Metals Workshops at Penland


Penland offers 1-, 2-, and 8-week workshops taught by visiting instructors in our well-equipped studios. Class topics include jewelry design and fabrication, metalsmithing, casting, working with pewter, setting stones, enameling, etching, forging, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Registration is currently open for all Spring and Summer 2020 workshops. Registration is on a first-come, first-served basis. Scholarships are available for all summer workshops; scholarship applications are due by February 17.

Register here

Metals Spring Concentration
March 8 – May 1, 2020
Suzanne Pugh

We’ll take a journey of deep investigation into metal fabrication and forming techniques—with a detour into lost-wax casting—as we pursue perfect, odd, and perfectly odd objects. Students will follow individual but guided investigations as they make objects of curiosity: containers, small sculptures, belt buckles, and other specimens to fill their metaphorical cabinets of wonder. Technical information will include soldering, cold connections, scoring and bending, simple raising, hydraulic forming, stone setting, chasing and repoussé, and lost-wax casting. Lola Brooks will join us for a week to share her expertise in fabricating hollow forms over an investment core. Expect to finish many pieces during these eight weeks while staying open to experimentation and play. All levels. Note: This studio has steps that compromise accessibility. Code S00MA

Studio artist; teaching: former associate professor and head of metals at City College of San Francisco, University of Georgia Cortona Program (Italy), Peters Valley (NJ), Metalwerx (MA); exhibitions: Velvet da Vinci (CA), Five Pins Project (CA), HYART Gallery (WI), work published in The Metalsmith’s Book of Boxes and Lockets and Chasing and Repoussé (both Brynmorgen Press).

Suzanne Pugh, "Great Basin," sterling silver, 3 x 2 x 2 inches
Metals Summer Session 1
May 24 – June 5, 2020
Rachel Shimpock

This dive into electroformed copper plating will emphasize process, technique, and experimentation. We’ll begin by learning how to prepare your small items for the electroforming baths in the studio and then cover how to make and use a small home plating system. We’ll also make a pen plater and play with alternative plating solutions. Finally we’ll apply vitreous enamel to plated forms and learn a technique for “drawing” with plating metal and enamel. With proper preparation metallic, nonmetallic, and organic items can all be plated. Rachel’s book of secrets is open, and all levels are welcome! Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 01MA

Associate professor at Long Beach City College (CA) and California State University Long Beach (CA); collections: Enamel Arts Foundation (Los Angeles); galleries: Mora (NC), Shibumi (San Francisco), Form & Concept (NM); publications: Food as Art by Carolyn Tillie, Metalsmith, Ornament.

electroformed piece of bread as a pendant
Rachel Shimpock, "Full Piece of Toast Necklace," toast, copper, enamel, brass, 4 x 4 inches
Metals Summer Session 1
May 24 – June 5, 2020
Nicole Jacquard
Make, Think, Discuss, Repeat

Creating work can be isolating, and approaching the bench can sometimes seem daunting. Students in this workshop will approach the studio fresh each day and be challenged to create a daily piece from particular prompts . We’ll combine idea generation, material studies, and technical demonstrations, plus short readings for inspiration and understanding the creative process. Challenges will be set every day, including starting points for exploration, demonstrations of basic techniques and mechanisms, and explorations of traditional and unusual materials. The goal is for students to think beyond the normal routine of working and explore the potential they have either forgotten or didn’t realize they had. All levels. Code 01MB

Associate professor and metals coordinator at Indiana University; two Fulbright Fellowships; ten solo exhibitions and over 100 invitational/juried exhibitions in US, Europe, Asia, and Australia.


enameled metal piece with flower design
Nicole Jacquard, "Passion Pink," copper, laser engraved enamel, silver, galvanized steel, stainless steel, 3-1/2 x ¾ x 4-1/2 inches
Metals Summer Session 2
June 7-19, 2020
Lauren Markley
Fabrication for Sculptural Jewelry

Taking a structural approach to jewelry, we’ll explore three-dimensional forms to create wearable sculpture. We’ll work through a number of fabrication techniques—including hollow construction, spliced construction, and scoring and folding—improving soldering skills along the way. There will be daily demonstrations, and class projects will present opportunities to hone sequencing and problem-solving skills. Time permitting, we’ll also touch on surface treatments and the use of alternative materials. Students should come away with many samples and a few finished pieces. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 02MA

Studio artist; teaching: Arrowmont (TN), Boulder Metalsmithing Association (CO), James Carter Studio (NC); exhibitions: Munich Jewelery Week (Germany), Green Hill Center (NC), East Carolina University (NC), Society of Arts and Crafts Boston (MA); publications: 500 Silver Jewelry Designs.

necklace pendant assembled from planes of metal
Lauren Markley, "Folded Silver and Enamel Necklace No. 2," sterling silver, enamel, pendant: 6 x 2-1/2 inches
Metals Summer Session 2
June 7-19, 2020
Masakatsu Chiba & Yurico Saka
Traditional Japanese Engraving

The traditional Japanese engraving technique called Wabori is based on brush paintings and calligraphy. Students in this workshop will learn the basic techniques of engraving, tool making, and sharpening, along with surface preparation, use of the Japanese calligraphy brush, and design transfer. We’ll have demonstrations and plenty of time for one-on-one instruction. By the end of the session students will be able to engrave textures, patterns, and letters onto the metal’s surface. All levels. Code 02MB

Masakatsu: owner/operator of Atelier FER (Japan); exhibitions: The 50th Japan Crafts Exhibition, Fukuoka Prefectual Museum of Art (Japan), Fukuoka Asian Art Museum (Japan). Yurico: studio artist; teaching: Yamawaki Art College (Japan); exhibitions: Exhibition of Traditional Japanese Metalwork (Japan), Tokyo Traditional Crafts Fair (Japan).  |  @atelier.fer  |  @hotrose_yuricosaka

brass plaque engraved with Japanese characters
Masakatsu Chiba, "Baby Poster," brass, 4 x 6 inches
metal sheet with intricate flower design
Yurico Saka, "Botan," copper, plating, 4-3/4 x 7 inches
Metals Summer Session 3
June 21 – July 3, 2020
Sharon Massey
Contemporary Enamel

Vitreous enamel offers endless possibilities for adding color, texture, pattern, imagery, and text to metal objects and jewelry. This workshop will cover techniques ranging from sifting to champlevé, including liquid enamels, decals, stencils, cloisonné, enameling on three-dimensional forms, and application to both copper and steel. We’ll explore how to incorporate enamel into your work—including setting and fastening techniques—as well as design and concept development. With an emphasis on contemporary and experimental approaches, this workshop will allow students to begin a studio practice in enamel or to expand their existing practice. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 03MA

Associate professor at Indiana University of Pennsylvania; other teaching: Haystack (ME), Center for Enamel Art (CA); collections: Enamel Arts Foundation (CA), Racine Arts Museum (WI); publications: Metalsmith, American Craft, New Brooches & New Bracelets, The Art of Enameling.

three charms: a cross, a heart, and an anchor
Sharon Massey, "Hope, Faith, and Charity," steel champlevé enamel, 4 x 4 x 1 inches each
Metals Summer Session 3
June 21 – July 3, 2020
Jaydan Moore

In this workshop we’ll make fabricated vessels, defining what is meant by “vessel” pretty broadly. We’ll cover sheet patterning techniques to create all types of shapes and learn how to cut metal efficiently. Efficient layout for simple and complex forms will make fabrication go smoothly. We’ll build compound curves through sinking and raising, create sharp edges through scoring and bending, and bring pieces together using larger-scale soldering techniques. All levels. Code 03MB

Studio artist; teaching: Virginia Commonwealth University, Rhode Island School of Design, California College of the Arts, Haystack (ME), Penland; residencies: Penland Resident Artist, Kohler Arts Industry (WI), Houston Center for Contemporary Craft, Virginia Commonwealth University Fountainhead Fellowship; collections: Museum of Fine Arts Houston, Carnegie Museum of Art (PA), Kohler Company (WI).

a series of silver platter wall installations that look as if one plate is splitting into two
Jaydan Moore, "Mitosis," found silver-plated platters, varying sizes
Metals Summer Session 4
July 6-17, 2020
Richard Elaver
Making a Spectacle

This class is all about making eyewear also known as jewelry for the face. We’ll explore a variety of materials—traditional buffalo horn to colored plastics, titanium to silver, with a focus on the design and construction of wearable frames. Along the way we’ll experiment with a range of studio techniques, including hinge construction, soldering, riveting, and integrating digital processes. We’ll cover the technical aspects of eyewear so students can construct frames capable of holding prescription lenses. Intermediate level: students should be comfortable with basic metal fabrication techniques. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 04MA

Associate professor of industrial design at Appalachian State University (NC); exhibitions: Museum of Arts and Design (NYC), International Contemporary Furniture Fair (NYC), Cranbrook Museum of Art (MI), Metal Museum (TN).

four pairs of handmade spectacles
Richard Elaver, "Buffalo Horn Frames," buffalo horn, white gold, brass, approximately 
6 x 6 inches each
Metals Summer Session 4
July 5-17, 2020
Cat Bates
Glamour & Grit: Sand Casting for the Jeweler

This hands-on workshop will introduce students to jewelry-scale sand casting—from casting found objects in bronze, shibuichi, and silver to the design and creation of original two-part patterns. Demonstration of pertinent finishing and joining techniques will enable students to bring castings from raw metal to fully wearable jewelry. After core skills are covered, students will be encouraged to pick and choose demonstrations based on their individual goals and can expect to leave with at least a few (if not many) finished pieces and samples. All levels. Code 04MB

Studio artist; teaching: Penland, Maine College of Art Community Education; residencies: Haystack Open Studio (ME), Pace House (ME); representation: Mora Gallery (NC), Esqueleto (CA), The Portland Museum of Art Store (ME), Portland Dry Goods (ME), Rock Paper Scissors (ME).

thick brass cuff
Cat Bates, "Token Cuff 2," brass, 2-1/2 x 2 x 1/2 inches
Metals Summer Session 5
July 19 – August 4, 2020
Masako Onodera
Material Exploration: Bodies & Senses

This experimental workshop will focus on the exploration of nontraditional materials to make objects for the body. We’ll gather locally-available materials—things from nature, thrift store finds, etc.—and discover how sight, smell, taste, hearing, and touch work with the shapes and materials of objects in the context of the body. We’ll cover basic metalsmithing, including sawing, filing, annealing, drilling, chain-making, and patina, and work with cold-connections, including riveting, tab constructions, and jump rings, and other craft fabrication methods, such as sewing, knotting, and weaving. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 05MA

Associate professor at the University of Wisconsin-Stout; exhibitions: Fuller Craft Museum (MA), Museo del Gioiello (Italy); collections: Toledo Museum of Art (OH), Racine Art Museum (WI).

multi-media necklace
Masako Onodera, "Topology 2," repurposed fur collar, leather coat parts, sugar pot parts, brass, brass chain, thread, fiber fill, 21 x 9 x 2-1/2 inches
Metals Summer Session 5
July 19 – August 4, 2020
Adam Whitney
Raising & Shaping Metal Vessels

Prepare to hammer! We’ll start with raising, the process of hammering sheet metal into seamless vessels, by making samples of different raising styles—angle, Dutch, and crimp—learning proper mechanics and the design benefits of each style. Using these samples, we’ll explore shaping with hammers and detailing through the use of pitch and chasing. Finally we’ll put all the skills together, along with your personal designs, and develop a hammering plan to create your unique project. All levels. Code 05MB

Studio artist; teaching: Escuela de Artes Santo Domingo (Columbia), Appalachian Center for Crafts (TN), Metalwerx (MA), Center for Metal Arts (PA), Raffles College (Malaysia); exhibitions: Mercer Museum (PA), Quirk Gallery (VA), Gallery 224 (MA), Baltimore Jewelry Center (MD).

raised bowl with curved details
Adam Whitney, "Copper Bowl #5," copper, 3-3/4 x 4-1/2 x 6-1/2 inches
Metals Summer Session 6
August 9-21, 2020
Ruta Reifen
Ready, Set, Wax!

Students in this workshop will use several wax-forming techniques to complete a set of designs prepared for metal casting and primed for stone setting—including bezel, prong, and basket settings. We’ll learn subtractive methods using carving wax with files, burrs, and carving tools, and we’ll work additively with soft waxes using wax pens and other modeling tools. We’ll cover different approaches to surface embellishment and wax production considerations like mold making. After our designs have been cast into metal and properly finished, we’ll be set to set! We’ll practice basic stone setting and preparation for outsourced stone setting in the future. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 06MA

Studio artist; teaching: Rhode Island School of Design, Pratt Institute (NYC), Shenkar College of Engineering and Design (Israel), 92nd Street Y (NYC), Metalwerx (MA); work sold in more than 20 jewelry and lifestyle boutiques in the US and Europe.

gold band with pink, green, and white jewels
Ruta Reifen, "Monde Ring," 14k gold, multicolored sapphires, lavender amethyst; 3/4 x 1/2 x 1/2 inches
Metals Summer Session 6
August 9-21, 2020
Julia Woodman
Flatware with Tessellation

Discover how to move metal using time-honored forging and shell-forming techniques and create handsome copper, brass, or silver flatware adorned with three-dimensional tessellation (patterns created by joining a number of small units). Students can expect to finish two or three pieces, but we’ll emphasize process, experimentation, and developing skills. Techniques and demonstrations will be introduced daily and as needed for individual projects. One-on-one instruction will allow students to explore and problem-solve at their own skill level. Bring your favorite tools, your imagination, and an optivisor, and we’ll all become hammerrific! All levels. Code 06MB

Studio artist; teaching: Campbell Folk School (NC), Spruill Center for the Arts (Atlanta), Chastain Art Center (Atlanta), Georgia State University; collections: Victoria and Albert Museum (London), Museum of Fine Arts Boston, High Museum (Atlanta).

silver ladle with bubble detail on the handle
Julia Woodman, "Bubble Champagne Cocktail Ladle," sterling silver, glass bead, 15 x 4-1/2 inches
Metals Summer Session 7
August 23-29, 2020
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 07MA

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
Metals Summer Session 7
August 23-29, 2020
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Code 07MB

Studio artist; teaching: University of Wisconsin-Madison (WI), San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
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