Books & Paper

Books and Paper Workshops at Penland

Penland School of Craft offers  workshops of varying lengths in the book arts and papermaking 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.

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  • Please read this note about our session schedules.
Papermaking – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
SR Lejeune
What a Relief: Techniques for Pulp Casting

Using experimental casting processes rooted in hand papermaking techniques and the distinct properties of different fibers, students will learn to record dimension, texture, surface, and form with paper pulp. We’ll begin with basics such as fiber processing in the Hollander beater and sheet forming and then apply these skills to a variety casting methods, such as embossing with the hydraulic press and vacuum table; laminate-casting of objects with high-shrinkage fibers; and packing low-relief, miniature, and found moulds. Through material exploration, this experimental workshop will emphasize the unique possibilities of various paper pulps as casting media. We’ll cover ways of working applicable to both professional and improvisational studio contexts. All levels. 

Studio artist; MFA in sculpture from Yale School of Art (CT); former Penland core fellow; teaching: Women’s Studio Workshop (NY), Dieu Donné (NYC); solo exhibitions: AS220 Reading Room (RI), Sculpture Center (Cleveland), Green Galleries at Yale School of Art (CT). 

sarahroselejeune.com

SR Lejeune, detail of A Floor for Laurel, cast handmade paper in cotton and abaca, complete installation: 135 x 140 inches
SR Lejeune, detail of A Floor for Laurel, cast handmade paper in cotton and abaca, complete installation: 135 x 140 inches
PAPER – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Heather Peters
Handmade Paper: Surface and Object

This workshop will begin by processing a variety of fibers to make Western-style paper. Using a Hollander beater to break down fibers, we will explore various ways to form sheets. This will be followed by an in-depth, practical analysis of drying techniques. Then we will dive into an exploration of pigments, natural dyes, and other color techniques both wet and dry paper. The outcome will be beautiful, individualized sheets and standalone paper art pieces with an ethereal, elemental presence. Looking at paper through a historical lens, we will talk about the importance of creating unique substrates and discuss ways of bringing papermaking into a variety of studio practices and set-ups. This workshop is perfect for new papermakers, and it will also be informative for those with experience. Beginning level. 

Studio artist; teaching: Magnolia Editions (CA), San Diego State University (CA), Palomar College (CA), ArtCenter College of Design (CA), Occidental College (CA); residencies: Kala Art Institute (CA), Wells College AIR (NY); collections: University of California Berkeley Environmental Design Library, Scripps College (CA), Lucid Art Foundation (CA); publications: Degrees of Innovations (San Francisco Center for the Book), Adaptation: Artist Books for a Changing Environment (UC Berkeley Environmental Design Library), Wings of the Mill (Super Classy Publishing).

hapeters.com | @society_of_hermits
January 15 – Regular enrollment opens

Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
DRAWING/PAINTING/BOOKS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Hollie Chastain
The Mixed-Media Memoir

This workshop will explore the practice of visual storytelling using a range of mixed-media techniques. Each student will stitch a simple book and then fill it with stories as we explore different ways to represent them visually. We will cover illustration skills and visual composition as well as technical demonstrations of spray paint, mark making, embroidery, and layering techniques you can use to bring your memoir to life. When the workshop finishes, you will be on a path to continue working on your memoir. Bring materials from home to incorporate into the project. All levels. Drawing and painting studio.

Studio artist, Illustrator; publications: Create Magazine, Colossal, Gestalten Books, Smithsonian; teaching: Arrowmont (TN), Townsend Atelier (TN), San Diego Book Arts (CA), Cambridge Art Association (MA), Penland; exhibitions: The Arts Company (Nashville), Kentuck Art Center (Tuscaloosa); author of If You Can Cut You Can Collage (Quarto Press).

holliechastain.com | @holliechastain
Jan 15 – Regular enrollment opens

Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches
Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches
BOOKS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Coleen Curry
Manipulating Leather

This workshop will cover a variety of surface applications used to turn leather and suede into beautiful pieces of art that can be used for a variety of applications. We will begin by exploring a range of surface manipulations and finishes with adhesives, foil, paper, and textures, and also discuss the uses and limitations of different leathers and tanning processes. Then we will use the materials we have created to make contemporary book structures. Students will take away samples to use as references, a collection of unique leather materials to use for their own projects, and one or more finished books. The workshop will be dedicated to fun and experimentation and will benefit book makers and other artists who want to explore this medium. All levels. 

Studio artist; teaching, American Academy of Bookbinding (CO), San Francisco Center for the Book, Center for Book Arts (NYC), Paper and Book Intensive (MI); Helen DeGoyler Award for American Bookbinding; collections: Bainbridge Museum of Art (WA), San Francisco Public Library, Boston Athenaeum, Bridwell Library at Southern Methodist University (TX); representation: Seager/Gray Gallery (CA), Lux Mentis Books (ME), Oak Knoll Books (DE).

coleencurry.com | @book.thug
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
BOOKS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Anna Embree
Case Binding

This workshop will explore hard and soft cover case structures for a variety of textblock types. We will consider how structural components such as sewing style and covering materials influence construction, openability, and end use. Cases will be made for newly constructed textblocks, using a variety of sewing styles, and for rebinding books that need new covers. Paper decorating techniques, endbanding, and cloth backing will be incorporated into the projects to create one-of-a-kind books and simple boxes. All levels. 

Professor in the MFA Book Arts Program at The University of Alabama; co-director of Paper and Book Intensive (MI); collections: Columbia University (NY), Baylor University Special Collections (TX), University of Central Florida (FL), Indiana University (IN), Arizona State University (AZ).

See more of Anna’s work.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Anna Embree, Meditations and Contemplations, fish parchment, paper, thread, adhesives; millimeter-style binding, 5 x 3 x 1-1/4 inches
Anna Embree, Meditations and Contemplations, fish parchment, paper, thread, adhesives; millimeter-style binding, 5 x 3 x 1-1/4 inches
PAPER – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Lee Emma Running
Cast Paper Sculpture

In this workshop students will explore handmade paper as a primary material for creating sculpture. Paper pulp is a material uniquely suited for sculpture: it can hold a surprising amount of detail when cast, and it can be flexible, light, and translucent. Starting with pulp preparation and basic sheet forming, students will learn to create paper forms using plaster molds, flexible molds, direct casting, and sculptural sheet forming. Beginning to advanced students will be encouraged to explore new ways of working with this versatile material. All levels. 

Studio artist;  teaching: Grinnell College (IA), University of Iowa, Nanjing University (China), Ox-bow (MI), Penland; grants: Iowa Arts Council, Populous Fund, Amplify Arts Working Group; residencies: Kohler Arts/Industry Program (WI), Ucross Foundation (WY), Jentel Foundation (WY); exhibitions: Corvallis Arts Center (OR), Form and Concept (NM), PACE Gallery (IA); installations: St. Ambrose University (IA), Iowa Department of Cultural Affairs, Bernheim Arboretum (KY), Upper Iowa University. 

leerunning.com | @lee.running
January 15 – Regular enrollment opens

Lee Emma Running, Acts of Transformation, handmade paper, deer hide, white gold leaf, 76 x 28 x 14 inches
Lee Emma Running, Acts of Transformation, handmade paper, deer hide, white gold leaf, 76 x 28 x 14 inches
BOOKS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andy Rottner
Books and Enclosures

This workshop will provide a straightforward approach to making sewn-section, case bound books and the construction of four enclosure types. Students will first design and bind a 6 x 9 inch, 96-page book. Then they will design and build these four separate enclosures for that book: four-flap paper portfolio, slipcase, clamshell box, and lift-top box. We will use equipment such as the board shear, paper guillotine, and book press while learning techniques that include folding and piercing sections, sewing, forwarding, trimming, book cover construction, casing-in, gluing, measuring, cutting, and book and box design. All levels.

Studio artist, bookbinder, publisher, educator; teaching: San Francisco Art Institute, San Francisco Center for the Book, Studio Art Center International (Florence, Italy); bookbinding clients: Internet Archive, Codex Foundation (CA), California College of Art; collections: Library of Congress Special Collections (DC), Harvard University (MA), Stanford University (CA), Columbia University (NYC), Smith College (MA); publications: Knuckles on the Ground: Fundamentals of Bookbinding (San Francisco Center for the Book).

superclassypublishing.com | @superclassypublishing
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
PAPER – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nicholas Cladis
Bark Fibers Transformed

This workshop will begin with processing raw bast fibers (e.g. kozo) into paper using Japanese sheet forming methods. Then we will explore alternative techniques and materials to use in tandem with bast fibers: we will pigment and dye, manipulate pulp with water, and use bark fibers for casting and dipping. Embracing the communal aspect of papermaking, we will concoct and experiment with pulp mixtures. There will be daily demonstrations, discussions of paper as an artistic and borderless medium, and ample time for play. We will also discuss the history and origins of Eastern/Japanese papermaking and its contemporary applications. Each student will walk away with an assortment of handmade papers and fiber-focused objects. All levels.

Lecturer at University of Iowa Center for the Book; other teaching: Fukui Prefectural University (Japan); visiting artist: Rhode Island School of Design, University of Wisconsin-Madison, University of Michigan (MI); Ishibashi Fellowship for Research in Japanese Art; recent exhibitions: Yamatoya Gallery (Japan), Public Space One (Iowa City, IA), National Craft Research and Development Institute (Taiwan); collection: Museum of Washi & Culture (Japan).

nicholascladis.com 
January 15 – Regular enrollment opens

Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
PHOTO/MIXED MEDIA – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Sally Van Gorder
Photographing Your Work: Documentation for Artists

Photographic records are essential to every art practice. They can describe a work, provide an exhibition view, supply installation instructions, ensure accurate color for print reproduction, or communicate the character of a practice.They can also express an aesthetic and convey a narrative. This workshop considers the many contexts in which these images are made and used. We will work digitally and explore the technical requirements for quality pictures. Demonstrations will cover camera control, natural and artificial lighting, and post-production workflows, including color correction, retouching, file output, and storage. We will cover everything you need to get the best images of your work from the conditions and equipment you’re working with, whether you have a DSLR, mirrorless camera, or cell phone. This workshop is for any art/craft practitioner wanting to photograph their work. All levels. Photography studio.

Professor at North Carolina State University; other teaching: Virginia Commonwealth University (Qatar), Oregon College of Art and Craft, Pacific Northwest College of Art (OR); residencies: Brightwork Fellow at Anchorlight (NC); exhibitions: North Carolina Museum of Art, Southeastern Center for Contemporary Art (NC), Contemporary Art Museum (NC).

sallyvangorder.com | @sallyvangorder
January 15 – Regular enrollment opens

Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
PAPER – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Jiyoung Chung
Joomchi and Beyond

In this workshop students will explore joomchi, a traditional Korean process for making textured, handmade paper using water and eager hands. We will cover its history, practice, and role in Korean society; learn the basic techniques; and discuss its adaptations into a contemporary art form. The strong and painterly textured surfaces of joomchi are created by layering and agitating hanji (Korean mulberry paper). Its applications are diverse and it can be incorporated into surface design, collage, new ways of drawing, or unconventional body ornaments. Joomchi can also be used to create sculptural objects that may be functional or fine-art oriented. All levels. 

Studio artist; teaching: Arrowmont (TN), Penland, 92nd St. Y (NYC), Pyramid Atlantic Center (MD); 33 solo exhibitions in Korea, US, Australia, France, Finland, Romania, and UK; curator for International Korean/American Joomchi Exhibition in France, Korea, and US; Gold Award at Smithsonian Craft Show (DC), Award of Excellence at American Craft Council Baltimore Show; Silver Prize at 8th Cheongju International Craft Competition (Korea); collection: Museum of Arts and Design (NYC); author of Joomchi and Beyond.

January 15 – Regular enrollment opens

Jiyoung Chung, His Tears, joomchi paper painting with paper yarn, 34-1/2 x 24-1/2 inches
Jiyoung Chung, His Tears, joomchi paper painting with paper yarn, 34-1/2 x 24-1/2 inches
PRINT/LETTERPRESS/MIXED MEDIA – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Julie Chen
The Movable Artist’s Book

This workshop will explore content, design, and production strategies for incorporating pop-ups and movable mechanisms in artist books. We will begin by completing a set of quick technical models as we cover the basic techniques involved in designing pop-ups and movables. Students will take their ideas through the mock-up process and learn how to create and/or adapt templates for cutting paper pieces on the laser cutter. Then we will explore quick and accessible techniques for using letterpress to print visual content. Students will create parts for a small edition with the goal of completing at least one copy of their book by the end of the session. In addition, everyone will design and produce a page spread for a collaborative movable book. Intermediate/advanced level: students should have experience with Adobe Illustrator; bookmaking and/or letterpress experience will be helpful. Letterpress studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Professor at University of Wisconsin-Madison; studio artist publishing under the Flying Fish Press Imprint; recent exhibitions: National Museum of Women in the Arts (DC), The Jack Ginsberg Centre for Book Arts at Wits Art Museum (Johannesburg); collections: Library of Congress (DC), Victoria and Albert Museum (London), Sir George Grey Special Collections, (NZ).

flyingfishpress.com | @flyingfishpress
January 15 – Regular enrollment opens

Julie Chen, Panorama (two spreads), letterpress on various commercial papers, 9-1/2 x 20-1/4 x 2 inches when closed; 60 x 9-1/2 inches when fully opened
Julie Chen, Panorama (two spreads), letterpress on various commercial papers, 9-1/2 x 20-1/4 x 2 inches when closed; 60 x 9-1/2 inches when fully opened
BOOKS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Velliquette
Sculptural Paper 

This workshop will focus on creating sculptures made entirely from paper. We will start with techniques from paper-crafting traditions, including folding, cutting, quilling, scoring, and weaving, which will introduce students to a range of paper-crafting tools, adhesives, and paper stocks. Students will explore these methods to arrive at unique forms and techniques they will discover through their own experimentation. The remainder of the workshop will focus on sculptural paper construction techniques as students work toward the completion of a singular piece of their own design. All levels.

Assistant professor at the University of Wisconsin-Madison; other teaching: Haystack (ME), Pocosin (NC); residencies: John Michael Kohler Arts/Industry (WI); Houston Center for Contemporary Craft; SIM Residency (Iceland); Kloster Dornach (Switzerland); collections: Racine Art Museum (WI), San Antonio Museum of Art (TX), Chazen Museum of Art (WI); television: guest judge on Discovery+Meet Your Makers Showdown. 

velliquette.com | @michaelvelliquette
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
BOOKS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rachel Mauser
Bookbinding: Simple to Complex

In this workshop, students will learn a variety of quick bookbinding structures and techniques that they can combine to create innovative forms for their own artist books. We will cover a variety of sewn and folded structures with daily demonstrations and hands-on instruction. This workshop will start with basic accordions and pamphlets and progress to more complex versions of these structures that can be used to bring a sculptural aspect to your books. Students are welcome to bring prints, posters, or paper ephemera to use as book content. They will leave with a variety of structures in their wheelhouse as well as mock-ups for combining them into unique forms. All levels.

Bookbinder, printmaker; co-founder and co-director of Steam Exchange Community Art Center (KY); teaching and curriculum development, screen print shop director (Louisville, KY); Kentucky Museum of Art and Craft teaching artist; Windgate Fellow, Windgate Project Grant, Penland Core Fellowship, Caldera Art Center (OR) residency; work featured in 500 Handmade Books Volume 2.

rachelmauser.com | @rachelmauser
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
PAPER – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Jazmine Catasús
Experimenting with Pulp

This workshop will be guided by the materiality of handmade paper as students are encouraged to take an experimental approach and push the traditional boundaries of papermaking. Paper will be considered as a tactile medium like paint or clay. We will build imagery using the various textures, colors, and forms that paper pulp has to offer and use pulp to paint onto other surfaces, such as canvas. We will also cover preparing cotton fiber with the Hollander beater, small sheet forming, and stenciling. All levels. 

Studio artist; artistic director/master printer at EFA Robert Blackburn Printmaking Workshop (NYC); teaching: Pratt Institute (NYC), Dieu Donné (NYC), Recess Art (NYC) Center for Contemporary Printmaking (CT); residencies: Morgan Conservatory (OH), Bard Graduate Center (NYC); Hand Papermaking Board of Directors.

jazminecatasus.com | @jaz_arelis
January 15 – Regular enrollment opens

Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
BOOKS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Janelle Washington
Papercut Portraits

This workshop will focus on the materials, tools, and methods needed to cut a colorful paper portrait with accuracy and expression. Students will learn to capture likeness and personality using a photo of themselves or someone else as a template for their paper cut. We will cover paper cutting techniques, safety, positive and negative space, and cutting and gluing colorful infills to make your paper portrait stand out. All levels.

Studio artist; teaching: Morgan Conservatory (OH), Artspace (NC), Chesapeake Art Center (MD), Jaffe Center for Book Arts (FL); Peter Bullough Foundation residency (VA); exhibitions: Women’s Caucus for Art (MD), Museum of American Illustration (NYC), solo show at Chesapeake Art Center, (MD); collections: St. Paul Episcopal Church (VA), National Museum of African American History and Culture (DC), National Institute of Health Clinical Center (MD), Inova Schar Cancer Institute (VA). 

washingtoncuts.com | @washingtoncuts

Janelle Washington
Janelle Washington, Nuri 1/najicopland, cut paper, tissue paper, 16 x 20 inches
Janelle Washington
BOOKS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Brien Beidler
Timeless Tomes for Tomeless Times: Historic Leather Bindings

Students in this workshop will use historic binding methods and materials to create leather books fit for use and expression in a modern context. We will demystify obscure and often elusive techniques such as sewing on raised cords, edge trimming, endbanding, leatherworking, and gold tooling with genuine gold leaf and egg glair. We will also have a chance to make and use our own custom decorative leather stamps. Although we will primarily make blank books, students may choose to rebind a book as long as the pages are in signatures. This workshop is ideal for anyone looking for an accessible path to learning traditional hand bookbinding. It will also be useful to experienced binders and conservators who would like to deepen their knowledge and expand their technical repertoire. All levels.

Studio artist; teaching: Escuela de Artes y Oficios Santo Domingo (Bogotá, Colombia), North Bennet Street School (Boston), Massachusetts Institute of Technology, Paper and Book Intensive (MI), University of Alabama, University of Utah, Penland; 2023 McKnight Book Arts Fellow, 2021 Interdisciplinary Artist in Residence at the Oak Spring Garden Foundation (VA); collections: San Francisco Public Library, Oak Spring Garden Foundation (VA), Massachusetts Institute of Technology, Library of Congress (DC). 

beidlermade.com | @bhbeidler

Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches