Printmaking and Letterpress Workshops at Penland

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.




SUMMER session 1

May 24 - JUNE 5, 2015

Rhiannon Alpers


Rhiannon Alpers
Manifestos & Revolutions through Printed Matter

This workshop will explore the use of printed matter—books, prints, and multiples—as vehicles for conveying ideas. It will also examine the dynamic relationships that can be created between text and image. Through historic samples and contemporary situations, students will develop their own personal manifestos. Each student will explore their ideas through a variety of print techniques, including letterpress printing with handset type, several methods for making photopolymer plates, linoleum block printing, and other alternative methods for making prints on the Vandercook presses.All levels. Code 01L

NOTE: Inge Bruggeman was originally scheduled to teach this class and is listed in the catalog. She will not be able to teach this summer and Rhiannon Alpers has graciously agreed to step in and teach the class that Inge planned.


Letterpress printer, book artist, papermaker; former head of studio operations for bindery and letterpress at San Francisco Center for the Book; teaching: San Francisco Art Institution, University of San Francisco, Columbia College Chicago, San Francisco Center for the Book, Center for Book and Paper (Chicago), Santa Reparata School of Art (Florence, Italy).





SUMMER session 2

JUNE 7 - 19, 2015


John H. Pratt, Coastline 2,

color woodcut, 44 x 22 inches


John H. Pratt
Woodcut: An Exploratory Approach

This workshop will explore a series of approaches to the relief print, in particular its capacity to generate a range of responses to a theme or idea. We’ll start with image transfer, cutting the block, and printing. We’ll use stencils and jigsaw cuts as a simple means of exploring a range of color possibilities. Hybrid processes such as monotype, collage, and chine-collé will complement this inquiry. We’ll focus on the woodcut’s rich history of directness, vivid contrast, and bold graphic presence and examine its potential to provoke and to realize evocative imagery. All levels. Code 02X


Senior lecturer at Australian National University; solo exhibitions: Left Hand Gallery (Australia), Beaver Gallery (Australia), Schloss Haldenstein (Switzerland); collections: National Gallery of Australia, Sanbao Print Collection (China), Canberra Museum and Gallery (Australia).





Caren Florance, No String Banjo, handset

letterpress printing on paper, text by Sue Wootton,

19 x 13-3/4 inches


Caren Florance
Bespoke Poetry: Press Poetics

Handset type allows poetry to be presented with the care and attention that a bespoke jeweler dedicates to a rare stone. Poetry is a dense substance packed with meaning, and it can be unpacked and repacked with an imaginative textual setting. Students will work with type and typography, creative presswork, hand-rolling techniques, and other visual effects. We’ll explore the page as space and surface and contemplate the power of the page fold. Students may work with their own poems or make poetic compositions from found texts. The work of other poets may be used with permission. The result may be broadsides, chapbooks, or artists’ books, depending on student interests.All levels. Code 02L


Teacher at Australian National University; workshop teaching: Sturt Craft School (Australia), SLV Rare Books Summer School at Monash University; collections: British Library (London), Victoria and Albert Museum (London).


All workshops in Session 2 will be taught by artists

from Australian National University.




SUMMER session 3

JUNE 21 - July 3 2015


Andy Rubin, Kaddish, lithograph,

20 x 15 inches


Andy Rubin
Multicolor Printmaking

This workshop will make multicolor printmaking fun and easy. We’ll start by making key images on etching plates and move quickly to making second, support plates to add color. We’ll cover collographs, multi-plate registration, transfers, chine-collé, monotype, a la poupée intaglio, stencils, and whatever else it takes to create vibrant, exciting, two (or more) plate images. We won’t be making editions, so be prepared to create many incredible, individual images. No experience necessary, just a curiosity about the inherent possibilities of printmaking. All levels. Code 03X


Master printer at Tandem Press at University of Wisconsin-Madison; has worked with more than 100 graduate assistants on projects with many artists, including Jim Dine, Judy Pfaff, and Sam Gilliam; Tandem’s prints are in museum and corporate collections worldwide; Andy’s work has been exhibited in more than 40 print competitions.





Béatrice Coron, Fashion Statement, cut Tyvek,

40 x 20 x 20 inches


Béatrice Coron
Contemporary Papercutting

During this intensive workshop of serious fun, students will discover the incredible variety of contemporary papercutting and the many possible applications of this art form, from fine art to public art commissions. We’ll conceive and produce works as different as unique illustrations, stenciled editions, pop-ups, dimensional work, wearable sculptures, and stop-motion animation. Cutting different materials and experimenting with scale, we’ll keep an open mind and explore new territories.All levels. Code 03L


Studio artist; exhibitions: Center for Book Arts (NYC), American Visionary Art Museum (Baltimore), Cité de l’Architecture (Paris); TED talk; commissions: MTA Arts for Transit (NYC), Charlotte-Douglas International Airport (NC); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles), Museum of Fine Arts Boston, Museum of Modern Art (NYC), National Gallery (DC).







SUMMER session 4

July 5 - 17, 2015



Jennifer Ghormley, From Here To There, stencil

screenprint, woodcut, 10 x 8 inches


Jennifer Ghormley
Mix your Matrix

Merging one of the oldest forms of printmaking with contemporary approaches to image making, students will combine woodcuts and screenprints to make dynamic, layered imagery. This combination creates a blend of colorful, graphic shapes and intricately carved wood-grain textures and mark making. Working from drawings, photographs, and other images, students will hand-cut screenprint stencils and carve textured woodblocks. Design and layering can be as simple or complex as the work calls for. Instruction will focus on technical skills, creative experimentation, individual approaches to content and concept, and contemporary printmaking methods. Once the matrix is created, the possibilities are limitless.All levels. Code 04X


Studio artist; former print studio manager at Anderson Ranch (CO); teaching: Metropolitan State College of Denver, Colorado Mountain College; exhibitions: Aspen Chapel Gallery (CO), Carson Gallery (Denver), RedLine Gallery (Denver)




SUMMER session 5

July 19 - August 4, 2015


Thomas Lucas, Spirit Tools, carborundum intaglio,

30 x 22 inches


Thomas Lucas
Survey of Printmaking Techniques

This workshop will introduce basic printmaking processes and equipment with an equal emphasis on concept and technique. Printmaking is varied, repeatable, and tactile, with images printed as unique works, as multiples, or as variations, using an array of processes. We’ll cover monotype, relief, intaglio, lithography, and various approaches to making and printing plates in each medium. We’ll explore drawing, design, color, layering, and mark-making. Students will build on process, experiment with print media, and think creatively and critically.All levels. Code 05X


Teacher at Chicago State University and Harold Washington College (Chicago); other teaching: Tyler School of Art (Philadelphia), School of the Art Institute of Chicago, Ox-Bow (MI); founder and master printer at Hummingbird Press Editions; commission: Chicago Transit Authority; representation: N’Namdi Contemporary (Miami, Detroit).





Ashley John Pigford and Tricia Treacy, Touch,

letterpress covers, hand-sewn binding,

digitally printed pages, 11 x 9 inches



Ashley John Pigford & Tricia Treacy
Digital Fabrications & Letterpress Printing

Using a CNC router, we’ll design (using the Adobe Creative Suite) and produce type-high woodblocks for letterpress printing. These blocks may include text (creating original woodtype) or other forms of aesthetic expression. Then we’ll print with these blocks using the Vandercook presses and bind our compositions into an editioned, collaborative book. Throughout the workshop, we’ll experiment with ways to use materials, tools, and technology to create visual narratives, ultimately in the form of hand-crafted books. All levels. Code 05L

Ashley: associate professor of graphic and interaction design at University of Delaware; project grant from the Center for Craft, Creativity, and Design (NC). Tricia: assistant professor of design at Appalachian State University (NC); collections: Annenberg Rare Book Library at University of Pennsylvania, Frank Furnace Book Arts Collection at Museum of Modern Art (NYC).




SUMMER session 6

August 9 - 21, 2015


Keiji Shinohara, July Fifth,, woodcut print, 10 x 15 inches


Keiji Shinohara
Japanese Woodblock Printmaking

Woodcut is an ancient printmaking technique. Contemporary methods and tools can combine with the original processes in exciting ways; this workshop will explore Western and Eastern ideas. We’ll cover carving with knives, gouges, Dremel tools, etc., along with surface-building techniques. We’ll practice the Japanese printing method using watercolor, rice paste, and a baren along with the Western use of rollers and the system of printing multiple color blocks at once. All processes will be done by hand; no presses. Students will progress from single color to multiple colors on one block to multi-block prints. We’ll study prints by Rembrandt, Goya, Picasso, Munch, Hiroshige, Utamaro, and Hokusai. All levels. Code 06X


Teacher of printmaking at Wesleyan University (CT); visiting teacher at more than 100 venues; 40 solo exhibitions; Japan Foundation and NEA fellowships; collections: Fine Arts Museums of San Francisco, Cleveland Museum, Milwaukee Art Museum.





Martin Mazorra, Fickle, woodcut and letterpress

on paper, 24 x 18 inches


Martin Mazorra
Woodcut & Letterpress Posters

This workshop explores the relationship between text and image. The direct and immediate qualities of woodcut images combined with letterpress text will be used as the operative elements in narrative, graphic statements in the poster format. Students will acquire new skills in woodcut, hand typesetting, and letterpress principles and processes.All levels. Code 06L


Teacher at Pratt Institute (NYC) and Parsons the New School for Design (NYC); Marie Walsh Sharpe Foundation residency; fellowships: United States Artists Ford Foundation, New York Foundation for the Arts; exhibitions: David Krut Gallery (NYC, South Africa), Above Second Gallery (Hong Kong), Kuntishall (Estonia), Mohs Gallery (Copenhagen), MF Gallery (NYC), Crane’s Art Space (Philadelphia), Morgan Conservatory (Cincinnati), Dishman Museum (TX).






SUMMER session 7

August 23 - 29, 2015


Kyle Durrie, US Map, ink on paper, 18 x 24 inches


Kyle Durrie
Down & Dirty Letterpress

We’ll demystify the process of letterpress printing and learn to see it as an approachable means of communication and expression. We’ll cover basic press safety and protocol as well as the fundamentals of relief printing, typesetting, ink mixing, and impression, before moving on to an open studio approach where students will be encouraged to play with large wood type and experiment with form. We’ll look at show posters and advertising from greats like Hatch Show Print and introduce other experimental processes such as pressure printing, working with magnets, and printing with nontraditional forms. Students will leave with an understanding of the medium and a shared portfolio of posters.All levels. Code 07X


Proprietor of Power and Light Press (NM), owner of the Moveable Type Truck, a traveling educational print shop; residencies: Skowhegan (MA), Vermont Studio Center; exhibitions: SPACE Gallery (ME), Center for Maine Contemporary Art.