Printmaking and Letterpress Workshops at Penland

Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Printmaking and letterpress classes include topics like etching, intaglio, woodblock printing, hand-set type, photopolymer plates, screen printing, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Enrollment for summer and fall 2016 and spring 2017 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.





SUMMER session 2

JUNE 12 - 24, 2016

Stuart Kestenbaum and Susan Webster, Meander, monotype,

pen and ink, letter stamps, 12 x 6 inches


Stuart Kestenbaum & Susan Webster
Words & Images

We値l make images that inspire writing, writing that inspires images, and create 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. We値l use a variety of tools and techniques妖rawing, painting, and collage葉o make image and text components. Formats may include simple book structures, one-of-a-kind pieces, and broadsides. We値l emphasize experimentation. All levels. Code 02X


Stuart: poet and former director of Haystack (ME); American Craft Council honorary fellow; visiting writer at Penland, Cranbrook Academy of Art (MI), Pennsylvania State University. Susan: studio artist; teaching: Haystack (ME), Penland, Center for Contemporary Printmaking (CT), Studio Artworks Center (Jerusalem); exhibitions: Tyler School of Art (Philadelphia), Manhattan Graphics Center (NYC).













Ele Annand, 7 Ton Co. Hexagon, letterpress print,

3-1/2 x 3-1/2 inches


Colin Frazer, Messenger, typeface, paper, ink, 40 x 25 inches


Ele Annand & Colin Frazer
Kern, Baby, Kern

Through the medium of letterpress printing, students in this workshop will build a visual awareness of typography. We値l explore letterforms and their composition in space, how typography helps readers navigate text, the expressive qualities of type, and the history of typography and printing. Students will become familiar with hand-setting type, typesetting on the computer, polymer plate making, and machine-carving (CNC) type. We値l get our hands dirty while making beautiful typographic prints. All levels. Code 02L


Ele: creative director at 7 Ton Design and Letterpress (NC); teaching: Asheville Bookworks (NC); Penland Core fellowship; exhibitions: Blue Spiral (NC), LIGHT Art+Design (NC). Colin: designer at The Service Bureau (TX) and professor at Montana State University; collections: San Francisco Museum of Modern Art, Walker Art Center (Minneapolis), Ogden Museum (New Orleans).
























SUMMER session 3

JUNE 26 - July 8, 2016

Althea Murphy-Price, Super Silky Jumbo Studio No. 6 (Hot Air),

lithograph, 38 x 29 inches


Althea Murphy-Price
Plate Lithography

This workshop will introduce a variety of approaches for lithographic printing using photo-positive lithographic plates and polyester printing plates. We'll create imagery through traditional, photographic, and experimental approaches and produce multi-layered, multi-colored prints. We'll explore modes for creating unique textures and using collage methods for versatile printing. We'll also cover chemical processing, registration techniques, mixing ink, and printing. Students are encouraged to bring source imagery and/or preliminary sketches to be altered during the workshop. All levels. Code 03X


Assistant professor at University of Tennessee; other teaching: Indiana University; residencies: Venice Printmaking Studio (Italy), Vermont Studio Center, Frank Lloyd Wright School (WI); collections: Southern Graphics Council (GA), Kohler Library (WI), Tyler School of Art (Philadelphia), Atlanta University, Purdue University (IN).








SUMMER session 4

July 10 - 22, 2016

Goedele Peeters, Statue, woodcut in reduction, 20 x 24 inches


Goedele Peeters
Figure Drawing to Printmaking

Each day of this intensive workshop will include several sessions of life drawing with a model, including full-body drawing, portraits, and anatomical studies. We値l draw on paper with charcoal, watercolor, pastel, ink, bister, and other media. Then we値l work in the print studio to translate these drawings into prints through drypoint, monotype, and linoleum cuts with relief stencil. All levels. Code 04X


Professor at Municipal Art School Kontich and Berchem (Belgium); other teaching: Hochschule Kunst & Design (Switzerland), Cultural Center Tripoli (Libya), University of Michigan; exhibitions: International Print Center (NYC), International Print Triennial (Poland), Gallery Pinsart (Belgium).




Dikko Faust, Tessellation Prints, letterpress printing from handset

type and typographic elements, paper, each: 6 x 4 inches


Dikko Faust
Modular Pattern Letterpress

This workshop focuses on modular patterns and letterpress relief-printing techniques. In addition to studio work, we値l view examples of modular patterns drawn from archeology, vernacular architecture, weaving, bricklaying, and tiling. We値l continue this tradition with modular pieces made from Penland痴 wood and metal type and type ornaments as well as found and made type-high hardware. Experiments will include moir, interference patterns, shifted and pinwheel prints, ink transparency, and color overlay. We値l begin with group projects and then move on to individual projects. All levels: letterpress or printmaking experience will be helpful. Code 04L


Studio artist and founder of Purgatory Pie Press (NYC); teaching: School of Visual Art (NYC), Center for Book Arts (NYC); collections: Metropolitan Museum (NYC), Tate Gallery (London), Cooper-Hewitt (NYC), Victoria and Albert Museum (London).






SUMMER session 5

July 24 - August 9, 2016

Lisa Bulawsky, Tender Remember, monotype, silk collagraph,

collage, 18 x 15 inches


Lisa Bulawsky
Etching: Fix & Flux

This workshop will embrace the dualities that make intaglio printmaking so attractive and complex. We値l dive into a variety of traditional etching techniques including soft ground, aquatint, lift ground, and spit bite. We値l also experiment and discover new techniques using resources in and around Penland. Our work will balance mastery and surrender, intention and chance, fast and slow. Each student will have the opportunity to accomplish an ambitious body of work and participate in a class portfolio exchange. All levels. Code 05X


Studio artist, director of Island Press (St. Louis), and professor at Washington University (St. Louis); other teaching: Frogman痴 Print Workshop (IA), Anderson Ranch (CO); residencies: Frans Masereel Centrum (Belgium), Cit Internationale des Arts (Paris); collections: Spencer Museum (KS), University of Wisconsin, Royal Academy of Fine Art (Belgium).







Eileen Wallace, Festina Lente, letterpress print (wood type,

lead rule), 14 x 11 inches



Eileen Wallace
Drawing with the Press

This workshop will teach good printing practices in tandem with a healthy dose of experimentation. We値l use handset type, carved blocks, and photopolymer plates and expand our choices through alternative materials. We値l build our own type-high blocks and design creative lock-ups in the press in an effort to stay connected to the process and use the press as a way of drawing. To escape the ease and convenience of digital tools and enlarge our material vocabulary, we値l experiment with alternatives andbring a new voice to the letterpress conversation. All levels. Code 05L


Lecturer at University of Georgia; other teaching: Haystack (ME), OxBow (MI), Washington University (St. Louis), Columbia College Chicago; residencies: Haystack (ME), Arrowmont (TN), Penland; exhibitions: Lamar Dodd School of Art (GA), University of Georgia, Southern Graphics Council (WI), American Academy (Rome).



SUMMER session 6

August 14 - 26, 2016

Sage Perrott, Untitled, screenprint, 10 x 8 inches


Sage Perrott
Screenprinting: Basics & Beyond

In this workshop we値l cover many aspects of the versatile screenprinting process. Students will transform hand-drawn imagery into colorful, multi-layer screenprints using traditional and not-so-traditional techniques. Editioning, registration, ink mixing, proper squeegee technique, rubylith cutting, and more will be covered during the workshop. People who love to draw are especially encouraged to attend. All levels. Code 06X


Studio artist and adjunct professor at Utah State University; other teaching: Davis & Elkins College (WV), Lawrence Arts Center (KS); exhibitions: Wild Goose Creative (OH), West Virginia Wesleyan College, The Paper Circle (OH), PIQ (NYC), The Pioneer House (TN), Chicago Printmakers Collaborative.








Gaylord Schanilec, Pelecanus erythrorhynchos, wood engraving,

10 x 17 inches


Gaylord Schanilec
Wood Engraving & Woodcut Plus

This workshop will cover the basic techniques of cutting and printing from woodblocks, both end grain (wood engraving) and long grain (woodcut). Working with woodblocks and multiple, overlapping colors, we値l cover methods of transferring an initial image onto the block, my methodology of proofing, and my view of the finer points of press work in printing woodblocks. We値l also explore the possibility of printing on the proofing press from pieces of wood, stone, and possibly other things. All levels. Code 06L


Studio artist; American Institute of Graphics award, Jerome Book Arts fellowship; residencies: Minnesota Center for Book Arts, Gregynog Press (UK); collections: New York Public Library, Getty Museum (Los Angeles), Minneapolis Institute of Art, Yale University, Victoria and Albert Museum (London); archives held at the University of Minnesota.






SUMMER session 7

August 28 - September 3, 2016

Leigh Suggs, Colored Shadows, silver Mylar tape and fluorescent

acrylic on paper, 50 x 54 inches


Leigh Suggs
Paper: Dot, Line, Grid, Form

Students will use simple tools to transform sheets of paper into sculptural forms by cutting, folding, weaving, and exploring a variety of 3d paper constructions. Our conceptual guide will be the action and idea of opening and closing, folding and unfolding, expanding and collapsing as we learn the structural properties of paper. We値l also investigate surface treatments such as collage and perforation and review archival techniques. We値l use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper痴 wonderful and surprising possibilities. All levels. Code 07L


Studio artist; teaching: Virginia Commonwealth University, Penland; North Carolina Arts Council fellowship, QUIRK artist in residence (VA); exhibitions: Weatherspoon Museum (NC), Contemporary Art Museum of Raleigh (NC), Green Hill Center (NC); representation: LIGHT Art+Design (NC), Reynolds Gallery (VA).




Fall Concentration
September 25 - November 18, 2016

Georgia Deal, Roses and Razorwire, handmade paper, pulp

transfer, screenprint, monoprint, 24 x 30 inches

Georgia Deal
From Paper to Print!

This workshop will explore the vast possibilities for combining handmade paper and monoprints. We値l start with the basics of hand papermaking and the many techniques that enable the creation of unique substrates for printing. We値l cover a wide range of monoprint processes including reductive, multiplate, and pressure printing. The back-and-forth of working in both media will expand participants visual vocabularies and encourage them to own every aspect of the process庸rom paper to print! All levels. Code F00X

Professor of printmaking and papermaking at Corcoran School of the Arts & Design (DC); workshop teaching: University of Georgia Cortona Italy Program, Skopelos Foundation for the Arts (Greece); collections: Library of Congress (DC), Philadelphia Museum, Corcoran Gallery of Art (DC), Yale University Beineke Library (CT).







Fall One-Week Session 3
November 6 - 12, 2016

Bryce McCloud, Our Town Together Heroic, large-scale stamps

stoneware, slip, 27 x 19 x 8 inches





Bryce McCloud
Analogue Social Media

This workshop will tap into the power of printmaking as a handmade social medium.Working with relief printing痴 ability to create multiple images, our mission will be to find novel ways to work together and interact with a community. Like playful scientists we値l create socially-driven printmaking experiments, imagine ways to involve people outside of our studio, and then use the community at Penland as our testing ground. We値l brainstorm and refine ideas that may be realized during the session or at other times and places. We値l cover relief printmaking skills and discuss other tactics for engaging the public with your work when you head home. Printmaking or letterpress experience will be helpful, but this workshop is open to all levels. Code F03L

Studio/public artist, founder of Isle of Printing, a letterpress and fabrication shop (Nashville); teaching: Watkins College of Art (TN), Brighton College of Art (UK); public art: Our Town Nashville (TN), Pinewood Social (TN), Invasion UK (Brighton, UK), South by Southwest (TX).



Spring Concentration
March 12 - May 5, 2017

Anne Covell, Natural Order: A Game of Pairs, letterpress prints

from polymer plates, 3-3/4 x 2-3/4 inches each


Anne Covell
Image as Narrative: Letterpress & the Artist痴 Book

This workshop will examine the material connection between image and narrative. Through experimenting with alternative print techniques on the Vandercook, we値l investigate how mood and tone can be expressed through image and the sequencing of images. We値l cover printing from found objects, collographs, carved surfaces, pressure print templates, and plates made from handmade negatives, just to name a few. Our experiments will be editioned and traded. Then we値l move from two dimensions to three as we explore the interplay between image and structure through the creation of handprinted artists books. Binding options will include traditional book structures as well as movable and sculptural books. All levels. Code S00L

Studio artist; teaching: University of Georgia Cortona Italy Program, University of Iowa Center for the Book; collections: Yale University Art Gallery (CT), San Francisco Museum of Modern Art; representation: 23 Sandy Gallery (OR), Abecedarian Gallery (CO), Vamp and Tramp Booksellers (AL); published in 500 Handmade Books Volume 2 (Lark Books).