Posted on

Online Workshop Cristina Córdova

Online Workshop
Cristina Córdova
The Figure in Clay: Making a Hollow Figure Using Templates

In this online workshop, students will learn Cristina’s thoughtful approach to sculpting the human figure in clay.  More than four-and-half hours of high-quality prerecorded videos will give each participant a front row seat as Cristina transforms her material into a 25-inch head and torso ready to be bisqued—and will give them the tools they need to follow along step by step!

Video lessons will cover the construction and articulation of the hip area, upper torso, arms, hands, head, and neck. They will also cover how Cristina uses clay slabs, simple pattern templates, and photographic references to anchor her process and the anatomical concepts and modeling strategies she uses to facilitate accuracy and expression as all the components come together.

Sixty days of access to the workshop videos will give students ample time to watch, re-watch, and follow along with Cristina’s carefully presented process. In addition, students will gain access to Cristina’s materials list, templates, reference photos, and guidance on foundational skills like making clay slabs and slips.

This online workshop is perfect for anyone who is eager to dive deeply into figurative ceramics and work at their own pace using the tried-and-true methods of an expert instructor. Students of all skill levels will be able to engage with Cristina’s techniques with only minimal equipment and materials. Suitable for all skill levels. 

View equipment/materials list

Fee: $350. Participants will have access to this workshop’s prerecorded videos and associated materials for 60 days from date of purchase.

Cristina Córdova working on a ceramic torso in the Penland clay studio
Cristina working on a clay torso using the techniques shared in her online workshop
Posted on

Online Workshop David Clemons

Online Workshop
David H. Clemons
Lidded Pewter Spice Jar

Students will be invited into David’s methodical, nuanced, and refined approach to pewter in this online workshop. A series of eight prerecorded demonstrations will allow participants to follow along step-by-step as David brings together materials and techniques to transform 14-gauge sheet pewter into a dynamic lidded vessel. 

This workshop’s six hours of video lessons give each student the best seat in the house as David covers forming methods, fabrication using soldering and welding, surface treatments and texturing, and finishing techniques—as well as melting, casting, and simple mold construction using cuttlefish! Along the way, students will learn David’s tips, tricks, and strategies for working with this somewhat peculiar but highly responsive and compelling metal.

Sixty days of access to the workshop videos will give participants ample time to watch, re-watch, and follow along with David’s process as they get a feel for working with pewter in their own studios.

This online workshop allows participants to explore at their own pace and is perfect for anyone eager to expand their practice by incorporating pewter work or for those who would like to take a more thoughtful, detailed approach to vessel making. NOTE: This project does not require prior experience, but it does require access to metalsmithing tools.
Suitable for all skill levels. 

View equipment/materials list

Fee: $350
Participants will have access to this workshop’s video demonstrations and associated materials for 60 days from date of purchase.

David working on a lidded pewter jar in the Penland metals studio
David working on a lidded pewter jar in the Penland metals studio
Posted on

Online Workshop Courtney Martin

Online Workshop
Courtney Martin
Platters and Trays from Slabs and Coils

Experienced potters and beginners alike will enjoy up-close access to Courtney’s approach in this online clay workshop. Approximately seven hours of high-quality prerecorded videos will invite participants into each step of the handbuilding process, from preparing the clay to refining leather-hard forms in preparation for the bisque kiln.

Video lessons will start with foundational techniques like creating platters and trays with slabs and coils. From there, the videos will build to more advanced methods for adding height to forms and imbuing pieces with individuality and function through the addition of handles and feet. Throughout the lessons, Courtney will invite students to carefully consider the specific use and visual balance of each pot.

Sixty days of access to the workshop videos will give participants plenty of time to watch, re-watch, and follow along with Courtney as they explore these techniques in their own homes and studios. 

Students can be successful with these techniques with only a work table and minimal tools. The layered content makes the workshop perfect for those who are new to clay and looking for a welcoming way to engage with this material as well as experienced potters who would like to bring more sophisticated handbuilding techniques into their practice. Suitable for all skill levels.

View equipment/materials list

Fee: $350. Participants will have access to this workshop’s prerecorded videos and associated materials for 60 days from date of purchase.

Courtney demonstrating a handbuilt tray form in the Penland clay studio
Courtney demonstrating a handbuilt tray form in the Penland clay studio
Posted on

Online Demo Courtney Martin

Online Demo
Courtney Martin
The Handled Tray

In this video I’ll demonstrate, from start to finish, how I make handled trays. I’ll show viewers how I roll slabs and attach coils of clay to build pots. I’ll refine the form, add handles, and then finish the pots with some decorative detailing when they are leather hard.
Suitable for all skill levels.

View equipment/materials list

Fee: $45. Participants will receive a materials list and the prerecorded demonstration video. They will have unlimited access to these materials for 30 days from date of purchase and can watch the demonstration as many times as they’d like during this period.

Courtney Martin, "Handled Tray," wood-fired North Carolina stoneware, 20 x 10 x 5 inches
Courtney Martin, "Handled Tray," wood-fired North Carolina stoneware, 20 x 10 x 5 inches
Posted on

Online Demo Cristina Córdova

Online Demo
Cristina Córdova
A Simplified Way to Make a Hollow Head

In this prerecorded video demonstration I’ll show how to make a small head using clay slabs and a simple pattern that will help generate the primary shape, which I’ll develop through further modeling. I’ll touch on bone structure, features, and cleaning strategies. Then I’ll show you how to attach the head to a neck and bust, also created from templates, in order to play with the activation of gesture.
Suitable for all skill levels.

View equipment/materials list

Fee: $45. Participants will receive a materials list, any handouts, and the prerecorded demonstration video. They will have unlimited access to these materials for 30 days from date of purchase and can watch the demonstration as many times as they’d like during this period.

Cristina Córdova working on a ceramic head in the Penland clay studio
Cristina putting some finishing touches on a sculpted ceramic head
Posted on

Online Demo David Clemons

Online Demo
David H. Clemons
Just a Shake: Pewter Salt Shaker

This prerecorded video demonstration will cover the fabrication of a pewter salt shaker with compression lines. The shaker will be made through simple forming and fabricating techniques in 16-gauge sheet pewter. Hydraulic-press compression will create decorative details in the form of the shaker. The techniques shown in this demonstration are welding, soldering, hydraulic-press compression, drilling, refill port and stopper construction, and surface texturing. NOTE: This project does not require previous experience, but it does require access to metalworking tools.
Suitable for all skill levels. 

View equipment/materials list

Fee: $45.Participants will receive a materials list and the prerecorded demonstration video. They will have unlimited access to these materials for 30 days from date of purchase and can watch the demonstration as many times as they’d like during this period.

David hammering the body of his pewter salt shaker
David hammering the body of his salt shaker as it starts to take shape
Posted on

Clay Fall 3

Clay Fall One-Week Session III
November 3-9, 2019
Eleanor Anderson
Sketch Your Way into Clay

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Metals Fall 3

Metals Fall One-Week Session III
November 3-9, 2019
Lisa Colby
Square One

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Textiles Fall 3

Textiles Fall One-Week Session III
November 3-9, 2019
Leigh Hilbert
A Place for Tools

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Fall Weekend Specials

SPECIALS WEEKEND SESSION
October 21 – 23, 2022
Alicia D. Keshishian
Color Confidence

Color is a powerful tool. In this intensive workshop we’ll explore color through a series of hands-on exercises to reveal not only the basics of color theory but also how to integrate color into your chosen medium. And while color theory is important, it only begins the conversation, because how you apply color is what’s critical to successful work. You will leave the workshop with greater confidence navigating the language and use of color which, in turn, will expand your artistic voice. All levels. Printmaking studio.

Designer with more than 40 years of experience as an art director, graphic designer, surface designer, illustrator, color consultant, and teacher of color workshops; owner of Carpets of Imagination; executive board member for the Color Marketing Group; has studied and taught with Leatrice Eiseman, executive director of the Pantone Color Institute; residencies: Penland Resident Artist Program; former Penland graphic designer. 

adkcarpets.com | @aliciakeshishian

Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
Posted on

Fall Weekend Printmaking and Letterpress

Printmaking – Fall Weekend Session
October 22-24, 2021
Jon Lee
Printing Techniques and Baren Making for Japanese Woodblock Printing

This workshop will have two parts: We’ll cover printing techniques specific to Japanese woodblock printing. And students will learn how to make and maintain the traditional Japanese baren, an essential tool for this style of printing. We will not carve blocks in this short workshop, but pre-carved blocks will be available for practice. We’ll focus on technique rather than concept with a loose structure that will allow students to tailor the workshop to their needs. Although students with some experience will get the most out of this workshop, it is open to all levels. Letterpress studio.

Associate professor at Trinity University (TX); master printer training at Tamarind Institute (NM); exhibitions: McNay Art Museum (TX), Art-Trophy Gallery (Russia). 

@sweet_relief_printmaking

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Work by John Lee
Jon Lee, o1701, woodcut, 17 x 12 inches
Posted on

Fall Weekend Metals

Metals – Fall Weekend Session
October 22-24, 2021
Joanna Gollberg
Prongs

Using the Smith Little Torch and a special soldering board, we’ll make beautiful prong settings to secure your precious items—gemstones, natural materials, found objects—and use them in a piece of jewelry. We’ll discuss each aspect of the prong setting from start to finish: measuring, cutting, solder, cleaning, setting the stones, and finishing the prong ends. Students will be pleasantly surprised at how easy it is to make prongs and will leave this two-day workshop with finished jewelry. This is an intermediate workshop for jewelers: students must have soldering experience. 

Note: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio jeweler selling in galleries and craft shows throughout the US; teaching: Penland, Haystack (ME), Arrowmont (TN); author of four books on jewelry making; work published in Metalsmith, Ornament, 20th Century Jewelers, 500 Wedding Rings. 

joannagollberg.com | @joannagollberg

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Jewelry by Joanna Gollberg
Joanna Gollberg, Covid Winter, sterling silver, gemstones, found objects, 4 x 3-1/2 x 1/4 inches
Posted on

Fall Weekend Drawing and Painting

Drawing and Painting – Fall Weekend Session
October 22-24, 2021
Lara Call Gastinger
Discovering a Landscape Through Drawing

How do you immerse yourself in and capture the beauty of a new landscape? This weekend workshop will delve into making discoveries and seeing plants with new eyes by drawing with a pen and using watercolor to enrich the drawings. Students will go home with a treasured accordion nature journal depicting the inspiring plants and landscape of Penland. The skills learned will be adaptable for use in any travel or perpetual journal. All levels. 

Botanical artist and illustrator; two Royal Horticultural Society Botanical Art Show gold medals (London); numerous American Society of Botanical Illustrators (ASBA) exhibitions; illustrations published in Flora of Virginia, Peterson’s Field Guide to Mushrooms, ASBA’s Botanical Art Techniques Handbook.

laracallgastinger.com | @laragastinger

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
Posted on

Fall Weekend Clay and Specials

CLAY/SPECIAL WEEKEND SESSION
October 21 – 23, 2022
Troy Bungart
Making Your Mark: A Brushmaking Intensive

This workshop is a hands-on opportunity to make a variety of basic and compound brushes. We’ll explore the mark-making potential of different hairs, furs, and fibers—both natural and synthetic. We’ll make handles and ferrules from wood and bamboo and visit a nearby bamboo grove to learn how to harvest this material. Slide presentations and discussions will round out the workshop. Students can expect to make 20-60 brushes. All levels. Lower clay studio.

Studio artist, woodworker, brush maker; teaching: Touchstone (PA), Morean Arts Center (FL), Lillstreet Art Center (Chicago), Gaya Ceramic Art Center (Bali), Penland; galleries/exhibitions: Schaller Gallery (MI), Pewabic Pottery (MI), Northern Clay Center (MN), Michiana Pottery Tour (IN). 

troybungartstudios.com | @troybungart

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
Posted on

Books & Paper Fall 2

Books & Paper Fall One-Week Session II
October 20-26, 2019
Lisa Blackburn 
The Artist’s Book: Simple Structure, Endless Possibility

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Print & Letterpress Fall 2

Print & Letterpress Fall One-Week Session II
October 20-26, 2019
Lynda Sherman
Breaking the Algorithm

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Drawing Fall 2

Drawing & Painting Fall One-Week Session II
October 20-26, 2019
Dietlind Vander Schaaf
Encaustic 101: Painting with Wax

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

Posted on

Glass Fall 1

Glass Fall One-Week Session I
October 6-12, 2019
Sean Donlon
Heat, Bend, Repeat

This workshop will explore unusual approaches to flameworked glass. We’ll cover a range of glass forming techniques, from the lathe to the bench, along with unconventional coloring methods and mirroring. In addition to basic flameworking skills, students will learn to form glass with the lathe and fabricate graphite to make specific shapes of glass. We’ll have constructive critiques and discuss design, composition, concept development, mirroring methods, fun, and life. All levels. Code F01GB

Studio artist; teaching: Virginia Commonwealth University, Chrysler Museum Glass Studio (VA); Virginia Museum of Fine Arts fellowship; exhibitions: solo at Quirk Gallery (VA), Virginia Museum of Contemporary Art, Peninsula Fine Arts Center (VA), Houston Center for Contemporary Craft, National Liberty Museum (Philadelphia), Washington Project for the Arts (DC).

seandonlondesign.com

Sean Donlon, detail of "Halo," installation: 9 x 13 x 1 feet
Posted on

Photo Fall 1

Photo Fall One-Week Session I
October 6-12, 2019
Benjamin Dimmitt
Black & White Landscape Photography

Through photographing in the field, experimentation, and critique, we’ll learn to make compelling images of the landscape. We’ll consider historic and current practice as we learn to think about landscape—photographing in nearby mountains and forests and working in the darkroom with the goal of producing a cohesive body of prints. We’ll emphasize observation, personal vision, and exploring new vocabularies. We’ll cover a wide range of topics including metering, exposure, depth of field, pinhole photography, film development, darkroom printing, split-filter burning, lighting, and composition. All levels. Code F01P

Studio artist; teaching: International Center of Photography (NYC), Warren Wilson College (NC), The Bascom (NC); exhibitions: Southeast Museum of Photography (FL), Ogden Museum (New Orleans), Soho Photo (NYC); collections: Museum of Fine Arts Houston, American Academy of Arts and Letters (NYC), Florida Museum of Photographic Arts.

benjamindimmitt.com

Benjamin Dimmitt, "Palm Hammock," selenium-toned gelatin silver print, 14 x 14 inches
Posted on

Specials Fall 1

Specials Fall One-Week Session I
October 6-12, 2019
Caverly Morgan & Joy Seidler
Immortal Messages: Mindful Making

That which is never born and never dies is always singing. This workshop invites you to explore ways we can source our creative endeavors from the deep river-beneath-the-river—the eternal wellspring of consciousness experienced in quiet moments of meditation and creative practice. We’ll explore how intention and attention, spontaneous play, structured limits, and direct experience of the mystery can guide us. We’ll employ multiple crafts—including paste-paper, journal making, clay, and more—as vehicles for the practice of presence and receptivity. We’ll explore meditation, weaving creative mindful practice into life, and the role of service in the craft arts. All levels. Code CB-Flex

Caverly: founder and guiding teacher of the mindfulness organizations Presence Collective and Peace in Schools; studied for eight years in a Zen monastery; former Penland core fellow. Joy: studio artist and educator; over twenty years of experience teaching journaling at Penland and elsewhere; journals included in national and international collections.

caverlymorgan.org

Caverly Morgan, "Tribute to Paulus," clay, 3 x 3-1/2 inches
Joy Seidler, "Fern Journal," paper, board, waxed linen, 9-1/4 x 6-1/4 inches
Posted on

Wood Fall Concentration

Wood Fall Concentration
October 3 – November 12 (six weeks)
Liz Koerner
Designing in the Woodshop

This workshop will explore processes for generating and refining handbuilt wooden forms. We’ll experiment to discover options, analyze findings, and forge connections between making and designing. Demonstrations will include scale drawing, model-making, milling, joinery, shaping, finishing, and other techniques depending on student interest and needs. We’ll also cover 3-D design fundamentals and strategies for creative problem-solving. Students can expect to make a variety of small wood projects and one or two larger works that may be sculptural or functional. This workshop will provide a solid foundation for those new to woodworking and help experienced students expand their practice. All levels.

Studio artist; teaching: University of Central Arkansas, Indiana University of Pennsylvania, San Diego State University; fellowship/residencies: The Wood Center at Indiana University of Pennsylvania, Herekeke Art Center (NM), Warren Wilson College (NC), Penland Core Fellowship; exhibitions: Manifest Gallery (OH), Foundry Art Centre (MO), Vessel Gallery (CA).

liz-koerner.com

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Sculpture by Liz Koerner
Liz Koerner, Recurrent, Douglas fir, basswood, ash, vinyl, water, graphite, liming wax, 31 x 59 x 21 inches
Furniture by Liz Koerner
Liz Koerner, Martois, plywood, cherry, mixed veneers, paint, lacquer, hardware, 24 x 45 x 14 inches
Posted on

Textiles Fall Concentration

TEXTILES FALL CONCENTRATION
October 2 – November 11, 2022
Mary Zicafoose
The Ikat Portfolio: Weaving Resist-Dyed Cloth

This workshop will cover the basic templates for creating warp, weft, and double-ikat cloth. Daily demonstrations and weekly weaving projects will teach a broad range of resist-dye processes and approaches drawing from many ikat makers and the diverse cultural expressions of global ikat. Class assignments will include designing cloth using multiple-resist wrapping sequences and dye baths, building visual complexity through a selection of warp-shifting methods, exploring woven narrative imagery, and using ikat as a vehicle for contemporary art/cloth making. We’ll also explore possibilities for incorporating ikat wrapping structures into sculpture. Our study will be enriched by virtual presentations from several contemporary American ikat artists. All levels. Second-floor textiles studio.

Studio artist; co-director emeritus of the American Tapestry Alliance; teaching: St. Mary’s College (IN), Maiwa (Vancouver, BC), Arrowmont (TN), Penland; exhibitions: “Craft Forms 2021” at Wayne Art Center (PA), Moreau Galleries (IN), University of Mississippi Museum, San Jose Museum of Quilts and Textiles (CA); collections: Museum of Nebraska Art, United States Art in Embassies Collections globally; author of Ikat: The Essential Handbook to Weaving Resist-Dyed Cloth (Penguin Random House). 

maryzicafoose.com | @maryzicafoose
Film: maryzicafoose.com/film-viewer

NOTE: This workshop takes place in a second-floor walk-up studio that is made partially accessible by a stairlift. 

Mary Zicafoose, Flags for the Fathers, ikat wrapped, acid-dyed wool on linen warp; slit tapestry, 95 x 85 x 5 inches
Mary Zicafoose, Flags for the Fathers, ikat wrapped, acid-dyed wool on linen warp; slit tapestry, 95 x 85 x 5 inches