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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
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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
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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
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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
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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
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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
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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.

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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.

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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.

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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.

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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.

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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.

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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
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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
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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
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Fall One Week Books

Books – Fall One-Week Session
September 19-25, 2021
Sarah Bryant
Exploring Long- and Link-Stitch

Long- and link-stitch bindings are structures grounded in the traditional bookbinding practices of Italy and Germany. They remain favorites among hand bookbinders today for their flexibility, durability, and the opportunities they offer for innovative pattern-making and design along the spine. In this workshop students will learn three traditional long/link-stitch bindings and then spend the rest of the week experimenting with alternate sewing and covering techniques. We’ll delve into a number of materials for the covers and spine pieces, including leather, handmade paper, wood, and nontraditional materials. All levels.

Assistant professor at University of Alabama; other teaching: Wells College (NY), University of Georgia Cortona Italy Program, West Dean College (UK); collections: Library of Congress (DC), New York Public Library, Yale Arts Library, Thomas J. Watson Library at the Metropolitan Museum of Art (NYC).

bigjumppress.com | @bigjumppress

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

books by sarah bryant
Sarah Bryant, Long- and Link-Stitch Bindings, leather, paper, veneer, cloth, thread, dimensions vary
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Photography Summer Session 5-drawing page

Photo Summer Session 5
July 17–29
Miranda Javid
The Animated Drawing

In this workshop, students will develop drawing fundamentals and enliven their renderings by making them move! Instead of conventional motion tools like transparent cels and digital tablets, we’ll experiment with less controllable media–from charcoal to watercolor–while seeking to retain elements of texture, gesture, and observation. Students will focus on two animation techniques: one involves drawing frame by frame, and the other will shift lines on one sheet of paper using a “stop-motion” drawing process. In addition to drawing materials, we’ll work with scanners, digital cameras, and video software. Students will leave with their own moving imagery and the ability to create animations at home. No experience with animation or drawing required. All levels. This workshop will take place in the photography studio.

Studio artist, educator; Nancy Harrigan Prize from Baker Artist Fund, Kenan Fellowship, Sherman Fairchild Fellowship; residencies: Can Serrat (Barcelona), Grin City Collective (IA); screenings: Slam Dance (UT), Ann Arbor Film Festival (MI), San Francisco Independent Film Festival, Cutout Film Festival (Mexico City); exhibitions: Commune1 (South Africa), Vox Populi (Philadelphia).

mirandajavid.com | @mirandajavid

Vimeo: https://vimeo.com/user2881745

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Books & Paper B Summer Session 1

Books & Paper Summer Session 1
May 29–June 3
Daniel Essig
Bookstone Bookwork Woodwork

This workshop will explore the possibilities of combining mica, wood, and fine papers within the book form. We’ll cover methods and processes for successfully working with different kinds of mica. We’ll create wooden book covers using hand tools or small power tools. Our books will be bound with the elegant Ethiopian-style binding. All levels. Books studio.

Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Grampian Textures (Australia), Sievers School of Fiber Arts (WI); North Carolina Artist Fellowship, Penland Core Fellowship; collections: Renwick Gallery (DC), Mint Museum (NC), University of Iowa Special Collections, University of California–Santa Cruz McHenry Library, Vanderbilt University Special Collections (TN).

danielessig.com

Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches
Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches
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Spring Short Session Textiles

Textiles – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Kim Mirus
Threading Heddles and Throwing Shuttles

From winding warps to throwing shuttles, we’ll explore all the exciting aspects of weaving on floor looms. We’ll set up a variety of looms with options ranging in complexity, and everyone will use them to experiment with woven structures using four- and eight-shaft patterns. Then each student will choose one of the looms and use it to weave more samples or a self-directed piece of their own design. Everyone will leave with a collection of samples and small woven pieces as well as the skills and confidence to weave independently. All levels. Second-floor textiles studio. 

Note: this workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist; teaching: Haystack (ME), The Crucible (CA), K-12 public schools (CA), Penland; residencies: The Arctic Circle (Svalbard), MASS MoCA (MA), SÍM (Iceland), Penland Winter Residency (NC), ReCreative Denver (CO), Arrowmont Pentaculum (TN), Hambidge Center (GA), Icelandic Textiles Center; exhibitions: Wolpert Gallery (TN), ReCreative Denver (CO), 808 Projects (CO), SÍM Gallery (Iceland).

kimmirus.com | @kimmirus

weaving by Kim Mirus
Kim Mirus, Tenuous Ice, handwoven cotton and vintage silk, 30 x 30 inches
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Spring Short Session Photography

Photography – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Richard Tuschman
The Poetic Portrait

Selfies, profile pics, and headshots are ubiquitous in contemporary pictorial culture, but how can we create portraits that transcend the ordinary? How do we photograph faces and figures to suggest deeper psychological truths, both particular to the subject and universal to our shared humanity? Using the examples of past masters, as well as Richard’s own work, we’ll start at the beginning, exploring the expressive elements of composition, color, gesture, environment, and both studio and natural lighting. Together we’ll pursue a quest to become emotional messengers through the medium of portrait photography. Students will need to bring a digital camera with manual controls. All levels.

Fine art photographer; teaching: Ringling College (FL), University of Akron (OH), Maine Media Workshops, Los Angeles Center of Photography; New York Foundation for the Arts Fellowship, Photolucida Critical Mass Top Fifty (2014, 2016, 2021); exhibitions: Center for Photographic Art (CA), Museum of Contemporary Art Krakow (Poland), Photovisa Festival (Russia); representation: Klompching Gallery (NYC), photo-eye Gallery (NM). 

richardtuschman.com | @richardtuschman

photograph by Richard Tuschman
Richard Tuschman, Portrait of Mike, archival inkjet print, 21-1/2 x 14-1/2 inches
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Spring Short Session Printmaking

Printmaking and Letterpress – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Martin Mazorra
Woodcut and Letterpress Poster Workshop

This workshop will use the direct and immediate qualities of woodcut images combined with letterpress text as the operative elements behind graphic statements. It will provide hands-on experience in woodcut and in the principles and process of hand-composition and letterpress printing. We’ll cover Vandercook press operation, multiple pass registration, and general printing practices as we make beautiful woodcut posters. All levels. Letterpress studio.

Studio artist, proprietor of Cannonball Press; New York Foundation for the Arts Fellowship, Ford Foundation Fellowship, Marie Walsh Sharpe Studio recipient; exhibitions: Planthouse Gallery (NYC), Signal Return (Detroit); collections: Beinecke Rare Book Library (CT), San Francisco Museum of Modern Art, Taubman Museum (VA), Block Museum (IL). 

martinmazorra.net | cannonballpress.com | @mmazorra

woodcut by martin mazorra
Martin Mazorra, Fresh Cut Feelings, woodcut and antique woodtype; letterpress printed on paper, 24 x 18 inches
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Spring Short Session Papermaking

Papermaking – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Shannon Brock
Imagery in Papermaking

This workshop will explore image making in handmade paper. We’ll begin with an overview of basic sheet forming, including a discussion of fiber preparation and why we are using specific fibers. Then we’ll mix additives and pigment pulp that will be used throughout the workshop. On the second day, students will learn to prepare stencils with a variety of materials, and we’ll cover pulp transfers, pulp painting, watermarks, and blowouts. The rest of the time will be used to put these techniques into practice. Students may choose to create finished work or a library of examples. All levels. 

Studio artist; owner of Gaptoothed Studio (MO); teaching: Melbourne Grammar (Australia), Montclair State University (NJ), Museum School (MA); collections: Metropolitan Museum (NYC), Yale University Art Gallery (CT); publication: Papermaking for Printmakers by Elspeth Lamb.

@gaptoothedstudio

handmade paper by Shannon Brock
Shannon Brock, Untitled Card, cotton base, red cotton veil; Yupo stencil blowout, 7 x 5 inches