Category: Workshops

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Textiles Fall Concentration

TEXTILES – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Amanda Thatch
Thinking with the Loom

Starting from the basics of planning a project and dressing the loom, we will explore how the loom can be a partner in thinking about structure, use, and meaning. We will learn about traditional patterns and learn to draft our own. We will study color interactions and use dye processes such as ikat, woven shibori, and warp painting to make ever more intentional choices about desired results. We will be working toward a sense of fluency with the loom so we can express our ideas with precision and confidently combine skills to create unique cloth. All levels. Lower textiles studio.

Note: this workshop takes place in a second-floor, walk-up studio that is made partially accessible with a stair lift. 

Studio artist; teaching: Arrowmont (TN); KANEKO (NE), Peters Valley (NJ), University of Wisconsin-Madison (WI); residencies: Praxis Fiber Workshop Digital Weaving Lab (OH), Winterthur Museum, Garden and Library (DE), Alabama Chanin Studio (AL). 

amandathatch.com | @amandathatch

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Textile work by Amanda Thatch
Amanda Thatch, Passage/Means of Crossing, wool, silk, Tencel, cotton, commercial and natural dyes; handwoven on computer aided looms, approximately 70 x 20 inches each
Portrait of Amanda Thatch
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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).

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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Photography Fall Concentration

PHOTO – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jill Enfield
Photography Through the Ages

This workshop will explore the limitless possibilities of working with photographic processes invented during the past three centuries. By first learning each process and then beginning to combine them, each student will invent their own way of working. We will have daily demonstrations, discussions of historic and contemporary works, and plenty of time for experimentation. Processes will include in-camera and digital negatives, wet-plate collodion (ambrotypes, tintypes, negatives), cyanotype, Van Dyke brown, platinum/palladium, albumen, and digital printing. The workshop will be exciting for beginning to advanced photographers who want to set aside time to experiment and make new art. All levels. 

Photographer, educator, author; teaching: associate professor at Parsons The New School of Design (NYC), Maine Media Workshops, Griffin Museum of Photography (MA), NORDphotography (Norway); 2022 keynote speaker for Finnish Darkroom Association, advisor to Lishui International Handmade Photography Center (China); collections: Amon Carter Museum of Art (TX), Crocker Art Museum (CA), Toledo Museum of Art (OH), Museo de Arte Moderno (Columbia); author of Jill Enfield’s Guide to Alternative Processes, used as a textbook in many schools.

jillenfield.com | @jillenfield

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Photograph by Jill Enfield
Jill Enfield, Newburgh-Beacon Bridge, ambrotype from smart phone capture, 5 x 7 inches
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Metals Fall Concentration

METALS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Aran Galligan
From Tradition to Exploration 

Starting with the fundamentals of jewelry fabrication, stone/object setting, and vitreous enamels, we’ll delve into a diverse world of techniques, from traditional to exploratory methods. Curiosity will be encouraged as we navigate the vast landscape of jewelry making. As we progress, students will select and combine techniques that resonate with them, culminating in designing and crafting functional jewelry and wearable art. Experimentation and repetition will foster a deeper understanding of materials. 

Technical information may include sawing, soldering, riveting, cold connections, filing, polishing, patinas, findings, chain making, hollow construction, texturing, roller printing, metal etching, enameling, and bezel, tube, and flush settings. All levels. Upper metals studio.

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

Studio artist, owner of Aide-mémoire jewelry company and store (Seattle); teaching: SUNY New Paltz (NY), North Seattle College, Penland, Contemporary Craft (PA), Danaca Design (WA); exhibitions: Schmuck (Germany), Gallery Marzee (Netherlands), NSC Art Gallery (WA), Bini Gallery (Australia), Bilk Gallery (Australia), Bellevue Arts Museum (WA), Velvet da Vinci (CA), Penland Gallery. 

aranmade.com | a-m.shop

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
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Iron Fall Concentration

IRON – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
James (Coop) Cooper
Moving and Shaping Iron

This workshop will explore the plasticity of iron. Forging at the anvil and using machines, we will employ basic forging techniques to create simple and complex sculptural objects. We will begin with simple exercises, developing a vocabulary and an understanding of how iron moves under the hammer. As confidence increases, we will explore form and volume, developing ideas into designs. 

Students will be encouraged to incorporate natural materials, such as stone or wood, with a thought toward physical and visual balance. Expect field trips to the scrap yard and into the forest in search of materials and inspiration. We will explore color through paint, patina, tinted waxes, and vitreous enamels. There will be regular demonstrations and individual instruction throughout the workshop. Forging iron is physically demanding; please come with a desire to work hard and a playful spirit. All levels. 

Studio artist; former artist-in-residence and conservator at The Metal Museum (TN); teaching: The Metal Museum (TN), Appalachian Center for Craft (TN), Penland; public art: City Center Park (NC), Birmingham Botanical Garden (AL), Emory Children’s Hospital (Atlanta), Wildacres Retreat (NC); galleries: Penland Gallery, Mica Gallery (NC). 

cricketscove.net | @cricketsforge

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
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Glass Fall Concentration

GLASS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jennifer Caldwell and Jason Chakravarty
Fabricating Stories in Glass

This workshop will focus on creating narrative objects in glass. We will survey multiple approaches and techniques in an introductory and exploratory way, including applying imagery to glass, flameworking, cold working, mold making, several casting methods, and one or two weeks in the hot glass studio. We will develop ideas, break down designs, and plan as we create glass sculptures that are made in parts and driven by content. Discussions and demonstrations will focus on logical approaches to material and process and when, why, and how to use a certain glass type or technique. This will be a labor-intensive, experimental journey. All levels. 

Jennifer: studio artist; teaching: UrbanGlass (NYC), Arrowmont (TN), Pratt Fine Arts Center (Seattle), The Glass Furnace (Turkey), Pilchuck (WA), GoggleWorks (PA), Pittsburgh Glass Center, Studio 19 (UK), The Melting Point (AZ), Niijima Glass Festival (Japan), Penland; residencies: Barrio Glassworks (CA), Tacoma Glass Museum (WA), Corning Museum (NY), Neusole Glassworks (OH), Pilchuck (WA). 

jennifercaldwell.com | @jenniferecaldwell

Jason: studio artist; teaching: Arizona State University, Arrowmont (TN), UrbanGlass (NYC), Pratt Fine Arts Center (Seattle), Bazalel Academy (Israel), The Glass Furnace (Turkey), The Studio at Corning (NY), Cleveland Institute of Art, GoggleWorks (PA), Mesa Arts Center (AZ), Salisbury University (MD); residencies: Tacoma Glass Museum (WA), Barrio Glassworks (CA), Cleveland Institute of Art, Toledo Museum of Art (OH). 

jasonchakravarty.com | @jcsquared.shop 

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus, glass, portholes, buoy, torch
Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus, glass, portholes, buoy, torch
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Drawing & Painting Fall Concentration

DRAWING AND PAINTING FALL CONCENTRATION
October 1 – November 10, 2023 (six weeks)
Clarence Morgan
Practical Reset: Pushing your Practice

Artists are often taught to think about painting and drawing in ways that reinforce conventional practices and classifications. In this workshop, students will play in the gap between what is familiar and modes of working that are beyond their place of comfort, adjusting to unconventional ways of using tools, materials, and processes. Participants will be encouraged to rethink their studio practice and develop individual visual vocabularies that speak to their inner life as well as their personal history, cultural heritage, and ethnic lineage. This is a conceptually-driven workshop that will not focus on specific skills or techniques. Intermediate level: for people who have an established artistic practice in any medium. 

Studio artist; professor emeritus at University of Minnesota; Distinguished Alumni Award from Pennsylvania Academy of the Fine Arts, Penland Outstanding Artist Educator, Sam and Adele Golden Foundation Artist Residency (NY); recent exhibitions: Ralph Arnold Gallery (IL), Penland Gallery, Minneapolis Institute of Art; collections: Walker Art Center (Minneapolis), Cleveland Museum of Art, Flint Institute of Art (MI), North Dakota Museum of Art. 

clarence-morgan.com | @cmorganstudio

A Penland video about Clarence Morgan: https://www.youtube.com/watch?v=3nv_YtCVrsc

Regular enrollment will begin on May 1.

Clarence Morgan, Uses of Solitude, graphite, watercolor, acrylic ink, marker, pen on paper, 22 x 30 inches
Clarence Morgan, Uses of Solitude, graphite, watercolor, acrylic ink, marker, pen on paper, 22 x 30 inches
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Clay Fall Concentration

CLAY – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Esther Shimazu
Arm, Leg, Wing

We will start with the human figure and then riff on this form to explore other creatures. Using standard handbuilding methods, we will work mainly hollow and in parts (if you know how a teapot is made, that will be helpful),. Techniques may include carving, re-sectioning, scraping, seams, slashing, using paperclay to control shrinking, slips, stains, resists, fusing parts with glaze, re-firing, repairs, etc. Students can expect to complete three or four medium-sized (10-20 inch) pieces plus some smaller works, maquettes, and studies. Some goals for the workshop are surprising yourself, maximizing individual expression, working with one’s inner nerd, and not being too attached to a standard. Firing will mostly be electric. All levels. Lower clay studio.

Studio artist; teaching: Anderson Ranch (CO), Santa Fe Clay (NM), Emily Carr Institute of Art and Design (Vancouver, BC), San Miguel de Allende (Mexico), Penland; collections: Honolulu Museum of Art, Fresno Art Museum (CA), St. Louis Art Museum, Berkeley Art Museum (CA), Kutani Collection (Japan), Cincinnati Art Museum, Crocker Art Museum (MA), Racine Art Museum (WI), Fule International Ceramic Art Museum (China). 

esthershimazu.com | @esthershimazu

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
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Books and Paper Fall Concentration

BOOKS – FALL CONCENTRATION
September 29 – NOVEMBER 8, 2024 (6 weeks)
Brien Beidler
Timeless Tomes for Tomeless Times: Historic Leather Bindings

Students in this workshop will use historic binding methods and materials to create leather books fit for use and expression in a modern context. We will demystify obscure and often elusive techniques such as sewing on raised cords, edge trimming, endbanding, leatherworking, and gold tooling with genuine gold leaf and egg glair. We will also have a chance to make and use our own custom decorative leather stamps. Although we will primarily make blank books, students may choose to rebind a book as long as the pages are in signatures. This workshop is ideal for anyone looking for an accessible path to learning traditional hand bookbinding. It will also be useful to experienced binders and conservators who would like to deepen their knowledge and expand their technical repertoire. All levels.

Studio artist; teaching: Escuela de Artes y Oficios Santo Domingo (Bogotá, Colombia), North Bennet Street School (Boston), Massachusetts Institute of Technology, Paper and Book Intensive (MI), University of Alabama, University of Utah, Penland; 2023 McKnight Book Arts Fellow, 2021 Interdisciplinary Artist in Residence at the Oak Spring Garden Foundation (VA); collections: San Francisco Public Library, Oak Spring Garden Foundation (VA), Massachusetts Institute of Technology, Library of Congress (DC). 

beidlermade.com | @bhbeidler

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
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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 Short Session Wood

WOOD – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Chloris Lowe
Throwing Shade

Using an additive woodworking approach, students will create lanterns using freeform bending and binding techniques to transform linear components into unique organic forms. With a little help from steam and gentle coaxing, line will give way to volume and extend into shadow as each student creates their own unique, functional, hanging or free-standing light source. We will cover hand tools, the band saw, and basic electrical wiring. Come ready to experiment and explore within a fun and guided framework. All levels. 

Studio artist; teaching: Edgewood College (WI), Moore College of Art & Design (PA), Montgomery County Community College (PA); Center for Furniture Craftsmanship fellowship (ME); collections/permanent installations: CUNA Mutual-TruStage (WI), Biochemical Sciences UW Madison (WI).

chloris-lowe.com | @c.instalowe

Enrollment opens May 1

Chloris Lowe, Light Form A, cedar, steel wire, lighting components, 20 x 32 x 16 inches
Chloris Lowe, Light Form A, cedar, steel wire, lighting components, 20 x 32 x 16 inches
lowe
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Fall Short Session Textiles

TEXTILES – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Leigh A. Hilbert
Carry and Stow

We are all bound by the particulars of the things we carry, and everyday carry will guide this engaging workshop. Each student will complete a sewn bag with lining, multiple pockets, zippered closure, hardware, and straps of their choosing. The project will be guided by the instructor, but individual details will make each bag cater to the needs of the user. Students will also complete a few small learning items, which, depending on skill level, may include a zip pouch, a dopp kit, a bucket bag, or simple tote. Beginning students will be walked through basic seams and stitches on the home machine, while more advanced students can have a go at the industrial machines, a variety of zipper insertions, trickier seam finishes and detailed constructions in their bag making. All levels. Upper textiles studio.

Note: This workshop takes place in a third-floor, walk-up studio made partially accessible by a stair lift. 

Studio artist; founder: Overlap Sewing Studio (NC), The Drygoods Shop (NC), Open Studio Patterns (NC); teaching: The Drygoods Shop (NC), AB Tech (NC), Penland, The Industrial Commons (NC), Open Studio Patterns (online), UC Berkeley (CA), Creativity Explored (CA); galleries: Tiny Gallery (CA), Valencia 240 (CA), Penland Gallery.

leighahilbert.com | @overlapsewingstudio

Enrollment opens May 1

Leigh A. Hilbert, Leather Bag, leather, canvas, brass, 16 x 18 x 4 inches
Leigh A. Hilbert, Leather Bag, leather, canvas, brass, 16 x 18 x 4 inches
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Fall Short Session Print and Letterpress

LETTERPRESS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Brad Vetter
Lasers and Letterpress

Walking the line between analog and digital, this workshop will explore new technologies and techniques in letterpress printing with a focus on using the laser engraver. Our duty as a new and developing generation of letterpress printers is no longer just to communicate, but also to expand the conversation, push on its limitations, and see what new things are possible in this centuries-old medium. Students will make posters using antique type and presses in collaboration with the studio’s laser engraver to discover exciting new approaches to letterpress printing. Letterpress and Photoshop/Illustrator experience will be helpful, but this workshop is open to all levels. 

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer: studio_operations@penland.org

Studio artist; teaching: Miami University (OH), Northern Illinois University, Hamilton Wood Type & Printing Museum (WI); exhibitions: Danish Museum of Media, University of Akron Fine Arts (OH), University of Mary Hardin-Baylor (TX); publications: Low-Tech Print, Uppercase Magazine, Wood Type Evolved; clients: Nike, Snoop Dogg, Chevrolet, Chris Stapleton.

bradvetterdesign.com | @bradvetter

Enrollment opens May 1

Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
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Fall Short Session Photography

PHOTO FALL SHORT SESSION
SEPTEMBER 24 – 29, 2023 (four studio days)
Dan Estabrook
The Handmade Negative

This short session will introduce two methods for making photographic negatives, both of which predate the advent of film: the calotype paper negative and the wet-plate collodion glass negative. Working with raw chemistry and simple materials, students will make photographic negatives suitable for printing with almost any process. While we work, we’ll discuss the history and syntax of each process: how the method for making the negative affects the images created with it. Bring your own props and costumes if you wish, or venture out into the beautiful North Carolina landscape. Cameras will be available in the studio. All levels. 

Studio artist, visiting assistant professor at Pratt Institute (NYC), frequent Penland instructor since 1994; exhibitions: Catherine Edelman Gallery (Chicago), Daniel Cooney Gallery (NYC), Wilson Museum (VA), Halsey Institute of Contemporary Art (SC); recent projects include a handmade artist book project in collaboration with Nathan Carter, published by Threestart Books (Paris). 

danestabrook.com

Regular enrollment will begin on May 1.

Dan Estabrook, The Thief, cut tintype, 19 x 17 inches
Dan Estabrook, The Thief, cut tintype, 19 x 17 inches
Dan Estabrook, Henry Talbot’s Grave, diptych: pencil on waxed calotype negative, salt print, 7 x 9 inches
Dan Estabrook, Henry Talbot’s Grave, diptych: pencil on waxed calotype negative, salt print, 7 x 9 inches
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Fall Short Session Metals

METALS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Joanna Gollberg
Setting the Trap

Using fabrication methods and proper soldering techniques, students will learn to make a variety of settings to trap objects in their jewelry. We’ll cover bezels, prongs, tabs, tube settings, balling wire to hold items in place, and professional bead stringing and knotting. These techniques along with in-depth soldering techniques will help students add colorful and interesting gemstones or found objects to their work. Students can work from assignments or they can bring ideas for jewelry designs they want to complete. Soldering experience will be helpful, but this workshop is open to all levels. Upper metals studio.

Notes:

  • We will only be using a torch with two gases, such as the Smith Little Torch or the Meco. Be prepared to have a mind-blowing experience working with this tool!
  • This workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

Studio artist; twenty years selling her work at craft and jewelry galleries and fine craft shows; teaching; Craftsy.com, Arrowmont (TN), Haystack (ME), Penland; author of Making Metal Jewelry, Creative Metal Crafts, The Art & Craft of Making Jewelry, and The Ultimate Jeweler’s Guide (all published by Lark Books); other publications: Metalsmith, Ornament, 21st Century Jewelry (Sterling), 500 Wedding Rings (Lark Books).

joannagollberg.com | @joannagollberg

Enrollment opens May 1

gollberg