Author: jennifer@interactwo.com

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Textiles B Summer Session 3

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Rachel Meginnes
Rag Weaving and Material Meaning

Part concept-based, part technique-based, this workshop will layer the fundamentals of weaving on a loom with the deeper meaning materials hold. Taking a no-holds-barred approach, we will work with found materials such as paper, fabric, flora and more, and learn to ready these materials for weaving on a floor loom. We will discuss the way meaning embeds itself in material and explore how the act of collecting and reclaiming can embolden one’s work. Students should bring a collection of materials (old clothes, fabric, ephemera) as well as digital imagery they might like to play with. They can expect to leave with exploratory studies, finished weavings, and knowledge of how to warp and weave basic structures on a 4-harness loom. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist, creative coach; teaching: Earlham College (IN), MAIWA School of Textiles (British Columbia), Haystack (ME), Arrowmont (TN), Penland; residencies: Penland School Resident Artist Program, Jentel Foundation (WY); collections: Art in Embassies Collection (Amman, Jordan), Cameron Art Museum (NC), University of Arkansas at Little Rock; representation: Tracey Morgan Gallery (NC), Hodges Taylor (NC). 

rachelmeginnes.com | @rachelmeginnes
January 15 – Regular enrollment opens

Rachel Meginnes, Night Bloom, handwoven deconstructed textiles, 38 x 29 inches
Rachel Meginnes, Night Bloom, handwoven deconstructed textiles, 38 x 29 inches
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Textiles A Summer Session 3

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Libby O’Bryan and Jonnie Rettele
Capsule Wardrobe Design/Build 

Learn to build pieces of your dream wardrobe using the on-trend patterns from our company, Open Studio. Sewing and pattern-making techniques will build your skills in construction and fit, while a dialogue around labor, craft, and consumption will fuel your home sewing practice. We will start by making a class “uniform” that offers several variations. Then we will shift into a more independent direction, teaching how to hack Open Studio patterns to make garments just for you. We will help you discover your personal style through the most sustainable fashion choice—making your own clothes! All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Libby: owner and founder of the industrial sewing factory and design studio Sew Co and the clothing brand Rite of Passage; co-founder of Open Studio Patterns; exhibitions: Chicago Cultural Center, Knoxville Museum of Art, Southeastern Center for Contemporary Art (NC), Center for Craft (NC). 

wcsewco.com | @sew_co | riteofpassageclothing.com | @riteofpassageclothing

Jonnie: independent designer who began by producing her own menswear clothing line for the contemporary fashion market in 2009 then expanded into naturally-dyed quilts and interior soft goods for custom clients and large retailers; co-founder of Open Studio Patterns with industry peers Libby O’Bryan and Leigh Hilbert to empower home sewists to make their own clothing.

openstudiopatterns.com | @openstudiopatterns
January 15 – Regular enrollment opens

Open Studio Patterns, Bumper Jumper and Blouse, Size 6
Open Studio Patterns, Bumper Jumper and Blouse, Size 6
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Print & Letterpress L Summer Session 3

PRINT/LETTERPRESS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Andrew Rubin
Reductive Relief Class

Using Penland’s letterpress studio and its four Vandercook presses, students will plan and print two editions during this workshop. The first will be a four-color process print in perfect registration, which will familiarize students with the reductive process for making multi-color prints from a single block. For the second edition, we will loosen things up, work in different sizes, and add the possibility of chine collé, stencils, monoprinting, and blend rolls. These prints will become part of an exchange portfolio so each student will have a suite of prints from the session. Demonstrations will also include Vandercook press maintenance, troubleshooting, inking, and cleaning. All levels. Letterpress studio.

Instructor of printmaking at University of Wisconsin-Madison; former master printer for University of Wisconsin-Madison’s Tandem Press; has collaborated with more than 75 artists including Jim Dine, Alison Saar, Robert Cottingham, Ruth Weisberg, and Judy Pfaff.

andyrubin.com | @amrubin55
January 15 – Regular enrollment opens

Andrew Rubin, Monkey Man no. 4, Young Darwin, reductive woodcut, polymer etching, screenprint, 20 x 11-1/4 inches
Andrew Rubin, Monkey Man no. 4, Young Darwin, reductive woodcut, polymer etching, screenprint, 20 x 11-1/4 inches
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Print & Letterpress X Summer Session 3

PRINT/LETTERPRESS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
J. Leigh Garcia
Intaglio: Shaped Plates and Low-Toxic Methods

Intaglio prints don’t have to be rectangular! In this workshop, we will create shaped intaglio prints using low-toxic methods. Students will learn to hand cut and bevel copper plates, make their matrix with low-toxic methods (line etching with BIG ground, spray paint aquatint, drypoint) and then print and print again. We will also cover color techniques such as á la poupée and viscosity rolls. The possibilities are endless in this experimental workshop. All levels. Printmaking studio.

Assistant professor at Kent State University (OH); other teaching: Arrowmont (TN), Women’s Studio Workshop (NY); Southern Graphics Council International Emerging Printmaker Award; solo exhibitions: Morean Arts Center (FL), 621 Gallery (FL), Roy C. Moore Art Gallery at University of North Georgia, Biggin Gallery at Auburn University; collections: Cleveland Museum of Art, National Museum of Mexican Art (Chicago), Madison Museum of Contemporary Art (WI).

jleighgarcia.com | @j.leighgarcia
October 15 – November 15: Scholarship applications accepted
January 14 – Regular enrollment opens

J. Leigh Garcia, Dangers of the Desert, intaglio, 22 x 30 inches
J. Leigh Garcia, Dangers of the Desert, intaglio, 22 x 30 inches
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Photography Summer Session 3

PHOTO – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jim Stone
View Camera Workshop

The view camera may seem daunting, but it is easily mastered. Its contemplative, methodical approach rewards users with photographs of the highest quality. We will learn to use the large-format camera, control focus and perspective, develop sheet film using a simplified zone system, make enlargements in a darkroom, and scan negatives for digital printing. Alternative and historic printing methods will be discussed but not practiced. It will be helpful if students are familiar with the rudiments of traditional black-and-white photography — exposure, film development, and darkroom printing — but this workshop is open to all levels.

Distinguished Professor of Photography at the University of New Mexico, 2016 Honored Educator at the Society for Photographic Education conference; author of six textbooks widely used for university-level photography courses including A User’s Guide to the View Camera; collections: Museum of Modern Art (NYC), Museum of Fine Arts Boston, American Art Museum (DC), Los Angeles County Museum of Art. 

jimstone.com
January 15 – Regular enrollment opens

Jim Stone, Steam Tractor and Owner, Canadaigua, New York, gelatin silver print, 20 x 24 inches
Jim Stone, Steam Tractor and Owner, Canadaigua, New York, gelatin silver print, 20 x 24 inches
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Metals B Summer Session 3

METALS/IRON– SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Sarah Holden
Steel for Jewelers: From Mild to Wild

Students in this workshop will explore steel at the scale of jewelry. Our first focus will be fabrication as we discuss the differences between soldering, brazing, and welding and experiment with all of them. Students will then be able to create sheets of patterned steel with wire and/or make jewelry and/or small objects from steel sheet. We will cover pattern development and material behavior and discuss creative linkages, surface design, preservation techniques, and incorporating steel into jewelry designs. All levels. Lower metals studio. 

Studio artist; teaching: Chicago Industrial Arts and Design Center, University of Wisconsin-Milwaukee, Evanston Art Center (IL), Lillstreet Art Center (IL); Illinois Arts Council Individual Artist Grant (IL); exhibitions: Fuller Craft Museum (MA), Specific Gravity (NY), Quirk Gallery (VA), Penland Gallery (NC); representation: Baltimore Jewelry Center (MD), Equinox Gallery (TX), Gallery 2052 (IL), Ombre Gallery (OH); collections: Mint Museum (NC), Racine Art Museum (WI). 

sarahholdenmetalsmithing.com | @holdensc
January 15 – Regular enrollment opens

Sarah Holden, Mother of Pearl, mild steel, sterling silver, 10 x 10 x 1/4 inches
Sarah Holden, Mother of Pearl, mild steel, sterling silver, 10 x 10 x 1/4 inches
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Metals A Summer Session 3

METALS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jina Seo
Identity and Material Exploration

This workshop will explore ways of combining metal components with other materials to create wearable pieces that express your interests, identity, and representation of the body. We will explore deconstructing and constructing various kinds of materials: raw materials, industrial and domestic items, natural components, old and used objects, etc. Students are encouraged to bring materials from home. Technical information will include soldering, various pin mechanisms, and  cold connections such as rivets and tab settings. We will also cover the basics of photographing your work. All levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Associate professor at Missouri State University; residencies: Penland Winter Residency (NC), Arrowmont Pentaculum (TN), Smitten Forum at Pocosin Arts (NC); recent exhibitions: Gallery Baum (Korea), Baltimore Jewelry Center (MD), New York City Jewelry Week (NY), Contemporary Craft (PA), Penland Gallery; collection: Mint Museum (NC).

 jinaseo.com | @jinaseo_jewelry 
January 15 – Regular enrollment opens

Jina Seo, Mow the Lawn, shower cloth, enamel, copper, sterling silver, thread, 2-3/4 x 3-3/4 x 1-3/4 inches
Jina Seo, Mow the Lawn, shower cloth, enamel, copper, sterling silver, thread, 2-3/4 x 3-3/4 x 1-3/4 inches
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Iron Summer Session 3

IRON – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Eric A. Ryser
Contained

This workshop will focus on vessel forms as students design and construct objects that express their interpretation of the word “contained.” We will cover the fundamentals of layout, forging and fabrication, and surface decoration. Techniques will include hand- and power-hammer work, welding, sheet metal construction and joinery, hot and cold press operation, texturing, etching, coloring, and more. Individual creativity will be encouraged in the creation of both sculptural and functional objects. The workshop will fuse traditional and contemporary finishing processes. Group conversations and individual instruction will be an ongoing part of the workshop. All levels. 

Studio artist; teaching; Kansas State University, Southern Illinois University-Carbondale, Appalachian Center for Craft (TN), Penland; exhibitions: Nerman Museum of Contemporary Art (KS), Alice C. Sabatini Gallery (KS), Cranbrook Art Museum (MI), Metal Museum (TN), Fuller Craft Museum (MA).

ryserforge.com | @ericryser
January 15 – Regular enrollment opens

Eric A. Ryser, Better Off, forged and fabricated steel, acid-etched pattern, paint, 12 x 7 x 2-3/4 inches
Eric A. Ryser, Better Off, forged and fabricated steel, acid-etched pattern, paint, 12 x 7 x 2-3/4 inches
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Glass B Summer Session 3

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Amy Lemaire
Beyond Tradition

Venture beyond tradition and push the boundaries of jewelry making as you explore the versatility of glass for creating wearable sculpture. This workshop will introduce you to a world of endless possibilities where traditional methods serve as a solid foundation for exploring uncharted territories of experimental technique. After practicing essential skills such as material preparation for soft glass and borosilicate, color application, and sculpting solid and hollow forms, we will explore mixed-media elements, improvised blow molds, and unique surface textures. Expect to gain a fresh perspective on the possibilities of glass jewelry, a deeper understanding of flameworking practices, and a new collection of unique pieces that reflect your personal style. All levels. Flameworking studio. 

Studio Artist; teaching: Salem Community College (NJ), Pilchuck (WA), UrbanGlass (NYC); Teaching Artist Cohort Grant from Center for Craft (NC), Acquisition Award/MAD About Jewelry from Museum of Arts and Design (NYC); recent exhibitions: SARAHCROWN (NYC), Mahnaz Collection (NYC), Delaware Contemporary (DE); representation: SARAHCROWN (NYC); collections: Museum of Arts and Design (NYC), Ringling Museum (FL). 

amylemaire.com | @amylemairestudio
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Amy Lemaire, Pollen Count III, mirrored borosilicate, sterling silver, stainless steel, 14 x 13 x 3 inches
Amy Lemaire, Pollen Count III, mirrored borosilicate, sterling silver, stainless steel, 14 x 13 x 3 inches
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Glass A Summer Session 3

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Einar de la Torre and Jamex de la Torre
The Anti-Purist Rapture

This workshop is a two-for-one deal: a sculpting workshop in the hot-glass studio and a mixed-media workshop in the classroom. In the hotshop students will make new pieces using bit working, hot assemblage, torch working, and powder pattern pick-ups. In the classroom we will cover various adhesives and coatings used to construct mixed-media assemblages. Students should bring materials they are familiar with, including found objects, to inspire mixed-media work. Our aim is to collectively think outside the object-making box. We will encourage a questioning process to make sure that hot glass—or any other medium, for that matter—works for you, the artist, and not the other way around. Students should be interested in sharing an experimental environment. Some hot glass experience will be helpful, but this workshop is open to all levels. Hot glass studio. 

Collaborating artists making mixed-media/glass sculpture, installation, and public art projects; United States Artists Fellowship, Louis Comfort Tiffany Award; Joan Mitchell Painters and Sculptors Grant; 20 solo museum shows, including a touring retrospective under the Smithsonian’s National Museum of the American Latino; participated in five biennials.

delatorrebrothers.art | Facebook

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Einar de la Torre and Jamex de la Torre ¡2020!, blown glass, cast resin, mixed media, 22 x 33 x 14 inches
DE LA TORRE; COLLIDOSCOPE; CHEECH; 2022
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Drawing & Painting Summer Session 3

DRAWING/PAINTING – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Ian Brownlee
Narrative Drawing

This workshop will use the figure as a starting point for telling stories. Working with narrative requires us to remember something we knew in childhood: that art is a type of play. This idea will be balanced with instruction in technical drawing skills, including line, texture, shading, and perspective. We’ll draw from a live model with pencil, charcoal, and conté and then add acrylic paint and collage. Individual instruction will help each student find their own creative voice. Although we will cover technique, the emphasis will be on visual communication. Students will leave with one or more large drawings that tell their own stories. All levels.

Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC); large-scale murals in North Carolina, Tennessee, California, and Oregon; exhibitions: Blue Spiral I (NC), Asheville Art Museum (NC), Brevard College (NC), 311 Gallery (NC), Jack The Pelican Presents Gallery (NYC); work published in New American Paintings.

ianbrownlee.com | @ianbrownlee
Jan 15 – Regular enrollment opens

Ian Brownlee, Deep Forbidden Lake, gouache and pencil on paper, 7 x 11 inches
Ian Brownlee, Deep Forbidden Lake, gouache and pencil on paper, 7 x 11 inches
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Clay B Summer Session 3

CLAY – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
A. Blair Clemo
No Rules Mold Making

This approachable and beginner friendly workshop will demystify making and using plaster molds. With an emphasis on exploration and creative problem-solving, we will cover a broad range of techniques for making and using press molds while challenging expectations of what molds can do. A “no rules” approach will simplify mold making and result in versatile molds that can be combined with other forming processes (wheel, coil, slab) to make new and innovative forms. Demonstrations will focus on prototyping, mold making, and utilitarian pottery. We will work at cone 6 with options for oxidation and salt/soda firing. All levels. Lower clay studio.

Associate professor and head of clay at Virginia Commonwealth University; residencies: Northern Clay Center (Minneapolis), Da Wang Culture Highland (China), Zentrum für Keramik (Berlin), Jingdezhen International Studio (China), Archie Bray Foundation Invited Artist Program (MT), International Ceramics Studio (Hungary); work included in more than 130 solo and group exhibitions.

ablairclemo.com | @abcpottery
Jan 15– Regular enrollment opens

A. Blair Clemo, Bowls, cone 6 red stoneware, 4 x 8 x 8 inches each
A. Blair Clemo, Bowls, cone 6 red stoneware, 4 x 8 x 8 inches each
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Clay A Summer Session 3

CLAY – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Arthur Gonzalez
When Sculpture Talks Back

With the life-size portrait bust as our format, students will learn how to depict emotions through facial expressions and asymmetrical poses and find their way to narrative. We will work with a handbuilding method called the inside-out technique, in which the artist’s hands stand in for the muscle and bone. This technique enables the artist to manipulate the figure in a natural manner, from both sides of the clay wall, turning the clay into “skin.” The application of color will be guided by the theories of Post-Impressionism and the Bay Area Figurative Movement, representing emotion and “time of day.” We will work with a low-fire, iron-base clay. All levels. Upper clay studio.

Professor at California College of the Arts; two Virginia Groot Foundation awards and four NEA fellowships; 55 solo exhibitions including John Natsoulas Gallery (CA), John Elder Gallery (NYC), Susan Cummins Gallery (CA); collections: Museum of Modern Ceramic Art (Japan), Racine Art Museum (WI), Crocker Art Museum (CA), Oakland Museum (CA), Yingge Ceramics Museum (Taiwan), Museum of Arts and Design (NYC). 

arthurgonzalez.net | @arthur7582
Video series about Arthur
Jan 15 – Regular enrollment opens

Arthur Gonzalez, The Fifth Realm at Noon, ceramic, glaze, 29 x 14 x 12 inches
Arthur Gonzalez, The Fifth Realm at Noon, ceramic, glaze, 29 x 14 x 12 inches
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Books & Paper P Summer Session 3

PAPER – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Lee Emma Running
Cast Paper Sculpture

In this workshop students will explore handmade paper as a primary material for creating sculpture. Paper pulp is a material uniquely suited for sculpture: it can hold a surprising amount of detail when cast, and it can be flexible, light, and translucent. Starting with pulp preparation and basic sheet forming, students will learn to create paper forms using plaster molds, flexible molds, direct casting, and sculptural sheet forming. Beginning to advanced students will be encouraged to explore new ways of working with this versatile material. All levels. 

Studio artist;  teaching: Grinnell College (IA), University of Iowa, Nanjing University (China), Ox-bow (MI), Penland; grants: Iowa Arts Council, Populous Fund, Amplify Arts Working Group; residencies: Kohler Arts/Industry Program (WI), Ucross Foundation (WY), Jentel Foundation (WY); exhibitions: Corvallis Arts Center (OR), Form and Concept (NM), PACE Gallery (IA); installations: St. Ambrose University (IA), Iowa Department of Cultural Affairs, Bernheim Arboretum (KY), Upper Iowa University. 

leerunning.com | @lee.running
January 15 – Regular enrollment opens

Lee Emma Running, Acts of Transformation, handmade paper, deer hide, white gold leaf, 76 x 28 x 14 inches
Lee Emma Running, Acts of Transformation, handmade paper, deer hide, white gold leaf, 76 x 28 x 14 inches
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Books & Paper B Summer Session 3

BOOKS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Anna Embree
Case Binding

This workshop will explore hard and soft cover case structures for a variety of textblock types. We will consider how structural components such as sewing style and covering materials influence construction, openability, and end use. Cases will be made for newly constructed textblocks, using a variety of sewing styles, and for rebinding books that need new covers. Paper decorating techniques, endbanding, and cloth backing will be incorporated into the projects to create one-of-a-kind books and simple boxes. All levels. 

Professor in the MFA Book Arts Program at The University of Alabama; co-director of Paper and Book Intensive (MI); collections: Columbia University (NY), Baylor University Special Collections (TX), University of Central Florida (FL), Indiana University (IN), Arizona State University (AZ).

See more of Anna’s work.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Anna Embree, Meditations and Contemplations, fish parchment, paper, thread, adhesives; millimeter-style binding, 5 x 3 x 1-1/4 inches
Anna Embree, Meditations and Contemplations, fish parchment, paper, thread, adhesives; millimeter-style binding, 5 x 3 x 1-1/4 inches
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Wood Summer Session 2

WOOD – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Chelsea Witt
Table or Not, Here We Come

Tables are usually built for the purpose of holding other objects. In this unconventional furniture-making workshop, we will explore what a table can become if we separate it from its functional expectations. We will cover the basics of woodworking, traditional joinery techniques, and foundational machine skills while expanding creative sculptural and conceptual ideas. Students will focus on smaller-scale tables such as pedestal, entryway, or night stand. Come play, learn, and explore how you can use this everyday object to tell a story that goes beyond function. This workshop will be a welcoming environment for beginning to advanced furniture makers. All levels.

Furniture maker, educator, community organizer; education chair with the Chair Maker’s Toolbox; teaching: Moorestown Friends School (NJ), Center for Furniture Craftsmanship (ME), Pocosin Arts (NC), Peters Valley (NJ), Port Townsend (WA), Haystack (ME), Center for Maine Contemporary Art (ME), Penland; exhibitions: Centre Gallery (FL), Messler Gallery (ME).

chelseacarinawitt.com | @littleforestswontdo
January 15 – Regular enrollment opens

Chelsea Witt, Pedestals, spalted maple, oxidized Douglas fir, milk paint, soap finish, 36 x 12 x 12 inches
Chelsea Witt, Pedestals, spalted maple, oxidized Douglas fir, milk paint, soap finish, 36 x 12 x 12 inches
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Textiles B Summer Session 2

TEXTILES – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Gabe Duggan
Sculptural Fibers

Building from traditions in weaving and off-loom processes, this workshop will explore unexpected approaches to fiber work. We will seek broader definitions of traditional techniques by re-situating media, technology, and approach, and through fundamental dynamics such as unification through tension and balance. Unconventional media will be welcomed and troubleshot collaboratively; we will consider implications of labor, gender, race, and class; space will be approached intuitively and calculatingly, invasively and non-invasively. Specific techniques covered could include 2-8 harness weaving, handspinning, felting, net/lacemaking, knitting, crocheting, stiffeners, etc. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Associate Professor at East Carolina University (NC); other teaching: University of North Texas, Georgia State University; residencies: Sculpture Space Inc. (NY), Fish Factory (Stöðvarfjörður, IS), Praxis Fiber Workshop (OH), Cooler Ranch (NY), Musk Ox Farm (AK), Rob Dunn Lab at North Carolina State University; Juror’s Prize at Art on the Trails (MA); exhibitions: SECCA (NC), Flanders, Lump, and Anchorlight (NC), Garis & Hahn (NY).

gabrielleduggan.com | @gabeduggan
January 15 – Regular enrollment opens

Gabe Duggan, EITHER WAY, DSM Dyneema® on Tuscarora Land, 3 x 40 x 300 feet
Gabe Duggan, EITHER WAY, DSM Dyneema® on Tuscarora Land, 3 x 40 x 300 feet
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Textiles A Summer Session 2

TEXTILES – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Graham Keegan
Natural Dyes: Intricate Endeavors

With our eyes cast toward the 19th century zenith of natural dye printmaking (chintz!, calico!, William Morris!), we will move from creating simple dots and stripes toward executing complex, multi-colored prints on natural fabrics. Focusing on fabric preparation, mordant blending, and immersion dyeing, we will use precise measurements to create print mediums and demystify chemistry concepts in service of creating an explosion of color tones from each plant dye. We will cover repeat pattern planning and use brushes, pens, and blocks to apply mordants. Students will deepen their skills and understanding of how to conjure keystone colors and every tone in between. Come explore the prismatic potential of natural dyes. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile designer working exclusively with natural dyes; teaching: Natural Dyes Workshop (Los Angeles), Marshfield School of Weaving (VT), Campbell Folk School (NC), Penland; prints used by boutique designers and international brands for garments, home goods, accessories, and wallpapers.

grahamkeegan.com | @yesgraham
January 15 – Regular enrollment opens

Graham Keegan, Two-Tone Block Print, madder and sumac on cotton/silk, 26 x 26 inches
Graham Keegan, Two-Tone Block Print, madder and sumac on cotton/silk, 26 x 26 inches
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Print & Letterpress L Summer Session 2

PRINT/LETTERPRESS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Ben Blount
The Printed Word

Do you love language, lyrics, poetry, a beautifully written headline, or a perfect turn of phrase? Letterpress is an excellent medium for putting ideas and words on paper. This workshop will cover the basics of letterpress printing and push into complexity using the printed word as our vehicle for exploration. We will cover various approaches to typesetting, printing, and creating our own letterforms in ways that come together in unity on the page. Our work will be informed by daily demonstrations and discussions and the work of designers and printers who use language and typography in engaging ways. Students will leave this workshop with small editions and monoprints of their explorations. All levels. Letterpress studio.

Artist, designer, letterpress printer; member of the Book/Print Artist/Scholar of Color Collective; teaching: Northwestern University (IL), Colorado College, Cleveland Institute of Art, Penland; residency: Hamilton Wood Type and Printing Museum (WI); collections: Metropolitan Museum of Art (NYC), Newberry Library (Chicago),  National Museum of African American History and Culture (Washington DC), The Field Museum (Chicago). 

benblount.com | @blountben
January 15 – Regular enrollment opens

Ben Blount, 100 Years, letterpress print from wood type, metal type, and polymer plate, 19 x 12-1/2 inches
Ben Blount, 100 Years, letterpress print from wood type, metal type, and polymer plate, 19 x 12-1/2 inches
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Print & Letterpress L Summer Session 1

PRINT & LETTERPRESS SUMMER SESSION 2
JUNE 4–16, 2023
Rick Griffith
Extending the Printed Page

What do you do when the paper isn’t big enough, when the text isn’t small enough, or when the press needs to be bigger? Letterpress as a collage mechanism can be a profound exploration of scale and is ideal for creating larger-format works. In this workshop combining letterpress printing with collage and writing, students will learn how to improvise in multiple directions simultaneously and find balance between text, form, and process. Whether they bring a theme or choose to shoot from the hip, students will develop an intuitive practice and the ability to discuss what is happening in real time. We’ll cover techniques of typesetting, printing, collage, and image manipulation. All levels. Letterpress studio.

Letterpress printer, designer, collagist, writer, optimist futurist; founder and partner in the graphic design consultancy MATTER (Denver); designer of the Black Astronaut Research Project (blarp.org); teaching: Rocky Mountain College of Art and Design (Denver), University of Denver, University of Colorado at Denver, Academy of Arts, Architecture, and Design (Prague), East Carolina University (NC); collections: Denver Art Museum, Hamilton Wood Type and Printing Museum (WI), Tweed Museum (MN).

morematter.com | @rickgriffith

Rick Griffith, You & Me, ink on paper; silkscreen, letterpress, 39-1/4 x 27-1/2 inches
Rick Griffith, You & Me, ink on paper; silkscreen, letterpress, 39-1/4 x 27-1/2 inches
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Print & Letterpress X Summer Session 2

PRINT/LETTERPRESS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Karen Kunc
Push and Pull: Illusions from the Woodblock

In this exciting workshop, we will work toward the ah-ha moment of discovery and response by building spatial illusions in the image. Playing with printed color layers and carving reductions to the woodblock will enable amazing details and richness of color to evolve during the printing process. The process will be directed through demonstrations and discussions of cutting techniques, various printing inks, and printing with the etching press and by hand. Beginning and advanced printmakers will enjoy using inventive and contemporary methods of woodcut printmaking to make a limited-edition series. All levels. Printmaking studio. 

Studio artist; professor emerita at University of Nebraska-Lincoln; owner of Constellation Studios; Fulbright Scholarship; recent exhibitions: Bainbridge Island Museum of Art (WA), Davidson Galleries (Seattle), Maui Arts & Culture Center (HI), Galerija Art 55 (Serbia); collections: Museum of Modern Art (NYC), Cleveland Museum of Art, Library of Congress (DC), Milwaukee Art Museum, American Art Museum (DC).

karen-kunc.com | constellation-studios.net  | @karenkunc | @constellationstudios
January 15 – Regular enrollment opens

Karen Kunc, Florets, color woodcut on Japanese paper, 14 x 14 inches
Karen Kunc, Florets, color woodcut on Japanese paper, 14 x 14 inches
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Photography Summer Session 2

PHOTO – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Anthony Francis
The Considered Portrait

This workshop will center the importance of collaboration and care in digital portrait photography. Through discussions, lectures, and collaborative demonstrations we will address digital workflow, concept development, lighting technique and decisions, camera technique, editing in Lightroom, and printing. The needs and interests of students with different levels of experience will be accommodated through small group and individual instructional meetings. Students will finish the workshop with a printed portfolio of 8-15 images. All levels. 

Studio artist, full-time lecturer at Texas State University; presentations: Society for Photographic Education conference, Black Portraiture II (Johannesburg); solo exhibitions: Denton Black Film Festival (TX), Midland College (TX), Brick Gallery (TX); clients include Scientific American, Texas Monthly, New York Times; collections: McNay Art Museum (TX), Lone Star Colleges (TX), City of San Antonio (TX).

afrancisart.com | @AnthonycFrancis
January 15 – Regular enrollment opens

Anthony Francis, Amiah, At the edge and-or Before Flight, San Antonio, 2021, digital print, 52 x 42 inches
Anthony Francis, Amiah, At the edge and-or Before Flight, San Antonio, 2021, digital print, 52 x 42 inches