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.




Spring One-Week Session 1

March 27 - April 2, 2016

Jon Lee, L0908,

woodcut on handmade paper, 24 x 18”


Jon Lee
Japanese Woodblock Printing: Tools & Techniques

Mokuhanga—traditional Japanese woodblock printing—may seem like a daunting technique to master. The tools can be expensive and hard to find, and when they are found, it’s hard to know what to select. In this workshop, we'll make the basic tools and learn printing techniques. The workshop will be in two parts: Tool making—we will make the baren, inking brush, knife, and some miscellaneous tools and learn sharpening and other maintenance. Process—image transfer, carving, paper sizing, and printing. All levels. Code S01X


Associate professor at Trinity University (TX); master printer training at Tamarind Institute (NM); exhibitions: McNay Art Museum (TX), Haiharan Taidekeskus (Finland); representation: Hunter Gather Gallery (Houston).




Spring One-Week Session 2

April 10 - 16, 2016

Aimee Joyaux, Shop RVA, relief print on paper, 16 x 20”

Aimee Joyaux

This workshop will be a fun week of introductory printmaking using dozens of plates salvaged from a seed and feedbag company in Richmond, Virginia. We’ll mix and match chickens, pigs, cows, and horses to make unique posters and simple broadsides. We’ll review basic printmaking processes with an equal emphasis on fun and exploration. We’ll cover ink application, color mixing, and printing on paper and fabric (tea towels!). We’ll print with a press or by hand using oil-based inks. Students will leave with a shared portfolio of prints and will contribute to the collective work of Cornmeal Press. All levels. Code S02X


Studio artist; teaching: Visual Arts Center (VA), Ball State University (IN); exhibitions: Catherine Edelman Gallery (Chicago), National Museum of Women in the Arts (DC), Melanee Cooper Gallery (Chicago), Center for Book and Paper Arts (Chicago); representation: Quirk Gallery (VA), Walton Gallery (VA).





SUMMER session 1

May 29 - JUNE 10, 2016

Andrew Polk, The One They Never Saw,

lithograph, 15 x 11 inches


Kathryn Polk, Caught In the Act, lithograph,

20 x 15 inches


Andrew Polk & Kathryn Polk
Stone Lithography: Technique & Process

Stone lithography was developed by Alois Senefelder in 1796 and continues to captivate artists today. Join two very different types of lithographers as they demonstrate techniques, discuss philosophies, and experiment with working on and printing from the amazing Bavarian limestone. Students will learn the processes of drawing on the stone, chemically processing (etching) the image, proofing, and printing a final edition. We’ll work with crayon drawing, tusche wash techniques, transfers, and various experimental methods. All levels. Code 01X


Andrew: faculty at University of Arizona; exhibitions: Hunan Art Institute (China), Design Center (San Francisco). Kathryn: studio artist; teaching: University of South Dakota, University of Arizona; collections: Museum of Fine Arts Boston, National Academy of Fine Arts (China).

















Marianne Dages, Small Fires No. 4, mixed

media, letterpress print on paper, 15 x 11 inches


Marianne Dages
Text as Image, Type as Thought

This workshop will focus on experimental applications of traditional letterpress techniques and the role of text in art. We’ll investigate how wood and metal type and common print shop materials can create unique textures, refined imagery, and meaningful content. We’ll draw inspiration from the Penland type collection and from artists who use text as prompt and image. You’ll learn to set type, fold simple book forms, and print on a Vandercook proof press. Each student will take home a collection of prints and a new appreciation of the printed word in all its forms. All levels. Code 01L


Studio artist; teaching: Tyler School of Art (Philadelphia), University of the Arts (Philadelphia), Common Press (Philadelphia); Herusid residency (Iceland); collections: Museum of Modern Art (NYC), St. Bridge Foundation (UK), School of the Art Institute of Chicago; exhibitions: Print Gallery Tokyo, International Print Center (NYC).







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’ll 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’ll use a variety of tools and techniques—drawing, painting, and collage—to make image and text components. Formats may include simple book structures, one-of-a-kind pieces, and broadsides. We’ll 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’ll 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’ll 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’ll draw on paper with charcoal, watercolor, pastel, ink, bister, and other media. Then we’ll 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’ll view examples of modular patterns drawn from archeology, vernacular architecture, weaving, bricklaying, and tiling. We’ll continue this tradition with modular pieces made from Penland’s wood and metal type and type ornaments as well as found and made type-high hardware. Experiments will include moiré, interference patterns, shifted and pinwheel prints, ink transparency, and color overlay. We’ll 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’ll dive into a variety of traditional etching techniques including soft ground, aquatint, lift ground, and spit bite. We’ll 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’s Print Workshop (IA), Anderson Ranch (CO); residencies: Frans Masereel Centrum (Belgium), Cité 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’ll use handset type, carved blocks, and photopolymer plates and expand our choices through alternative materials. We’ll 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’ll 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’ll 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’ll 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’ll 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’ll also investigate surface treatments such as collage and perforation and review archival techniques. We’ll use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper’s 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).