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Fall One-Week Workshops
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
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Fall One-Week Session 1:
October 5 - 11, 2014
Beth Schaible, Group of Leather Longstitch Books,
leather, paper, linen cord, dimensions vary
Nontraditional Longstitch Binding
In this workshop students will create an array of functional longstitch books, starting with basic stitching and moving quickly to nontraditional patterns. Students will learn to plan and sew their own longstitch patterns and designs using cloth, leather, and paper covered boards as cover materials, creating beautifully exposed spines. Some binding experience will be helpful, but this class is for all levels. Code F01B
Printer, binder, calligrapher, and operator of Quill and Arrow Press; teaching: Pyramid Atlantic Art Center (MD), Asheville Bookworks (NC), 7 Ton Letterpress Collective (NC); former Penland core fellow.
Amy Lemaire, Borderland, flameworked soda-lime glass,
sterling silver, steel wire, dyed deer hair, 14 x 12 x 1-1/2 inches
Other Possible Outcomes: Reexamining Glass Beads
In this workshop we’ll reexamine glass beads as portable sculpture that is both personal and public, and we’ll consider the body as a site for wearable sculpture. We’ll cover traditional and experimental approaches to flameworking as well as cold-working and jewelry fabrication. Workshop information will include material preparation, sculptural and textured beads, surface treatment, jewelry design, and assembly strategies. Beginning and advanced makers will be encouraged to explore new ways of working. All levels. Code F01GB
Studio artist, adjunct professor at Salem Community College (NJ); teaching: Lillstreet Art Center (IL), director of the Bead Project at UrbanGlass (NYC); exhibitions: SOFA Chicago and New York, Glass Weekend (NJ), Amy Morgan Contemporary (PA), Bijoux at the Norton Museum (FL).
Ben Dory, Composition ii, steel, 23.5k gold foil, 24k gold leaf,
cubic zirconia, rubies, 4 x 4 x 1/2 inches
Surface Adornment on Steel
Using steel as a base, we will explore how to transform the surface of this rigid material with texture, thin layers of precious metals, and gemstones. The result will be compositions based on creating vivid contrast with a darkened steel background. We’ll cover everything from small tool-making to finishing—equipping students to create finished pieces of jewelry and small sculpture with chasing, overlay, and various methods of stonesetting.. All levels. Code F01MB
Studio artist; teaching: Southern Illinois University-Carbondale; Niche student award; exhibitions: Southern Illinois University-Carbondale, Allen Dow Museum of Science and Art (MI), Leo Jenkins Fine Art Center (NC), “Materials: Hard and Soft” at Greater Denton Arts Council (TX), “The Book as Art” at Decatur Arts Center (GA); collection: Evansville Museum of Art, Science, and History (IL).
Fall One-Week Session 2:
October 19 - 25, 2014
Kent McLaughlin, Bird Bottles,
shino and matte glaze on porcelain, 9 inches tall
A Week of Shino
We will enjoy one week of firing numerous shino glazes in reduction kilns. Bring your stoneware or porcelain bisqueware suitable for cone 10 temperatures, and we’ll explore a variety of shinos and some of the techniques that are possible with this intriguing glaze, including carbon trapping, wax-resist patterning, manipulated drying, carbon cooling, and glaze layering. Have a favorite shino glaze you would like to share? Bring it along. We’ll also make deer-tail brushes, and the workshop will include throwing demonstrations as time permits. All levels. Code F02CB
Studio potter; teaching: Haystack (ME), Anderson Ranch (CO), Campbell Folk School (NC), Shakerag (TN), Curaumilla Art Center (Chile), Jingdezhen Art Institute (China); gallery representation: MICA Gallery (NC), Lark and Key (NC), Schaller Gallery (MI), AKAR Design Gallery (IA).
David Emitt Adams, The Battle Between Two Peaks,
tintype photograph on found objects from the Sonoran desert,
26 x 10 x 18 inches
David Emitt Adams
Rethinking Wet Plate Collodion Photography
In this workshop we’ll explore tintypes and ambrotypes—two photographic techniques based on wetplate collodion materials. As we learn, we’ll take a close look at contemporary artists who use historic photographic processes to communicate their ideas. Together we’ll rethink the photograph as the final product. You’ll explore the possibilities of these materials, experiment, and create alternative methods of display for your photographs. Students should have basic camera skills and be willing to work closely and carefully with photographic chemistry; otherwise the workshop is open to all levels. Code F02P
Studio artist, adjunct faculty at University of Arizona; exhibitions: Griffin Museum of Photography (MA), solo show at Santa Barbara Museum of Art (CA); collections: Museum of Photographic Arts (San Diego), Center for Creative Photography (AZ).
Russell F. Gale Jr., The Garboard Strake, black limba,
Japanese ash, sassafras, plywood, brass, 34 x 52 x 15 inches
Russell F. Gale, Jr.
Foundations of Furniture
There are so many things to think about when building a piece of furniture: design, material selection, joinery, edge and surface treatments, shop safety, etc. In this workshop we’ll work through these issues and more as we each build a small table. We’ll use machines and hand tools in a cooperative balance. The goal is for students to build a foundation of techniques that will give them more confidence and success as they approach future projects. All levels. Code F02W
Studio artist; teaching: Arrowmont (TN); exhibitions: Green Hill Center (NC), best in show award at “Regeneration: Woodworkers under 30” at the Center for Furniture Craftsmanship (ME); work published in Fine Woodworking, Woodwork, Woodworker West, and 500 Cabinets (Lark Books).
Fall One-Week Session 3:
November 2 - 8, 2014
Jessica C. White, You’re Right. We Need to Make Bigger Signs,
letterpress print, 12 x 16 inches
Jessica C. White
Letterpress Basics & Beyond
Get to know your way around letterpress printing by learning the basics and exploring a variety of ways to create relief prints on a Vandercook press. We’ll cover fundamentals including typesetting, mixing ink, and press adjustments through starter projects like postcards and posters. Then we’ll move into more complex prints with playful explorations of texture and image-making through pressure prints, collagraphs, and photopolymer plates. Students will complete a series of prints as well as a chapbook using a binding suited for printmakers of all types. All levels. Code F03L
Studio artist, owner of Heroes and Criminals Press, instructor at Warren Wilson College (NC) and Western Carolina University (NC); author of Letterpress Now: A DIY Guide to New & Old Printing Methods; collections: Yale University (CT), Stanford University (CA), Lingnan University (Hong Kong), School of the Art Institute of Chicago.
Beth Ross Johnson, Element: Earth (detail), cotton, earth pigments,
stretched canvas, 12 x 12 inches
Beth Ross Johnson
Weaving: The First Layer
Woven cloth is made from layers of elements—warp, weft, color, woven structure, and overall design—that require design considerations at different levels of scale. By learning to warp with multiple threads, to beam on without tangles, and other tricks of the trade, we can use the process of winding a warp as a way to establish a foundation for fabrics that will go where we want them to go. Students will get to warp a loom at least twice. This class is for beginners as well as experienced weavers who dread the warping process and would like to get over that. All levels. Code F03TB
Studio artist; teaching: Campbell Folk School (NC), Nantahala School for the Arts (NC), Haywood Community College (NC), Great Tree Zen Temple (NC); exhibitions: Castell dell’Ovo (Italy), Piedmont Crafts, Inc. (NC), SAY Sí Gallery (TX).
Sarah Martin, Untitled Brooch,
mahogany, milkpaint, graphite,
blued tacks, lacquer, 5-1/2 x 5/8 inches
Carving Wooden Jewelry
Looking to expand your jewelry repertoire? This class will show you how to carve wood on a small scale appropriate for jewelers. We’ll cover how to safely carve with both knives and dremels and how to transform these carvings with surface embellishment, findings, and finishing techniques. The workshop will introduce you to a wide variety of artists already using this inexpensive material and will offer a new perspective on its expressive potential. All levels. Code F03W
Visiting assistant professor at University of the Arts (Philadelphia); exhibitions: Fuller Craft Museum (MA), Center for Art in Wood (Philadelphia), Tyler School of Art (Philadelphia); former Penland resident artist.
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