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 2016 and spring 2017 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.




SUMMER session 5

July 24 - August 9, 2016

Suzanne Pugh, Repercussions, bronze, 8 x 6 x 3 inches


Suzanne Pugh
Breaking the Mold

Unconstrained by the size limitations of centrifugal and vacuum casting machines, we’ll explore larger work through a metalsmith’s approach to gravity casting. We’ll cast objects or vessels up to four pounds in various materials including sterling silver, bronze, and shibuichi. We’ll also cast elements to incorporate into larger pieces through soldering or cold connections, and we’ll cover some moldmaking techniques. Expect to finish two or three pieces; however, the emphasis will be on process, experimentation, and developing your work. There will be exchanges and possible collaborations with the electroforming workshop downstairs. All levels. Code 05MA


Associate Professor at City College of San Francisco; teaching: University of Georgia Cortona Program (Italy), Peters Valley (NJ), Metalwerx (MA); exhibitions: Five Pins Project (CA); HYART Gallery (WI); published in The Metalsmith’s Book of Boxes and Lockets and Chasing and Repoussé (Brynmorgen Press).








Maria Phillips, Seep, electroformed copper, enamel, sterling silver,

stainless steel, 5 x 1-1/2 x 1/2 inches


Maria Phillips
Cultivating Permanence

Like cherished “bronzed” baby booties, different materials and metals can be captured, enhanced, and rendered permanent through the process of electroforming. Within an electrically-charged copper chemical bath, layers of metal will “grow” onto a surface, producing forms that can be extremely delicate or dense and rigid. We’ll discuss potential pieces, cold connections, soldering, and surface applications for jewelry and small objects. Bring your tricks, your imagination, and your patience. There will be exchanges and possible collaborations with the casting workshop upstairs. All levels. Code 05MB


Studio artist; teaching: Rhode Island School of Design, Cranbrook Academy of Art (MI), California College of Art; residencies: Kohler Arts/Industry Program (WI), Oregon College of Arts and Crafts; collections: Museum of Arts and Design (NYC), Renwick Gallery (DC), Tacoma Art Museum (WA), Kohler Company (WI).












SUMMER session 6

August 14 - 26, 2016

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).












SUMMER session 7

August 28 - September 3, 2016

Robert Thomas Mullen, Tähtsus, plywood, silver, lead, paint,

6 x 3 x 1 inches


Robert Thomas Mullen

Every material, old and new, has its own criteria for handling, shaping, and attaching. Students in this workshop will look for small details in the environment as they collect and combine dissimilar materials of their choosing. We’ll cover whatever skills students need to connect these materials and incorporate them into finished pieces of jewelry or functional objects. This workshop is about exploring different materials and your surroundings through problem-solving, discussions, and thoughtful design. Demonstrations will include cold-joining techniques, stonesetting, woodcarving, hand fabrication, and mechanisms. All levels. Code 07MA


Studio artist; teaching: Craft Alliance (St. Louis), St. Louis Community College, Society for Contemporary Craft (Pittsburgh); representation: Society for Contemporary Craft, Asher Gallery (TX), Craft Alliance.







Venetia Dale, Retain tag for reference, pewter, found tags,

8 x 6 x 18 inches


Venetia Dale
Introduction to Pewter Casting & Fabrication

Cast pewter figurines, thimbles, and souvenir spoons live in homes and stores and remind us that pewter is alive and well among objects in our material world. What about the handmade? Pewter has exemplary properties for manipulation via casting, fabricating, and forming. Students will explore basic pewtersmithing fabrication techniques and casting processes, applying these skills toward wearable, functional, and sculptural outcomes. All levels. Code 07MB


Studio artist; teaching: Massachusetts College of Art and Design; residencies: Kohler Arts/Industry Program (WI), Oregon College of Art and Craft; exhibitions: Find and Form Space (Boston), Harvard Ceramics Gallery (MA), Proteus Gowanus (NYC), James Watrous Gallery (WI), SOIL Gallery (Seattle).





Fall Concentration
September 25 - November 18, 2016

Kristina Glick, Blue Brooch, electroformed copper, found steel,

enamel, 3-1/2 x 3-1/2 x 1/2 inches

Kristina Glick
Counterbalance: Enameling, Electroforming & Found Objects

This workshop will start with the basics of liquid enamels including techniques such as layering, sgraffito, stamping, stenciling, and champlevé. Then we’ll explore electroforming to create organic, textured copper surfaces that will highlight and enhance the enamel. We’ll use found objects as inspiration and incorporate them into finished work. With an emphasis on process and experimentation, we’ll work toward the design and execution of jewelry pieces or wall panels. The workshop will include basic fabrication skills: sawing, soldering, cold connections, etching, and finishing.All levels. Code F00MA

Associate professor at Goshen College (IN); other teaching: Idyllwild (CA), Arizona Designer Craftsmen, Goshen Jewelers Guild (IN); exhibitions: JAS (NC), Touching Mystery (OH); work published in 500 Gemstone Jewels and 500 Enameled Objects (Lark Books); representation: Angelo (VA).






Fall One-Week Session 3
November 6 - 12, 2016

Sarah Doremus, 360 Degree View Ring, sterling, mirror, wood,

painted tin, 6 x 4 x 4 inches

Sarah Doremus
Kinetic Jewelry

Learn how to make your jewelry do something! In this workshop you’ll learn ways to make your brooches spin, rings expand, and necklaces reveal hidden chambers. Pieces can move, turn, twist, flip open, pop, or even squeeze. Make your jewelry come to life through the use of springs, hinges, and other mechanisms. The only limit is your imagination. The workshop will include instruction in basic metalworking techniques such as sawing, soldering, and filing. All levels. Code F03MB

Studio artist; teaching: Haystack (ME), Arrowmont (TN), Peters Valley (NJ), Metalwerx (MA); publications: 500 Wedding Rings, 500 Bracelets, 500 Necklaces (all Lark Books), Humor in Craft (Schiffer Publishing).











Spring Concentration
March 12 - May 5, 2017

David Jones, Modern Cuff Bracelet, forged copper and silver,

3 x 3 x 3-1/2 inches


David Jones
Multifaceted Fabrication

With a focus on traditional and sometimes inventive techniques and approaches, we’ll dive into the beautiful, limitless world of metal fabrication. Students will make jewelry and/or small-scale sculpture depending on individual interests. Techniques will include sawing, forging, soldering, forming, wire and sheet making, cold connecting, and stamping. The workshop will include information about the use of recycled metals and materials and where to source them. We’ll have ongoing demonstrations and critiques, and we’ll delve into the history of studio craft in the U.S. and abroad. All levels. Code S00MA

Studio artist; teaching: University of Georgia Cortona Italy Program, Thomas Mann Gallery IO (New Orleans); publications: Form and Function: American Modernist Jewelry, 1940–1970 by M. Schon, The Metalsmith’s Book of Boxes and Lockets (Brynmorgen Press); representation: Gravers Lane Gallery (Philadelphia), Thomas Mann Gallery (New Orleans), Velvet da Vinci (San Francisco).





Spring One-Week Session 1
March 26 - April 1, 2017

Pierce Healy, Memory Map Brooch, hand-engraved silver,

American walnut, steel brooch back, 6 x 3-1/2 x 1/4 inches

Pierce Healy
Hand Engraving: Pattern & Texture

This workshop will give students a basic understanding of the tools, techniques, and materials used in hand engraving. We’ll cover setting up, sharpening, and polishing the tools of the craft; holding devices and methods; marking out and transfer techniques; and the cutting of metal. We’ll also explore combined techniques and DIY low-tech texture-making methods. This practical short course welcomes everyone from complete novices to practiced metalsmiths, crafters, or printers who wish to add new skills to their repertoire. All levels. Code S01MB

Studio artist; teaching: Pierce Healy Studio (Dublin), National College of Art and Design (Dublin); residencies: Sim (Iceland), Arteles Center (Finland), National College of Art and Design (Dublin); exhibitions: National Craft Gallery (Ireland), The Scottish Gallery (Scotland), Solomon Gallery (Dublin), Velvet da Vinci (San Francisco).