printing Museum (CA); collections: The British Museum, Library of Congress (DC), San Francisco Museum of Modern Art; publications: Dead Feminists (Sasquatch Books). 

springtidepress.com | @springtidepress

 

Collaborative: deadfeminists.com

Chandler O’Leary and Jessica Spring, Truth or Consequences from the Dead Feminists series, letterpress from hand-lettered illustration, 18 x 10 inches
Chandler O’Leary and Jessica Spring, Truth or Consequences from the Dead Feminists series, letterpress from hand-lettered illustration, 18 x 10 inches
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Print & Letterpress X Summer Session 3

Print & Letterpress Summer Session 3
June 19–July 1
Yoonmi Nam
All About Mokuhanga

This workshop will explore the possibilities of mokuhanga: Japanese-style, water-based woodblock printing, which is non-toxic and does not require a press. This method has the potential for creating precise and exact marks as well as expressive and painterly impressions. Through hands-on demonstrations, students will learn basic traditional carving and printing processes and the kento registration method to create multilayer color prints. We’ll also cover tool sharpening, paper sizing, and paper mounting. This workshop will address both fundamental methods and experimental approaches to mokuhanga—there will be something for everyone! All levels.

Professor at University of Kansas; residencies: MI-LAB (Tokyo), Frans Masereel Centrum (Belgium); exhibitions: Haw Contemporary (Kansas City), The Print Center (Philadelphia), CfSHE Gallery (Tokyo); collections: Rhode Island School of Design Museum, Spencer Museum (KS).

yoonminam.com | @yoonmi_nam

 

Special thanks to Awagami Factory for their generous donation of handmade paper for this workshop.

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Yoonmi Nam, Winter Spring, mokuhanga, 11-3/4 x 16-1/2 inches
Yoonmi Nam, Winter Spring, mokuhanga, 11-3/4 x 16-1/2 inches
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Print & Letterpress X Summer Session 2

Print & Letterpress Summer Session 2
June 5–June 17
Joseph Velasquez
Color Relief Printmaking

This exciting workshop will present a variety of relief printing techniques, including traditional and experimental methods of color printing on paper and textiles. We’ll cover tools and sharpening, transfer techniques, registration methods, and traditional and experimental substrates, along with multi-block printing, experimental monoprint methods, and paper dyeing techniques that create dynamic compositions. The aim of this workshop is to expand your image carving vocabulary and your color printing knowledge and maximize the possibilities of relief! All levels. 

Assistant professor at Florida Atlantic University; lectured and demonstrated at 145 universities as co-creator of Drive-By Press, a mobile printmaking studio; exhibitions: Venice Biennale (Italy), South African Museum, The Print Center (Philadelphia), Doujiao Museum of Art (Beijing), University of Dundee (Scotland). 

josephvelasquez.com | @dbpjoseph

Joseph Velasquez, The Road to Perdition, relief on textile, 6 x 4 feet
Joseph Velasquez, The Road to Perdition, relief on textile, 6 x 4 feet
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Print & Letterpress L Summer Session 1

Print & Letterpress Summer Session One
May 29–June 3
Kathryn Hunter
Letterpress in Motion

This workshop will use letterpress printing to create movable paper objects. We’ll look back at vintage examples, from articulated figures to volvelles, and how they were used as toys and information tools. Students will print type and images and then use dies to create a small edition of a figure or a simple volvelle, or they will design and print a small edition of prints that can be cut up and made into articulated objects. We’ll cover printing–with handset type, photopolymer plates, and linoleum blocks–and die cutting. Beginning level: experienced students welcome.

Studio artist, owner of Blackbird Letterpress; teaching: Crystal Bridges Museum of American Art (AR), Ladies of Letterpress conferences, Louisiana State University; exhibitions: University of Wisconsin-Oshkosh, University of Mississippi-Oxford, Redux Contemporary Art Center (SC); design commissions: Metropolitan Museum (NYC), Norton Simon Museum (Los Angeles), illustrations in the Keeper of the Tales trilogy by Ronlyn Domingue. 

kathrynhunterfineart.com | @kathrynhunterartist
blackbirdletterpress.com | @blackbirdletterpress

Kathryn Hunter, National Park Spinner/Volvelle, paper, ink, metal brad, 6 inches diameter
Kathryn Hunter, National Park Spinner/Volvelle, paper, ink, metal brad, 6 inches diameter
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Print & Letterpress Spring Concentration

Print & Letterpress Spring Concentration
March 6 – April 29, 2022
Jamie Karolich
Print/Process/Production

Letterpress is a democratic art form; it disseminates information widely through its ability to produce multiples. Whether you are experienced or new to letterpress, this workshop will explore this democratic idea and what it means to learn, share, and reproduce. Students will gain knowledge in multiple printing methods and processes, including handset type, polymer plate printing, die cutting, wood and linoleum relief printing as well as experimental techniques. Front loaded with technical information and small collaborative projects, this workshop introduces print techniques and encourages students to think outside of their own creative default. Students will have time to journey into their own self-guided projects and can expect to leave with a new, diverse portfolio of prints that exemplify traditional and experimental techniques and explorations. All levels. Letterpress studio.

Printer and proprietor of Small Batch Studio; co-organizer of Southwest Print Fiesta (NM); exhibitions: New Mexico Printmaking Invitational, New Grounds Remarque Print Workshop (NM), Light Studio (NM), El Sol (NM), At Work (IN), PLAY (NC); residencies: The Common Press (CO), Arrowmont (TN), Western New Mexico University, smART Kinston (NC), Penland Core Fellowship. 

jamieannekarolich.com | @jamiekarolich

work by Jamie Karolich
Jamie Karolich
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May Special Session Printmaking and Writing

Printmaking and Writing – May Special Session
May 1-6, 2022
Stuart Kestenbaum and Susan Webster
Word and Image

We’ll make images that inspire writing, writing that inspires images, and work that combines the two. Activities will include daily writing and drawing prompts as ways to generate work. Students will learn various low-tech printmaking techniques including gelatin-plate process, direct stencil, and monotype drawing. And we’ll use a variety of tools and techniques, including drawing, painting, and collage, to make image and text components. Formats may include simple book structures and one-of-a-kind pieces. We’ll emphasize experimentation. All levels. Printmaking studio.

Stuart: poet, former director of Haystack (ME), poet laureate of Maine; visiting writer: Penland, Cranbrook (MI), Rhode Island School of Design, Virginia Commonwealth University; author of six published collections of poetry including the recent Things Seem to Be Breaking.

stuartkestenbaum.com | @stukestenbaum

Susan: studio artist; teaching: Haystack (ME), Penland, Center for Contemporary Printmaking (CT), Studio Artworks Center (Jerusalem); developed a model art program in the Maine prison system; exhibitions: Institute of Contemporary Art (Maine College of Art), Maine Jewish Museum.

susanwebster.net | @susanwebsterdeerisle

Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches
Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches