Category: Summer

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Clay A Summer Session 5

CLAY – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Eva Kwong
Simple and Complex: Color and Form

This workshop will explore color and form in salt-glazed ceramics. We will make simple and complex forms by throwing, handbuilding, altering, and combining multiple parts. Colored slips, underglazes, and glazes will be used to investigate both monochromatic and complicated color relationships. Layering, blending, stenciling, stamping, sgraffito, impasto, and more will add surface complexity. Salt-firing to cone 6 will extend our investigation of color and surface. We will also fire in electric kilns. All levels. Upper clay studio.

Studio artist; retired faculty from Kent State University (OH); other teaching: Anderson Ranch (CO), Arrowmont (TN), Ox-Bow (MI), Rhode Island School of Design, Peters Valley (NJ); NCECA Excellence in Teaching Award; collections: Minneapolis Institute of Art, Crocker Art Museum (CA), Cranbrook Museum (MI), Cleveland Clinic, Northern Clay Center (Minneapolis); representation: Solway Gallery (Cincinnati). 

evakwong.com | @evakwongart
Jan 15 – Regular enrollment opens

Eva Kwong, Acala, stoneware, slips, underglaze, glaze, 21 x 13 x 13 inches
Eva Kwong, Acala, stoneware, slips, underglaze, glaze, 21 x 13 x 13 inches
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Books & Paper P Summer Session 5

PAPER – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Jiyoung Chung
Joomchi and Beyond

In this workshop students will explore joomchi, a traditional Korean process for making textured, handmade paper using water and eager hands. We will cover its history, practice, and role in Korean society; learn the basic techniques; and discuss its adaptations into a contemporary art form. The strong and painterly textured surfaces of joomchi are created by layering and agitating hanji (Korean mulberry paper). Its applications are diverse and it can be incorporated into surface design, collage, new ways of drawing, or unconventional body ornaments. Joomchi can also be used to create sculptural objects that may be functional or fine-art oriented. All levels. 

Studio artist; teaching: Arrowmont (TN), Penland, 92nd St. Y (NYC), Pyramid Atlantic Center (MD); 33 solo exhibitions in Korea, US, Australia, France, Finland, Romania, and UK; curator for International Korean/American Joomchi Exhibition in France, Korea, and US; Gold Award at Smithsonian Craft Show (DC), Award of Excellence at American Craft Council Baltimore Show; Silver Prize at 8th Cheongju International Craft Competition (Korea); collection: Museum of Arts and Design (NYC); author of Joomchi and Beyond.

January 15 – Regular enrollment opens

Jiyoung Chung, His Tears, joomchi paper painting with paper yarn, 34-1/2 x 24-1/2 inches
Jiyoung Chung, His Tears, joomchi paper painting with paper yarn, 34-1/2 x 24-1/2 inches
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Wood Summer Session 4

WOOD – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Osamu Sassa
Reimagining the Everyday

Taking a fresh look at objects from our everyday experience is a great way to explore new designs in wood. This workshop will challenge students to think outside the box and reimagine a familiar object. Individual instruction will help students refine their design and determine the best approach to bringing their newly envisioned everyday object to life. Topics covered will include the use of full-scale drawings, templates, and jigs. We will emphasize simple and elegant solutions that can be executed within the timeframe of the workshop. At the end of the session, each student will have a working prototype of their unique design. Intermediate/advanced level: students should have a general knowledge of woodshop machinery, including milling parts from rough lumber. 

Designer/maker with MUtsukuri (ME); teaching: Center for Furniture Craftsmanship (ME); residencies/fellowships: Haystack Open Studio Residency (ME), Penland Winter Residency, Center for Furniture Craftsmanship Fellowship (ME); exhibitions: Center for Furniture Craftsmanship (ME).

mutsukuri.com | @mu_tsukuri
January 15 – Regular enrollment opens

Osamu Sassa, Brush and Pan (collaboration with Aled Lewis), ash, brushed copper, waxed finish, 10-1/2 x 6-1/2 x 1-1/4 inches
Osamu Sassa, Brush and Pan (collaboration with Aled Lewis), ash, brushed copper, waxed finish, 10-1/2 x 6-1/2 x 1-1/4 inches
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Textiles B Summer Session 4

TEXTILES – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Amy Putansu
Ondulé: Weaving Waves

Warp ondulé is a weaving technique that requires special tools and methods for managing the floor loom. This workshop is an introduction to maneuvering woven threads into sinuous, waving pathways throughout the interlacement. Students will work with a variety of fibers while exploring structures and techniques that emphasize the unique qualities of ondulé weaving. We will produce a selection of samples through a round-robin series. Demonstrations will include resist dyeing, warp painting, various weave structures (including twills and overshot), inlay, and the use of supplemental threads. Students will finish by planning and producing a small ondulé piece. Intermediate level: students should be skilled at independently dressing a floor loom. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Full-time faculty at Haywood Community College Professional Crafts Program (NC); collections: Renwick Gallery (DC), China National Silk Museum, Kyoto International Community House (Japan); representation: Blue Spiral 1 (NC), Sager Reeves Gallery (MO), Penland Gallery.

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

Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches Amy Putansu, detail of Irisation
Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches
Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches Amy Putansu, detail of Irisation
Amy Putansu, detail of Irisation
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Textiles A Summer Session 4

TEXTILES – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Natalie Stopka
Rooted: Dyes and Pigments from Nature

Artwork is made manifest through material choices. This workshop will explore botanical, insect, and earth colors for applications on fabric, including dyes, indigo, and lake pigments. These rich and subtle colors require thoughtful gathering and careful processing, rooting our practice in a conversation with the natural world. Each student will create a swatch library of dyes, then learn to transform dye into lake pigment. We will share a plant and pigment foraging walk, process pigments, and explore painterly applications with soy on fabric. We will create “portraits” of our plant collaborators and focus on the roles of mordants and binders for lightfastness and washfastness. Students will leave with pigment samples and the technical know-how needed to fold them into their own studio practice. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Studio artist, educator; visiting lecturer: Pratt Institute (NYC), Rutgers University (NJ), Hartford Art School (CT); workshop instructor: Arrowmont (TN), Aya Fiber Studio (FL), Peters Valley (NJ), Snow Farm (MA), Textile Arts Center (NYC), Wave Hill (NYC), Women’s Studio Workshop (NY).

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

Natalie Stopka, Dye Materials, dye plants, dye swatches, earth and lake pigments, charcoal
Natalie Stopka, Dye Materials, dye plants, dye swatches, earth and lake pigments, charcoal
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Print & Letterpress X Summer Session 4

PRINT/LETTERPRESS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Thomas Lucas and Delita Martin
Adventures in Lithography

This workshop will explore the basic techniques of lithography using both stone and photo-plate processes. Students will learn the fundamentals of stone lithography: graining, principles of drawing, etching, registration, printing editions, and troubleshooting. Then we will explore photo-plate lithography and learn how to incorporate experimental approaches with drawing and photo-mechanical image possibilities. In addition to color layers, we will experiment with incorporating chine collé, collage, cyanotype, and linocuts. The workshop will include an exchange portfolio. All levels. Printmaking studio.

Thomas: associate professor at Chicago State University; founder and master printer at Hummingbird Press Editions (Chicago); other teaching: Tyler School of Art and Architecture (Philadelphia), School of the Art Institute of Chicago, Ox-bow (MI), Arrowmont (TN), Penland; recent commissions: Chicago Department of Cultural Affairs and Special Events, Chicago Transit Authority, NASCAR; representation: N’Namdi Contemporary (Miami, Detroit). 

thomas-lucas.com | @printerthomas

Delita: studio artist, owner of Black Box Press Studio (AR); member of Black Women of Print; teaching: University of Arkansas at Little Rock; exhibitions: 2022 Venice Biennale, Crystal Bridges Museum (AR), National Museum of Women in the Arts (DC); collections: Bradbury Art Museum, Library of Congress (DC), Minneapolis Institute of Art, Minnesota Museum of Art, Crystal Bridges Museum (AR), National Museum of Women in the Arts (DC); representation: Galerie Myrtis (Baltimore).

blackboxpressstudio.com
January 15 – Regular enrollment opens

Thomas Lucas, The S to the D, lithography and screenprint, 22 x 15 inches
Thomas Lucas, The S to the D, lithography and screenprint, 22 x 15 inches
Delita Martin, Do You See What I See?, relief printing, acrylic, printed papers, hand stitching, charcoal, 40 x 30 inches
Delita Martin, Do You See What I See?, relief printing, acrylic, printed papers, hand stitching, charcoal, 40 x 30 inches
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Photography Summer Session 4

PHOTO/MIXED MEDIA – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Sally Van Gorder
Photographing Your Work: Documentation for Artists

Photographic records are essential to every art practice. They can describe a work, provide an exhibition view, supply installation instructions, ensure accurate color for print reproduction, or communicate the character of a practice.They can also express an aesthetic and convey a narrative. This workshop considers the many contexts in which these images are made and used. We will work digitally and explore the technical requirements for quality pictures. Demonstrations will cover camera control, natural and artificial lighting, and post-production workflows, including color correction, retouching, file output, and storage. We will cover everything you need to get the best images of your work from the conditions and equipment you’re working with, whether you have a DSLR, mirrorless camera, or cell phone. This workshop is for any art/craft practitioner wanting to photograph their work. All levels. Photography studio.

Professor at North Carolina State University; other teaching: Virginia Commonwealth University (Qatar), Oregon College of Art and Craft, Pacific Northwest College of Art (OR); residencies: Brightwork Fellow at Anchorlight (NC); exhibitions: North Carolina Museum of Art, Southeastern Center for Contemporary Art (NC), Contemporary Art Museum (NC).

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

Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
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Metals B Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Pierce Healy
Engraving Escapades and Metal Tattoos

Ever since humankind crawled from the swamp to stand upright, we have been making marks and scratching and scaring the earth’s crust and our own skin, whether marking territory, adorning, or storytelling. Do you want to become a link in the chain of curious storytelling mark makers? The aim of this workshop is not just to develop a basic understanding of the tools, techniques, and materials of hand engraving but also to experiment and harness engraving creatively. Once you have a basic grasp of the tools, you will unleash them on copper and alternative materials: wax, wood, coconut, plastic, and anything else that will capture your designs and stories. We will also cover sharpening, geometry, holding devices, and image transfers. Students are welcome to bring materials and objects they would like to engrave. All levels, beginners welcome. Lower metals studio. 

Studio artist; teaching: Pierce Healy Studio (Dublin), National College of Art and Design (Dublin), K2 Academy of Contemporary Jewellery (London); residencies: SIM (Iceland), Arteles Center (Finland), National College of Art and Design (Dublin); exhibitions: National Craft Gallery (Ireland), The Scottish Gallery, Solomon Gallery (Dublin), Velvet da Vinci (San Francisco).

piercehealystudio.com | @piercehealystudio

A short Pierce Healy video

January 15 – Regular enrollment opens

Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
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Metals A Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Helen Elliott
Drawn and Painted Marks in Liquid Enamel

This workshop will focus on the experimental use of liquid enamels on copper and porcelain-coated steel, encouraging creative risks and the use of playful, intuitive mark-making. Guided by daily demonstrations, fun exercises, and personalized attention, students will focus on the unique characteristics of drawn and painted marks in enamel. We will explore a variety of techniques—including sgraffito, printing, stenciling, and altering the surface of copper foil—to produce a series of fired explorations. These pieces can be mounted for presentation or finished later as jewelry. 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.

Studio artist; teaching: Kent State University (OH), Towson University (MD); Pratt Fine Arts Center (Seattle), Arrowmont (TN), Enamelist Society, KVO Industries (CA); Ohio Arts Council Individual Artist Fellowship; collections: Arkansas Museum of Art, Crocker Art Museum (CA), Philadelphia Museum of Art, The Yale Museum of Art (CT).

More information about Helen Elliott

January 15 – Regular enrollment opens

Helen Elliott, Explorations 2023, steel, copper, enamel
Helen Elliott, Explorations 2023, steel, copper, enamel
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Iron Summer Session 4

IRON – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andrew Meers
Damascus: Introduction to Pattern Welding

This workshop will cover basic forge-welding and patterning, including traditional and contemporary techniques for fusing and patterning carbon steel. Students will become familiar with basic forging operations as they set up and develop patterned materials that can then be shaped into Damascus objects. The workshop will encompass basic patterning styles, including twisting, laddering, and multi-bar composites. The focus will be on material and aesthetic pattern development; we will not cover knifemaking. All levels.

Studio artist, teaching: Penland, New England School of Metalwork (ME), Touchstone (PA); Master Bladesmith rating and B.R. Hughes Award from American Bladesmithing Society; residencies: Metal Museum (TN), Penland Resident Artist Program. 

andrewmeersstudio.com | @mr.meers
January 15 – Regular enrollment opens

Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
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Glass B Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nisha Bansil
Embedded Pattern and Thick Forms

This workshop will be an investigation into embedding patterns in glass castings. We will experiment with different techniques for creating patterns, including vitreous enamel and powder printing. Using paper and clay as positives, students will create open faced molds for our patterned castings. We will also learn techniques borrowed from traditional pâte de verre. Students will leave with one hollow-form vessel and several thicker castings. Come prepared to play, experiment, and be inspired by the Penland campus. All levels. Kiln studio. 

Studio artist; teaching: The Studio at Corning (NY); Bullseye Glass (CA, NY), Creative Glass (Switzerland); mount-maker for Metropolitan Museum (NYC) and American Museum of Natural History (NYC); residencies; Corning Museum (NY), Bullseye Glass Company (NY), Chrysler Museum (VA).

nishabansil.com | @nishabansil

Video of Nisha’s sound process.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
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Glass A Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Jessica Jane Julius and Erica Rosenfeld
From Shop to Table

The glass studio and the dinner table both tell stories about craft, design, tradition, history, culture, and ritual. Both can be gathering places that create lasting communities. In this workshop, we will explore the potential of sculpture, installation, design, and video using glass, found materials, and food. Working in the hot and cold glass studios, we will experiment with blowing, hot sculpting, mold blowing, cane, cold working, and mixed-media processes. Lectures and demonstrations will present strategies for new applications of traditional techniques. We will focus on expanding our community and engaging larger audiences through a culminating, participatory art “dinner party” involving a glass installation made over the duration of the workshop. Please join us for an unforgettable experience. All levels. Hot glass studio.

Jessica: associate professor and head of glass at Tyler School of Art and Architecture (Philadelphia); co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; residencies: Creative Glass Center of America (NJ), Museum of Glass (WA); exhibitions: Philadelphia Museum of Art, Museum of American Glass (NJ), MarketView Arts (PA).

jessicajjulius.com | @jessicajjulius

Erica: studio artist; co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; teaching: The Studio at Corning (NY), UrbanGlass (NYC), Pilchuck (WA), Worcester Center for Crafts (MA); exhibitions: Museum of Arts and Design (NYC), Racine Art Museum, Kohler Arts Center (WI); collections: Museum of Arts and Design (NYC), Essex Peabody Museum (MA), Toledo Art Museum (OH). 

ericarosenfeld.com | @ericarosenfeld8
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld, Around the Campfire, blown glass, neon, sporks, oranges, mixed media, dimensions variable
Erica Rosenfeld and Jessica Jane Julius, The Burnt Asphalt Family, Around the Campfire, neon blown glass, sporks, various dessert sculptures, mixed media
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Drawing & Painting Summer Session 4

DRAWING/PAINTING – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Janet Link
Perspective Drawing: Observed, Imagined, Remembered

In this workshop we will dive into the theory and methods of constructing pictorial space and form. Information will be presented in lectures and demonstrations and applied through exercises and independent projects using drafting tools to make mechanical and freehand perspective drawings. Students will create reference libraries of perspective techniques and drawings of observed, imagined, and remembered objects and spaces. We’ll consider perspective drawing as a design tool, a foundational element in an observational practice, and as an interesting end in itself. Whether you want to begin, refresh, or deepen your relationship with perspective drawing, you will learn to construct and visualize space and form more fluently. All levels. 

Studio artist; teaching: Arrowmont (TN), North Carolina State University College of Design, Meredith College (NC), Centre College (KY); residencies: al maqam (Morocco), Penland (NC), Spring Island (SC); collections: City of Raleigh (NC), University of Arkansas-Little Rock. 

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

Janet Link, Perspective Study, graphite, 16 x 16 inches
Janet Link, Perspective Study, graphite, 16 x 16 inches
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Clay B Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Alexander Thierry
Screenprinting and Soda Firing

This workshop will explore ways to add screenprinting to the surface of ceramic work through direct printing and transfers. We will cover image and screen creation, screenprinting with underglaze, layering, and how screenprinting can work with various surface and texture techniques. Demonstrations of throwing, handbuilding, and surface techniques will help students create whatever kind of work interests them: vessels, sculptures, etc. A soda firing will allow experimentation with the surfaces that can be created in an atmospheric kiln. We will make both bisqueware and fully glazed work with mid-range clay. All levels. Lower clay studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at South Carolina State University (SC); residencies: Penland Winter Residency Distinguished Fellow, M.A.K.E. Resident 2019 (Iceland), Summer Visiting Artist at Clemson University (SC), Summer Resident for Hampton County Arts (SC); exhibitions: Edwardsville Arts Center (IL), Peters Valley (NJ), Morean Center for Clay (FL), Foundry Art Centre (MO), Companion Gallery (TN), Artspace (NC).

alexanderthierry.com | @alexander_thierry
Jan 15 – Regular enrollment opens

Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
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Clay A Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Lindsay Pichaske
Heads with Exquisite Surfaces

In this figurative sculpture workshop, students will sculpt animal or human heads with rich surfaces. We will explore the ways both pigmented clay and mixed-media additions can contribute to the texture, content, and personality of a face. Demonstrations will include solid sculpting and hollowing, rendering facial features, anatomical sculpting techniques, and surface development. While the focus will be on clay textures, the workshop will include testing and mixing our own pigmented clays, making test tiles, and experimenting with mixed-media materials. Low to mid-range electric firing. All levels. Upper clay studio.

Studio artist; teaching: Greenwich House Pottery (NYC), Penland, Santa Fe Clay, St. Louis Community College, Maryland Institute College of Art; Taunt fellow at the Archie Bray Foundation (MT), NCECA Emerging Artist Award; recent exhibitions: Daum Museum of Contemporary Art (MO), Fuller Craft Museum (MA), Blue Spiral (NC), Duane Reed Gallery (St. Louis), Greenwich House Pottery; representation: Duane Reed Gallery.

lindsaypichaske.com | @lindsay_pichaske
Jan 15 – Regular enrollment opens

Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
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Books & Paper P Summer Session 4

PAPER – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nicholas Cladis
Bark Fibers Transformed

This workshop will begin with processing raw bast fibers (e.g. kozo) into paper using Japanese sheet forming methods. Then we will explore alternative techniques and materials to use in tandem with bast fibers: we will pigment and dye, manipulate pulp with water, and use bark fibers for casting and dipping. Embracing the communal aspect of papermaking, we will concoct and experiment with pulp mixtures. There will be daily demonstrations, discussions of paper as an artistic and borderless medium, and ample time for play. We will also discuss the history and origins of Eastern/Japanese papermaking and its contemporary applications. Each student will walk away with an assortment of handmade papers and fiber-focused objects. All levels.

Lecturer at University of Iowa Center for the Book; other teaching: Fukui Prefectural University (Japan); visiting artist: Rhode Island School of Design, University of Wisconsin-Madison, University of Michigan (MI); Ishibashi Fellowship for Research in Japanese Art; recent exhibitions: Yamatoya Gallery (Japan), Public Space One (Iowa City, IA), National Craft Research and Development Institute (Taiwan); collection: Museum of Washi & Culture (Japan).

nicholascladis.com 
January 15 – Regular enrollment opens

Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
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Books & Paper B Summer Session 4

BOOKS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andy Rottner
Books and Enclosures

This workshop will provide a straightforward approach to making sewn-section, case bound books and the construction of four enclosure types. Students will first design and bind a 6 x 9 inch, 96-page book. Then they will design and build these four separate enclosures for that book: four-flap paper portfolio, slipcase, clamshell box, and lift-top box. We will use equipment such as the board shear, paper guillotine, and book press while learning techniques that include folding and piercing sections, sewing, forwarding, trimming, book cover construction, casing-in, gluing, measuring, cutting, and book and box design. All levels.

Studio artist, bookbinder, publisher, educator; teaching: San Francisco Art Institute, San Francisco Center for the Book, Studio Art Center International (Florence, Italy); bookbinding clients: Internet Archive, Codex Foundation (CA), California College of Art; collections: Library of Congress Special Collections (DC), Harvard University (MA), Stanford University (CA), Columbia University (NYC), Smith College (MA); publications: Knuckles on the Ground: Fundamentals of Bookbinding (San Francisco Center for the Book).

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

Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
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Wood Summer Session 3

WOOD – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Matthew Hebert
Digital Carving in Wood

This workshop will introduce the exciting potential of carving and shaping wood using a CNC router. We will start with the basics of 3D modeling and quickly develop designs for small sculptures or vessels that will be carved from wooden blanks. We will work with Rhino software and Penland’s Shopbot. After the CNC process is done, there will be time to explore finishes such as painting, patina, burning, etc. Demonstrations and discussions will cover contemporary techniques of digital design and manufacture ranging from surface modeling to photogrammetry (creating 3D meshes through photography). These processes can be useful for a range of materials and studio practices. All levels. 

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at San Diego State University (CA); residencies: Emma International Collaboration (Canada), Artifact Gallery University of California, San Diego (CA); exhibitions: Athenaeum Music and Arts Library (CA), Mingei International Museum (CA), Blue Spiral 1 (NC), Wayne Art Center (PA); collections: City of San Diego (CA), Athenaeum Music and Arts Library (CA). 

eleetwarez.net | @eleetwarez
January 15 – Regular enrollment opens

Matthew Hebert, Functional Abject: Atlanta Bowl, wood, steel, spray paint, 24 x 24 x 2 inches
Matthew Hebert, Functional Abject: Atlanta Bowl, wood, steel, spray paint, 24 x 24 x 2 inches
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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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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