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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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Wood Fall Concentration

Wood Fall Concentration
September 22 – November 15, 2019
Jack Mauch
All Outward Appearances

In this workshop we’ll ponder the depths of something shallow: that infinitely thin layer we call the surface. Although wood is our material, we’ll think like graphic designers, working with composition, color, pattern, and texture to create expressive surfaces for furniture and sculpture. Our primary techniques will be marquetry, parquetry, wood and metal inlay, texturing, and painting. Beginners will have ample opportunity to learn woodworking fundamentals through project-based assignments, which will be adapted to accommodate and challenge more experienced students. We’ll value process and discovery over product, keep a steady but contemplative pace, and mine the veins of our aesthetic curiosity—especially when that takes us deep below the surface. Guest instructor Ellen Kaspern will join us for two weeks. All levels. Code F00W

Studio artist; teaching: Arrowmont (TN), Penland; awards: Massachusetts Cultural Council Artist Fellowship, Mineck Fellowship from the Society of Arts and Crafts (Boston); residencies: Windgate International Turning Exchange at the Center for Art in Wood (Philadelphia), Haystack Open Studio Residency (ME), Center for Furniture Craftsmanship Studio Fellowship (ME), Penland Core Fellowship; collections: Center for Art in Wood.

jackmauch.com

Scholarships still available!

wooden box by Jack Mauch with wood veneer pattern
Jack Mauch, "Double-Lidded Box," sapele, ebony, paint, book cloth, sand-shaded pear veneer, 4 x 6 x 8 inches
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Textiles Fall Concentration

Textiles Fall Concentration
September 22 – November 15, 2019
Bhakti Ziek
The Vocabulary of Weaving

Weaving can take many forms—from functional to purely aesthetic—that share the distinctive vocabulary of the medium. We’ll explore the language of weaving, using the floor loom as our primary vehicle. The workshop will include clear instructions on how to set up a loom and weave, and we’ll cover any weave structures students are interested in—double weave, waffleweave, overshot, weft brocade, summer and winter, and tapestry are some possibilities. We’ll investigate color interaction, varied materials, texture, density, pattern, and conceptual ideas. The use of weave software and natural dyes  will be introduced early in the session. We’ll cover dye processes relevant to weaving, such as immersion dyeing, woven shibori, ikat, and painted warps. Bring curiosity, patience, and a willingness to explore, and we’ll tap the potential of weaving to be a transformative experience full of magic and insight into the connectedness of all things. Guest instructor Cyndy Barbone will join us for one week. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code F00TB

Studio artist; teaching: Arizona State University, University of Kansas, Philadelphia College of Textiles & Science, School of the Art Institute of Chicago, Haystack (ME), Penland; recent exhibitions: Rijswick Biennial 2019 (The Netherlands), deCordova Museum Biennial 2019 (MA); collections: Museum of Arts and Design (NYC), US Embassy in Mauritania, Princeton University (NJ); co-author of The Woven Pixel and Weaving on a Backstrap Loom.

bhaktiziek.com

woven piece incorporating text and bold geometric shapes
Bhakti Ziek, detail of "2018," silk
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Print & Letterpress Fall Concentration

Papermaking/Printmaking Fall Concentration
September 22 – November 15, 2019
Georgia Deal
Paper & The Unique Print

This intensive workshop will explore the endless possibilities for combining handmade paper and monoprinting. We’ll begin by diving into the basics of papermaking, exploring techniques to create unique substrates for printing. Then we’ll cover a wide range of monoprint and monotype processes, including reductive, multiplate, and gum-transfer printing. In the paper studio we’ll work with Eastern and Western fibers, and topics will include stenciling, inclusions and embedments, pigmenting, and pulp transfer techniques. The back-and-forth of working in both media will expand your visual vocabulary and encourage you to own every aspect of the process, from paper to print! Papermaker Helen Hiebert will join us for one week as our guest instructor. All levels. Code F00X

Studio artist; professor emeritus at Corcoran College of Art and Design (DC); other teaching: Arrowmont (TN), Haystack (ME), University of Georgia Cortona Italy Program, Pyramid-Atlantic (MD); collections: Library of Congress (DC), Corcoran Gallery of Art (DC), Philadelphia Museum, Yale University Library (CT).

Scholarships still available!

layered print in aqua, orange, and red on handmade paper
Georgia Deal, "Roses & Razorwire," screenprint and gum transfer on handmade paper, 24 x 30 inches
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Metals Fall Concentration

Metals Fall Concentration
September 22 – November 15, 2019
Maia Leppo
Jewelry: Designing for Production

This workshop will focus on designing and creating production lines of jewelry using sheet and wire steel, silver, and other materials. Steel’s low cost and light weight will encourage experimentation and facilitate making larger work. We’ll cover ideation to fabrication for rings, earrings, necklaces, and brooches. Along with bench skills, topics will include outsourcing projects, fabricating mechanisms, making multiples, finishing, and marketing. We’ll delve into computer aided design with Rhino, which will open our jewelry to design possibilities beyond our hand skills. 
This workshop will be especially relevant to those interested in working smart and making thoughtful designs in series. Guest instructor Sarah Rachel Brown will join us for one week. All levels. Note: This studio has steps that compromise accessibility. Code F00MA

Studio artist; teaching: Arrowmont (TN), Touchstone (PA); residencies: Arrowmont, Pocosin Arts (NC); exhibitions: Facèré Jewelry Art Gallery (Seattle), Ombré Gallery (Cincinnatti), Galerie Marzee (Netherlands); galleries: Society for Contemporary Craft (Pittsburgh), Quirk (VA), Lillstreet (Chicago), Gallery 360 (Minneapolis), Artful Home (online).

maialeppo.com

gold and steel earrings
Maia Leppo, "Dots and Open Dangle Earrings," 24k gold-plated steel, steel, silver, monofilament, 2 x 1 inches
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Iron Fall Concentration

Iron Fall Concentration
September 22 – November 15, 2019
Andrew Hayes
Focus on Fabrication

Starting with raw materials, you’ll learn to cut, form, weld, and finish steel as you make functional and/or sculptural objects. We’ll start by working through several projects to get acquainted with the studio and tools. Then we’ll move to more independent work focusing on concept, design, and execution. Techniques will include measuring; layout; cutting with torches, saws, cutoff wheels, and shears; gas, MIG, and TIG welding; finishing; grinding; sanding; filing; patina; paint; and presentation. Guest instructor Mike Rossi will join us for a week of working with multiples. The goal of this workshop is for you to find your aesthetic in steel. All levels. Code F00I

Studio artist; teaching: Haystack (ME), Anderson Ranch (CO), Penland; collections: Yale Art Museum (CT), Museum of Fine Arts Houston, Metal Museum (TN); representation: JHB Gallery (NYC), Seager Gray Gallery (CA), Blue Spiral (NC); former Penland core fellow and resident artist.

andrew-hayes.squarespace.com

Scholarships still available!

steel wall sculpture by Andrew Hayes with accents of yellow paint and book pages
Andrew Hayes, "Yellow Intersection," steel, book paper, paint, 21 x 6 x 3 inches
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Glass Fall Concentration

Glass Fall Concentration
September 22 – November 15, 2019
Greg Fidler, Kit Paulson, Kenny Pieper & Pablo Soto
Penland Glass: A Bird’s-Eye View

This exploration of hot glass, taught by four nationally-known artists who live near the school, will be as varied and inspiring as the Penland glass community itself. Pablo Soto will begin with a focus on foundations­—setups, proportions, centering, and heat—along with discussions of aesthetics, inspiration, and the formal qualities of hot glass. Kenny Pieper will reinforce these fundamentals while introducing cane work and stemware. Greg Fidler will challenge students to push forms out of round as they explore imbalance and tension. Finally, Kit Paulson will help students use their accumulated knowledge to move from “how” to “why,” to pursue individual projects, and to dig into conceptual concerns through reading, writing, thinking, and drawing exercises. Each instructor will lead for two weeks and make regular visits throughout the workshop. Visiting demonstrators, field trips, and studio visits will give students even more access to the deep pool of talent that is the Penland glass community. All levels. Code F00GA

Greg: studio artist, chief administrative officer at Spruce Pine Batch (NC); work represented by Sandra Ainseley Gallery (Toronto); former Penland resident artist. Kit: Penland resident artist; teaching: Pilchuck (WA), Blid-Werk Frauenau (Germany), National College of Art and Design (Dublin); collections: Tacoma Museum of Glass (WA), KODE (Norway). Kenny: studio artist; teaching: Corning (NY), Pittsburgh Glass Center, Cleveland Institute of Art, Penland; collections: Corning Museum (NY), Museum of Fine Arts Boston, New Orleans Museum. Pablo: studio artist, glass fabricator; teaching: Haystack (ME), Ox-Bow (MI), Corning (NY) Canberra Glass Works (Australia), Pilchuck (WA); exhibitions: Blue Spiral 1 (NC), David McCune Gallery (NC), Momentum Gallery (NC).

kitpaulsonglass.com
pieperglass.com
sotoglass.com

sinuous glass sculpture by Greg Fidler
Greg Fidler, "Bowing Series Dark Chocolate Sand," glass, 29 inches tall
25 cobalt blue stemmed glasses by Kenny Pieper
Kenny Pieper, "Blue Satin Goblet Study," glass, wood, 37 x 44 x 6 inches
flameworked glass moth mask by Kit Paulson
Kit Paulson, "Moth/Mouth," borosilicate glass, 20 x 20 x 12 inches
colored glass forms blown by Pablo Soto
Pablo Soto, "Fitted Forms," glass, largest 16 x 7 x 7 inches
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Clay Fall Concentration

Clay Fall Concentration
September 22 – November 15, 2019
Suze Lindsay & Kent McLaughlin
Form, Function & Fire

This workshop will be an expansive study of utilitarian pottery conducted through demonstrations, discussions, sketchbook exercises, and structured practice. We’ll share our individual approaches to making pottery, including wheelthrowing, altered forms, handbuilding with slabs and coils, and drop-and-drape molds. We’ll have conversations about making pots for daily and ritual use and engage in exercises that will develop continuity between form and surface. Presentations will include images and videos that will encourage your personal voice. Guest instructor Dan Finnegan will share his work reflecting his training at Winchcombe Pottery (UK). We will fire stoneware and porcelain in salt, reduction, and wood kilns. All levels. Code F00CA

Suze: studio potter; teaching: Anderson Ranch (CO), Haystack (ME), Arrowmont (TN), Curaumilla Art Center (Chile), Penland; collections: Taipei Yingge Ceramics Museum (Taiwan), San Angelo Museum (TX), Asheville Art Museum (NC); former Penland resident artist. Kent: studio potter; teaching: Anderson Ranch (CO), Arrowmont (TN), Curaumilla Art Center (Chile), Jingdezhen Ceramic Institute (China), Penland; collections: San Angelo Museum (TX), Asheville Art Museum (NC), North Carolina Pottery Center.

forkmountainpottery.com

ceramic tray with green floral motifs
Suze Lindsay, "Fan Tray," handbuilt, salt-fired stoneware, 15 x 13 x 2 inches
Tall lidded jar in brown and aqua glazed porcelain
Kent McLaughlin, "Mashiko Jar," reduction-fired porcelain, wax resist glaze, 25 x 4 x 4 inches