PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023

Joanne Price
Wood Engraving: Mighty Detailed Prints

Victorian-era wood engraving technique combines the miniature, fine detail of metal engraving and the speed of relief printing. In this intensive workshop, you’ll learn to cut your own images with incredible detail and print them in limited editions. Process, printing, and experimentation will be prioritized with instruction covering specialty engraving materials, creating and transferring images, tool sharpening, engraving, hand printing, two-color printing, and historical and contemporary context. Expect to finish three to six individual images and explore post-printing image manipulation/assemblage, collaboration, and a print exchange. This technique requires close-distance vision; please come prepared. Drawing experience will be helpful but is not required. All levels. Letterpress studio.

Studio artist operating as Starpointe Studio; teaching: University of Kentucky, Highpoint Center for Printmaking (Minneapolis), Campbell Folk School (NC); president emeritus of Wood Engravers’ Network; collections: Guangdong Museum of Art (China), Museu da Casa Xilogravura (Brazil), Walker Art Center (MN), Yale University (CT). 

starpointestudio.com | @starpointestudio

PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023

Charles Hancock and John Hancock
Relief and Screen Print Mashup

This workshop will encourage the mix and mashup, no-holds-barred creation of images. We’ll cover the basics of relief and screen printing with a sharp left turn, employing the spirit of experimentation, mistake making, and collaboration. Printing on wood, cloth, metal, and, of course, paper, our methods will run from the most traditional to as wildly experimental as you can stomach as we create things of beauty along with our worst nightmare desires. Making art is fun! All levels. Printmaking studio. 

Note: the studio fee for this workshop is estimated at $200-225 per student.

Studio artists and masters of lo-tech printmaking also known as The Amazing Hancock Bros.; collections: Library of Congress (DC), Ft. Wayne Museum of Art (IN), Newark Public Library (NJ), Royal Museum of Art (Belgium), Academy Non Grata (Estonia), Billy Gibbons (Houston). 

@charleshancock7

PHOTOGRAPHY SUMMER SESSION 5
JULY 16–28, 2023

Robin Dreyer and Jeff Goodman
Photography in the 4th Dimension

From motion to memory, time has been a central medium and subject of photography. This workshop will explore a wide range of photographic techniques that employ time directly, including light painting, motion studies, flip books, pinhole cameras, view cameras, cinemagraphs, and stop-motion animation. We’ll use analog cameras, digital cameras, digital printers, and the darkroom, experimenting with making both still and moving images that play with—and celebrate—the most mysterious of dimensions. Students will go home with new images, new photographic skills, and maybe some new thoughts about the universe. All levels, beginners encouraged.

Jeff: award-winning instructor in the media studies program at Appalachian State University (NC); extensive experience leading workshops in photography, documentary video, and the relationship between art, science, and the creative process.

jeffgoodman.space

Robin: photographer, editor, communications manager at Penland; teaching: Penland; exhibitions: Asheville Art Museum (NC), North Carolina Museum of Art, Center for Alternative Photography (NYC); collection: Asheville Art Museum (NC), publications: American Craft, Our State, WNC, Garden & Gun, and numerous Penland publications. 

robindreyerphoto.com

Jeff and Robin’s workshop promo video (1 minute)

METALS SUMMER SESSION 5
JULY 16–28, 2023

Douglas Pryor
Explorations in Sculptural Chasing

The art of chasing is a love language between illustration and sculpture. In this workshop we’ll integrate the best of both worlds as we explore detailed relief work in sheet metal. We’ll mix elements of raising, repoussé, and the Japanese technique of uchidashi to create a knowledge base of low- and high-relief work. Students can expect to complete at least two projects in copper. The first will be a structured follow-along design matched to the individual’s skill level. The second project, also a follow-along design, will be assigned to match each person’s interests. All levels. Lower metals studio.

Studio artist; teaching/demonstrations: Metal Arts Academy (CA), Appalachian Center for Craft (TN), Hereford College of Arts (UK), Art Students League (NYC), The Idea Foundry (OH); residencies: Buffalo Creek Art Center (NV), Light Grey Art Lab (Minneapolis); publications: Hephaistos, Artist Blacksmith, Anvil’s Ring. 

douglaspryor.com | @douglas_pryor

METALS SUMMER SESSION 5
JULY 16–28, 2023

Aurélie Guillaume
Telling Stories in Cloisonné

In this workshop students will learn the technique of cloisonné enameling and explore its possibilities as a storytelling medium. We’ll begin by making samples and drawing in our sketchbooks to develop ideas, stories, characters, and patterns. These will serve as the basis for each student to create a fully-realized, one-of-a-kind cloisonné jewelry piece. The focus will be on learning cloisonné with opaque colors, but we’ll also cover techniques such as wet packing, inlay, using black or white overglaze and metallic lusters to add detail and play on the surface. Through multiple demos and sample-making, students will learn the secrets of cloisonné. Intermediate/advanced level; basic enameling and metalworking skills required.  Upper metals studio.

Studio artist; teaching: Jewelry School of Montréal, Pocosin Arts (NC), Metalwerx (MA), Silvera Jewelry School (CA); collections: Museum of Arts and Design (NYC), Yale University Art Gallery (CT), Museum of Fine Arts of Montréal, Enamel Arts Foundation (CA); representation: Galerie Noel Guyomarch’. 

aurelieguillaume.com | @mlleguillaume

IRON SUMMER SESSION 5
JULY 16–28, 2023

Shingo Furukawa
It Moves!

This workshop will be a basic introduction to kinetic sculpture: it’s easy! Students will learn the fundamental principles of mechanical movement and use simple components to create sculptures that move. We’ll cover basic fabrication and welding, but this will not be a technique-oriented workshop. Instead we’ll explore movement as a tool for communicating ideas. All levels. 

Studio technician and occasional lecturer at University of Massachusetts-Dartmouth; exhibitions: Monique Rancourt Artisan Gallery (MA), Metalwerx (MA), Six Years Smitten (NM, NC, CA), I.M.A.G.I.N.E. Peace Now! (NC, MA), Rhode Island I.M.A.G.I.N.E.s.

GLASS SUMMER SESSION 5
JULY 16–28, 2023

Daniel Clayman
Materials, Temperature, and Magic!

Working primarily with kiln processes in the glass studio, we’ll look at how the rigorous exploration of ideation and object making requires a strong technical foundation, great ideas, and a little bit of magic. Technical information will include mold recipes, mold-making techniques, firing schedules, annealing, casting, slumping, and ancillary skills like rubber mold making. We’ll also discuss choosing appropriate glass for specific uses. In addition to demonstrations, slide talks, and daily kiln firings, we’ll set time aside for critical discussions of what we make and why we make things. Beginning to advanced students can look forward to a busy session of making molds, firing kilns, and putting more tricks into their toolboxes. All levels. Casting studio.

NOTE: This workshop is expected to have a studio fee of approximately $600 per student. 

Studio artist; former Effron Family Endowed Chair at the University of the Arts (Philadelphia), visiting critic at Rhode Island School of Design; workshop teaching: Pilchuck (WA), The Studio at Corning (WA), Penland; residencies: Tyler School of Art (Philadelphia), Massachusetts College of Art and Design (Boston); collections: Corning Museum (NY), de Young Museum (San Francisco), High Museum (Atlanta), Museum of Arts and Design (NYC), Museum of Fine Arts Boston, National Geographic Society (DC), Racine Art Museum (WI), Renwick Gallery (DC), Toledo Museum of Art (OH).

danielclayman.com | @danielclayman

GLASS SUMMER SESSION 5
JULY 16–28, 2023

Kelly O’Dell and Raven Skyriver
Rewilding

We draw on the natural world as an endless well of inspiration for our work. Join us in the beautiful setting of Penland School where we will study the environment and use the concept of rewilding as a springboard for discussions of ecology, our relationship to the creatures, plants, and stones around us, and how all this relates to the work we make. Technical information will include all forms of color application, use of the hot torch and heat zones, reverse engineering of punty constructions for all applications, inside sculpting, solid sculpting, blown sculpture, bit work, and building complex forms from relatively simple components by using the garage and pick-up ovens. Intermediate/advanced level: two years of hot glass experience required. 

Kelly: studio artist; teaching: Nijiima Glass Center (Japan), Pilchuck (WA), Pittsburgh Glass Center; exhibitions: Museum of Northwest Art (WA), Museum of Glass (WA), SOFA Chicago, Kitrell/Riffkind Gallery (Dallas), Gallery by the Sea (WA), Duncan McClellan Gallery (FL), Habatat Galleries (FL), Glasswheel Studio (VA). 

kellyodellglass.com | @kellyofthedell

Raven: studio artist; teaching: Nijiima Glass Center (Japan), The Glass Furnace (Istanbul), Pilchuck (WA), Pittsburgh Glass Center, The Studio at Corning (NY), Pratt Fine Art Center (Seattle), Penland; exhibitions: Glasmuseet Ebeltoft (Denmark), Nostetagen Norsk Glass Museum (Norway), multiple solo shows at Stonington Gallery (Seattle). 

ravenskyriver.com | @ravenskyriver | @calderaglass

DRAWING AND PAINTING SUMMER SESSION 5
JULY 16–28, 2023

Joseph Hart
Exploratory Drawing

The goal of this workshop is to loosen up artistically and explore fresh approaches to observational and abstract drawing. Each day will feature a mix of studio exercises, technical demonstrations, discussions, prompts, and independent drawing. Students will experiment with a range of techniques and media to create ambitious, bold, and provocative drawings that may be small, medium, or large in size. Materials will include paper, graphite, charcoal, ink, acrylic paint, found objects, and more. We’ll emphasize playfulness and personal creative growth. Students can expect to work in series, collaborate in small groups, and develop independent drawing projects. All levels. 

Studio artist; teaching: Rhode Island School of Design, City College of New York, Penland; Romer Young Gallery (San Francisco), Halsey Mckay Gallery (NY), David Krut Projects (NYC), Cooper Cole Gallery (Toronto), Galerie Vidal Saint-Phalle (Paris); collections: Rhode Island School of Design Museum, San Francisco Museum of Modern Art, Metropolitan Museum (NYC). 

joseph-hart.com | @hartjoseph

CLAY SUMMER SESSION 5
JULY 16–28, 2023

Paul S. Briggs
Pinching Pushed

This workshop will push the clay pinching process beyond the typical three-inch bowl. We’ll cover several pinch forming techniques ranging from pinched and corrected (altered) forms to high-relief surfaces. Students will learn to center, open, and pull up clay walls using only hand turning, a technique used around the world to form various types of pots and vessels (no potter’s wheel involved). We’ll work with stoneware and fire cone 6-10 oxidation. All levels. Lower clay studio. 

Artist-teacher at Massachusetts College of Art and Design; other teaching: Anderson Ranch (CO), St. Olaf College (MN), Harvard (MA), Penland; collections: Fuller Craft Museum (MA), Columbus Art Museum (OH), Legacy Museum (AL). 

psbriggs.com | @psbriggs3.0

CLAY SUMMER SESSION 5
JULY 16–28, 2023

Sue Tirrell
Stories Around the Table

We’ll bring functional and decorative tableware to life by drawing, painting, and carving on leather-hard porcelain. We’ll make a variety of small to medium-sized hand- and wheel-formed vessels and decorate them using underglazes, glazes, trailing, sgraffito, inlay, and painting techniques. Bring your favorite narrative source materials including drawings, photographs, illustrations, and ephemera to create a personal library of imagery. Students will be guided in the process of distilling these ideas into dynamic, colorful surface designs, giving individual stories universal appeal. We’ll have demonstrations, drawing exercises, slide talks, conversations about food, optional student presentations, and time in the kitchen. All levels. Upper clay studio. 

Studio artist; teaching: Archie Bray (MT), Anderson Ranch (CO), Arrowmont (TN), Morean Center for Clay (FL), Baltimore Clayworks (MD); residencies: Archie Bray (MT), California State University-Chico; exhibitions: St. Croix Valley Pottery Tour (MN), Old Church (NJ), Red Lodge (MT), Dallas Pottery Invitational, The Clay Studio of Philadelphia; representation: Schaller Gallery (MI), Visions West Contemporary (MT).

suetirrellceramics.com | @suetirrell

BOOKS & PAPER SUMMER SESSION 5
JULY 16–28, 2023

Peter Sowiski
Pulp Nonfiction

Informed but not bound by history and tradition, this workshop will start with an investigation of Western, Eastern, and hybrid sheet-forming processes as a springboard for delving into personal approaches to paper. A variety of materials, methods, tools, equipment, and their application will move us toward optimizing particular qualities of our papers. We’ll consider fiber type, preparation, color, texture, shape, and dimension. With wet lamination, layering, inclusions, pulp painting, reduction, and hand manipulation, we’ll move to define our “truth” to the medium. Whether as substrate or object, our paper will highlight personal production and our new capabilities and allow us to see our relationship to the field as a whole. All levels. Papermaking studio. 

Professor emeritus at State University of New York-Buffalo; visiting professor in Costa Rica dn Jamaica; over 90 workshops, lectures, or visiting artist posts primarily focused on the medium of paper; past president of North American Hand Papermakers; head pressman at Abaca Press since 1995. 

petersowiski.com | @sowiski

BOOKS & PAPER SUMMER SESSION 5
JULY 16–28, 2023

Sol Rebora
Custom Cloth Binding

Bookbinding arises from the need to protect and use the book. A well-functioning binding enhances the reader’s experience of this magnificent artifact and ensures the long-term preservation of the book. In this workshop students will design and make two custom cloth bindings that will complement text blocks made from pre-printed, illustrated sheets. We’ll start by making personalized book cloth from found cloth and use it to cover the text block using stub binding and endpages. Then we’ll add texture and digitally printed designs to cloth and use this to cover the text using a hollow back binding with embroidered endbands. We’ll use easy-to-learn tools and high-quality materials, create well designed books, and learn conservation concepts along the way. Some bookbinding experience will be helpful, but this workshop is open to all levels. Books studio.

Bookbinder; teaching: San Francisco Center for the Book, University of Iowa Center for the Book, Universidad Nacional de las Artes Argentina, Society of Bookbinders International Conference; collections: Bridwell Library at Southern Methodist University (TX), Miami University, British Library, private collections in USA, UK, Mexico. 

@solrebora

WOOD SUMMER SESSION 4
JULY 2–14, 2023

Tom Huang
A la Carte

Through technical instruction in the fundamentals of design and woodworking, students will learn basic design and construction drawing skills along with woodworking and joinery skills. Students will work toward designing and building a small “a la carte” piece (maybe a side or accent table) that will strive to metaphorically and literally heighten the margins of our experience. The workshop will be geared toward novices in furniture making and design, but experienced makers from all backgrounds are welcome to join us as we explore both subject matters. All levels.

 

Notes on “a la carte”: In the culinary world, this term refers to menu items that can be ordered outside of a planned meal. It also suggests that these smaller items are worthy of attention and consideration. We’ll explore this idea in direct correlation to furniture making and also as a metaphor that encapsulates what we are all experiencing as conversations evolve to heighten awareness and understanding of identities that have traditionally been marginalized. 

Associate professor at University of Kansas; Center for Furniture Craftsmanship Fellowship (ME); has exhibited nationally including Delaware Center for Contemporary Art; publications: American Craft, Bespoke: Furniture from 101 International Artists by E. Ashley Rooney, Bamboo Design Guide and 59 Case Studies by Eduard Broto, and Booming Bamboo by Pablo van der Lugt. 

tomhuangstudio.com | @tomahawkku 

TEXTILES SUMMER SESSION 4
JULY 2–14

Ann Tilley
Pants: Design, Draft, Construct

This workshop will explore pants-making as a way to introduce and deepen the skills needed for making custom apparel at home. Topics will include clothing design and inspiration, working from existing paper patterns (and making our own), and many aspects of garment construction. During the first week, we’ll walk step-by-step through custom jeans. Then we’ll sew with knits and engage with choose-your-own-adventure final projects to reinforce skills developed during the workshop. The goal is to demystify pants patterns, encourage customization, and empower students to make clothing for themselves. Some experience on a sewing machine will be helpful, however, advanced techniques taught in a beginner-friendly format means this workshop is open to all levels. Third-floor textiles studio.

Studio artist, freelance technical clothing designer; teaching: Arrowmont (TN), Campbell Folk School (NC), Forge Makerspace (NC), and several independent fabric shops; multiple individual artist grants through ArtsGreensboro (NC); exhibitions: Greenhill Winter Show (NC), Arrowmont Gallery (TN).

anntilleyhandmade.com | @anntilleyhandmade

TEXTILES SUMMER SESSION 4
JULY 2–14

Ismini Samanidou
You Can Go Anywhere from Anywhere

This workshop will focus on experimenting with materials and processes using paper manipulation, mark making, drawing, photography, and layering/interweaving threads using on- and off-loom techniques. We’ll explore how found materials can provide the basis for pattern and surface and think about how time affects these. We’ll aim to develop a range of permanent and ephemeral works and allow ourselves to really play and engage with each process, working in a spontaneous and experimental way. All levels. Second-floor textiles studio. 

Studio artist; teaching: Central Saint Martins (UK), Royal College of Art (UK), Royal Academy (UK), Haslach Textile Centre (Austria); collections: Victoria and Albert Museum (UK), Crafts Council (UK); exhibitions: Weaving and We (China), Moins Sartoux (France), Hauser and Wirth (UK); a film of Ismini weaving has been part of an Anni Albers retrospective at Tate Modern (UK), K20 (Germany), and Museum of Modern Art (NYC). 

isminisamanidou.com | @isminisamanidou

Print & Letterpress Summer Session 4
July 3–15

Bill Moran and Jim Moran
On the Record

In this workshop we’ll delve into the Hamilton Wood Type and Printing Museum’s vast collection to create letterpress album covers using halftone blocks of forgotten musicians and vocal groups of the 1950s and 1960s. Students will design their own cover and add text using wood type from Hamilton along with Penland’s type collection. Minor research into the musicians will allow us to set the back cover, including song titles, band members, and brief information. Our design, layout, typesetting, and printing will evoke the music of the era. All levels. Letterpress studio.

Bill: artistic director emeritus at Hamilton Wood Type and Printing Museum (WI), third-generation printer; teacher of typography and printing history at University of Minnesota; exhibitions: Tipoteca Italiana (Italy), Country Music Hall of Fame (Nashville), Gutenberg Museum (Germany), Hamilton Wood Type and Printing Museum.

letterbugs.net | @billstype

Jim: master printer, collections officer, and former director at Hamilton Wood Type and Printing Museum (WI), third-generation printer; teaching: AIGA, HOW Design, Atypl, and TypeCon conferences, University of Quebec, Tipoteca Italiana (Italy); residencies: Wells College (NY), Hatch Show Print (Nashville), Tipoteca Italiana. 

woodtype.org | @jimmyonthepress 

PRINT & LETTERPRESS SUMMER SESSION 4
JULY 2–14, 2023

Karen J Revis
Intro to Linocut

This introductory workshop will teach you all you need to know to create beautiful linocuts: from first draft to final print. We’ll explore various ways to compose an image and translate it into a drawing for a linocut. Demonstrations will cover the complete process: how to transfer the drawing onto the linoleum block, how different carving tools are used, what paper to choose, tearing paper, and using a press. A slide presentation of linocuts by favorite artists will provide inspiration. Discussions and experimentation will be encouraged. Students can expect to complete editions of one or two prints. Beginning level. Printmaking studio. 

Studio artist; member of Black Women of Print and the Black Artists + Designers Guild; residencies: Haystack (ME), Morgan Paper Conservatory (Cleveland), Pyramid Atlantic (MD), Women’s Studio Workshop (NY), BACAS (Italy), Penland Summer Residency Fellowship, Robert Blackburn Printmaking Workshop Studio Immersion Project Fellowship (NYC), Henry Street Settlement (NYC); exhibitions: International Print Center (NYC), Project: Artspace (NYC), Sears-Peyton Gallery (NYC); publications: The Art of Encaustic Painting by Joanne Mattera.

karenjrevis.com | @revisionaryprints | @karenjrevis_studio

PHOTOGRAPHY SUMMER SESSION 4
JULY 2–14, 2023

Millee Tibbs
Large-Format Photography

This workshop will use large-format (4×5) cameras to explore the language and craft of analog photography. Through technical demonstrations, guided exercises, and lots of practice in the darkroom, students will gain complete compositional control of their images using the view camera’s tilt, swing, shift, and rise movements to adjust focus, perspective, and image shape. Students will process sheet film and make darkroom prints to produce a small portfolio of self-expressive photographs. No darkroom experience required. Cameras provided. All levels. 

Associate professor at Wayne State University; residencies: two MacDowell Colony fellowships, Jentel Foundation (WY), Marpha Foundation (Nepal), Virginia Center for the Creative Arts; exhibitions: SFO Museum (San Francisco), Aperture Gallery (NYC), Filter Space (Chicago); collections: George Eastman House (NY), Detroit Institute of Arts, Chrysler Museum (VA), Portland Art Museum (OR), Rhode Island School of Design Museum. 

milleetibbs.com | @sbbiteellim

METALS SUMMER SESSION 4
JULY 2–14, 2023

April Wood
From Ferrous to Fine

This workshop will focus using steel to fabricate jewelry and small sculpture. Students will learn the working properties of steel and how it is similar to and different from working with nonferrous or precious metals. We’ll cover sawing, annealing, forming, and finishing mild steel with an emphasis on piercing to create positive and negative space as well as dimension. We’ll explore soldering steel with gold and silver solder for both construction and embellishment and small-scale oxy-acetylene welding for wire and sheet fabrication. Steel patinas and other color methods will also be discussed. All levels. Lower metals studio. 

Studio artist; co-founder of the Baltimore Jewelry Center; teaching: Maryland Institute College of Art, Corcoran College of Art and Design (DC), Pocosin Arts (NC), Metalwerx (MA), Silvera Jewelry School (CA), Towson University (MD); solo exhibitions: Ombré Gallery (OH), Austin Museum of Art (TX); participated in SIERAAD International Jewelry Fair (Amsterdam). 

aprilwoodmetalsmith.com | @aprilwoodmetalsmith

METALS SUMMER SESSION 4
JULY 2–14, 2023

Janna Gregonis
Set and Framed

This workshop will cover simple settings for stones or objects and move toward nontraditional prong, frame, and tension settings. We’ll make our own bezel wire and learn how to modify and customize it, and we’ll address when and why a prong setting might be a better solution. This workshop will be ideal for creating settings for odd or difficult stones or objects. We’ll cover various metalsmithing techniques used for stone setting. All levels. Upper metals studio.

Studio artist; teaching: 92nd Street Y (NYC), Peters Valley (NJ), Kutztown University (PA), St. Johns University (NYC), Newark Museum of Art (NJ); exhibitions: Munich Jewellery Week, Brussels Jewellery Week, NYC Jewelry Week, Schmuck 2020 (Munich), Fuller Craft Museum (MA); collection: Museum of the Brazilian Object (Brazil). 

@jannagregonis

IRON SUMMER SESSION 4
JULY 2–14, 2023

J.D. Smith
Damascus: Pattern-Welded Steel Fabrication

This workshop will teach the basics of designing and constructing pattern-welded steel. We’ll use new and updated techniques and procedures: specifically, we will not use welding flux, everything will be done dry to ensure higher success rates. We’ll thoroughly survey the basics as well as the material’s aesthetic potential and functional possibilities. Each student will be able to make objects and/or explore the material based on their interest and skill level. However, this is not a knife-making workshop. All levels. 

Master bladesmith, CEO of Hammersmith Knives & Publications; American Bladesmith Society instructor; adjunct professor at MassArt (Boston) for 25 years; work published in multiple magazines; many of his students have become masters in their own right. 

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