Summer Session 3: June 25 - July 7, 2017

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


Enrollment for summer 2017 workshops is currently open. All applications received by 5 PM on February 11 will be placed into an early application lottery. Remaining spaces will be filled on a first-come, first-served basis. Scholarship applications are due February 17.




books and paper

Pamela Olson, Seven Cases, sewn-boards binding with three-flap

portfolio, letterpress printed, 9-1/4 x 5 x 1/2 inches


Pamela Olson

Sketchbooks & Journals: Design & Structure

This workshop unites bookbinding and letterpress through sketchbooks and journals. We値l begin with a discussion of historical and contemporary work. Then we値l spend a few days in the letterpress studio setting type, printing on the cylinder presses, and working collaboratively to print typographic and patterned cover papers for our books. Back in the books studio, we値l cover structures, materials, formats, and media. Students will complete a set of blank books, including pamphlet-sewn notebooks, nonadhesive leather journals, and a casebound (hardcover) sketchbook. All levels. Code 03B


Studio artist; teaching: University of Georgia Studies Abroad (Cortona, Italy), University of Nebraska at Omaha; collections: Rhode Island School of Design, University of California Los Angeles, Newberry Library (IL); TRANSIT Residency at the Hamilton Wood Type and Printing Museum (WI); representation: Abecedarian Gallery (CO), Vamp & Tramp Booksellers (AL).





A. Blair Clemo, Jar, ceramic, 9 x 8 x 8 inches


A. Blair Clemo
Layering Techniques, Crafting Content

This workshop is aimed at challenging and expanding both technical and conceptual approaches to making pottery. By layering basic building techniques such as wheelthrowing, handbuilding, and making and using cast-plaster press molds, demonstrations and activities will challenge participants to push their technical approach to the point of innovation. Along with an emphasis on technical exploration and skill building, this workshop will encourage a dialog about how the materials and techniques we choose can create meaning and content in our work. We値l work with porcelain and/or stoneware. All levels. Code 03CA


Assistant professor at Virginia Commonwealth University; residencies: Jingdezhen International Studio (China), Zentrum fur Keramik (Germany), International Studio (Hungary), Da Wang Culture Highland (China).










Kensuke Yamada, Swim, stoneware, 37-1/2 x 18-1/2 x

12-1/2 inches


Kensuke Yamada
Building the Figure in Clay

In this workshop, we値l used basic handbuilding methods, such as coil building and pinching, to create full-size figures, heads, or small wall pieces. Demonstrations will include a variety of techniques that are used in making figurative forms. Individual instruction will help each student make their own unique ceramic pieces. We値l also cover the history of ceramic figurines, glazing techniques, and how to personalize your pieces. We値l work with a stoneware sculpture clay with electric low-firing and raku firing. Intermediate level; some previous handbuilding experience is required; figure drawing experience will be helpful. Code 03CB


Visiting assistant professor at Centre College (KY); residencies: Archie Bray Foundation (MT), The Clay Studio (PA); exhibitions: Catherine Person Gallery (Seattle), Penland Gallery, Santa Fe Clay (NM).












Drawing and painting

IlaSahai Prouty, Paper Bag Test, screen-printed paper bags,

installation at 701 Center for Contemporary Art, Columbia, SC


IlaSahai Prouty
The Art of Experience: Facilitating Community-Based Art

Together we値l explore how experience itself can be an art form. Using activity structures and concepts from experiential education and art as social practice預long with a range of material and processes, including screen-printing and clay謡e値l build art experiences for communities, groups, and individuals. We値l discuss how to lead successful group art experiences and reflect on how facilitation itself is an art form. Take this workshop if you plan to work with art in community settings or you teach and want to deepen your practice. All levels. Code 03D

Associate professor at Appalachian State University (NC) teaching creativity and social practice; author/facilitator for Project Adventure, Inc.; exhibitions: Florence County Museum (SC), City College of San Francisco, Cape Ann Museum (MA); former Penland resident artist and core fellow.








Nate Cotterman, Balloon Series, blown glass, tallest: 16 inches



Adam Holtzinger, KEEP Cane Globe, blown glass, brass

hardware, 12 inches diameter


Nate Cotterman & Adam Holtzinger
Back to the Drawing Board

Whether you want to be a studio artist, a production glass maker, or the fabricator of your own designs, the skill of bringing two-dimensional concepts into the third dimension will be integral to your success. This class will cover design basics and the tools needed to illustrate your ideas. We値l use hand drawing, schematics, scale drawings in Illustrator, and 3d modeling in Cinema 4d to previsualize and problem-solve before making. Using our drawings, calipers, and classic glassblowing techniques, we値l execute our ideas as close to scale as possible, look at them critically, and adjust designs as needed. All levels. Code 03GA


Nate: studio artist, designer; teaching/demos: Pittsburgh Glass Center, Pilchuck (WA), Cleveland Institute of Art. Adam: studio artist, partner in KEEP Lighting (NYC); teaching/demos: Pilchuck (WA), UrbanGlass (NYC), Corning Museum (NY).














Carmichael Jones, Untitled (U) from pedagogies of cultivation,

glass, steel, 23 x 18 x 9 inches


Carmichael Jones
Architectural Approaches

This workshop is for artists who want to execute their conceptual or design ideas in the flameworking studio. We値l cover sturdy, stable construction of both hollow and solid forms and combine multiples to work at a larger scale. Students will explore sculptural and functional forms and how context and treatment can change an object痴 identity. We値l cover custom jigs, geometric shapes, wearables, coldworking, and surface treatments including mirroring. Through demonstrations, creative and technical exercises, and individual work time, students will move from conceptual to actual. Bring a sketchbook. All levels. Code 03GB


Studio artist, fabricator; teaching: Tyler School of Art (Philadelphia), University of the Arts (Philadelphia); Creative Glass Center of America fellow (NJ); exhibitions: Vox Populi (Philadelphia), Icebox Project Space (Philadelphia); representation: Hive Contemporary (PA).









D.W. Martin, The Weight, cast bronze, patina, paint,

10 x 8 x 6 inches


D.W. Martin
Ceramic Shell Bronze Life Casting

This workshop will create bronze and aluminum life castings using the technically-advanced moldmaking process of ceramic shells. We値l cover several wax-working techniques including the use of Body Double silicone rubber to create castings that produce incredibly detailed results. Traditional investment and bonded sand mold-making will be covered through lectures and visual aids but will not be practiced. We値l cover foundry set-up, safety procedures, casting, clean-up, and finishing. Each student will have the opportunity to produce two or three cast pieces in both bronze and aluminum. All levels. Code 03I

Professor at Edinboro University (PA); exhibitions: solo at Erie Art Museum (PA), Ella Sharp Museum (MI), Slippery Rock University (PA), ArtPark Outdoor Sculpture Competition (NY).














Donald Friedlich, Aqua Series Brooch, glass, 22k gold, 18k gold,

14k gold, 2-1/2 x 2-7/8 x 3/8 inches


Donald Friedlich
Industrial Resources for the Studio Artist

Most studio jewelers have a production line of more affordable work. Supplementing hand work by subcontracting to industry can expand options and increase production and profit margins. We値l use hand processes to design and fabricate production prototypes. Then, through lectures, students will learn how to make creative use of available industrial processes, including casting, laser and waterjet cutting, commercial photoetching, etc. We値l also explore alternative materials and coordinate some activities with Kristin Beeler痴 class. Intermediate/advanced level: sawing, soldering, filing, and forming skills required. Code 03MA


Studio artist; teaching: The Studio at Corning (NY), Tainan National University (Taiwan); collections: Victoria and Albert Museum (London), Smithsonian (DC), Museum of Arts and Design (NYC). Museum of Fine Arts, Boston.





Kristin Beeler, Frostbite, steel, fine silver, quartz, ball: 4 inches

diameter, chain: 20 inches


Kristin Beeler
Forget Me Knot

From tying a string around your finger to family heirlooms, jewelry and memory can merge to create meaning. Using interpretations of the locket as a starting place, we値l explore jewelry as souvenir while incorporating techniques of the locket form, including hinges, using the hydraulic press, and etching. Readings and discussion will focus our thoughts about objects and memory. We値l emphasize experimentation, skill building, and the development of form. Interaction with Donald Friedlich痴 workshop is inevitable. All levels. Code 03MB


Professor at Long Beach City College (CA); visiting artist: University of Technology (Sydney), Cranbrook Academy of Art (MI), Kent State University (OH); solo exhibitions: Mesa Contemporary Art Museum (AZ), Velvet da Vinci Gallery (San Francisco); publications: 500 Lockets and Pendants (Lark Books).









Printmaking and Letterpress

Delita Martin, The Watching Girl, gelatin printing, relief, cont,

acrylic, decorative papers, hand stitching, 50 x 39 inches


Delita Martin
Crossing Boundaries: Mixed-Media Printmaking

With an emphasis on printmaking, this workshop will explore the vast possibilities of combining traditional and contemporary image-making techniques. Students will build imagery rich in texture and complexity by layering prints with other media. We値l begin by making and printing from relief and collagraph plates. Then we値l use drawing and painting materials along with collage techniques擁ncluding paper, fabric, photographs, and found objects葉o create finished works. The workshop will include daily demonstrations, critiques, and discussions on contemporary art making. All levels. Code 03X


Studio artist; teaching: University of Arkansas豊ittle Rock; solo exhibitions: University of Arkansas芳ayetteville, The Community Artist Collective (Houston); collections: Crystal Bridges Museum (AR), Purdue University (IN), Bradbury Museum (AR).









Sherri Lynn Wood, Business Attire, dress shirts, ties, fleece, linen

table cloth, scavenged thread, 72 x 57 inches


Sherri Lynn Wood
Making Do

Connecting to patchwork quilting痴 roots in scarcity, we値l employ the practice of 杜aking do to activate a level of creativity that may only be possible when we are freed from unlimited choice. We値l use ruler-free piecing techniques and improvisational process to create patchwork from discarded clothing, scavenged materials, and/or materials charged with memory. As we recognize and collaborate with the natural shapes and limitations of our materials, surprising geometries will be revealed. You may finish your patchwork into a quilt or take it to a conceptual or three-dimensional level. All levels. Code 03TA


Studio artist; teaching: QuiltCon (GA), modern and traditional guilds nationally, Penland; Joan Mitchell Foundation Painters and Sculptors Grant (NYC); residencies: MacDowell Colony (NH), Headlands Center for the Arts (CA), Blue Mountain Center (NY), Recology San Francisco.





Janie Woodbridge, Triple Weave Ombre Block, cotton yarn woven

on a 12-harness dobby loom, 18 x 18 inches


Janie Woodbridge
The Woven Rug

This workshop will explore different methods used in rug making, from tapestry and hand knotted techniques to loom-controlled pile weaves. Students will learn to set up a loom and weave and finish their rugs. Students will make a collection of samples and a final project. This will be a good workshop for beginning students who want to learn the basics of weaving or intermediate students who want to learn the specifics of rug weaving. All levels. Code 03TB


Studio artist, designer; teaching: North Carolina State University College of Design and College of Textiles, Rhode Island School of Design; design clients: Raxon Fabrics, Wearbest, Robert Allen, Richloom, Martha Stewart, Cotton Inc, WeaveUp.








Terry Hunt, S Curve Dining Chair, maple, leather, rubber, foam,

46 x 19 x 23 inches



Doug Sigler, Library Table, cherry, 36 x 42 x 15 inches


Terry Hunt & Doug Sigler
Chair or Bench: Just Sit On It!

This workshop will focus on chairs and benches. We値l include many demonstrations and discussions庸rom wood selection to design and construction熔ften from two points of view, with each of us quite sure that our way is the best way. We値l cover hand tools, machine techniques, upholstery, and finishes to assist you in bringing your seating project to completion. Bring enthusiasm, a love of woodworking, your sense of humor, and come along for the ride. All levels. Code 03W

Terry: studio artist designing and building fine furniture; teaching: Arrowmont (TN), Peters Valley (NJ), Penland; clients: Steinway and Sons, Hancock & Moore, Chase Manhattan, Coyote Caf. Doug: professor emeritus from Rochester Institute of Technology (NY); workshop teaching: Arrowmont (TN), Anderson Ranch (CO), Haystack (ME), Penland; work in many private collections and the collection of the Burchfield Center Museum (NY).