Summer Session 6: August 14 - 26, 2016

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


Enrollment for summer 2016 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.





books and paper

Colette Fu, Return to the Land of Deities, from the We are Tiger

People series, archival inkjet prints, oak board, 17 x 25 inches


Colette Fu
Pop-Up Book Structures

Pop-up and flap books were originally created to illustrate ideas about astronomy, fortune telling, navigation, anatomy of the body, and other scientific principles. Complex pop-up structures are created from a combination of basic mechanisms enhanced by your imagination. Students will learn the basic elements of pop-up engineering and more complex structures including platforms, pull-tabs, and rotating mechanisms. Students will learn how to incorporate their own artwork to create unique pop-up books, cards, and works of art. All levels. Code 06B


Studio artist; teaching: Haystack (ME), Arrowmont (TN), Philadelphia Center for the Book; fellowships: Fulbright, Pennsylvania Council on the Arts, New York Foundation for the Arts; pop-up book clients: Vogue China, Canon Asia, Moët Hennessy, Louis Vuitton; collections: National Museum of Women in the Arts (DC), Library of Congress (DC), West Collection (PA).




Guillermo Cuellar, Teapot, reduction-fired stoneware, Tenmoku

and Nuka glazes, cane handle, 7-1/2 x 7 x 5-1/2 inches


Guillermo Cuellar
Wheelthrown Functional Pots

We’ll make wheelthrown pots that provide joy in everyday use. Demonstrations will cover simple tools and techniques for forming, glazing, and decorating. We’ll work with stoneware and fire in salt, soda, and reduction gas kilns. Students will play, explore, and experiment. There will be abundant one-on-one time for individual skill building. We’ll discuss process, from materials to making to marketing, and have an ongoing conversation about form, aesthetics, and the place of pots in our lives. All levels, although basic wheelthrowing skills will be helpful. Code 06CA


Studio artist; teaching: Centro de Arte Curaumilla (Chile), Adamah Clay Studios (WI), Grand Marais Art Colony (MN); representation: Schaller Gallery (MI), Northern Clay Center (MN), The Grand Hand (MN), AKAR Design Gallery (IA); collections: Weisman Art Museum (MN), Plains Art Museum (ND), Galería Nacional de Arte (Venezuela).


Jeremy Randall, Red Tank Bottle,

earthenware, terra sigillata, stain washes,

glaze, 7 x 4-1/2 x 15 inches

Jeremy Randall
Flat to Form: Handbuilt Vessels

We’ll explore slab construction with earthenware to produce forms that are out-of-round and learn new ways to incorporate volume, texture, color, surface development, electric firing, and post-firing construction to make vessels that are rich with visual interest. Using a template method for generating ideas and drawing forms, we’ll take flat shapes and transform them into volumetric objects. We’ll use terra sigillata to create lively surfaces that are luscious and loaded with color. Students will approach decoration by looking at line, texture, and form to build on their own visual vocabulary. All levels: basic handbuilding skills will be helpful. Code 06CB


Studio artist; visiting professor at Cazenovia College (NY), exhibitions: Signature Gallery (Atlanta), Philadelphia Museum of Art Craft Show, Society of Arts and Crafts Boston, Baltimore Clayworks, Mudfire (Atlanta).









Drawing and painting

Arthur Gonzalez, The Lookout, oil pastel, paint on gessoed

paper, 20 x 30 inches


Arthur Gonzalez
The Alchemy of Personal Symbols

Drawing is a way of seeing our thoughts. Philosophically, this is a kind of alchemical transference. Personal symbols are objects that potentize our work, which holds a mirror to who we are. Through lessons in color and light theory, this workshop will explore visual ideas and devices that will further our ability to construct good drawings. We’ll also experiment with soft pastels and oil pastels, which are a bridge to the world of oil painting. Students must have a steady and confident practice in drawing. Above all, they must have a desire to invent, imagine, execute, and enjoy making art. Intermediate/advanced level. Code 06D


Professor at California College of the Arts; two Virginia Groot Foundation awards, four National Endowment for the Arts fellowships; work exhibited in more than 50 solo exhibitions; residencies: University of Georgia, Louisiana State University, Tainan National University (Taiwan), Pilchuck (WA).






Brian Corr, One, kiln-formed and blown glass, 165 x 325 x 10


Moment, blown glass, enamel paint, 138 x 6-3/4 x 6-3/4inches

Brian Corr
Light Form

This workshop will explore form as a vehicle for creative expression by considering the role of line, volume, and void. It will also investigate ways that glass can embody light and shadow. Through demonstrations and individual working time, students will refine their technical ability and formal vocabulary in the hot shop. Students will also work to expand their voices as makers, designers, and artists through the development of personal projects and participation in group discussions. All levels. Code 06GA


Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), The Jam Factory (Australia); exhibitions: Habatat International Glass Invitational (MI), Sabbia Gallery (Australia), Lesley Kehoe Galleries (Australia); collections: Toledo Museum (OH), Australian National Gallery, Gallery of Western Australia, Glazen Huis (Belgium); representation: Habatat Gallery (MI).





Mark Angus, Red Figure, Arms Raised,

acid-etched, enamel-painted glass,

33-1/2 x 27-1/2 inches



Mark Angus
Free Painting on Glass

This workshop will teach expressive glass painting with black enamels, transparent colored enamels, and silver stain. We’ll paint float glass and possibly some blown forms. We’ll experiment with different mark-making methods including brushes, scratching, drills, sgraffito, etc. We’ll start with samples and then focus on assignments I will create to stretch each student. This may involve architectural ideas if appropriate. Our studio will be playful as we generate creativity and ideas. Expect to do a lot of drawing and painting, to enjoy freedom with ideas and paints, and to create beauty that will touch every viewer. All levels. Code 06GB


Studio artist; has created more than 330 painted/stained-glass windows for churches; teaching: Pilchuck (WA), Bild-Werk Frauenau (Germany), Tallin University (Estonia); collections: Victoria and Albert Museum (London), Glasmuseet Frauenau (Germany).




April Franklin, Knife, 15N20, 1095 steel, sterling silver, copper,

curly walnut, 1 x 8 x 3/4 inches

April Franklin
Steel this Class

From tiny and shiny to big and bold, steel is a versatile and affordable material for artistic expression. This workshop will introduce you to all the tools and techniques you need to add steel to your visual vocabulary. We’ll begin with simple exercises to develop basic techniques. Then we’ll combine forging and fabrication to produce pattern-welded (Damascus) steel that can be used as a decorative element in final projects. All levels. Code 06I


Principal metalsmith and founder of Vexed Metal (MA); teaching: The Steel Yard (RI), Penland; exhibitions: Madison-Morgan Cultural Center (GA), Kentucky Museum of Art and Craft, National Ornamental Metal Museum (TN), Craft Alliance (St. Louis).





Biba Schutz, Pooling Necklace, oxidized sterling silver, blown

borosilicate glass, 7-1/2 x 8 x 1-3/4 inches


Biba Schutz
One Is Not Enough

What do you do when you make a piece you love and you want to build on that idea without repeating yourself? We’ll share ideas and the creative process while building a body of work for multiples or editioned and one-of-a-kind jewelry. I will help students explore and problem-solve at their own skill level. Techniques and demonstrations will be introduced on an as-needed basis depending on individual projects, but will include soldering, constructions, attachments, connections, settings, and sawing. Experimentation encouraged. This is not a material-specific workshop; bring whatever teases your senses. All levels. Code 06MA


Studio artist; residency at Corning Museum (NY); collections: Museum of Fine Arts Boston, Corning Museum, Racine Art Museum (WI), Renwick Gallery (DC); solo exhibitions: Sienna Gallery (MA), Gallery Lulo (CA), Loupe Gallery (NJ), Lillstreet Art Center (Chicago).





Hiroko Yamada, Fall, silver, copper, mokume-gane, 3 x 2-1/2 x 1/4



Kiyoko Fujie, Untitled, brass, silver, 22k gold, 18k gold, 8 x 6 x 6



Kiyoko Fujie & Hiroko Yamada
Working with Traditional Japanese Metal Techniques

Students in this workshop will focus on basic forming and texturing techniques, beginning with an introduction to chasing and repoussé. Then we’ll progress to other processes, introducing Japanese surface decoration techniques including zogan (inlay with wire, sheet metal, or foil), engraving, and patina. We’ll explore Japanese alloys such as shakudo, shibuichi, kuromido, and mokume-gane. Students will make some of their own tools. All levels. Code 06MB


Kiyoko: studio artist; teaching: Yamawaki Art College; exhibitions: Japan Traditional Art Crafts Exhibition, Art Exhibition of Kita-ku (Japan). Hiroko: studio artist, owner of HYART Gallery (WI); teaching: Kobe Design University (Japan), Haystack (ME), School of Arts and Crafts (Tokyo); exhibitions: SOFA Chicago, Patina Gallery (NM), Dan-Ginza Gallery (Japan).













Mercedes Jelinek, Hair, archival pigment print from film,

17 x 17 inches

Mercedes Jelinek
Slow the F Down: Digital Meets Analog

In today’s digital photography world, many people emphasize speed and quantity over quality. Working with a 4x5 view camera and concentrating on what’s displayed on the ground glass helps us make more contemplative and substantial photographs. This workshop will use a hybrid, film-to-digital process to explore the beautiful aesthetic and quality of large-format black-and-white film, translating the images into digital prints. We’ll cover composition, lighting, exposure, film developing, scanning, archiving, digital editing (using Lightroom and Photoshop), and printing archival pigment prints. All levels. Code 06P Note: rental cameras available at Penland.


Penland resident artist; teaching: State University of New York-Purchase, PhotoManhattan (NYC); solo exhibitions: Lullwood Gallery (CA), Glassel Gallery (LA), Wink Gallery (CT); other exhibitions: Minneapolis Photo Center, Ogden Museum (New Orleans).







Printmaking and Letterpress

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.





Lisa Klakulak, Collection of Non-Banging Bangles, wool fiber,

cotton thread, stainless steel wire armature, 4 x 5 x 1/2 inches


Lisa Klakulak
Small-Scale Tinkerings: Toying with Felt

Date the material. Learn its qualities, its preferences, its actions, and the reasons for these. Learn the wet process of making flat, hollow, and solid felt. Do you like it? Why? For its exterior qualities in presentation or its process of transformation or both? Is it flexible and comfortable? Does it play nicely with others? Explore thin, tight, smooth, thick, fluffy, textured, and stitched felt. Incorporate other fibers, yarns, fabrics, and encase nonfibrous objects. Is it felt you will take the next step with? This will be an exploratory workshop driven by small-scale studies in material, process, and technique. All levels: wet felting requires shoulder, arm, and hand strength. Code 06TA


Studio artist; teaching: Arrowmont (TN), Peters Valley (NJ), Mendocino Arts Center (CA); exhibitions: American Craft Council shows, Craft Boston, Kohler Arts Center (WI); publications: 500 Felt Objects, 500 Art Necklaces (Lark Books).





Robin Muller, Double Weave Yardage, cotton, 36 x 108 inches


Robin Muller
Doubleweave on Eight Harnesses

Doubleweave allows the weaver to create two or more layers of cloth at the same time, using four or more harnesses. Eight-harness looms allow layers of cloth to intersect in patterns that can be altered by using different treadling, threading, and tie-ups. We’ll rotate weaving on shared looms and set up individual warps to design and create a series of samples including checkerboard variations, optical illusions, differential shrinking, and four-layer cloth that intersects to create three-dimensional structures. Intermediate/advanced level: students must be able to set up and weave on a four-harness loom, change the tie-up, and read pattern drafts. Code 06TB


Professor at Nova Scotia College of Art and Design; residencies: Jacquard Center (NC), Lisio Foundation (Italy); collections: Canadian Museum of Civilization, Nova Scotia Art Bank; exhibitions: Nova Scotia Center for Craft and Design.







Stoney Lamar, Torso of a Young Girl,

dogwood, 27 x 11 x 5 inches


Brent Skidmore, JT Table: Reclining, ash, basswood, stainless

steel, glass, acrylic paint, 48 x 34 x 16 inches


Stoney Lamar & Brent Skidmore
Form, Texture & Surface Bonanza

We’ll explore techniques for creating wood sculpture, a vast array of texturing techniques, and the answers to your wood painting questions: Spray or brush? Milk paint or acrylic? Can I just dip it in goo? We’ll present tried-and-true techniques for painting and texturing and develop forms (i.e. make sculptures) using power carving techniques, including bandsaw, chainsaw, die grinder, and other processes. Discover the joy of creating innovative forms and surprising surfaces with two guys who can’t wait to work together again. All levels. Code 06W


Stoney: studio artist; collections: Victoria and Albert Museum (London), Museum of Arts and Design (NYC). Brent: assistant professor at UNC Asheville; author of a chapter in The Penland Book of Woodworking.