Fall/Spring 2014-2015

Penland School of Crafts
Fall 2014 | Spring 2015

About Penland
Penland School of Crafts is an international
center for craft education located in the
Blue Ridge Mountains of North Carolina.
Penland’s workshops run the gamut from
beginning to professional level. Penland
serves people whose lives are focused on
making things and those who engage with
craft as an enhancement to their lives.
Everybody learns from each other. The only
prerequisite for participation is a passion for
learning.
Penland’s beautiful and isolated environment,
its historic campus, its shared eating
and living spaces, and its well-equipped
studios create a community atmosphere that
inspires creativity and enhances learning.
Total-immersion workshops are a uniquely
effective way of learning. Penland operates
free from the constraints of grades,
degrees, and linear curricula and benefits
from the talents of guest faculty from
around the world. This combination allows
the school to offer a flexible and diverse
program that supports craft traditions while
reshaping craft in the context of the contemporary
world.
Penland in Fall and Spring
Penland’s eight-week fall and spring sessions,
called Concentrations, are an
unmatched opportunity in craft education:
almost as long as a college semester, with
the intensity of a total-immersion workshop.
This is a time to settle into the studio
and make great strides in your work. While
these sessions represent a substantial commitment
of time, they contain the potential
for extraordinary experiences.
Fall and spring also include a selection of
one-week workshops, which bring additional
students to campus during these
times of year.
Life at Penland
Each workshop is structured by the teacher,
but most are a mix of demonstrations,
lectures, individual studio work, and field
trips. A stay at Penland also offers evening
slide shows, the beautiful Penland Gallery,
a reading room, visits to nearby studios,
volleyball games, movement classes, and
walks in the countryside.
An on-campus coffeehouse provides
hot and cold drinks, snacks, and a place
to meet and converse. The school supply
store features a variety of hand tools and
craft materials along with UPS shipping,
books, postcards, snacks, drinks, T-shirts,
caps, umbrellas, and other items. Wireless
hotspots are located around the campus.
The nearest medical facility is the Blue
Ridge Hospital, located ten miles away.
Most students live at Penland and all
students may participate in activities on a
twenty-four-hour basis. Housing is simple
but adequate. (We only house Penland
students and instructors.) The dining room
provides three delicious meals each day.
There are always choices for vegetarians,
but we cannot always accommodate special
dietary needs.
What can you expect from time spent
at Penland? You can expect to work hard,
learn a lot, and make friends in a beautiful
and isolated setting with minimal distractions.
You can expect to have fun, eat well,
and get the kind of energy that comes from
immersion in something you love.
Penland accepts students regardless of race,
religion, nationality, gender, sexual orientation,
or gender identity.
Support for Penland
When you fill out the application form in
this catalog, you will see a line inviting you
to be part of the group of generous individuals
who contribute to Penland’s annual
fund, which supports studios, scholarships,
community education, and all of Penland’s
programs. Tuition and fees cover about 42
percent of Penland’s operating costs. We
depend on gifts from many sources to make
up the difference. With your support we
can continue to help thousands of people
live creative lives.
Cover: Student Mary Claire Becker printing
on a Vandercook letterpress.

Fall
Concentration
Eight Week Workshops
Sept. 21 – Nov. 14, 2014
Workshops listed as “all levels”
welcome serious students of any skill
level, beginning to advanced.
Scholarships are available; the fall
scholarship application deadline is
August 15.
Clay
Jason Bige Burnett & Justin Rothshank
Layer Cake: Delicious Ceramic Surfaces
Code F00CA
Come indulge in a variety of techniques and
treats for your ceramic surfaces. Our menu
offers demonstrations for both on- and offwheel
pottery construction. In addition to
learning screenprinted image-transfer techniques,
stencil generation, and decal design
and printing, we’ll use multicolored slips,
underglazes, and a variety of commercial and
shop-made glazes for electric and atmospheric
firings. We’ll work with mid-range and highfire,
red and white clay bodies. We’ll fire a
variety of kilns, experimenting with atmospheric
and multifiring techniques. All levels.
Jason: studio artist; teaching: Santa Fe Clay (CA),
Baltimore Clayworks (MD); work published in
American Craft, Ceramics Monthly; former
Penland core fellow. Justin: studio potter; American
Craft Council award of excellence, work sold in more
than two dozen galleries and shops nationwide.
jasonbigeburnett.com • rothshank.com
Jason Bige Burnett, Game Night, earthenware,
slip, underglaze, glaze, decals, luster, 9H x
9H x 1G inches
Justin Rothshank, Cups, earthenware, decals,
luster, 4 x 4 x 4 inches each
Glass
Brian Corr
Seeing with Your Hands Code F00GA
This workshop will help students with different
skill levels expand their ability in the
hot shop. Beginning students will develop
confidence and professionalism while building
a technical foundation. Intermediate and
advanced students will expand and refine their
hand skills while focusing on the development
of their own design- and concept-based
works. We’ll explore color and pattern
and learn to scale up work. We may also
delve into Venetian-style goblet-making.
Demonstrations will be balanced with individual
work time, idea development, and discussions.
All levels, but some hot glass experience
will be helpful.
Studio artist; teaching: The Studio at Corning (NY),
Pilchuck (WA), Canberra Glassworks (Australia); exhibitions:
Sabbia Gallery (Australia), Habitat Gallery
(MI); collections: National Gallery of Australia,
Gallery of Western Australia, Glazenhis (Belgium).
briancorrglass.com
Brian Corr, Spatial Reflections, blown, coldworked,
mirrored glass, 31 x 7H x 7H inches

Fall Concentration, September 21 – November 14, 2014
Iron
Rebekah Frank
Drawing in Steel
Code F00I
This workshop will use the entire iron studio—with
instruction in blacksmithing, welding,
and fabrication—to push the limits of
drawing in steel. With an emphasis on line
rather than volume, we’ll create perimeters to
enclose spaces as we make sculptural images
in two and three dimensions. While building
skills you will have the opportunity to explore
your personal gesture and the characteristics
of steel—combining them to make objects,
sculpture, drawings, or installations that are
uniquely yours. All levels.
Studio artist; teaching/lectures: School of the Art
Institute of Chicago, Texas State University, Penland;
exhibitions; Velvet da Vinci (San Francisco), National
Ornamental Metals Museum (Memphis), Galeria Ra
(Netherlands), Espace Solidor (France), Caroline Van
Hoeck (Belgium); collections: Cranbrook Museum
(MI), Frankel Foundation (MI).
rebekahfrank.com
Rebekah Frank, Untitled, three ring, steel,
18 x 6 x 4 inches
Metals
Aran Galligan
Jewelry for Chromophiles Code F00MA
Through hands-on investigations, students
will focus on incorporating color into their
jewelry. The class will cover many jewelry
fabrication techniques and use a variety of
methods to create color on metal, including
enameling, resins, patinas, colored pencils,
and powder coating. We will also incorporate
color through other materials such as polymer
clay, fabrics, and found objects. If you are a
lover of color (a chromophile) who wants to
bring color into jewelry, this class is for you.
All levels.
Studio artist; teaching: State University of New
York-New Paltz, North Seattle Community College,
Danaca Design (WA); exhibitions: Pinakothek Der
Moderne (Germany), SPAC Gallery (WA), Penland
Gallery, Gallery Marzee (Netherlands); work published
in 500 Enameled Objects (Lark Books).
arangalligan.com
Aran Galligan, Contrasystem, copper, stainless
steel, sterling silver, resin, gesso, pigment,
acrylic paint, 3 x 3 x 2 inches
Painting
Jane Wells Harrison
Mixed Media with Encaustic Code F00D
This workshop will cover all aspects of working
with encaustic paint, with a special emphasis
on combining encaustic with mixed media.
Working in series, students will find several
solutions to each assigned project. We’ll work
on wood, paper, and other surfaces, and we
may use watercolor, gouache, and oil paint
with encaustic, as well as graphite, charcoal,
and found objects. Although this class is centered
on the combination of encaustic and
mixed media, encaustic is not a requirement
for all projects. All levels.
Studio artist; teaching: Pocosin Arts (NC), Rocky
Mount Arts Center (NC), Turchin Center (NC), East
Carolina University (NC); exhibitions: Quirk Gallery
(VA), Turchin Center (NC), Velvet da Vinci (San
Francisco), Studio Fusion (London); work published
in Enameling Techniques by Linda Darty and
Metalsmith: Exhibition in Print.
janewellsharrison.com
Jane Wells Harrison, Assume, encaustic, collage,
oil on wood, 10 x 10 inches

Printmaking
Amanda Lee
Print Your Own Adventure Code F00X
Through demonstrations, practice, and discussion,
we’ll cover the basics of the four
main print media: relief, screenprinting, intaglio,
and lithography. Then each student will
choose print processes or a realm of inquiry
to explore in depth. Students are welcome to
dovetail printmaking with an existing creative
practice, whether 2d, 3d, or time-based. We
will use ideation exercises—such as visual
improvisation, oblique strategies, critique,
and lots of creative play—to discover your
artistic tendencies, and then we’ll work
together to edit or enhance them. All levels.
Studio artist; teaching: Virginia A. Myers visiting
artist/visiting assistant professorship in printmaking
at University of Iowa, University of Georgia
Cortona Italy Program; residency: Scuola Internazionale
di Grafica (Venice, Italy); correspondent for
printeresting.org.
ilickthis.com
Amanda Lee, Solution of Silver of White Light,
Wave, screenprint, salt print, dye,
22 x 60 inches
Textiles
Donna Brown
Natural Dyes: Explore the
Possibilities
Code F00TA
This workshop will explore the natural-dye
process in depth, using plants, extracts, and
earth pigments. Students will experience the
many ways natural dyes can be used for textile
art and develop a personal, natural-dye
color palette to create cloth for wearable art,
quilts, or wall pieces. Techniques will include
immersion dyeing, mordant application for
color effects, printing, shibori, stenciling, discharge,
block printing, monprinting, basic and
improvisational screenprinting, and personal
imagery. All levels.
Studio artist; production natural dyer for Treenway
Silks (CO), natural dye sales representative and
instructor for Table Rock Llamas Fiber Arts Studio
(CO); teaching: Denver Art Museum, Campbell
Folk School (NC), Earth Palette Conference (NM),
Surface Design Association, Color Congress, Mayan
Hands (Guatemala).
Donna Brown, Gears, immersion and resist
dyed with natural-dye extracts, discharge and
screenprint on silk, 34 x 21 inches
Workshops listed as “all levels”
welcome serious students
of any skill level, beginning
to advanced.
Scholarships are available; the
fall scholarship application
deadline is August 15..
Hot steel, a hammer, and an anvil.

Fall One-Week Session I | October 5 – 11, 2014
Books
Beth Schaible
Nontraditional Longstitch Binding
Code F01B
In this workshop students will create an array
of functional longstitch books, starting with
basic stitching and moving quickly to nontraditional
patterns. Students will learn to plan
and sew their own longstitch patterns and
designs using cloth, leather, and paper-covered
boards as cover materials, creating beautifully
exposed spines. Some binding experience
will be helpful, but this class is for all
levels.
Printer, binder, calligrapher, and operator of Quill
and Arrow Press; teaching: Pyramid Atlantic Art
Center (MD), Asheville Bookworks (NC), 7 Ton Letterpress
Collective (NC); former Penland core fellow.
quillandarrowpress.com
Beth Schaible, Group of Leather Longstitch Books,
leather, paper, linen cord, dimensions vary
Glass
Amy Lemaire
Other Possible Outcomes:
Reexamining Glass Beads Code F01GB
In this workshop we’ll reexamine glass beads
as portable sculpture that is both personal and
public, and we’ll consider the body as a site
for wearable sculpture. We’ll cover traditional
and experimental approaches to flameworking
as well as cold-working and jewelry fabrication.
Workshop information will include
material preparation, sculptural and textured
beads, surface treatment, jewelry design, and
assembly strategies. Beginning and advanced
makers will be encouraged to explore new
ways of working. All levels.
Studio artist, adjunct professor at Salem Community
College (NJ); teaching: Lillstreet Art Center (IL),
director of the Bead Project at UrbanGlass (NYC);
exhibitions: SOFA Chicago and New York, Glass
Weekend (NJ), Amy Morgan Contemporary (PA),
Bijoux at the Norton Museum (FL).
amylemaire.com
Amy Lemaire, Borderland, flameworked sodalime
glass, sterling silver, steel wire, dyed
deer hair, 14 x 12 x 1G inches
Metals
Ben Dory
Surface Adornment on Steel Code F01MB
Using steel as a base, we will explore how
to transform the surface of this rigid material
with texture, thin layers of precious metals,
and gemstones. The result will be compositions
based on creating vivid contrast with
a darkened steel background. We’ll cover
everything from small tool-making to finishing—equipping
students to create finished
pieces of jewelry and small sculpture with
chasing, overlay, and various methods of stonesetting.
All levels.
Studio artist; teaching: Southern Illinois University-Carbondale;
Niche student award; exhibitions:
Southern Illinois University-Carbondale, Allen
Dow Museum of Science and Art (MI), Leo Jenkins
Fine Art Center (NC), “Materials: Hard and Soft”
at Greater Denton Arts Council (TX), “The Book as
Art” at Decatur Arts Center (GA); collection: Evansville
Museum of Art, Science, and History (IL).
benjamindory.com
Ben Dory, Composition ii, steel, 23.5k gold
foil, 24k gold leaf, cubic zirconia, rubies,
4 x 4 x G inches

Fall One-Week Session II | October 19 – 25, 2014
Clay
Kent McLaughlin
A Week of Shino
Code F02CB
We will enjoy one week of firing numerous
shino glazes in reduction kilns. Bring your
stoneware or porcelain bisqueware suitable
for cone 10 temperatures, and we’ll explore
a variety of shinos and some of the techniques
that are possible with this intriguing glaze,
including carbon trapping, wax-resist patterning,
manipulated drying, carbon cooling, and
glaze layering. Have a favorite shino glaze you
would like to share? Bring it along. We’ll also
make deer-tail brushes, and the workshop will
include throwing demonstrations as time permits.
All levels.
Studio potter; teaching: Haystack (ME), Anderson
Ranch (CO), Campbell Folk School (NC), Shakerag
(TN), Curaumilla Art Center (Chile), Jingdezhen
Art Institute (China); gallery representation: MICA
Gallery (NC), Lark and Key (NC), Schaller Gallery
(MI), AKAR Design Gallery (IA).
forkmountainpottery.net
Kent McLaughlin, Bird Bottles, shino and matte
glaze on porcelain, 9 inches tall
Photography
David Emitt Adams
Rethinking Wet Plate Photography
Code F02P
In this workshop we’ll explore tintypes and
ambrotypes—two photographic techniques
based on wet plate collodion materials. As we
learn, we’ll take a close look at contemporary
artists who use historic photographic processes
to communicate their ideas. Together we’ll
rethink the photograph as the final product.
You’ll explore the possibilities of these materials,
experiment, and create alternative methods
of display for your photographs. Students
should have basic camera skills and be willing
to work closely and carefully with photographic
chemistry; otherwise the workshop is open to
all levels.
Studio artist, adjunct faculty at University of Arizona;
exhibitions: Griffin Museum of Photography (MA),
solo show at Santa Barbara Museum of Art (CA);
collections: Museum of Photographic Arts (San Diego),
Center for Creative Photography (AZ).
davidemittadams.com
David Emitt Adams, The Battle between Two
Peaks, tintype photograph on found objects
from the Sonoran desert, 18 x 26 x 10 inches
Wood
Russell F. Gale Jr.
Foundations of Furniture Code F02W
There are so many things to think about
when building a piece of furniture: design,
material selection, joinery, edge and surface
treatments, shop safety, etc. In this workshop
we’ll work through these issues and
more as we each build a small table. We’ll
use machines and hand tools in a cooperative
balance. The goal is for students to build a
foundation of techniques that will give them
more confidence and success as they approach
future projects. All levels.
Studio artist; teaching: Arrowmont (TN); exhibitions:
Green Hill Center (NC), best in show award at
“Regeneration: Woodworkers under 30” at the Center
for Furniture Craftsmanship (ME); work published
in Fine Woodworking, Woodwork, Woodworker
West, and 500 Cabinets (Lark Books).
russellgale.com
Russell F. Gale Jr., The Garboard Strake, black
limba, Japanese ash, sassafras, plywood, brass,
34 x 52 x 15 inches

Fall One-Week Session III | November 2 – 8, 2014
Letterpress
Jessica C. White
Letterpress Basics & Beyond Code F03L
Get to know your way around letterpress
printing by learning the basics and exploring
a variety of ways to create relief prints on a
Vandercook press. We’ll cover fundamentals
including typesetting, mixing ink, and press
adjustments through starter projects like postcards
and posters. Then we’ll move into more
complex prints with playful explorations of
texture and image-making through pressure
prints, collagraphs, and photopolymer plates.
Students will complete a series of prints as
well as a chapbook using a binding suited for
printmakers of all types. All levels.
Studio artist, owner of Heroes and Criminals
Press, instructor at Warren Wilson College (NC)
and Western Carolina University (NC); author of
Letterpress Now: A DIY Guide to New & Old
Printing Methods; collections: Yale University
(CT), Stanford University (CA), Lingnan University
(Hong Kong), School of the Art Institute of Chicago.
www.jessica-c-white.com
Jessica C. White, You’re Right. We Need to Make
Bigger Signs, letterpress print, 12 x 16 inches
Textiles
Beth Ross Johnson
Weaving: The First Layer Code F03TB
Woven cloth is made from layers of elements—warp,
weft, color, woven structure,
and overall design—that require design considerations
at different levels of scale. By learning
to warp with multiple threads, to beam on
without tangles, and other tricks of the trade,
we can use the process of winding a warp as
a way to establish a foundation for fabrics that
will go where we want them to go. Students
will get to warp a loom at least twice. This
class is for beginners as well as experienced
weavers who dread the warping process and
would like to get over that. All levels.
Studio artist; teaching: Campbell Folk School (NC),
Nantahala School for the Arts (NC), Haywood
Community College (NC), Great Tree Zen Temple (NC);
exhibitions: Castell dell’Ovo (Italy), Piedmont Crafts,
Inc. (NC), SAY Sí Gallery (TX).
Beth Ross Johnson, Element: Earth (detail),
cotton, earth pigments, stretched canvas,
12 x 12 inches
Wood
Sarah Martin
Carving Wooden Jewelry Code F03W
Looking to expand your jewelry repertoire?
This class will show you how to carve wood
on a small scale appropriate for jewelers.
We’ll cover how to safely carve with both
knives and dremels and how to transform
these carvings with surface embellishment,
findings, and finishing techniques. The workshop
will introduce you to a wide variety of
artists already using this inexpensive material
and will offer a new perspective on its expressive
potential. All levels.
Visiting assistant professor at University of the Arts
(Philadelphia); exhibitions: Fuller Craft Museum
(MA), Center for Art in Wood (Philadelphia), Tyler
School of Art (Philadelphia); former Penland resident
artist.
sarahmartinstudio.com
Sarah Martin, Untitled Brooch, mahogany,
milkpaint, graphite, blued tacks, lacquer,
5H x L inches

General Information
Application, Deposits, and Fees
Penland welcomes serious students of all
levels of experience—absolute beginners
to professionals. We seek a diverse student
population representing varied experiences,
backgrounds, professions, and age groups
(minimum age 18). Some workshops are
tailored for beginners, some require experience,
but most welcome a range of skill
levels. Admission is first-come/first-served
unless noted otherwise.
A nonrefundable $50 processing fee is
charged when you apply (you may apply
for fall and spring with one application). A
deposit of $500 per workshop is required
($250 for a one-week workshop). The balance
of your fees will be due on August 15,
2014 for fall or January 23, 2015 for spring.
Applicants for work-study and studio assistantships
pay a processing fee but no deposit
when registering. Registration is by mail or
fax or using our online registration form.
Cancellation and Refund Policy
If you cancel forty-five days (thirty days for
a one-week workshop) or more before the
beginning of a workshop, you will receive a
refund, minus a $250 cancellation fee ($100
for a one-week workshop). If you cancel
later than forty-five days (thirty days for a
one-week workshop) before the beginning
of the workshop, there is no refund. This
policy also applies to work-study students.
If it is necessary for Penland to cancel a
workshop, students will be notified and
offered another class or a full refund. We
cannot be responsible for nonrefundable
airline tickets.
Waiting Lists
Waiting lists are maintained for all filled
workshops. Any applicant for a full workshop
will be placed on the waiting list. No
deposit or fees are necessary to hold a space
on fall and spring workshop waiting lists.
Stand-By Program
Residents of certain counties in Western
North Carolina and Eastern Tennessee are
offered half-price tuition when they take
unfilled spaces less than four weeks before
the beginning of a workshop (two weeks
before a one-week session). This offer is
also available to all k–12 teachers and college,
university, and community college
faculty regardless of where they live. For
details contact the Penland registrar or see
this page: www.penland.org/standby.html.
Off-Campus Students
Students who live in the area or prefer to
find their own lodging are welcome to
enroll as off-campus students and may participate
in all activities of the session. Offcampus
students may select a meal plan
when enrolling. A list of nearby accommodations
is on the Visiting Penland page of our
website.
Accessibility
Penland’s historic campus is located on terrain
that is steep and uneven. We are working
to make our campus more accessible
and we have several units of housing that
conform to the Americans with Disabilities
Act. We provide accessible parking for
the dining hall, housing, and most studios.
Penland will make every effort to provide
Sandcasting glass.

General Information / Scholarships
appropriate housing and program access
to people with known disabilities to the
degree possible without posing an undue
hardship to the organization. People with
disabilities are responsible for requesting
appropriate accommodations and helping
the school assess how best to assist them.
Please contact the registrar to discuss housing
and access to studios and other facilities.
Textiles classes are taught in secondand
third-floor walk-up studios.
Penland Housing
Penland housing is quite simple. Furnishing
is basic: a bed and a place to put your
clothes. Dormitories have four to fifteen
beds per room (no bunks). We do our best
to match students with the type of housing
they request, but this is not always possible.
Housing assignments are made shortly
before the session begins. Representative
photographs of Penland housing are available
on our website.
Sewing glass beads to a handmade glass goblet.
Cost of Materials
Tuition does not cover the cost of materials
used for students’ own production (hot
glass tuition does include glass in the furnaces).
Many materials and tools can be purchased
through the school. Most workshops
also require that you bring certain materials
and tools with you. There will be a fee for
supplies used by the group, and some workshops
incur a hazardous waste disposal fee,
depending on materials used. We will make
every effort to notify students if a studio fee
in excess of $50 is anticipated.
Studio Information
Detailed information about Penland’s studios
is available at www.penland.org or by
request from the Penland office.
Studio Safety
In many workshops, students may be working
with tools which, if improperly used,
can cause injury. Workshops include a
required safety tour and information about
the proper handling of tools and materials.
However, students assume the risk of working
with tools and materials provided by the
school.
Work-Study Scholarships
Work-study scholarships help make Penland
available to a wider range of students.
Work-study students receive room, board,
and discounted tuition. No work-study
for fall and spring one-week workshops.
Full work-study students work 20–25
hours per week on a variety of tasks—principally
in food service and dishwashing. (No
full work-study in glass.) Partial workstudy
students work approximately 10
hours per week. Most work-study jobs are
labor intensive. If you have physical limitations
and you are selected for work-study,
please let us know before you get here
what kinds of work you can do, and we’ll
do our best to make an appropriate work
assignment. In addition to regular duties,
work-study students are required
to work from 9:00 AM to 5:00 PM on
the day before and the day after their
session. If you cannot meet this requirement,
do not apply.
Scholarship applicants are required to submit
two letters of reference, a résumé, a $50
application fee, and a letter of interest and
need. Your letter should be no longer than
two pages and should address the following:
Financial need: why attending Penland
would be a financial hardship for you.
Seriousness of intent: your background and
experience in craft, if any (prior experience
in craft is not a requirement), and the individual
artistic goals that you hope to pursue
in each of the workshops for which you are
applying.
Work ethic: work-study students have an
experience that is different from that of regular
students, yet equally valuable. Do you
feel you will benefit from balancing studio
work with working for the school?
You will also need to supply a résumé and
two letters of reference that address your
work ethic and commitment to learning.
Please do not apply for work-study if
you are applying as a full-paying student. If
you are not selected for work-study, you
will have the opportunity to re-apply as a
full-paying student (some workshops may
be full at that time). Work-study applications
must be received by August
1, 2014 for fall and November 28, 2014

Instructor Junco Sato Pollack demonstrating a backstrap
loom made from Penland bamboo.
for spring. After the deadline, applicants
will be considered only in the event of cancellations.
Work-study students will be
notified by August 18 for fall and December
15 for spring, and once accepted will be
asked to pay their invoiced balance.
Special Work-Study Scholarships
Samuel A. Almon Scholarship
Established in honor of Samuel Almon,
who was a friend of the school, this fund
provides a fully-funded work-study scholarship
covering room, board, and tuition for
a textiles Concentration. This scholarship
requires the student to contribute a piece
made during the session to the scholarship
auction.
Christy Wright Scholarship for Glass Art
Established by the family and friends of
Christy Wright, this fund provides a fully-funded
work-study scholarship covering
room, board, and tuition for a glass
Concentration for a student making a career
transition into glass.
Texas Star Scholarship
Funded anonymously, this award supports
the experience of a Concentration
work-study student in clay, currently living
in Texas. The award provides $2,850
toward the work-study scholarship fee for
a student with financial need who is ready
to engage fully in concentrated, creative
exploration.
The deadline for the Almon,
Wright, and Texas Star scholarships
is August 1, 2014 whether you are
applying for fall or spring. Along with
other scholarship materials, applicants for
these three scholarships should send five
printed images of their work (maximum
size: 8½ x 11 inches) and a letter explaining
their qualifications.
Development Work-Study
There is one work-study position in the
fall and one in the spring in the development
office. For the specific skill requirements
for this position see the fall and
spring scholarship page on our website or
contact the registrar.
Movement Work-Study
There is one work-study position in the
fall and one in the spring for a student who
will teach movement classes. Your application
and résumé should address your qualifications
to teach movement.
Glass Studio Work-Study
There is one work-study position in the
fall and one in the spring for a glass student
who will work 30 hours per week in
the glass studio. Your application should
include five printed images (maximum size:
8H x 11 inches) of your work. For more
details, contact the glass studio coordinator
at 828-765-2359, ext. 122.
Studio Assistants
Studio assistants are students who assist
instructors and fellow students and are
responsible for maintaining the school’s
standards for studio operation. In exchange
for 25–40 hours of work per week, assistants
receive room, board, and tuition.
Most Concentration instructors recommend
their own assistants. If you are interested,
check our website or call the registration
office about availability. Send a letter
explaining your experience in the field
along with a résumé, two letters of recommendation,
$50 processing fee, and five
printed images of your work (maximum
size 8½ x 11 inches).
International students note: because
the U.S. government considers our workstudy
scholarship and studio assistantship
programs to be work for hire, students who
are not U.S. citizens may not receive workstudy
scholarships or studio assistantships
unless they have a work permit.
College and Teacher Credits
Undergraduate and graduate credit may
be earned at Penland through Western
Carolina University (nine credit hours for
an eight-week workshop; two credit hours
for a one-week workshop). Charges ($55
application fee plus $125 per undergraduate
credit or $150 per graduate credit) are in
addition to Penland’s fees and are subject to
change. A certificate of course completion is
also available. Teachers interested in receiving
Public Education Certificate renewal
credits should contact their school board.

Application / Penland School of Crafts
Penland School of Crafts • P.O. Box 37 (or 67 Doras Trail) Penland, NC 28765 • phone 828-765-2359 • fax 828-765-8174
First name____________________________ Middle________ Last name________________________________________
Permanent address__________________________________________________________________________________________
City ______________________________________________________________ State _____ Zip ____________________________
Home/cell phone _________________________________ Work phone _______________________________________
E-mail address ________________________________________________________________________________________________
Preference
(1,2, etc.)
Housing Information
q Male q Female Date of Birth ______/_______/_______
Please call if you need accessible housing.
Full-paying students—indicate preference for housing type by numbers (1, 2 etc.)
______ Dorm ______ Double/common bath ______ Double/shared bath
______ Single /common bath ______ Single /private bath
I would like to share a room with ___________________________________
If you are staying off campus, indicate your meal plan:
q All meals q Lunch only q Lunch and dinner
The Bottom Line
Nonrefundable $50 processing fee ________________________________________$50
*Deposit ($500 per 8-week class; $250 per 1-week class) ____________
Contribution to Penland Annual Fund ________________________________________
* Applicants for work-study do not send a deposit at this time. Total ________
q My check is enclosed.
Class Code
Instructor Name
q I am applying under the Stand-By Program.
q My location qualifies me for Stand-By. q I am a k–12 teacher.
q I am a faculty member at a college, university, or community college.
If you apply for stand-by you will be contacted only if space becomes available.
q Please charge to my credit card.
Print name of cardholder ___________________________________________________________________________
Billing address ___________________________________________________________________________________________
Card number ______________________________________________________________________ Exp.________________
Cardholder signature _________________________________________________________________________________
We do not accept debit/check cards.
Full balance is due by August 15, 2014 for fall and January 23, 2015 for spring.
The spring glass concentration requires special application materials. See
workshop description.
SCHOLARSHIP AND STUDIO
ASSISTANTSHIP APPLICATIONS
q I am applying for a scholarship or assistantship
and have included these items in
one packet:
q Application form
q Letter of interest and need
q Résumé
q Two letters of reference
q $50 processing fee
If you are applying for the Almon,
Wright, Texas Star, or glass studio
scholarships, a studio assistantship, or
the spring glass Concentration, please
include five printed images of your
work (maximum size 8H x 11).
I would like to be considered for the following
(check all that apply):
q General work-study
q Partial work-study
q Development work-study
q Movement work-study
q Glass studio work-study
q Almon scholarship
q Wright scholarship
q Texas Star scholarship
q Studio assistant
Work-study applications are due August 1,
2014 for fall and November 28, 2014 for
spring. Applications for the Almon, Wright, and
Texas Star scholarships are due August 1, 2014
even if they are for a spring class.
Catalog Credits
Robin Dreyer, editor; Ele Annand, design
Leslie Noell, program director
Penland photos by Robin Dreyer except where noted
Thanks to Mary Claire Becker, Elaine Bleakney, Betsy DeWitt,
Kyle Durre, Tammy Hitchcock, Amanda Hollifield, Jerry
Jackson, Abigail McKinney, Leslie Noell, Holly Phillips, Sheila
Sweetser
Printed by Blue Ridge Printing, Asheville, NC

FEES: EIGHT-WEEK CONCENTRATIONS
Tuition
Regular $4,176
Hot glass $5,447
Room and Meals
Dormitory* $3,456
Double, common bath $3,905
Double, bath shared w/roommate $3,984
Single, common bath $4,231
Single, private bath $4,475
*Dorms house 3–15 per room.
Meal Prices for Off-Campus Students
All meals $1,878
Lunch and supper $1,645
Lunch only $731
Supper only $914
Work-Study Scholarships
Work-study fees include meals and dorm
accommodations.
Full work-study* $3,451
Partial work-study $5,934
Partial work-study hot glass* $6,685
*There is no full work-study in hot glass.
FEES: ONE-WEEK SESSIONS
Tuition
Regular $557
Hot glass $801
Room and Meals
Dormitory* $523
Double, common bath $688
Double, bath shared w/roommate $877
Single, common bath $1,233
Single, private bath $1,542
*Dorms house 3–15 per room.
Meal Prices for Off-Campus Students
All meals $282
Lunch and supper $217
Lunch only $95
Supper only $122
HOW TO APPLY FOR A WORKSHOP
1. Complete application form (minimum age
18).
2. Include (in U.S. dollars) the nonrefundable
$50 processing fee, deposit, and any donation
you would like to make in support of
Penland’s programs.
3. Read refund policy!
4. Mail application and payment to
Registrar, Penland School of Crafts,
P.O. Box 37, Penland, NC 28765 or fax
registration to 828-765-8174 or use the
online form on our website.
5. Balance due on August 15, 2014 for
fall; January 23, 2015 for spring.
HOW TO APPLY FOR A WORK-STUDY
SCHOLARSHIP OR STUDIO ASSISTANTSHIP
1. Complete application form, indicating partial
or full work-study (minimum age 18).
2. Include (in U.S. dollars) the nonrefundable
$50 processing fee (do not send $500
deposit).
3. Include in one packet a letter as outlined in
work-study description, a résumé, and two
letters of reference. If you are applying for
the Almon, Wright, Texas Star, and glass
studio scholarships or a studio assistantship,
include five printed photographs of
your work (maximum size: 8H x 11 inches).
Incomplete applications will not
be accepted. Scholarship applications are
by mail only.
4. Applications must be received by August
1, 2014 for fall or November 28, 2014
for spring. Please note that, because of
our rural location, overnight parcel
services may take two or three days
to deliver to Penland.
5. Balance due on notification of your acceptance.
There are no scholarships for fall or
spring one-week workshops.
Arrival and Departure
Penland is located in the Blue Ridge
Mountains near Spruce Pine, NC, 53 miles
northeast of Asheville. The easiest way to get
here is by car, but commercial van service is
available from the Asheville airport and bus
terminal at the beginning and end of each session
for a fee. Plan to arrive at Penland before
5:00 pm on Sunday (work-study and studio
assistants arrive a day earlier). Eight-week
sessions end on Friday at noon. Plan to leave
no later than Saturday morning. (Workstudy
and studio assistants stay one day
later). One-week sessions end on Saturday
at noon.
Policies
Drugs and Alcohol – Alcohol is not permitted
in the studios. The legal drinking
age in North Carolina is 21. Alcohol consumption
on campus is subject to critically
important limitations. The use of illegal
drugs while at Penland is strictly prohibited.
We cannot tolerate behavior that jeopardizes
your safety or the safety of others.
Personal Property – Penland is not
responsible for the security of property
belonging to students, instructors, or staff.
(Lockers are available on campus.)
Pets – Students are not permitted to have
pets on campus while at Penland.
Unacceptable Behavior – Penland
reserves the right to dismiss any student,
without refund, for behavior that is disruptive
to the community learning and living
environment. Penland may refuse admission
to students with a history of unacceptable
behavior.
FSC LOGO HERE
Penland School of Crafts is a nonprofit, tax-exempt institution. The
school receives support from individuals, foundations, corporations,
and the North Carolina Arts Council, an agency funded by the State
of North Carolina and the National Endowment for the Arts, which
believes that a great nation deserves great art.

Spring
Concentration
Eight-Week Workshops
March 8 – May 1, 2015
Workshops listed as “all levels”
welcome serious students of any
skill level, beginning to advanced.
Scholarships available; the spring
scholarship deadline is November 28,
2014.
Books & Letterpress
Lauren Faulkenberry
Letterpress Books: Guts to Glory
Code S00L
In this workshop students will produce letterpress-printed
books from start to finish. We’ll
make handmade paper from natural fibers,
explore book design, and learn the fundamentals
of letterpress printing. Image-making processes
will include multi-color linoleum prints,
woodcut, collagraph, pressure printing, monoprinting,
photopolymer, pulp painting, paper
inclusions, and other techniques. Through layers
of words and images, we’ll create compelling
narratives that invite multiple readings.
We’ll put it all together using traditional and
experimental binding structures. All levels.
Studio artist; teaching: University of Iowa Center for
the Book, Asheville BookWorks (NC), University of
Alabama; collections: Washington University, Duke
University (NC), University of Florida, International
Library of Chile.
firebrandpress.org
Lauren Faulkenberry, The Heart Wants What It
Wants, (covers of the three books + clamshell
case) paper, letterpress printed with photopolymer
plates, 6 x 6 inches each
Clay
Cynthia Bringle
Clay: The Next Level Code S00CA
This workshop will explore mostly
wheelthrown pottery—from technique to
design—with an eye toward raising each student’s
skills to the next level. We’ll work
with stoneware and porcelain and fire gas,
salt, and soda kilns. The workshop will include
field trips to area studios and discussions of
studio practice and marketing. During a twoweek
visit, Jerolyn Morrison will introduce
the ancient pot-making and cooking techniques
of the Minoan civilization (3000–1485
BCE). Students will make and use Minoanstyle
cooking pots to create ancient flavors.
Intermediate to advanced level; throwing
skills required.
Studio artist and workshop teacher; fellow of the
American Craft Council, North Carolina Award,
honorary doctorate from Memphis College of Art;
collections: North Carolina Governor’s Residence,
Mint Museum, and many kitchen cabinets.
cynthiabringlepottery.com
Cynthia Bringle, Bottle with Lid, clay,
9 x 5H x 4 inches

Glass
Micah Evans
3, 2, 1, Hustle Code S00GB
This workshop will be an in-depth exploration
of modern flameworking. We’ll cover
everything from complex hollow and solid construction
to design to business and brand management.
With an elite list of visiting artists—
including Salt, Snic, and Kind—we plan to
make this a workshop that will launch legends.
Be prepared to work harder than you ever have
and learn more than you thought possible. Get
ready to hustle! Intermediate/advanced
level. Applicants should send five printed
images of their work and a paragraph explaining
their interest in this class. Applications must
be received by November 28; applicants will be
notified by December 15.
Penland resident artist; teaching: Pittsburgh Glass
Center, Flameworks Austin (TX), Prism Glassworks
(NY), Penland; visiting artist: University of Miami,
Rochester Institute of Technology.
micahevans.com
Micah Evans, Buttress, borosilicate glass,
18 x 10 x 10 inches
Iron
Andy Dohner
Forging Fundamentals,
Extended Version
Code S00I
This workshop will focus on the fundamentals
of shaping steel with an emphasis on creating
functional or sculptural objects using
traditional and unconventional techniques.
We’ll begin by learning the basics of forging,
including drawing a taper, joinery, tool making,
and extensive power hammer use. We’ll
also review basic elements of structure and
design along with surface and finishing techniques.
Our goals are for students to develop
an understanding of being a maker, to acquire
the skills needed to realize their individual
projects, and to have fun pushing processes to
their limits. All levels.
Architectural blacksmith, welder, fabricator; teaching:
Peters Valley (NJ), New England School of Metalwork
(ME), The Steel Yard (TX), Penland; exhibitions: National
Ornamental Metals Museum (Memphis), Madison
Morgan Cultural Center (GA), Penland Gallery.
Andy Dohner, Carrot Study, forged and fabricated
steel with rust, black finish, 30 x 6 x 4
inches
Metals
Janna Gregonis & Julia Harrison
Join Forces
Code S00MA
Is there strength in numbers? Are two heads
better than one? Find out in this team-taught
investigation of joined forces and forms. First
build skills by creating multiple forms from
a range of materials (steel, wood, enamel,
resin) and techniques (fabrication, soldering,
carving, molding). Then use your forms as
building blocks to explore linking systems and
conceptual connections. Whether you make
wearable art or kinetic objects, the result will
be more than the sum of its parts. Open to
jewelers and object makers of all levels.
Janna: studio artist; teaching: 92nd St. Y (NYC);
Kutztown University (PA); exhibitions: Velvet da Vinci
(San Francisco), Museum of Brazilian Objects (São
Paulo). Julia: studio artist; teaching: 92nd St. Y
(NYC), Multnomah Arts Center (WA); exhibitions:
Bellevue Art Museum (WA), Racine Art Museum
(WI); collections: Museum of Contemporary Craft
(OR), University of Arkansas.
jannagregonis.com • juliaharrison.net
Janna Gregonis, Lines Necklace, brass, thread,
black porcelain beads, paint, 38 inches long
Julia Harrison, Cluster, balsa, cherry, glue,
sterling, epoxy, wax, 3 x 1H x 1 inches

Spring Concentration March 8 – May 1, 2015
Photography
Dan Estabrook
Photography in Reverse Code S00P
This workshop will take a close look at the
technological and aesthetic history of photography—backwards.
Starting with our phones
and contemporary cameras, we’ll work our
way from digital photography into its chemical
ancestors, covering drugstore color prints
and black-and-white darkroom work and then
into the nineteenth century: wet plate images,
daguerreotypes, and early paper processes.
Each week will be anchored by a full day
of discussion and critique of each student’s
work. Be ready: we’re going to do everything.
All levels.
Studio artist making contemporary art using 19th
century photographic techniques; NEA fellowship;
subject of documentary film by Anthropy Arts; recent
exhibitions: Daniel Cooney Fine Art (NYC); representation:
Catherine Edelman Gallery (Chicago),
Jackson Fine Art (Atlanta).
danestabrook.com
Dan Estabrook, Small Fires, gum bichromate
with watercolor, gouache, 19 x 15 inches
Wood
Annie Evelyn
Build It, Pad It, Upholster It Code S00W
This workshop will cover the construction of
upholstered furniture as each student builds
an ottoman and a chair. Beginning with the
ottoman, we’ll learn to build a simple frame
and then web, spring (using coil springs),
pad, and upholster. Each student will then
design an upholstered chair, and I will help
you dissect your design to build the perfect
inner structure. Once that’s complete, you’ll
spring, pad, and cover it. Students will learn
frame construction, spring tying, material
selection, webbing, foam cutting, basic sewing,
stapling, tacking, etc. We’ll work with
traditional and modern techniques and use the
ones that best fit each design. All levels.
Furniture maker and upholsterer; teaching: Rhode
Island School of Design, Parsons the New School
of Design (NYC), Anderson Ranch (CO), Penland;
Windgate furniture residency at Indiana University
of Pennsylvania; Penland resident artist beginning
in September of 2014.
newcolonyfurniture.com
Annie Evelyn, Pea Chair, black walnut, foam,
fabric, chair: 24 x 32 x 32; stool: 24 x 24
inches
Workshops listed as “all levels”
welcome serious students of any
skill level, beginning to advanced.
Scholarships available; the spring scholarship
deadline is November 28, 2014.
A demonstration in the metals studio.

Spring One-Week Session I | March 22 – 28, 2015
Glass Drawing Metals
Dean Allison
Glass Casting
Code S01GA
Students in this fast-track workshop will gain
an understanding of glass-casting processes
and techniques. We’ll cover basic mold making,
lost-wax process, rubber mold making,
mold compositions, casting methods, and different
types of glass, and we’ll have discussions
that will clarify what is happening in the
kiln. Come with small sculpted waxes or clay
positives and/or small found objects, along
with ideas of what you want to cast. We’ll
find the strategies that work best for your
ideas. Be prepared to make small molds, cast
glass, ask lots of questions, and work hard.
All levels.
Penland studio coordinator; teaching: The Glass
Furnace (Istanbul), Goggleworks (PA), Neusole Glass
(Cincinnati); exhibitions: Riley Galleries (FL), Neusole
Glass (Cincinnati), David McCune Art Gallery
(NC), Meijer Gardens and Sculpture Park (MI),
Habatat Galleries (MI).
deanallison.net
Dean Allison, Ally, cast glass, 15 x 14 x 9
inches
Katherine Amman Vellard
Nature Series
Code S01D
We’ll work within a limited context, using
restrictions not as an inhibiting factor but as a
challenging format for discovery and expression.
Each student will select an object from
nature that reveals greater visual riches the
more closely you examine (draw/dissect)
it. That object will become the source for a
series of drawings, beginning with several
carefully observed life-sized graphite works
and evolving into large-scale charcoal abstractions.
It’s amazing to see what a rich portfolio
can result from working with such a small,
underwhelming source. The possibilities are
endless! All levels.
Professor at Louisiana Tech University; Louisiana
Division of the Arts fellowship; exhibitions: St. John
the Divine (NYC), Centre d’Arts Plastiques Albert
Chanot (France), Barnwell Art Center (LA), Marin
Museum of Contemporary Art (CA).
kvellard.googlepages.com
Katherine Amman Vellard, Dream, oil pastels,
graphite, 30 x 22 inches
Lisa Colby
Foundations of Metalsmithing
Code S01MB
This one-week beginning metals workshop
will concentrate on basic techniques.
Students will learn to use the jewelers saw to
cut copper, brass, and sterling silver. We’ll
also cover soldering, riveting, and hollow
construction, as well as roller printing and
chasing patterns onto sheet metal and basic
cabachon stonesetting. Students may create
jewelry or other small objects. Beginning
level.
Studio artist; teaching: Craft Alliance (St. Louis),
Arrowmont (TN), Penland; gallery representation:
Ogden Museum of Southern Art (New Orleans),
Piedmont Crafts (NC), Craft Alliance (St. Louis),
Made Contemporary Craft Gallery (CA).
lisacolby.com
Lisa Colby, Washer Link Bracelet, sterling silver,
7H x 1 x J inches

Spring One-Week Session II | April 5 – 11, 2015
Painting
Tremain Smith
Encaustic Painting:
Layers of Meaning
Code S02D
This workshop will cover the basics of encaustic
painting: making encaustic medium and
encaustic paint, fusing, substrates, equipment,
materials, and safety. Once we cover these
foundations, we’ll explore transparency and
opacity, creating texture, building and removing
layers, collage, branding, incising, glazing,
dry brushing, and surface manipulation. I will
demonstrate my particular technique of using
a template as a reference point for drawing,
layering transparent wax, and adding color
with oil glaze and collage. Students will use
the techniques covered in the workshop to
serve their own creative ends. All levels.
Studio artist; teaching: Truro Center for the Arts
(MA), K&F Handmade Paints (NY), Penland;
exhibitions: Rosenfeld Gallery (Philadelphia),
Paia Contemporary (HI), Darnell Fine Art (Santa
Fe); collections: Metropolitan Museum (NYC),
Pew Charitable Trusts (Philadelphia), Lancaster
Museum (PA).
tremainsmith.com
Tremain Smith, Sublime Creature, oil and wax
on panel, 48 x 32 inches
Printmaking
Takuji Hamanaka
Japanese Woodblock Printing Code S02P
Learn the basic techniques of the Japanese tradition
of woodblock printmaking with waterbased
inks. This tradition is associated with
the extraordinary lessons of design and color
passed on from the earliest ukiyo-e masters.
All aspects of the process will be covered:
proper care and use of the carving tools, preparing
and carving the woodblock, and handprinting
using the baren. All levels.
Studio artist; teaching: Manhattan Graphics Center
(NYC), Center for Book Arts (NYC), Pyramid Atlantic
Art Center (MD); fellowships: New York Foundation
for the Arts, McDowell Colony (NH); exhibitions:
International Print Center (NYC), Whitman
College (WA), National Academy of Fine Art (New
Delhi), Royal Scottish Academy (Edinburgh).
takujihamanaka.com
Takuji Hamanaka, Coral, woodblock, collage,
34I x 23 inches
Special
Caverly Morgan & Joy Seidler
Mindfulness & Making Code S02CB
Our workshop will focus on discovering
authentic personal entry points into the creative
process. Together we’ll explore mindful
participation with creativity and with
life as we avoid the temptations of control
and end-gain. We will use crafts—including
pastepaper, journal making, clay work, and
other forms—as a vehicle for the practice of
presence and receptivity and for experiencing
interconnectedness. We’ll also explore
meditation, strategies for bringing mindful
practices into your life, and the role of service
in craft. And we’ll address questions such as,
“What does it mean to be a vehicle for creative
life force while being an object maker?”
and “How can our creative processes assist
us in being more awake in the world?” All
levels.
Caverly: meditation teacher, Zen practitioner and
founding director of One House of Peace. Joy: studio
artist, consultant, educator, trainer of teachers; 20 summers
of pastepaper journal workshops in Massachusetts.
onehouseofpeace.org
Joy Seidler, Two Moon Journals, paste paper
coptic binding, 9 x 12 inches, dust jacket
journal with image sewn, 10 x 8 inches

Spring One-Week Session III | April 19 – 25, 2015
Clay
Pam Brewer
Mosaic: An Exploration Code S03CB
Students will learn a direct-application mosaic
process and explore unique ways of seeing
mosaics. While addressing both the art and
craft of this ancient art form, we’ll consider
the rules and how to break them—both literally
and figuratively. Exploration will include
exercises with a variety of forms, substrates
(architectural or sculptural), and application
techniques. We’ll interpret scale and scope
and incorporate a variety of materials including
artist-made tiles and reclaimed and found
parts. All levels.
Studio artist, interior designer; teaching: Appalachian
State University (NC), Odyssey Center (NC),
Campbell Folk School; community/public art: The
Free Clinic (NC), Appalachian State University
(NC), Christ Church Episcopal School (SC), Watauga
High School (NC).
pambrewer.com
Pam Brewer, Grin and Bear It, ceramic glaze
test tiles, concrete 10 x 16 x 13 inches
Glass
Nancy Callan
Cups ’n’ Stuff
Code S03GA
This workshop will cover the basic techniques
needed to make a nice drinking cup. We’ll
also explore the technique of stuffing cups
to get a variety of design effects. We’ll use
cane and incalmo and whatever else we can
think of as we discover fun ways to create new
visual surfaces. This workshop will emphasize
teamwork and good design. Intermediate/
advanced level. Two years of glassblowing
experience required. You’ll
get the most out of this class if you have some
experience with incalmo, cane, color drops,
and pulling cane.
Studio artist and senior member of the Lino Tagliapietra
team; teaching: Pilchuck (WA), Pittsburgh
Glass Center, Haystack (ME); Creative Glass Center
of America fellowship; residencies: Museum of Glass
(WA), Toledo Museum of Art (OH), Pittsburgh Glass
Center; exhibitions: Museum of Glass (WA), Bellevue
Arts Museum (WA), Habatat Galleries (MI), Traver
Gallery (WA), The Future Perfect (NYC).
nancycallanglass.com
Nancy Callan, Storm Stinger and Thor Stinger,
blown glass, 31 x 16 x 16 inches each
Textiles
Lisa Sorrell
Working with Leather Code S03TA
Students in this workshop will learn to identify
different types of leather, cut and skive
leather, and create projects using leather inlay
and overlay. We’ll start with all students creating
the same projects as they learn techniques.
As the week progresses, students will
be encouraged to use what they’ve learned to
create something original. All levels.
Bespoke cowboy boot maker; gold medal at International
Shoemaker’s Days (Germany), gold medal
from The Netherlands Shoemaking Association, first
place for cowboy boots at Sheridan Leather Show
(WY), best artist in leather at Western Design Conference
(WY), bronze award at Smithsonian Craft
Show (DC); featured artist in the PBS series, “Craft
in America.”
customboots.net
Lisa Sorrell, Bramble and the Rose, leather
Back cover: using a mortising machine in
the wood shop.

Penland
School of Crafts
Helping people live creative lives
Post Office Box 37
Penland, NC 28765–0037
www.penland.org
828.765.2359
Fall Scholarship Application
Deadline: August 1
Spring Scholarship Application
Deadline: Nov. 28
www.penland.org