Summer Session 7

Summer Session 7:
August 26 – September 1, 2018



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.

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

Books & Paper Summer Session Seven
August 26–September 1
Brien Beidler
Contemporary Historic Binding

As cultural icons, historic books enjoy a sense of timelessness that harmonizes fine craftsmanship, quirky aesthetics, and evidence of the hands that made them. With the quarter-leather bindings of the 18th and early 19th centuries as a structural baseline, this workshop will explore ways to create new compositions of these historic precedents through combinations of contemporary and historic covering materials and designs. Beginning with cutting and folding full sheets of paper into sections, we’ll cover everything from setting up a sewing frame to tooling with egg glair and gold leaf. All levels. Code 07B

Studio artist; teaching: Massachusetts Institute of Technology, Charleston Library Society (SC), Big River Bindery (Atlanta), Redux Contemporary Art Studios (SC); exhibitions: “Vessel” (Guild of Bookworkers, traveling), University of Iowa Center for the Book, “Feed Sacks” (online).

Brien Beidler, "Commonplace Book, Octavo" (detail), paper, linen thread, linen cord, millboard, goatskin
Brien Beidler, "Commonplace Book, Octavo" (detail), paper, linen thread, linen cord, millboard, goatskin
Books & Paper Summer Session Seven
August 26-September 1
Amy Jacobs
Paper & Textiles: Inside & Out

This workshop will explore ways to combine textiles with handmade paper. We’ll use fabrics as the basis for techniques including stenciling, embedding, embossing, lamination, and more. Students will experiment with a variety of textiles such as thread, trim, and fabrics from their own collections. We’ll employ different drying processes, creating a multitude of surface textures using low- and high-shrinkage pulps including cotton, flax, linen, and translucent abaca. We’ll alter paper with finishing techniques and textile manipulation after it’s dry. There will be daily demonstrations with plenty of examples. We’ll experiment, play, and get our hands wet! All levels. Code 07PM

Education manager and collaborator at Dieu Donné (NYC); teaching: University of Georgia Cortona Program (Italy), Museum of Modern Art (NYC), University of the Arts (Philadelphia); Elizabeth Foundation SHIFT residency (NYC); former Penland core fellow.

Amy Jacobs, "Lodestar," embossed and folded cotton and abaca paper, graphite, wax, 
9 x 7 inches
Clay Summer Session Seven
August 26–September 1
Ben Carter
Finding Pattern in Nature

This workshop will focus on integrating patterns found in nature with altered wheel-thrown and handbuilt pottery. Students will learn a variety of surface design methods, including slip decorating, sgraffito, stamping, and other mark making techniques. During the workshop we’ll discuss aesthetic issues (proportion, color theory, etc.), making strong functional pots at low-fire temperatures, and creative problem solving. We’ll also discuss marketing, social media, and the changing landscape of contemporary craft. Students will leave recharged, rejuvenated, and ready to grow in their own studio practice. All levels. Code 07CA

Studio artist; teaching: The Pottery Workshop (China), University of Florida, Odyssey Center (NC); Ceramics Monthly artist of the year; residencies: Anderson Ranch (CO), Archie Bray Foundation (MT), Guldagergaard Research Center (Denmark); author of Mastering the Potter’s Wheel, host of the podcast Tales of a Red Clay Rambler.

Ben Carter, "Thicket Jug," earthenware, slips, underglaze, glaze, 10 x 6 x 6 inches
Ben Carter, "Thicket Jug," earthenware, slips, underglaze, glaze, 10 x 6 x 6 inches
Clay Summer Session Seven
August 26–September 1
Troy Bungart
Brushmaking: From Tool to Treasure

In this mixed-media brushmaking workshop, we’ll explore the idea that a tool can be a piece of functional artwork. We’ll make a variety of brushes and learn how to harvest and source materials. We’ll create brush heads from hair, fur, and natural fiber. We’ll use bamboo, wood, and clay to make handles, ferrules, brush rests, and brush stands. We’ll have discussions, slide presentations, and potential collaborations. The brushes can be used in various media with the possibility of marks unique to each brush. All levels. Code 07CB

Studio artist; teaching: Lillstreet Art Center (Chicago), Rovin Ceramics (MI), Touchstone Center for Crafts (PA), Gaya Ceramic Art Center (Bali); exhibitions: Schaller Gallery (MI), Companion Gallery (TN), Pewabic Pottery (Detroit), Michiana Pottery Tour (IN), Northern Clay Center (Minneapolis).

Troy Bungart, "Compound Brush," bamboo, wood, goat hair, leather, 12 x 3 inches
Troy Bungart, "Compound Brush," bamboo, wood, goat hair, leather, 12 x 3 inches
Drawing & Painting Summer Session Seven
August 26–September 1
Graceann Warn
Encaustic Painting

This comprehensive workshop is designed to give students a solid working knowledge of painting with encaustic. After instruction on making paint and preparing substrates, we’ll dive into painting and proper technique for layering, fusing, and mark-making, as well as the creation and inclusion of imagery. Encaustic is a painting medium, so we’ll emphasize content, intent, and editing! The workshop will be divided between demonstrations and individual work time with as much one-on-one help as possible. All levels. Code 07D

Studio artist; teaching: University of Michigan, Haystack (ME), Toscana Americana (Greece, Italy); exhibitions: Smithsonian Craft Show (DC), SOFA Chicago, Modern Arts Midtown (NE); collections: Yale University (CT), Museum of Arts and Design (NYC), US Embassy (Nairobi, Sarajevo), Pew Charitable Trust (Philadelphia).

Graceann Warn, "Invisible World" (detail), encaustic, paper, wood
Graceann Warn, "Invisible World" (detail), encaustic, paper, wood
Glass Summer Session Seven
August 26–September 1
Nick Fruin
Goblets: Don’t Waste Your Time

Timing is everything! This workshop will focus on the goblet-making process as studio practice. We aren’t just here to make a pretty object; we’re here to learn how to work efficiently in the hot shop. Using the goblet as our template, this workshop will develop your skills and give your hands the vocabulary needed to support your head. A minimum of two years of regular glassblowing practice required. Code 07GA

Penland studio coordinator; teaching: STARworks (NC), Tulsa Glassblowing School (OK), Hastings College (NE); residencies: Southern Illinois University Carbondale, University of Louisville (KY), 2011 Glass Arts Society Conference (Seattle); exhibitions: Turchin Center at Appalachian State (NC), Penland Gallery, Asheville Area Arts Council (NC).

Nick Fruin, "Red Goblets," glass, 9 x 4 x 30 inches
Glass Summer Session Seven
August 26–September 1
Rebecca Smith
Flirting with Fusing

This workshop will cover a variety of materials and techniques for fused glass. Students will learn to cut and shape sheet glass to create intricate designs. Using glass frit, powder, and stringers will allow us to create unique patterns and imagery. As we ramp up the heat of the kiln, we’ll experiment with pattern bars and combing. We’ll finish our pieces in the cold shop before slumping them into functional dishes or decorative works of art. We’ll cover the glass firing process, the behavior of the material, and all the hows and whys. All levels. Code 07GB

Studio artist and kiln forming coordinator at Pittsburgh Glass Center; exhibitions: Erie Art Museum (PA), Pittsburgh Glass Center.

Rebecca Smith, "Pattern and Chaos," vitrograph pulled murrine, pattern bar, kilnformed glass, 20 x 20 inches
Iron Summer Session Seven
August 26–September 1
Andrew Meers
Basic Inlay

Fine-metal inlays are a way to add decorative elements to iron surfaces. In this one-week introduction to inlay and overlay, students will have the opportunity to practice a combination of Eastern and Western techniques. Using hand hammers and chisels, students will learn to embellish iron surfaces with fine-metal wire and sheet and mechanically attach these dissimilar metals. The class will cover both flush and raised inlay and carving detailed forms. We’ll use patination and finishing processes to highlight and unify the differences between ferrous and non-ferrous metals. All levels. Code 07I

Penland resident artist; teaching: Tennessee Tech University, National Ornamental Metal Museum (TN), Touchstone Center for Crafts (PA), Penland; certified master bladesmith by the American Bladesmithing Society; exhibitions: North American Mokume-gane Artists (Japan); collections: National Ornamental Metal Museum.

Andrew Meers, "Ball of Yarn," steel, sterling silver, gold, 8 x 1/2 x 1/4 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
Photo Summer Session Seven
August 26–September 1
Jerry Spagnoli
The Daguerreotype: A Contemporary Approach

In this workshop, you’ll use the same materials and many of the same techniques that were common at the dawn of photography. The daguerreotype is an absolutely unique process, unlike any photo technique you’ve used before. We’ll use the Becquerel method of development, which avoids the most dangerous elements of the traditional daguerreotype process. Be prepared for a new way of thinking about photography. Students should have some darkroom experience and knowledge of how to calculate exposures; view camera experience will be helpful. Code 07P

Studio artist; teaching: Photographers’ Formulary (MT), Penland; collections: Museum of Modern Art (NYC), Art Institute of Chicago, Oakland Museum (CA), Chrysler Museum (VA), Museum of Fine Arts Boston, Fogg Museum (MA), National Portrait Gallery (DC); two monographs published by Steidl.

Jerry Spagnoli, "LGBT Parade 2017," daguerreotype, 14 x 11 inches
Letterpress Summer Session Seven
August 26–September 1
Brad Vetter
Aesthetics of the Contemporary Poster

This workshop will explore the contemporary poster and new expressive techniques in letterpress printing. We’ll cover the basics of setting wood type and printing on a cylinder press, then quickly dive into fresh ideas that keep the poster and process relevant today. Some alternative techniques we’ll incorporate include pressure printing, nontraditional forms, and even laser-cut blocks. There will be plenty of time for exploration and printing, and we’ll have demonstrations and show-and-tell time each day. All levels. Code 07X

Studio artist; teaching: Northern Illinois University, Hamilton Wood Type (MI), Hatch Show Print (TN), Spudnik Press (IL); exhibitions: Museum of Modern Art (San Francisco), Miami University (OH), Massachusetts Museum of Contemporary Art; publications: HOW Magazine, Gig Posters Vol. 2 (Quirk Books).

Brad Vetter, "Everything Will Be OK," four-color letterpress print, 11 x 8-1/2 inches
Textiles Summer Session Seven
August 26-September 1
Lindsay Ketterer Gates
Sculpting with Fiber Techniques in Wire

This workshop will cover basic wire techniques that can be used to create 3D forms. We’ll explore the world of contemporary basketry, the use of found and commonplace objects as embellishment, and working with wire mesh. Techniques will include looping (knotless netting), random weave, tinkering, twining, and coiling. Students will be encouraged to combine techniques with unusual materials and/or with the materials and techniques they typically work with. Students may work as small or as large as they wish. All levels. Code 07TA

Studio artist and development director at Peters Valley (NJ), teaching: Haystack (ME), Arrowmont (TN), Peters Valley, Pittsburgh Fiber Arts Guild; exhibitions: “Rooted, Revived, Reinvented: Basketry in America” (traveling), Fuller Craft Museum (MA), Duane Reed Gallery (St. Louis); collections: Art in Embassies (Djibouti), Museum of Arts and Design (NYC), Racine Art Museum (WI).

Lindsay Ketterer Gates, "Lily of the Valley," stainless steel mesh, coated copper wire, steel, patina, paint, 28 x 14 x 6 inches
Textiles Summer Session Seven
August 26-September 1
Cassie Dickson
Weaving Traditional Linens

Discover 18th century methods of processing flax plants into linen cloth using a flax brake, scutching tools, and hackles. We’ll cover methods for growing and retting the plant, dressing a distaff, and spinning the fiber to make linen thread. Students will work collaboratively to dress floor looms with prepared warps and explore traditional weave structures: Ms and Os, bronson, huck, and twill. Expect to finish two or three heirloom towels and samples of different weave structures. All levels. Code 07TB

Studio artist; teaching: Campbell Folk School (NC), New England Flax and Linen Symposium, Southeast Fiber Forum; exhibitions: Lyndon House Arts Center (GA), Asheville Arts Commission (NC).

Cassie Dickson, "Flax and Twill Runner" (detail), flax, cotton, linen
Wood Summer Session Seven
August 26-September 1
Jon Brooks
Convergence: Forest Meets Muse

Naturally formed wood presents us with an array of shapes and forms that, with proper selection and joinery, allow the maker fantastic creative possibilities. We’ll begin by looking at our relationship to the trees that surround us. Then students will create expressive functional and sculptural objects from naturally formed, low-impact harvested wood and milled lumber using traditional and inventive joinery techniques. We’ll cover tree identification, harvesting, appropriate tools, carving, and surface adornment. Students will be encouraged to explore playfully, thoughtfully, and creatively. All levels. Code 07W

Studio artist; teaching: University of Tasmania (Australia), Rochester Institute of Technology (NY), Haystack (ME), Anderson Ranch (CO), Penland; lifetime fellow and Living Treasure Award from New Hampshire Arts Council; collections: Museum of Fine Arts Boston, Renwick Gallery (DC), Philadelphia Museum of Art.

Jon Brooks, "Black Forest Chair," maple, beech, acrylic, varnish, lacquer, 33 x 42 x 30 inches