Metals Workshops at Penland

Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include jewelry design and fabrication, metalsmithing, casting, working with pewter, setting stones, enameling, etching, forging, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Enrollment for summer and fall 2017 and spring 2018 workshops is currently open.




SUMMER session 2

June 11 - 23, 2017

Angela Bubash, Fin #39, sterling silver, glass, dyed feathers,

vintage coral, 3-1/2 x 2-1/4 x 3/4 inches


Angela Bubash
Elegant Connections

Details, whether bold or subtle, make ordinary work memorable. We’ll push beyond mere ornamentation and develop innovative links and captures to expand and enhance your work. Students will bring a collection of personal artifacts to influence their designs. Using glass windows and metal frames to integrate found and natural objects, we’ll create our own “stones” or focal points for jewelry and small sculpture. We’ll cover basic and improvised settings, etching, roller printing and etched embossing plates, die forming, soldering techniques, and various tips and tricks. All levels. Code 02MA


Assistant professor at Longwood University (VA); other teaching: University of Georgia Cortona Italy Program, Arrowmont (TN), Appalachian State University (NC); exhibitions: Mobilia Gallery (MA), Alliages Gallery (France); publications: Art Jewelry Today 4 (Schiffer); former Penland resident artist.






Thomas Mann, Float Heart Brooch, silver, carved acrylic, brass,

bronze, 3-1/4 x 2-3/4 inches


Thomas Mann
Design for Survival: One-Off to Production

This master class, designed specifically for those participating, will provide the understanding and skills needed to launch a career as a jewelry or metal artist. Instruction will focus on deciphering a personal design vocabulary and inventing a production line based on what you discover. Explorations of professional practices, such as public relations, pricing, marketing, staffing, and materials management, will supplement the design and fabrication focus. This workshop will mix jewelry making, writing, and presentations. Students will be surveyed ahead of time so class material can be tailored to fit their needs. Intermediate/advanced level. Code 02MB


Studio artist, founder of Thomas Mann Gallery I/O (New Orleans); teaching: Arrowmont (TN), Peters Valley (NJ); publications: Metalsmith, Thomas Mann Metal Arts (Guild Publishing), author of Demystifying the Jeweler’s Saw (North Light Books).








SUMMER session 3

June 25 - JULY 7, 2017

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’ll 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’ll also explore alternative materials and coordinate some activities with Kristin Beeler’s 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’ll 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’ll emphasize experimentation, skill building, and the development of form. Interaction with Donald Friedlich’s 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).









SUMMER session 4

july 9 - 21, 2017

Attai Chen, Untitled (Compounding Fractions) Necklace, paper,

paint, glue, silver, 10-1/2 x 6 x 3-1/8 inches


Attai Chen
Paper Jewelry

This workshop will explore the fascinating and surprising field of paper jewelry. In recent years we have seen paper being used in architecture, art, fashion, design, and jewelry. We’ll explore the art of jewelry-making while putting paper at the technical and conceptual center of the work. We’ll start with an introduction to different types of paper and ways of working with it. Then we’ll investigate jewelry and its relationship to the human body, concentrating on helping each student develop unique ways to harness the potential of paper. Individual support in metalsmithing techniques will be provided as needed. All levels. Code 04MA


Studio artist; teaching: Bezalel Academy of Arts and Design (Israel), Shenkar College of Engineering and Design (Israel); collections: Museum of Arts and Design (NYC), Metropolitan Museum (NYC), International Design Museum (Germany), Israeli Museum of Art.










Lynn Batchelder, Split, steel, 18 x 4 x 1-1/2 inches


Lynn Batchelder
Jewelry + Drawing

This workshop will explore drawing as a method for thinking and making in the jewelry studio. Beginning with direct and experimental exercises and approaches to drawing, we’ll consider possibilities for translating line into metal through etching, embossing, roll printing, piercing, wire construction, and a variety of invented techniques. We’ll emphasize experimentation in the space between two and three dimensions, resulting in a range of samples, jewelry, and works on paper. All levels. Code 04MB


Assistant professor at SUNY–New Paltz (NY); teaching: University of Wisconsin–Stout, Peters Valley (NJ), Arrowmont (TN); 2016 Art Jewelry Forum Artist Award, Society of North American Goldsmiths Emerging Artist Speaker (SOFA Chicago); exhibitions: solo at Heidi Lowe Gallery (DE), Talente (Germany), “Shared Concerns” (NC, CA, Australia).






SUMMER session 5

july 23 - August 8, 2017

Anna Johnson, Felis Canis Necklace, coyote vertebra, cat

vertebra, Ethiopian white opals, black moonstone, pyrite, fine

silver, sterling silver, cast silver, 18 inches


Anna Johnson
Freestyle Assemblages

A few basic skills can take you far and provide endless creative freedom. In this class we’ll explore casting found objects, simple wax carving, stonesetting, basic fabrication, and joinery. Using these techniques, students will be encouraged to create wearable samples and experiment with combining methods into thoughtful jewelry or small sculpture. Students can expect to create multiple pieces throughout the class and leave with a broad knowledge of basic skills in small metals. All levels. Code 05MA


Studio artist; teaching: Haywood Community College (NC); exhibitions: Mora Contemporary Jewelry (NC), The Smithery (OH), Heidi Lowe Gallery (DE), Baltimore Jewelry Center (MD), McColl Center (NC), Asheville Area Arts Council (NC).







Unfortunately, Caroline Gore's 5th session workshop The Snake Paused has been cancelled. Please see our open summer workshop list for other classes that still have available space.

Summer Open Workshop List






SUMMER session 6

August 13 - 25, 2017

Marissa Saneholtz, The funny thing was that she wasn’t even mad,

copper, enamel, 14k gold, diamond, found objects, 3-3/8 x 2-1/8 x

3/8 inches


Marissa Saneholtz
Wet Hot American Narrative: Champlevé Enameling

Champlevé is the French term for a process in which enamels are inlaid into recessed compartments in metal surfaces. During this workshop, students will create these surfaces through etching and fabrication. They will then apply wet, powdered enamel and fire the pieces in a kiln. While fully immersed in these processes, students will be encouraged to create imagery by exploring personal narratives derived from a variety of brainstorming exercises. This merging of technique, narrative, imagery, and color will allow students to create a series of one-of-a-kind pieces of wearable art. All levels. Code 06MA


Instructor at Bowling Green State University (OH); other teaching: Appalachian State University (NC), East Carolina University Italy Program; collections: Bowling Green State University, Racine Art Museum (WI).



Michael Good, Curl, bronze, 16 inches tall



Julia Woodman, A Lady’s Pearls, sterling silver, glass,

12 x 4 x 1 inches

Michael Good & Julia Woodman
Anticlastic Raising & the Hydraulic Press

We’ll start with the principles of anticlastic raising using the simple tools of the trade. Then we’ll expand into the boundless potential of the hydraulic press! We’ll use anticlastic/synclastic methods and the press to create forms for sculpture, jewelry, three-dimensional tessellation, or whatever you can imagine. We’ll cover impression dies for multiples, deep-drawmaster dies, bracelet dies, and more. Individual instruction will help students explore and problem-solve at their own skill level. Techniques will be introduced daily and as needed. All levels. Code 06MB


Michael: studio artist; teaching: Royal College of Art (London); exhibitions: National Ornamental Metal Museum (TN), Gallery Aurus (Paris). Julia: studio artist; teaching: Campbell Folk School (NC); collections: Victoria and Albert Museum (London), Museum of Fine Arts, Boston.


















SUMMER session 7

August 27 - September 2, 2017

Joanna Gollberg, Mod Blues Earrings, lapis, rough ruby, turquoise,

blue topaz, apatite, sterling silver, 1-1/2 x 1 inches each


Joanna Gollberg

Through fabrication methods and proper soldering techniques, students will learn to create secure settings that trap objects in their jewelry. We’ll discuss prong setting, tab setting, and bezel setting as ways to secure any kind of object. We’ll also learn a variety of soldering techniques using the Smith Little Torch, which will help students add surprising and delightful details to their work. Although this is a technique-based class, we’ll also discuss design, layout, and process. Tips and tricks will be shared throughout. Students can expect to finish several projects using their own designs. All levels. Code 07MA


Studio artist; teaching: Arrowmont (TN), Penland; exhibitions: Velvet da Vinci (San Francisco), Taboo Studio (San Diego); publications: Metalsmith, Ornament, 20th Century Jewelers, 500 Wedding Rings (Lark Books); author of four books on jewelry making.




Ashley Buchanan, Decorative Bangles, hand-cut brass, powder

coat, 3-1/2 x 3-1/2 inches each


Ashley Buchanan
Introduction to Powder Coating

In this workshop students will learn to create a clean, durable, and colorful finish on jewelry and other small metal objects through the industrial process of powder coating. We’ll cover basic methods of application, experiment with alternative processes, and discuss the equipment needed for a powder coating set-up. We’ll make pieces to play with, and students will be encouraged to bring finished pieces, unfinished projects, and lots of metal objects to powder coat. This workshop will provide a practical and accessible finishing option that can easily be integrated into any studio practice. All levels. Code 07MB


Studio artist; teaching: Society for Contemporary Craft (Pittsburgh), Love & Luxe (San Francisco), The Art League (VA); exhibitions: Smithsonian Craft Show, Philadelphia Museum, Turchin Center (NC), Museum of Arts and Design (NYC), LIGHT Art + Design (NC); publications: Ornament, Metalsmith, American Craft.







Fall 8-Week Concentration

September 24 - November 17, 2017

Kathleen W. Kennedy, Pelt (detail), found and discarded keys,

steel chain mail

Kathleen W. Kennedy
Surface & Structure

Every surface is supported by a structure, just as bones, muscles, and ligaments support skin. This metals workshop will explore both structure and skin through hot and cold joints and surface embellishments, including enamel, texturing, and found materials. Students will produce small-scale sculpture and/or jewelry while exploring how to bring these essential elements together. We’ll cover basic metal fabrication techniques such as sawing, filing, and soldering while students develop conceptual thought and gain insight into their independent studio practice. All levels. Studio fee: $150. Code F00MA

Studio artist; co-director of Radical Jewelry Makeover; teaching: Virginia Commonwealth University, Montgomery College (MD); exhibitions: Taubman Museum of Art (VA), Tacoma Art Museum (WA), Quirk Gallery (VA).







Fall 1-Week Session 1

October 8 - 14, 2017

Charity Hall, Scolopendra Bowl, copper, enamel, sterling silver,

2-3/4 x 2-3/4 x 1/2 inches


Charity Hall
Enamel Bowls

Larger surfaces provide more space for expression and exploration, so in this workshop we’ll begin by sinking copper bowls and other shallow forms to create larger “canvases.” Then we’ll fire multiple layers of enamel to build color, depth, and imagery. We’ll use liquid and powdered enamels as well as traditional and experimental enamel supplements. We’ll cover surface development from design and layout to fine finishing details, painting and drawing techniques, and freeform methods, opening unlimited possibilities. All levels. Studio fee: $45. Code F01MB

Studio artist; teaching: Center for Enamel Art (CA), Idyllwild Arts Academy (CA), Pocosin Arts (NC), Pima Community College (AZ); exhibitions: Enamelists Society International Biennial (traveling), solo show at Mesa Contemporary Arts (AZ); collections: Enamel Arts Foundation (CA), Racine Art Museum (WI); work published in Humor in Craft (Schiffer), Behind the Brooch (Schiffer), New Rings (Thames and Hudson).






Spring 8-Week Concentration

March 11 - May 4, 2018

Adam Whitney, Silver Cup Set with Diamond Motif, argentum

silver, 3-3/4 x 3-1/2 inches each


Adam Whitney
Persuading Metal

This workshop will be an exploration of manipulating metal and creating holloware. We’ll begin with the hammer: forging, sinking, and raising samples to establish a foundation in metal forming. Basic metalsmithing and lesser-known (and underappreciated) jewelry skills will be introduced with attention placed on working in a larger scale. Then we’ll move on to chasing and repoussé, basic tool making, and hydraulic press forming. We’ll start with lots of demonstrations and samples. As students become proficient with materials and processes, the emphasis will move to individual guided projects and discussions of historic and contemporary holloware. All levels. Studio fee: $160. Code S00MA

Studio artist; teaching: Center for Metal Arts (NY), Smith Shop (MI), Fritz & Friends (MI), Raffles College (Malaysia); visiting artist: Rhode Island School of Design.







Spring 1-Week Session 3

April 22 - 28, 2018

Janna Gregonis, Prints, porcelain, sterling silver, 24k gold, rubies,

enamel, graphite, 3 x 2 inches each


Janna Gregonis
Beyond the Bezel

This workshop will address simple stonesetting with an object or stone and then move toward nontraditional prong and tension settings. We’ll make our own bezel wire and learn how to modify and customize that wire. We’ll address when and why a prong setting might be a better solution to setting a stone, and we’ll emphasize creating settings for odd and difficult stones and objects. Whether you want to learn new skills or push your skills to a new level, this workshop is open to students of all levels. Studio fee: $45. Code S03MB

Studio artist; teaching: 92nd Street Y (NYC), Peters Valley (NJ), Kutztown University (PA), St. Johns University (NYC), Newark Museum of Art (NJ); exhibitions: Kutztown University, Milton J. Weil Gallery (NYC), Velvet da Vinci (San Francisco); collections: Museum of the Brazilian Object (Brazil), Fleur Bresler (US).