Metals Workshops at Penland



We have eliminated the early-registration lottery. We will begin accepting registration for 2018 summer workshops at 9:00 AM EST on Monday, January 8. Registration for full-pay students will be on a first-come, first-served basis and will continue until workshops are filled. Spaces are reserved in each workshop for scholarship students. Scholarship applications are due by February 17.

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.

Metals Spring Concentration
March 11-May 4
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.

There are still work-study scholarships available for this concentration. Please contact the Penland registrar with interest at 828-765-2359 or

Adam Whitney, "Silver Cup Set with Diamond Motif," argentum silver, 3-3/4 x 3-1/2 inches each
Metals Spring One-Week Session Three
April 22-28
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).

Janna Gregonis, "Prints," porcelain, sterling silver, 24k gold, rubies, enamel, graphite, 3 x 2 inches each
Metals Summer Session One
May 27–June 8
Tanya Crane
Metal, Texture, Enamel

This workshop will explore the surface of nonferrous metals through textures, patinas, and enamel. These processes will take students around and through the metals studio as they become familiar with tools and how they can be used to alter the surface of metal. We’ll emphasize enameling techniques such as limoges, champlevé, and sgraffito, which offer an opportunity to add color to silver and copper in traditional and nontraditional applications. We’ll texture both metal and enamel surfaces. Students will make a collection of samples and then incorporate them into finished jewelry pieces. All levels. Code 01MA

Part-time lecturer at School of the Museum of Fine Arts at Tufts (MA), critic at Rhode Island School of Design; other teaching: Fuller Craft Museum (MA), Haystack (ME); Society of Arts and Crafts Boston award; representation: Dow Studio (ME), J. Cotter Gallery (CO), Mora Contemporary Jewelry (NC), Abel Contemporary Gallery (WI).

Tanya Crane, "Folded Sgraffito Brooch," copper, shibuishi, enamel, steel pin stem, 4 x 3 inches
Metals Summer Session One
May 27–June 8
Frankie Flood
Color on Metal: Anodized Aluminum

This workshop will be an introduction to working with aluminum, a lightweight affordable metal that is perfect for creating colorful jewelry and objects. Anodizing produces a porous surface that allows aluminum to accept dye easily. The possible spectrum of color is almost endless. We’ll bring this industrial process into the studio as we create colorful bracelets, earrings, and pattern test samples. Demonstrations will cover an introduction to aluminum, annealing, forming, etching with vinyl resists, cold connections, anodizing, and numerous dying techniques to create unique colorful patterns. All levels. Code 01MB

Associate professor at Appalachian State University
(NC); grants: Peter S. Reed Foundation (NYC), NEA, Greater Milwaukee Foundation, University of Wisconsin-Milwaukee Digital Future; solo exhibition at Museum of Wisconsin Art.

Frankie Flood, "Isabella Cutter (Top Chef Pizza Cutter)," anodized aluminum, aluminum, brass, stainless steel, 41/4 x 8 x 2 inches
Iron Summer Session Two
June 10–22
Erica Moody
Fabricating & Forging Utensils

Combining jewelry and larger metalwork fabricating techniques, we’ll explore ways to create utensils in brass, copper, and steel. Demonstrations and experimentation will guide students in making their own eating and/or serving utensils which may be practical or purely sculptural. Techniques will include cold and hot forming (forging, sinking), cold and hot connections (riveting, silver brazing), finishing (angle grinding, hand filing, burnishing), and combining different materials (metals or found materials such as wood and bone). All levels. Code 02I

Studio artist and owner of Magma Metalworks (ME); teaching: Massachusetts College of Art and Design, Harvard Graduate School of Design (MA), WoodenBoat School (ME), Wentworth Institute of Technology (MA), Center for Furniture Craftsmanship (ME); exhibitions: CRAFT Gallery (ME), Penland Gallery.

Erica Moody, "Serving Utensils," brass, each 7 inches long
Metals Summer Session Two
June 10–22
Mary Hallam Pearse
Jewelry Narratives: Collecting to Casting

Together we’ll tackle the conventions of jewelry while engaging with metal casting. Bring a small box of artifacts and ephemera—from found objects to photographs, clippings to stories. We’ll use these collections to generate ideas, forms, and meaning. We’ll cover centrifugal casting, wax working, hollow-form casting, plaster mold-making, and casting stones in place, plus all the basics from sawing to soldering. Although there will be finished pieces, the workshop will focus on developing narratives, exploring the meaning of jewelry and its relationship to the body, and the possibilities of casting metal. All levels. Code 02MA

Associate professor at University of Georgia; other teaching: University of Georgia Cortona Program (Italy), University of Wisconsin Milwaukee, Anderson Ranch (CO), 92nd Street Y (NYC), Kent State University (OH); publications: Metalsmith, Ornament, 500 Rings and 500 Gemstone Jewels (both Lark Books).

Mary Hallam Pearse, "Chromeo," silver, aluminum, 23/4 x 21/4 x 1 inches
Metals Summer Session Two
June 10–22
Cappy Counard

The objects we surround ourselves with reveal a remarkable amount about our character and interests. We’ll begin by exploring a small collection of your treasured objects and references to reveal inspiration and inform new designs. Discussions, introspection, and interpretation will complement demonstrations of fabrication, hollow construction, forging, forming, and connections. We’ll use this technical vocabulary to open new possibilities while creating a collection of functional or nonfunctional objects that reflects your frame of reference. All levels; some experience with soldering will be helpful. Code 02MB

Professor at Edinboro University of Pennsylvania; Pennsylvania Council on the Arts fellowship; exhibitions: University of Wisconsin-Milwaukee, Fuller Craft Museum (MA), East Carolina University (NC); publications: The Metalsmith’s Book of Boxes and Lockets (Hand Books Press), Art Jewelry Today 3 (Schiffer).

Cappy Counard, "The Human Cost, metal from one handgun, 12,942 wild lupine seeds 
(one for each person killed with a handgun in 2015)," copper, maple, 5 x 20 x 6 inches
Metals Summer Session Three
June 24–July 6
Melanie Bilenker
For Keeps

Looking to historic and current keepsakes, we’ll explore jewelry’s role in carrying memory. Basic fabrication techniques—including rivets, 
tabs, pegs, and various bezel settings—will enable students to incorporate their own personal mementos into jewelry. We’ll work together to problem-solve the unique challenges each material presents. Traditional Victorian hairwork—including hair flowers and palette-work, in which hair is glued down to a flat surface—will be demonstrated as well. Students can expect to create samples and one or more finished pieces. All levels. Code 03MA

Studio artist; fellowships: Pennsylvania Council on the Arts, Pew Fellowship (Philadelphia); collections: Renwick Gallery (DC), Philadelphia Museum of Art, Museum of Arts and Design (NYC), Metropolitan Museum (NYC), National Museum of Scotland, Mint Museum (NC); representation: Sienna Patti Contemporary (MA).

Melanie Bilenker, "Pin," hair, paper, gold, mineral crystal, 1-7/8 x 1-1/4 x 1/4 inches
Metals Summer Session Three
June 24–July 6
Erica Bello
Hollow Forms & Fabricated Vessels

This workshop will take students through various fabrication and soldering scenarios. Starting with simple hollow forms, students will work to perfect their torch skills and create three-dimensional objects from flat sheet. Then we’ll explore more complex forms through metal forming and scoring and bending. We’ll combine these construction techniques to craft a lidded/hinged vessel as a final project. Beginning level. Code 03MB

Studio artist; teaching: Baltimore Jewelry Center; Halstead grant for emerging designers (AZ), Society for North American Goldsmiths Early Career Artist; exhibitions: Quirk Gallery (VA), Jewelry Edition (online), Lillstreet Arts Center (Chicago), Mora Contemporary Jewelry (NC).

Erica Bello, "Faceted Bronze Vessel," bronze, 
2 x 1-3/4 x 1-3/4 inches
Metals Summer Session Four
July 8–20
Lauren Kalman
Twenty-First Century Talismans

This workshop will explore magic objects for 
the contemporary world. We’ll look at historic 
objects like ex votos, talismans, relics, and lockets and then contemporary objects and jewelry that explore devotion, remembrance, power, and transformation. Using the hydraulic press as a central tool, students will experiment with silhouette dies, cast resin dies, carved acrylic dies, pancake cutting dies, and more in combination with basic metal fabrication techniques. Students will produce samples, experiments, and small-scale works. All levels. Code 04MA

Associate professor at Wayne State University (Detroit); solo exhibitions: Museum of Arts and Design (NYC), Cranbrook Museum (MI), National Ornamental Metal Museum (TN); collections: Renwick Gallery (DC), Museum of Fine Arts Boston, Detroit Institute of Arts.

Lauren Kalman, "But if the Crime is Beautiful…Strangers to the Garden" (detail), inkjet print from an installation of photographs, brass, and furniture
Metals Summer Session Four
July 8–20
Joost During
Raising the Bar!

Angle raising is a way of making vessels from flat sheet metal (copper, brass, and silver) by hammering it over steel forms (stakes) to push 
and compress the metal into shape. We’ll cover the basics of raising and forming as well as planishing—a technique for smoothing the metal and refining its shape. We’ll also manipulate surfaces to create interesting changes of light and plane in our vessels. We’ll think about design as it relates to raised vessels and develop a basic understanding of tool-making for forming and texturing. All levels. Code 04MB

Studio artist; teaching: Rhode Island School of Design, Rhode Island College, School of the Museum of Fine Arts (MA), Massachusetts College of Art and Design; exhibitions: “I.M.A.G.I.N.E. Peace Now” (traveling), “WE ARE SNAG: Contemporary Smiths” (online), Mobilia Gallery (MA), Cooper Hewitt Museum (NYC), Deventer City Museum (Netherlands).

Joost During, "Twist Teapot," sterling silver, ebony, 5 x 7-1/2 x 6-1/2 inches
Metals Summer Session Five
July 22–August 7
Elliot Clapp & Arthur Hash

Making Embedded Accessories Through Applying Networks, Diodes, Circuits, Hardware, Enclosures, Embedded Sensors, and Electricity. Students will create interactive wearable objects as they learn the basics of electronics, programmable microcontrollers, assembling circuits, and Computer Aided Design (CAD). We’ll build basic circuits, program sensors, and fabricate enclosures, making multiple pieces and leaving with a broad understanding of embedding electronics into wearable work. All levels; students should be comfortable using computers as an artmaking tool and have the patience needed to troubleshoot technology. Code 05MA

Elliot: digital education specialist at Rhode Island School of Design. Arthur: assistant professor at Rhode Island School of Design; two Virginia Museum of Fine Arts fellowships, American Craft Council Searchlight Artist.

Elliot Clapp, "Pure Data Input Prototype," Arduino microcontroller, breadboard, wires, switches, potentiometers, 5 x 5 inches
Arthur Hash, "Pad Bracelet," sterling silver, 6 x 6 x 1 inches
Metals Summer Session Five
July 22–August 7
Phil Renato

Hair is a part of identity. It can be a marker for gender, ethnicity, age, or group identification and can be colored, cut, and combed with innumerable variations. The tools we use to craft our heads create opportunities for formal, ergonomic, and narrative differentiation. In this workshop we’ll make objects such as combs, picks, rakes, brushes, pins, and barrettes from metal, wood, and plastic. We’ll draw, saw, chamfer, carve, and mix these pieces with hot and cold connections. All levels. Code 05MB

Professor and director of the Dow Center for Art, Design and Technology at Kendall College of Art and Design (MI); other teaching: Winthrop University (SC); exhibitions: Eastern Michigan University, Lillstreet Arts Center (Chicago), “I.M.A.G.I.N.E. Peace Now” (traveling), Shemer Center for the Arts (Phoenix), Kent State University (OH).

Phil Renato, "Bride’s Comb," polyurethane, sterling silver, 7 x 3 x 5 inches
Metals Summer Session Six
August 12–24
Sandra Wilson
Waxing Lyrical

This workshop will explore how to be more playful and experimental with different kinds of wax used in lost-wax casting for jewelry and small vessels. Students will be introduced to the sculpting wax used in fine art, liquid wax used for dipping, the Japanese recipe for mitsuro (a wax with unique striations), and traditional jeweler’s carving waxes. We’ll play with shaping and molding, imprinting, constructing, and carving. We’ll also cover the vacuum casting process. You’ll be encouraged to express yourself through the imaginative use of wax, tools, and playful design processes. All levels. Code 06MA

Studio artist and reader at Duncan of Jordanstone College (Scotland); awards: British European Designers Group, Audi Foundation, Scottish Arts Council; contributor to Art Jewelry Forum.

Sandra Wilson, "Protein Strands," fine silver wire, cotton cord, magnets, 39 inches long
Metals Summer Session Six
August 12–24
David Clemons
The Art of Containment

Binding, wrapping, enclosing, squeezing, displaying, collecting: the concept of containment suggests a multitude of formal and conceptual interpretations. In this workshop we’ll take a mixed-media approach to exploring containment in sculptural objects and small vessels. We’ll pay attention to the purposeful integration of ferrous metals, nonferrous metals, and alternative materials. Techniques will include fabrication, soldering ferrous and nonferrous metals, micro-welding, basic forging, metal forming processes, die forming, nonconforming dies, and cold connections. All levels; some metalworking experience will be helpful. Code 06MB

Metalsmithing instructor at the University of Arkansas; other teaching: Memphis College of Art, Oregon College of Art and Craft, Maine College of Art; collections: Yale University (CT), National Ornamental Metal Museum (TN), Arkansas Art Center.

David Clemons, "Fractured," sterling silver, bone, 3 x 5 x 1-3/4 inches
Metals Summer Session Seven
August 26–September 1
Kirk Lang
Faceted Stonesetting: Theory & Applications

This technical stonesetting class will explore a multitude of styles and applications with a primary focus on prong, flush, and bezel setting of round and fancy-cut gemstones. We’ll also cover channel and basic bead setting. In addition to learning each setting style, we’ll cover stonesetting theory, gemstone characteristics, how to make setting tools, and how to design with unique gemstones in mind. Students can expect to finish one or more pieces of jewelry, but the emphasis will be on information and technique. Basic sawing, filing, and soldering skills required. Code 07MA

Studio artist; teaching: University of Washington, North Seattle College, Pratt Fine Arts Center (Seattle); Washington State Arts Commission fellowship, 4Culture individual artist grant; exhibitions: Bellevue Arts Museum (WA), National Ornamental Metal Museum (TN), Facere Jewelry Art Gallery (Seattle), Arrowmont (TN), Velvet da Vinci (San Francisco).

Kirk Lang, "Lunar Armillary Ring," 18k yellow gold, rose cut diamond, 1 x 1-1/4 x 1/4 inches
Metals Summer Session Seven
August 26–September 1
Ben Dory
Fusion: Methods of Granulation

Granulation has long been revered for its intricate beauty and air of mystery. We’ll discuss the history of this technique as we cover the process of granulating fine silver. Along with this traditional approach, we’ll explore stainless steel granulation and think about the process and potential of fusion from a different perspective. Students will go home with a collection of samples, small finished pieces of jewelry, and a strong foundation with which to continue granulating. All levels. Code 07MB

Lead studio technician at Savannah College of Art and Design (GA); teaching: Southern Illinois University-Carbondale, University of Georgia, East Carolina University (NC), University of Arkansas-Little Rock; exhibitions: Alden Dow Museum (MI), Evansville Museum of Art (IN), National Ornamental Metal Museum (TN), Yamawaki Gallery (Tokyo), Lillstreet Art Center (Chicago).

Ben Dory, "Pearl Ring," stainless steel, freshwater pearl, 1-1/2 x 1 x 1 inches