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school of arts and crafts

2 010 W O R K S H O P S

2 0 1 0 workshops & programs

L E T T E R F RO M T H E D I R E C TO R Important Dates at a Glance Artist-in-Residence Application Deadline – February 1, 2010 Scholarship & Work-study Application Deadline – March 1, 2010 Early Bird Registration Deadline (15% discount on workshop fees!) – March 1, 2010

Table of Contents 2010 Workshops Clay 4-9 Fiber/Textiles 10-16 Glass 17-19 Metals & Enamels 20-25 Painting/Drawing/ Printmaking/Photography 26-31 Wood 32-40 Special Topics 41-43 Other Arrowmont Programs 44-45 Spending Time at Arrowmont 46 Housing & Meals 47 Registration Information 48-49 Scholarships 50 Work-study & Assistantships 51 Season Schedule at a Glance 52-53 Support For Arrowmont 54 Registration Form 55 Catalog Credits: Editor & General Copywriting: Barbara Benisch Course Description Copywriting: Kim Newman, Carol Evans Design & Layout: Robyn Rainwater, Barbara Benisch Arrowmont Photography: Jill Greene Special Thanks to: Dick Baker, Cynthia Bellacome, Jennifer Brown, Bill Griffith, Pat Hankey, Nancy James, Chuck McMahon, Angela Wiemken, & David Willard

It could be said that the essence of artistic process is a willingness and ability to deal with uncertainty. There is so much we cannot control, and so many wonderful results that come from risk-taking and experimentation. Working with materials, trying new techniques, seeking a way to express a thought, feeling or concept, we often have no idea what the end result will be, but we trust the process. Arrowmont is a work in process these days and we are dealing with a similar uncertainty. We are experimenting, trying new things and building on a history of providing meaningful creative opportunities for people of all ages, stages and walks of life. As with a work of art, we are using quality materials and trusting in the process to produce a great result. Our workshops continue to be the core of our programming, supported by exhibitions in the Sandra J. Blain and Loggia Galleries, our Artist-in-Residence program, arts education programs for local school children, conferences initiated and hosted on campus, and the Artist Outfitters supply store. These programs and activities are the essence of Arrowmont, along with the talented and generous instructors and staff who bring it all to life. They will continue for the next few years on our current campus. You can count on that. And, you can count on us to be vigilant in our efforts to secure the best possible long-term future for Arrowmont, and for your participation. We are committed to sustaining the vital energy and stimulating creative environment that is Arrowmont, regardless of location. Whether here in Gatlinburg, or some other community in the region, Arrowmont will be around for a long, long time. But don’t wait until the future to experience all that Arrowmont has to offer. With an exceptional season of workshops and events, the coming year has much to offer. The entire 2010 workshop, gallery and special event schedule is included in this catalog, to help you plan your participation. This year we are consolidating our spring, summer and fall sessions and offering one- and two-week workshops concurrently from May through October. A full weekend of workshops and a major symposium will close the season. Exhibitions and several special events are planned throughout the year. I hope you will join us and be part of our present, and our future, as we forge ahead.

David Willard

2010 WO R K S H O P S One Week May 30 - June 5




p p . 4 -9

p p . 10 -16

p p . 17-19

Gay Smith

Kathyanne White *

Christa Assad *

Leisa Rich *

Jan McKeachie Johnston Joseph Pintz *

Amie Adelman *

Two Weeks May 30 - June 12 One Week June 6 - 12 One Week June 13 - 19

Two Weeks June 13 - 26 One Week June 20 - 26

Jude Schlotzhauaer & Chuck Scalin Tom Bartel *

Jackie Abrams Laura Sims

One Week June 27 - July 3 Two Weeks June 27 - July 10

Barbara Simon Michael Connelly & Steven Rolf, SunKoo Yuh & Myungjin Kim *

One Week July 4 - 10

Pat Mink *

One Week July 11 - 17 Two Weeks July 11 - 24 One Week July 18 - 24 One Week July 25 - 31

Tony Tomlinson

Lisa Klakulak Tara Wilson * Andy Brayman *

Susan Fecho *

Barbara Cashman

Paul Wandless *

Jozef Bajus * Akira Blount Kari Lonning

Lorna Meaden *

David Brackett *

Mark Burleson * Matt Nolen

Catharine Ellis

Steven Hill

Chad Alice Hagen

John Britt

Elizabeth Busch Lee Nelson

Megan Chaney

Kathryn Finnerty

Martine House

Elizabeth Braun

Jill Oberman *

Heather AllenSwarttouw *

Dan Adams

Suze Lindsay *

Janet Taylor *

Tony Glander

Lana Wilson & Ron Meyers

Mary Hettmansperger Kathrin Weber

Kerry Transtrum

Kari Radasch *

Jude Larzelere *

Raphael Schnepf

Kent McLaughlin

Jo Campbell Amsler Christine Zoller *

Chris Gustin - master class Liz Zlot Summerfield

Tracy Krumm Lisa Beth Robinson Peggie Wilcox

One Week August 1 - 7

One Week August 8 - 14 One Week August 15 - 21

One Week August 22 - 28 One Week August 29 - September 4 One Week September 5 - 11 One Week September 12 - 18 One Week September 19 - 25 One Week September 26 - October 2 One Week October 3 - 9 Weekend October 15 - 17


Iza Taylor

Kari Minnick

* These workshops may be available for 3 hours of freshman or sophomore college credit. Please call for details.


METALS & ENAMELS p p . 2 0 -2 5


John Cogswell *



p p . 32- 4 0

p p . 41- 43

Michael Cullen Graeme Priddle

Bob Lockhart *

Graeme Priddle Hans Weissflog

Mary Hark *

Holly Roberts * Christine Clark * Marlene True *

Alida Fish * April Flanders *

Michael Hosaluk & Mark Sfirri *

Becky McDonah *

Robert Renfrow * K Rhynus Cesark *

Jacob Antonelli * Steven Butler

Margaret Scanlan *

Mark Del Guidice David Ellsworth *

Bob Ebendorf & Marissa Saneholtz

Andrew Saftel & Ke Francis

Dan Essig & Dolph Smith

Tom Reising *

Nick Cook Lanie Gannon & Robert Ogilvie

Sarah Perkins * Jen Townsend *

Kurt Kemp * Frank Shelton *

Trent Bosch Katherine Ortega

Tom McCarthy

Linda Womack

Sylvie Rosenthal Joe Ruminiski

Ricky Frank Tim Lazure *

Virginia Derryberry *

Jimmy Clewes Mia Hall *

Mary Hettmansperger

Mary Tood Beam John May Susan Ogilvie

Kathryn Osgood *

Robert Rivers *

Jeffrey Clancy * Jewel Clark *

Anita Jung *

Angela Bubash * Dory Brown

Joan Michaels-Paque

Dustin Farnsworth Mark Gardner Ken Burton * John Jordan

Carlos Ferguson & Greta Songe *

Soren Berger Kurt Hertzog Dean Pulver

NanC Meinhardt

David Caldwell Beth Ireland

Charles Pinckney Marcia Macdonald

Wendy Ellsworth

Annie Cicale * Oscar Rayneri

Peter Dellert Merryll Saylan

Michael Waller

Dixie Biggs Steven Tengelson

Cynthia Toops

Michael Doerr Ray Key

Patrick Kusek

Alain Mailland Anthony Ulinski

Claudia Lee

Deb Stoner *

Seth Rolland Kim Winkle *

Sherri Warner Hunter Seth Savarick

Barbara Joiner

Billie Shelburn

Marilyn Campbell Craig Vandall Stevens

Shand Stamper

Susan S. Roberts

Mark Barr Mark St Leger


May 30 – June 5

June 6 -12

June 13-19

Making Lively Pots

Clay: Cut & Construct Intensive

How Surface Describes Form

Altering the forms and surfaces of freshly thrown pots animates the work with spontaneity possible with soft clay. The possibilities you will work with include methods of squaring, ovaling, fluting and faceting. You will look at finishing touches such as attachments, lids, spouts, handles and feet, and trimming an oval to enhance and complete your pots. Particular emphasis will be placed on developing your personal skill and style. Topics of discussion will include raw glazing, single firing, firing a soda kiln, aesthetics and topics of interest to the class. Course Fee & ID: $475 | 2010CLY-May30 Gay Smith is a studio potter in North

Carolina; former Artist-in-Residence at the Archie Bray Foundation and Penland School; works exhibited internationally, including the Mint Museum of Craft + Design, Crocker Art Museum and Taipei County Yingge Ceramic Museum; featured in numerous publications, including Functional Pottery and Mark Making and Working with Clay.


Using the wheel as a springboard for idea and process, we will experiment with altering the round form, handbuilding and other methods of construction to realize your artistic curiosities. Demonstrations will include throwing component parts, cutting and reassembling forms off the original axis, stacking and nesting pieces, glazing, and more. We will work with stoneware clay, firing to cone 6 in oxidation for color. Discussion will include geometry, structure, ritual, design, and earning a living from making pots. Both functional and sculptural concerns will be addressed. Course Fee & ID: $475 | 2010CLY-Jun06 Christa Assad lives in Berkeley, CA, where she is part of Fourth & Clay Studios; work in the permanent collections of The Fine Arts Museum of San Francisco and The Ceramic Research Center at Arizona State University Museum, among others; published in Shards (Garth Clark), The Art of Contemporary Pottery (Kevin Hluch) and 500 Teapots and 500 Pitchers (Lark Books);

The friendly attitude of clay as a material allows us to easily explore self-expression through surface texture and decoration of handbuilt and wheel thrown functional forms. The handbuilding component will be primarily with slabs using paper patterns and simple molds. The forms we’ve created will then be used as the foundation for surface decoration achieved by adding to, subtracting from, and impressing the surface of the clay with various tools and found objects, or slip trailed decoration. An open mind, playful attitude and sense of humor, will be great assets for this week of study. Course Fee & ID: $475 | 2010CLY-Jun13 Jan McKeachie Johnston is a studio artist, teacher and demonstrator; she has studied at University of Minnesota, Southern Illinois University and University of Wisconsin at River Falls; work exhibited widely and held in public and private collections and been featured in Clay Times and Ceramics Monthly.

C L AY June 13-19

Found Objects Recreating common objects is a subtle and transformative act. In this hands-on workshop you’ll explore sculptural forms based on everyday objects. Utilizing a variety of handbuilding techniques, you will recreate found objects that have their own personal significance to you. The use of bisque molds, additive processes, and reductive carving in earthenware will be covered. Surface will be heavily emphasized as an essential design element. Course Fee & ID: $475 | 2010CLH-Jun13 Joseph Pintz teaches ceramics at

Bowling Green State University; MFA from University of Nebraska–Lincoln; resident artist and Lincoln Fellow at the Archie Bray Foundation; works shown internationally.

June 20-26

Bustin’ Out— Head & Shoulders Be head and shoulders above the rest… as we focus on the bust of the human form within contemporary ceramic practice through hollow, hand-forming construction methods. We will discuss the fragmented figure in terms of aesthetics, content and context. Special attention will be devoted to head modeling techniques especially in regards to rendering eyes, nose, mouth, teeth and ears. Slide discussions will accompany technical demonstrations to provide context for points of departure and individual direction. Surface treatment testing will be an integral part of the discovery process. Course Fee & ID: $475 | 2010CLH-Jun20 Tom Bartel is a studio artist and Assistant Professor of Art at Ohio University; received his MFA from Indiana University; he conducts artist lectures and workshops throughout the U.S.; work widely published and exhibited internationally; recipient of Fellowships from the Kentucky and Pennsylvania Arts Councils;

Two Weeks June 27 – July 10

Two Weeks June 27 – July 10

Expressing, Extracting & Soda-Firing

Images Forms

Through demonstrations, individual discussions and slide lectures, we will explore the development of ideas, as we work through the process of making functional pottery. Using methods on and off the wheel, various clays, engobes, terra-sigillatas and glazes, we will explore possibilities for surface as we implement the soda-kiln as a tool for decoration. These immediate challenges will add layers of information to our pottery. Course Fee & ID: $950 | 2010CLY-Jun27 Michael Connelly is a studio potter and Head of Ceramics at Montgomery County Community College in Blue Bell, PA; MFA, Alfred University; he teaches and lectures internationally and has work in the permanent collections of the China Yaoware Museum and the Schein-Joseph International Museum of Ceramic Art (NY), among others; Visiting artist S.C. Rolf lives and works as a studio potter in River Falls, WI; MFA New York State College of Ceramics at Alfred University, BFA, Kansas City Art Institute, and BS in Broad Area Arts from University of Wisconsin River Falls;

Images representing the work of all 2010 instructors will accompany each course description on our website at

Surface images take on another dimension with newly discovered techniques that create both visual and psychological layers to small objects and sculpture. Experiment with inlay, sgraffito, appliqué, stamping, under-glaze and over-glaze luster, and explore the relationship between two-dimension and threedimension, kilns and high temperature colorful glazes. Through demonstrations, visual presentation, and individual and group dialogues, you will be encouraged to apply a playful attitude to your work. Course Fee & ID: $950 | 2010CLH-Jun27 SunKoo Yuh is Associate Professor of Art at the University of Georgia; MFA from Alfred University; recipient of the Joan Mitchell Foundation grant, Grand Prize at the 2nd World Ceramic Biennale International Competition, The Elizabeth R. Raphael Founder’s Prize; works exhibited in The Renwick Gallery at the Smithsonian, Icheon World Ceramic Center, the Oakland Museum of Art and the Philadelphia Museum of Art. Visiting Artist Myungjin Kim earned a BFA and MFA Ceramics in Korea before moving to the U.S. in 2002; works exhibited nationally and internationally, including SOFA New York, SOFA Chicago and the World Ceramic Biennale in Korea.

PH OTOG R A PH S Left: Figurative Clay Upper Right: Myungjin Kim


C L AY Two Weeks July 11-24

Wood Fired Pottery Investigate form and work toward developing your personal style by combining thrown pots with a variety of handbuilding and altering techniques. You will address how the wood kiln affects forms and how to use the kiln as a tool for surface decoration. You will work with high-fire clays and slips and fire in the wood kiln. Course Fee & ID: $950 | 2010CLH-Jul11 Tara Wilson is a studio potter living in Montana City, Montana; BFA from the University of Tennessee, and an MFA degree from the University of Florida; former resident artist at The Archie Bray Foundation and The Red Lodge Clay Center; lectures and holds workshops throughout the United States; work exhibited internationally.

July 18 -24

New Approaches to Pottery Acting as a prospector, you will dig into unexpected places for inspiration, content and process to shake up your current approach to studio work. You’ll explore a variety of conceptual and technical strategies used by contemporary potters, artists and designers. Daily slide presentations and demonstrations will provide a structure for individual exploration. Traditional and nontraditional techniques will be used, such as wheel throwing, slip casting, cardboard molds, digital decals and more. Course Fee & ID: $475 | 2010CLY-Jul18 Andy Brayman is the founder of The Matter

Factory in Kansas City, a combination artist studio, laboratory and factory, which produces works of his design and other artists; BFA in ceramics from the University of Kansas and MFA in ceramics from Alfred University.


July 25-31

August 1-7

Clay & Print

Altering Form & Discovering Surface

Discover how clay surfaces can be used as a canvas for the exploration of printed imagery, color and text as a means of personal expression. In this class you will be introduced to various image transfer techniques for clay, including monoprinting, screening and relief printing onto plaster and clay slabs. The handbuilding technique of hollow form construction using soft and hard slabs will be used to create a variety of forms. You will learn to create multiple layers of color and texture by combining commercial underglazes and slips. Course Fee & ID: $475 | 2010CLH-Jul25 Paul Wandless is an artist, educator, author and curator; authored Image Transfer on Clay and co-authored Alternative Kilns and Firing Techniques as well as numerous articles for publications; provides workshops and lectures in U.S. and Canada; BFA from University of Delaware, MA in art from Minnesota State University-Mankato and MFA from Arizona State University.

Address ways to create utilitarian pots that have a generous sense of volume and fluidity of line. Using wheel-thrown and altered porcelain, you will explore a range of forms and make simple pots for daily use as well as stretch the typical ideas about function. Demonstrations will include altering pots on and off the wheel and using drawn patterns to handbuild spouts and handles. You will also explore surface through texture, slip decoration and glaze. Course Fee & ID: $475 | 2010CLY-Aug01 Lorna Meaden is a studio potter in Durango, CO; BA from Fort Lewis College and MFA in ceramics from Ohio University; recent Resident Artist at the Archie Bray Foundation and Anderson Ranch Art Center.

August 8 -14

Digital Imaging on Clay Expand your understanding of developing two-dimensional images for threedimensional forms. You will create laser transfers and silk screened images for transferring onto fired ceramics. Media and techniques include digital image generation and manipulations using Photoshop, laser transfer, ceramic decals and silk screen techniques. All of your work will be on pre-made ceramic tiles. Course Fee & ID: $475 | 2010CLH-Aug08 Mark Burleson is a studio artist and area coordinator for the Georgia State University Ceramics Program; BFA from Tuft’s University and MFA from Mills College; author of magazine articles and the award-winning book, The Ceramic Glaze Handbook; taught at numerous colleges, universities and workshops; works exhibited nationally and featured in numerous publications.

C L AY August 8 -14

Clay as Canvas In order to build the richest ceramic surfaces, we will explore the possibilities of painting and its relationship to the ceramic form. In each stage of development, from wet work to glaze fired ware, we will incorporate stains, oxides, underglazes, glazes, china paints and lusters to experience how painting can become integral to the building of form. Laser print transfers and decals will also be introduced. Each day of demos, slides and informal discussions will culminate in a firing, allowing us to evaluate our paintings’ transformation in the kiln. Some clay experience is suggested. Course Fee & ID: $475 | 2010CLY-Aug08 Matt Nolen is a studio artist in New York City; his work is in the collections of The Cooper-Hewitt National Design Museum, NY, and Museum of Arts and Design, NY, among others; residencies in China, Israel and the Kohler Company’s Arts/Industry program where his handmade washroom was named Best Restroom In America by the Cintas Corp.; Adjunct Professor of Art at NYU, Pratt Institute, and Hunter College;

August 15-21

Atmospheric Effects for Electric Firing Electric kilns can achieve the kind of richness and surface variation that potters have come to associate with fuel burning kilns and reduction firing. Explore the basic techniques of spraying and the more advanced theories of layering and blending glazes. Mid-range and high-fire glazes, techniques for experimenting with the layering process, and the effect of firing schedules on glaze surfaces will be included in the discussion. You will make forms to test glazes but are encouraged to bring several cone 6-10, white stoneware or porcelain bisque pots and test tiles. Course Fee & ID: $475 | 2010CLY-Aug15 Steven Hill is a studio potter and teacher,

operating Center Street Clay in Sandwich, IL; BFA from Kansas State University; work exhibited and sold in nationally juried shows and featured in many ceramics books; authored articles for Ceramics Monthly, Studio Potter and Pottery Making Illustrated.

August 22-28

August 29 – September 4

Basic Ceramic Raw Materials & Glaze Chemistry

Integrating Surface & Form: Handbuilding Pots

A solid foundation in ceramics chemistry is essential. This course in basic ceramic chemistry is designed for potters who want to become acquainted with the materials used in ceramics, their origins and uses in mid-range and high-fire glazes. We will briefly cover oxides and their sources, the Seger Unity Molecular formula, and will mix and test glaze recipes on test tiles only. Some experience with ceramics is preferred. Course Fee & ID: $475 | 2010CLY-Aug22

Create interesting pots from slabs using a unique process where patterns and designs are incised into a plaster surface and then transferred to the surface of the clay prior to forming. The result of this process is a raised contour line that can delineate images and motifs. We will explore the distinctive technique in ways that create individual and imaginative functional pots. We will examine strategies for constructing simple forms such as bowls and jars to more complex forms such as teapots and flower vessels as well as creative solutions to handles, spouts, feet and lids. Basic handbuilding skills required. Course Fee & ID: $475 | 2010CLH-Aug29

John Britt has been a potter and teacher

for over 25 years; primarily a self-taught potter, he has taught at universities and craft centers nationally, including Penland School of Crafts where he served as Clay Coordinator and then as the Studio’s Manager; author of The Complete Guide to High-Fire Glaze; Glazing & Firing at Cone 10 (Lark Books).

Kathryn Finnerty is a full time studio

potter and adjunct faculty as Lane Community College, Eugene, OR; MFA, Louisiana State University and BFA, Nova Scotia College of Art & Design;

PH OTOG R A PH S Left: Andy Brayman Upper Right: Matt Nolen


C L AY September 5-11

Pinch Slab Coil: Mastering the Basics Building with slab and coils provides the basic foundation for creating a variety of forms, ranging from soft and organic to robust and architectural. Explore and build upon fundamental construction skills to get to the heart of your ideas. Develop your ability to creatively execute and expand ideas using minimal tools. Through one-on-one instruction and supportive experimentation you will create pieces of your own imagination, from bowls to free-form sculpture. Course Fee & ID: $475 | 2010CLH-Sep05 Jill Oberman is a studio artist and teaches at the Evanston Art Center; Artist-inResidence at Grand Valley State University, the Anderson Ranch Arts Center, Archie Bray Foundation for the Ceramic Arts.

September 12-18

Cups for the Cupboard Do you have a favorite coffee or tea cup? Learn the elements that make it special as you research and refine approaches to making drinking vessels such as mugs, tumblers, cups and saucers. Working with scale and volume you will pay close attention to all of the finite details of these hand-held wares. You will work on the wheel, handbuilding the forms, and explore mark-making and surface enhancements. Course Fee & ID: $475 | 2010CLY-Sep12 Suze Lindsay is a studio potter living in the

North Carolina mountains; MFA from Louisiana State University; teaches workshops at art schools and universities nationwide; works exhibited in numerous permanent collections, including Taipei County Yingge Ceramics Museum, North Carolina Pottery Center, Manchester Craftsmans Guild, Islip Art Museum and Rocky Mountain Arts Center.

PH OTOG R A PH S Upper Left: Lana Wilson Upper Right: Ron Meyers


September 19-25

Hand & Wheel Plus Mirth Realize the best of both worlds from co-instructors Ron Meyers and Lana Wilson. Animals will cavort around altered thrown cups and handbuilt vessels will boast bas-relief patterns and colors. We will use cone 04 red earthenware clay with white and colored slips. Also offered: lidded forms, bottles, Ron’s stories, teapots, tiles, Lana’s stories, stamps, plates, and a box with a drawer and niche. We will bisque only. Course Fee & ID: $475 | 2010CLY-Sep19 Lana Wilson is a passionate handbuilder who has taught 85 workshops in the U.S. and abroad, been in over 190 shows, and written a column for Clay Times magazine since 1996; author of Ceramics: Shape and Surface; appeared twice on Discovery Channel to extol the delights of working in clay; Ron Meyers is a professor emeritus of the

University of Georgia, where he taught for over 20 years; received his BS and MS degrees from the State University College at Buffalo and his MFA in Ceramics from the School for American Craftsmen, RIT, Rochester, NY; recently honored by NCECA with an Excellence in Teaching Award and the Northern Clay Center as a Regis Master;

September 26 – October 2

Sift, Sort & Select This class is about making pots and uncovering a personal vision. Through a series of hands-on investigations you will start to pinpoint what it is that makes your vision unique to your life and experiences. The workshop will cover a vast array of making techniques including bisque molds, simple press molds, coiling and pinching. All approaches to making will be encouraged. You will dream, draw, and wet sketch. Bring to class simple forms and objects to be inspired by and to pull molds from. You will be working with terra cotta clay. Some clay experience preferred. Course Fee & ID: $475 | 2010CLH-Sep26 Kari Radasch was the first potter awarded the Evelyn Shapiro Fellowship at The Clay Studio in Philadelphia; BFA from the Maine College of Art in Portland, ME and MFA from the University of Nebraska–Lincoln; former resident artist at the International Workshop of Ceramic Art in Tokoname Japan; taught workshops and has been a visiting artist at art centers and universities around the country.

October 3-9

The Bountiful Bowl If we had to choose one form to make and use on a daily basis, the bowl would be the first choice of many. Explore the numerous approaches to the making and use of the bowl. You’ll work in all sizes, using a few ounces of clay for one bowl and twenty-five pounds for your next. All of the basic techniques will be covered: throwing, texturing, altering, adding spouts and handles, poking holes, roping, fluting, faceting, paddling and trimming. Course Fee & ID: $475 | 2010CLY-Oct03 Kent McLaughlin is co-owner of Fork

Mountain Pottery; taught at numerous art schools and universities in the U.S. and abroad, including University of North Carolina – Pembroke, Brevard Community College and University of Nebraska.

Weekend Master Workshop October 15-17

The Architecture of Pots Throughout history, pottery has displayed countless imaginative variations using the basic elements of design. This workshop will focus on the underlying organizational strategies that exist in all pots. You will deal with the functional and sculptural aspects of pottery form and explore the architectural nature of the vessel. The relationship of line proportion, geometry, ratio, scale and volume combine to create structure, metaphor and meaning in your final pot. Course Fee & ID: $350 | 2010CLY-Oct15 Chris Gustin is a studio artist and Emeritus

Professor at the University of Massachusetts, Dartmouth; BFA from Kansas City Art Institute and MFA from Alfred University; works exhibited in numerous public and private collections, including Renwick Gallery of National Museum of American Art, the Mint Museum of Craft + Design, and the Victoria and Albert Museum in London; twice recipient of National Endowment for the Arts Fellowships.

Weekend October 15-17

Pots with Personality What makes your favorite pot so special? Is it the shape of the form, the feel in your hand, or the vibrant color that creates excitement within you? Learn to create pots that evoke memories, feelings, and emotions. You will use paper patterns and soft clay slabs to make handbuilt functional pots and explore a variety of forms including lids, feet and spouts. Surface treatment using terra sigillata and underglazes will be covered as you draw from your personal influences to individualize your work. Basic handbuilding skills required. Course Fee & ID: $285 | 2010CLH-Oct15 Liz Zlot Summerfield is a full-time studio artist in Bakersville, NC; recent exhibitions include The Smithsonian Craft Show, Washington, DC and The American Pottery Festival, Minneapolis, MN; represented by numerous galleries including The Clay Studio, Philadelphia, PA, Mudfire Clay Works, GA, and Penland Gallery, Penland, NC; MFA University of Minnesota.

PH OTOG R A PH S Upper Right: Kent McLaughlin Lower Right: Chris Gustin



May 30 – June 5

June 6 -12

June 13-19

Extreme Textural Surfaces

Sustaining the Surface

Come experiment and delve into new visions in textured surfaces by manipulating fabric, paper and other substrates. You will combine the use of fabrics and specialty surfaces that are ready to digitally print on a small inkjet printer. You will work at your own pace as you examine surface design ideas and develop unique surfaces of your own. Discover techniques and ideas that work for you as you create a multitude of textural surfaces for use in your artwork. Course Fee & ID: $475 | 2010TXT-May30

Throughout history, difficult times have given birth to creative resourcefulness through the exploration of diverse techniques using experimental materials. Discover how you can use creative free motion machine embroidery, hand stitch techniques and different processes to push your work beyond usual technical and conceptual boundaries to create one-ofa-kind surfaces with depth and intriguing visual interest. You will use a variety of recycled and common materials - wool, felt, vinyl, rubber, plastic bags - and some not-so-common ones such as pedicure flip flops, flexible LED strips and more. Course Fee & ID: $475 | 2010FIB-Jun06

Watercolor, Ink & Dye on Fabric & Paper

Kathyanne White is a fiber works artist

and noted trendsetter by 2001 Art Business News; works exhibited throughout the US and internationally, including the Museum of Arts and Design, the American Folk Art Museum and the Archives of American Art of the Smithsonian Institution; featured in Fiber Arts, Surface, American Style, Folk Art Magazine, The Metropolitan Spirit, Log Home Design Ideas, Quilting Arts and New Zealand Quilter.


Leisa Rich is a studio artist and art educator in Atlanta, GA; MFA from the University of North Texas; BFA from the University of Michigan; featured in PBS’ inCONTEXT and publications The Best Sculpture Artists and Artisans and Quilt National 2009.

This exciting one-of-a-kind workshop will broaden the knowledge of watercolorists, painters, collage, mixed media, and surface design artists of all levels. Learn how to screen print and paint with watercolor, ink and dye, on fabric and paper. We will also combine the three mediums and investigate how to collage paper and fabric. Screen printing techniques for individual and combined mediums will include photographic, drawing fluid/screen filler, stencils, as well as direct application of watercolor, ink and dye. Additionally, chemical resists will add an element of surprise to both the fabric and paper. Course Fee & ID: $475 | 2010TXT-Jun13 Amie Adelman is an Associate Professor of Fibers a the University of North Texas; MFA, University of Kansas; BFA, Arizona State University; former Arrowmont Resident Artist; exhibits artwork internationally and is the recipient of numerous travel grants to Africa, South America and Europe;


July 4-10

July 11-17

Baskets! Paper! Color!

Digital Surface Design: Inkjet Fabrics

Textures & Protuberances

The possibilities are endless. Flat materials can be woven, constructed, interlaced, formed and combined to create sculptural or functional contemporary baskets. Paint, stamp and sponge the colors to create your own materials of heavy cotton paper. Focus on one basket technique or try several—including bias plaiting, cathead weaving, hexagonal weave with interlacing, or any of their endless variations. The rules are meant to be broken! Course Fee & ID: $475 | 2010BSK-Jun20 Jackie Abrams has been a basketmaker since 1975 since she apprenticed to Ben Higgins, a traditional white ash basketmaker. She has been exploring contemporary basket weaves with cotton paper since 1990. Her work is widely published and exhibited and has won numerous awards. She teaches internationally;

June 20-26

From developing images or patterns in Photoshop, to prepping and printing a variety of fabrics, discover all the necessary techniques, tips and tricks for successfully printing digital imagery on fabric. Experiment with the variables of color management, layering, effects on different fabrics and variation in scale while investigating the computer as a design tool. The focus of this workshop will be to develop personal imagery and expression, with an emphasis on exploration through experimentation. Course Fee & ID: $475 | 2010TXT-Jul04 Patricia Mink is Associate Professor of Art and head of the fibers program at East Tennessee State University; works exhibited nationally and internationally in Surface Design, Fiberarts, Quilt National, and Visions; featured in the upcoming PBS documentary Soul’s Journey: Inside the Creative Process.

Build a third dimension off a felted ground fabric through sampling and innovating a variety of wet felting, needle felting and machine stitching techniques. From subtle textural fields to bold protuberances, achieve dimension by fusing pre-constructed fabrics, embedding solid felt forms, needle and wet felting complex felt forms to the surface, and using plastic resists for creating flaps, pockets, and ridges. Additionally, freemotion machine embroidery will be used to crater thick felt and to manipulate thin felt into undulating fabric. Some felting experience preferred. Course Fee & ID: $475 | 2010FIB-Jul11 Lisa Klakulak, studio artist, educator, and

owner of STRONGFELT in Asheville, NC; received her BFA in Fiber from Colorado State; three year resident at Appalachian Center for Craft; exhibits nationally with work in Surface Design Journal, Fiber Arts, and HGA Journal.

How Can You Resist? Layered prints have beautiful application as a wall hanging, a framed work or uncommon focal point for a quilted piece. Learn to create layers with dyes, marbling and masking techniques on cottons and silks. Using friskets, and other resist techniques and marbling methods, you will create the illusion of a collage that will emerge as a geometric, abstract or recognizable image. Course Fee & ID: $475 | 2010TXT-Jun20 Laura Sims is a full-time studio artist,

writer and teacher; works in collections in the U.S., Europe, Asia and the Middle East; juried member of the Southern Highland Craft Guild, Carolina Designer Craftsmen and Piedmont Craftsmen; charter member of the International Society of Marbling; co-founder of Ariel Gallery Contemporary Craft Cooperative in Asheville, NC.

P hotographs Left: Student work hanging in the sun with the lilies to dry . Above: Lisa Klakulak


FIBER & TEXTILES July 18 -24

July 25-31

July 25-31

Beyond the Surface: Point of Departure

Personal Cloth Sculpture: Meaning, Metaphor & Stories

All About Color, Pattern, & Form

Investigate the sensory experience of the fabric surface with a multi-disciplined approach. Expanded aesthetic content will be cultivated so the work reveals multiple layers of material and meaning. Using reactive dyes, textile pigments, thickened dyes, and embellishment, the collaged surface will develop. We will be expanding the boundaries of the traditional surface through deconstruction and reconstruction. Techniques will include screen printing, stenciling, hand painting, relief rubbing, digital and found objects printing to create unique and dynamic fabric surfaces. Course Fee & ID: $475 | 2010FIB-Jul18

Challenge your comfort zone. This designbased workshop will move your cloth sculptures to another level of expression. Using critiques, discussions and demonstrations, be challenged to reach new and unexpected levels of innovation and expression. This course is designed for students who have some skills associated with mixed media and cloth sculpture who wish to build upon their skills and define a more personal style. Some basic skills, including needle sculpture will be covered. Course Fee & ID: $475 | 2010MXM-Jul25

Small and large basket construction provides the starting point for both new and experienced basket weavers as all explore color, pattern, texture, materials and the business of making baskets. While making the small basket you will be introduced to twining, 3 and 4 rod wale and a “hairy,” technique which involves alternating rows of weaving with short, “hairy” pieces to create a bird’s nest-type texture. The bigger basket will introduce you to 20 spokes and the use of 4 and 5 rod wale. All skill levels will start with the same beginning, but will soon make their own decisions, resulting in all different baskets. Course Fee & ID: $475 | 2010BSK-Jul25

Susan Fecho is a Professor of Art and Design

at Barton College, Wilson, NC; residencies include: The Hambidge Center for Creative Arts and Sciences, GA, and Pouch Cove Foundation, Newfoundland; work in the collections of Smithsonian Institution’s American Art Museum/ National Portrait Gallery Library, D.C., and Word and Image Department, Victoria and Albert Museum, England;

Akira Blount, a studio artist for over 35

years from Bybee, TN, is an internationally recognized figurative artist, workshop leader & juror; her work is held in many permanent collections including the Louvre in Paris and the White House.

Kari Lonning has been designing and weaving baskets for the last 30 years; works found in numerous collections including the White House Craft Collection, the Renwick Gallery of the Smithsonian Institution, the Mint Museum + Design in Charlotte, NC and the US Embassy in Bangkok, Thailand; author of The Art of Basketry.

July 25-31

August 1-7

3-D Shibori & Outdoor Space

Screen Printing: Color & Pattern

Explore the varieties of Shibori, a traditional Japanese resist technique, shaping cloth by clamping, stitching, binding, and pole wrapping to create two- and three-dimensional forms. Using Shibori techniques, fabric, and MX reactive dyes, you will be challenged to search for an individual style. Crinkled textures, curved edges, vertical stripes or capped motifs could be base for exciting experimentation with cloth. Later you will be encouraged to develop your concepts for indoor or outdoor space. Final projects can range from installation, to sculpture, to relief wall pieces. Course Fee & ID: $475 | 2010FIB-Jul25 Jozef Bajus is an Associate Professor of Design and Fiber Program Coordinator at Buffalo State College, NY; MFA, Academy of Fine Arts and Design, Bratislava Slovakia (1995); fiber and mixed media exhibited and collected worldwide with latest one person show The Combing Wave – Recent Works at Albright Knox Art Gallery in Buffalo.


This workshop is a discovery of color effects and the production of pattern through a variety of screen printing techniques. Cut-paper stencils, handpainting, and photo-screen printing will be examined and combined to produce printed fabrics. Design methods for both random and repeating patterns will be explored. Course Fee & ID: $475 | 2010TXT-Aug01 David Brackett is a fiber artist in Lawrence,

KS; he received his BS in Zoology from the University of Michigan and MFA in textiles from the University of Kansas where he is currently an Associate Professor of Visual Arts; awarded Best of Show at the 40th Annual National Craft Exhibit at the Octagon Center for the Arts, Ames, IA; work exhibited internationally.

August 22-28

Paint + Sew = Quilt!

August 8 -14

August 15-21

Woven Shibori, Color & Natural Dyes

Beyond Felting: Resist-dyeing, Stitching & Beading

Explore the possibilities of weaving on the loom to create patterned resists for dyeing. Woven patterns may be simple or complex when using protein fibers—wool and silk. The approach to color will be thoughtful including some of the lore about each colorant. We will create a full palette of color from a limited number of natural dyes by means of over dyeing and layering. Techniques will include weaving, mordanting, natural dye extraction and immersion dyeing. Course Fee & ID: $475 | 2010FIB-Aug08

Imagine your felt brilliantly resist- and shibori-dyed, stitched and quilted with thread; silk, linen, cotton, shiny and dull; embellished with natural objects and prized treasures from your bead drawers and imagination. All is possible in this class which will guide you through felting merino needle punch batts, dry powder resist dyeing and transforming your felt into a story thoughtfully designed with stitching, quilting and beading. We will work with several formats, art felt, the book cover and small bags. Course Fee & ID: $475 | 2010FIB-Aug15

Catherine Ellis developed the process and authored the book Woven Shibori; she has taught and exhibited worldwide and was head of the Professional Crafts Fiber Program at Haywood Community College for many years.

Chad Alice Hagen is a studio artist and international workshop instructor; her work has been on the cover of Surface Design Journal, Fiberarts and more; received her BA and MS from University of Wisconsin and MFA from Cranbrook; author of three books on felting with the most recent The Fabulous Felt Scarf (2007, Lark Books);

Using textile paints, chalk pastels, metal leaf and canvas along with purchased fabric, we will create three small quilt tops that focus on portraying an idea from within. We will make fabric by hand painting, primarily on 7-ounce duck canvas. There will be discussions about inspiration, making a living as an artist and exercises on paper. There will be a focus on experimenting, generally painting half the time and sewing half the time, although you can work at your own pace. Course Fee & ID: $475 | 2010TXT-Aug22 Elizabeth Busch is a fiber artist who has

been making quilts since 1983; received her BFA from Rhode Island School of Design and has taught workshops throughout the U.S. and abroad; she has won both the Quilts Japan Award and Best in Show from Quilt National;

August 22-28

Wicker Basketry: Variations on a Theme Experience the pleasure and gratification of working with form and texture while learning traditional wickerwork techniques and contemporary innovations for round-base, oval and ribbed construction. Explore the use of color using natural fiber-reactive dyes on natural materials such as rattan, wild jasmine and sea grape root. Individual creativity will be encouraged as you produce several unique and functional baskets and develop skills to continue weaving. Course Fee & ID: $475 | 2010BSK-Aug22 Lee Nelson integrates 30 years of

basketmaking and expressive art therapy into her work and workshops; exhibited and taught widely for 20 years, including the National Museum of Women in the Arts, Smithsonian and Junghaus Zurich; maintains a studio and practice in Easton, MD.

P hotographs Far Left: Susan Fecho Left: Catherine Ellis Upper Right: David Brackett


FIBER & TEXTILES August 29 – September 4

September 19-25

Hand Quilting: Old Techniques, New Possibilities

Sculptural Basketry— Hard & Soft

Hand quilting creates fascinatingly different results not typically associated with quilting. Explore the techniques of hand quilting that result in intricate textures and volume using different types of materials, threads and stitches. Use creative approaches to design, including photo enhancing, and experiment with fabrics such as velvet, satin, silk, and wool to create contemporary works. Course Fee & ID: $475 | 2010FIB-Aug29

Using a variety of “hard” and “soft” weaving materials, we will explore the realm of sculptural basketry. Rib construction and twining techniques, along with random, twill, double walls, increasing, decreasing, tunnels, color, design, and endless shaping possibilities will be applied to challenging structures. Found wood and objects, wire, hardware, cloth, and paper will be available to expand the sculptural possibilities for organic and contemporary designs. Many structures and baskets using each style will be made throughout the week. Combining hard and soft techniques will be an option to create innovative basketry sculpture. This learning experience will be tailored to each individual and their skill level. Course Fee & ID: $475 | 2010BSK-Sep19

Martine House is a French-born studio artist and educator known for her fine, textured and detailed hand work; recipient of two regional artist grants; works featured in many publications and in collections nationally and internationally.

September 5-11

Revamp, Revise, Rebirth Unresolved pieces can provide a map for growth and experimentation - they offer surfaces to learn from and respond to, or a jumping off point to something totally new. In this class you will gain the courage, insight and vision to revamp, remake and rebirth existing pieces. Group discussions will explore options and ideas while visual journals will guide, reinforce, and document your individual creative process. We will apply cutting, stitching, embroidery and collage techniques in tandem with Thiox and textile paints. Course Fee & ID: $475 | 2010FIB-Sep05 Heather Allen-Swarttouw is known

internationally for her architectural rendering of doorways and staircases in fiber; received a NEA Regional Fellowship, a TN Arts Commission Fellowship and two artist residencies at Centrum Center for the Arts; work featured in American Craft Magazine, Art Quilt Magazine, Fiberarts Magazine, Senshoku Alpha, Surface Design Journal, Fiberarts Design Book.

P hotographs Above: Janet Taylor Top Inner Right: Jude Larzelere Bottom Inner Right: Jo CampbellAmsler Far Right: Christine Zoller


September 12-18

Gorgeous Textiles Using Vat Dye Discharge Create exciting textiles using a reduction agent process on pre-dyed silks that yields unimaginably beautiful results. Strong, bright colors appear on previously dyed ground fabric as the discharge process removes color from the fabric and deposits a new color in its place. You will explore positive-negative space, mono-printing, stamping and color theory. Course Fee & ID: $475 | 2010TXT-Sep12 Janet Taylor is a founding member of Ariel Gallery in Asheville, N.C.; undergraduate degree from Cleveland Institute of Art and MFA from Syracuse University; taught fiber at numerous craft schools and universities.

Mary Hettmansperger is a fiber artist with her focus on basketry, metals and beadwork. She has been teaching for over 25 years including craft schools, conferences, guilds and retreats. She is author of Fabulous Woven Jewelry (Lark/Sterling);

September 19-25

Weaving– More Magic, Less Math Weaving frequently focuses on left-brain processing – analytical, objective, rational and symmetric. In this class you will approach weaving from the right side of the brain, with an emphasis on fearless creativity. You will design at the loom making intuitive choices that are grounded in good weaving skills and techniques. Regardless of your typical approach to weaving and life, this class will guide you to incorporate more flexibility and personal style into your work. Course Fee & ID: $475 | 2010FIB-Sep19 Kathrin Weber is a weaver/dyer practicing her craft since 1980; she studied weaving, clay, and glass at the University of North Carolina, Asheville and jewelry at Appalachian State; exhibits in shows and teaches workshops throughout the country.

FIBER & TEXTILES September 26 – October 2

October 3-9

October 3-9

Quilting with Colors from Nature

Willow & Others– Weaving Naturally

Painting, Printing & Manipulating Silk

The colors of the seasons and the physical world around you will influence your use of color as you learn to make inspired quilts for walls. This class will be a week of exploration inside and outside the box, with a focus on machine strip piecing and color interaction. Course Fee & ID: $475 | 2010FIB-Sep26 Jude Larzelere is a full-time artist making quilts for walls for over 28 years; MFA from Rutgers University; works exhibited extensively in U.S., Japan and Germany, including The 30 Distinguished Quilters of the World in Tokyo; works featured in numerous publications and hangs in dozens of private homes and corporations.

Willow has been used for centuries in an infinite number of basket styles. Not only does it weave strong and useful baskets, but it is also an organic, renewable resource that can be grown quite easily. Learn how to incorporate gathered materials with the willow to create organically pleasing shapes and textures in basketry. Rib-style techniques will be explored and implemented in a variety of basket styles. You will learn how to make a variety of handles, rims, ribs, lashings, and in general, get a feel for willow and other natural materials. Idea sharing is encouraged and you will learn from and inspire each other! Hand strength required. Course Fee & ID: $475 | 2010BSK-Oct03 Jo Campbell-Amsler is a basket weaver of willow and other gathered materials; background in Horticulture and Floral Design; has taught at conferences and workshops, including the Association of Michigan Baskets, Stowe Basketry Festival, Columbia Basin Basket Retreat, Misti Washington Gourd & Basket Festival, and the Festival of American Basketry.

Silk is wonderful to touch, but sometimes thought of as intimidating to work with. This class will dispel this myth as you dye, print and paint with fiber reactive/ acid dyes and fabric paints. You will learn a combination of traditional silk painting coupled with fabric manipulation (Shibori) as well as direct dye application techniques. The results will be fabric containing beautiful patterns and exquisite color. Whether you quilt, create artto-wear or just love making fabric, this workshop has something to offer. Course Fee & ID: $475 | 2010TXT-Oct03 Christine Zoller is Associate Professor and Textile Area Coordinator at East Carolina University in Greenville, NC; work exhibited nationally and internationally; featured in Surface Design Journal and Fiberarts Design Books Five and Six; BS degree in textile design from Buffalo State College and MFA from the University of Georgia.


FIBER & TEXTILES Weekend October 15-17

Textile Techniques in Metal Walk the line between metal and fiber techniques as you explore the use of metal as the primary material in the construction methods of fiber processes such as coiling, twining, plaiting, weaving, braiding, knotting, knit, and crochet. We will focus on creating textile structures using non-precious metals in a variety of forms, including wire and sheet. Other basic forming techniques will include piercing, sewing, rolling and pressing, and the basics of patina chemistry to achieve color on metal surfaces. Course Fee & ID: $285 | 2010TXT-Oct15 Tracy Krumm is an educator, sculptor and researcher in textiles, metals and material studies; currently an Assistant Professor in Fiber at Kansas City Art Institute; work exhibited internationally, is widely published in metals, sculpture and textile magazines and in the collections of the Denver Art Museum, the Museum of Fine Art, Santa Fe, Bloomingdale’s, and Ford Motor Company.

Weekend October 15-17

Weekend October 15-17

The Ephemeral Journal

Baskets from Wild Naturals

Journals are an intricate relationship between language and materials that allow you a vehicle to understand yourself better and see the connections between you and what’s around you. In this class you will learn a variety of bookbinding techniques to make your own journal. You will incorporate writing exercises, observations, readings, walks and techniques that will transform your journal from a vessel to a material documentation of yourself, your environment and your myriad of experiences. Course Fee & ID: $285 | 2010BOK-Oct15

Nature provides an amazing abundance of materials that can be used to create both traditional and contemporary baskets. Learn to weave baskets from beautiful, natural, wild plants. Choose from grasses, barks, roots and rushes to make baskets using a variety of techniques. The gathering and preparation of materials will be discussed. Course Fee & ID: $285 | 2010BSK-Oct15

Lisa Beth Robinson has kept journals since her sophomore year of high school and doesn’t leave home without one; studio artist and proprietor of Somnambulist Tango Press; instructor at East Carolina University.

P hotographs Above: Tracy Krumm Above Right: Lisa Beth Robinson Far Right: Tony Tomliinson making beads


Peggie Wilcox created her first basket

27 years ago and has been teaching basket weaving for the past 19 years at schools, including The Bascom Center for the Arts, and for basket conferences and basketmaker’s guilds throughout the country.


June 6 -12

Glass Fusing & Forming for Beginners Join in a fun-filled class geared for those with little or no experience working with glass. You will begin with the basics of glass cutting, grinding, sanding, sandblasting, polishing, fusing and forming. You’ll learn glass compatibility, firing schedules and temperatures, plus kiln operations and safety practices. You’ll take home an assortment of finished works, from bowls to wall hangings, jewelry and functional art. Course Fee & ID: $550 | 2010GLS-Jun06 Tony Tomlinson is a full-time studio artist,

operating Glaswurks Studio since 1983; recently awarded “Best of Show’ at the Glass Galore Exhibit in Lincoln City, OR; exhibits and teaches internationally; member of Oregon Glass Guild and American Craft Council.

Two Weeks June 13-26

Explorations in Glass & Mixed Media Assemblage The possibilities for developing innovative approaches to the glass medium are limitless! You will delve into the realm of glass fusing using sheet glass, frits, powders, stringers, metals and other materials to create multi-layered images and designs. Combine these materials with a variety of warm and cold working techniques, including etching, photo transfer, as well as print and drawing processes on glass. Add shaping to the work using unconventional mold materials such as sand, fiber, paper and kiln wash. You will be encouraged to explore ways to combine glass with other materials and found objects. Course Fee & ID: $1,100 | 2010GLS-Jun13 Jude Schlotzhauer is a studio artist and

teacher of kiln-formed glass for more than 30 years; BFA from American University and MFA from Virginia Commonwealth University; works exhibited in collections and permanent installations nationally and internationally.

June 27 – July 3

Lampwork Beadmaking– Beginners & Beyond Make beautiful glass beads as you explore the ancient art of lampworking. Lampworking is a type of glasswork that uses a gas-fueled torch to melt rods and tubes of clear and colored glass. Once in a molten state, the glass is formed by blowing and shaping with a variety of tools and hand movements. This class is designed for beginners or those who have some experience but would like a refresher course and more concentrated time on the torch. Course Fee & ID: $550 | 2010GLS-Jun27 Barbara Simon has been a goldsmith for over 40 years; BS in Art Education and MFA in Metalwork and Jewelry; teaches workshops internationally and at several universities; works have appeared in numerous publications; author of Metal Clay Beads; works exhibited in collections of the Bead Museums in Washington, D.C. and Glendale, AZ and the Kobe Lampwork Glass Museum, Japan.

Chuck Scanlin is studio artist and Professor

Emeritus at the School of the Arts at Virginia Commonwealth with over 35 years of teaching experience; BFA from the Chicago Art Institute and MFA from Pratt Institute; works represented in over 275 juried and invitational shows nationally and internationally.


GLASS July 18 -24

August 29 – September 4

Maverick Fusing– A Different Perspective

Reverse Relief Casting Explore the range of techniques for making refractory models using high temperature plasters, fiber blanket, board and papers. You will learn how to cut thick glass and to make re-usable molds, as well as ways to add color with powders, frits, silver and gold leaf, and “cold” paints. Firing tendencies and schedules for the inexpensive and beautiful “float” glass will be covered. You will take home refractory models, some re-usable flexible molds and several cast glass pieces made by using the reverse relief technique. Course Fee & ID: $550 | 2010GLS-Aug29

This class will explore all types of glasses to be used in the kiln, from TestedFusible to Float, to “non-fusible.” Come prepared to push boundaries while getting a firm grasp on the basics of glass fusing, slumping and kiln casting, plus the options of paints, enamels and inclusions. Learn to utilize a variety of materials and techniques to expand your art palette. Bring an open mind and a playful spirit. Course Fee & ID: $550 | 2010GLS-Jul18 Barbara Cashman is an innovator in the glass industry; her work is featured in many major home decorating and trade magazines and on HGTV; recipient of the 2008 Crystal Achievement Award from Glass Magazine;

August 1-7

A Comprehensive Journey in Fused Glass Immerse yourself in a comprehensive, hands-on class designed to expand your mastery of techniques in fused glass. You’ll increase the depth and vision of your work with a new toolbox of techniques, including orchid melts, combing, vitragraphs, photo image transfer, pattern bars, box melts, powder wafers, painting with light, sandblasting, dichroic glass and more. From beginners to advanced fusers, you’ll be supported and encouraged toward more complicated designs and adaptations. Course Fee & ID: $550 | 2010GLS-Aug01 Iza Tayor is a studio glass artist with works in public and private collections internationally; work has been commissioned for the First Lady of each state; featured on HGTV and in Expression magazine.

P hotographs Above Left: Iza Taylor Right: Elizabeth Braun Far Right: Kerry Transtrum


August 22-28

All Fired Up! Experiments with Glass & Clay This multimedia workshop will explore the possibilities of incorporating clay with fused glass. The like properties of the two materials lend well to one another. We will cover the foundations of glass fusing, get a quick “crash course” in clay handbuilding, and explore exciting ways to combine the two materials. Expect to experience a variety of projects – you will be encouraged to experiment! Some experience with glass or clay is helpful, but not necessary. Course Fee & ID: $550 | 2010GLS-Aug22 Meagan Chaney is currently a studio artist

working in Ocala, FL, and is a former Arrowmont Resident Artist; she received her BA in Studio Art with a concentration in sculpture from Meredith College in Raleigh, NC; her work has been shown nationally and resides in both corporate and private collections;

Elizabeth Levine Braun is an energetic instructor with 20 years of teaching to students of all ages at numerous venues; trained in stained glass at L’Ecole des Beaux Arts, Aix en Provence and with some of the world’s leading glass artists; work has won awards at major exhibitions, and can be found in private collections and galleries in the U.S. and abroad.

GLASS September 5-11

September 26 – October 2

Glass Beadmaking: Developing Your Style

Glass Fusing & Airbrush Painting

Glass beads have been objects of adornment for thousands of years, but are experiencing a popular revival. We will begin the class with a technical exploration of various foundational techniques critical to the success of all beadmakers and progress to color, types of glass and ways of utilizing the properties of the medium. Whether as a component of a necklace or alone as a pendant, glass beads can also be an element of creative expression. Together we will begin a conversation about forms of jewelry, finding your palette, and individual style. Course Fee & ID: $550 | 2010GLS-Sep05

Venture into the exciting world of imagemaking with fused glass and airbrush painting. You’ll be guided through design, cutting and fusing of the color base, mixing low-fire enamels for brushing, and airbrushing and swiping off to build the image in multiple firings. You will also learn masking methods for creating crisp images in a single firing. There will be demonstrations of each stage of the step-by-step process and technique. No previous airbrush experience required. Course Fee & ID: $550 | 2010GLS-Sep26 Raphael Schnepf is a teaching artist best

Dan Adams has been a glass beadmaker for almost 20 years; he collaborates with his wife, Cynthia Toops, on jewelry that combines their beads; he has been covered in several publications including Masters: Glass Beads by Lark Books.

September 12-18

Feets of Fusing Explore techniques of adding feet to bowls and plates to make your glass work more sculptural. You will create feet in various ways, from using metals and rocks to watching the glass “unfold” to create its own feet. Learn how glass is affected in the hot range of 1,000 – 1,500 degrees and how you can control its movements. You will begin by using simple fused bowl techniques and will learn how to make the most out of inexpensive molds. Course Fee & ID: $550 | 2010GLS-Sep12 Tony Glander is a studio artist best known for his screen printed work on glass; teaches nationally as well as in his studio on Gaithersburg, MD; author of a series of articles on screen printing for Glass Craftsman magazine.

September 19-25

Form & Function, Glass & Kiln Utilize everything from nature to humanity to produce objects in glass for both art and function. Discover new variations of traditional kiln forming methods and mold making techniques and experiment with kiln casting all forms of glass, from sheets to powders. Class field trips will take you into the surrounding woods on mold-making adventures for use both in and out of the kiln. Additional attention will be given to the process of cold working to give your work a finished look. Course Fee & ID: $550 | 2010GLS-Sep19 Kerry Transtrum is an educator and owner

of Glassfire Studio in Salt Lake City; co-founder and past president of Glass Art Guild of Utah; studied at prestigious Pilchuck Glass School and with glass master Klaus Moje; works exhibited nationally and internationally and featured in Glass Art magazine and on HGTV.

known for music posters and album covers, many of which are in museums including the permanent design collection of NY’s MoMA; graduate of the School of Industrial Art and Cooper Union Art School; BFA from San Francisco Art Institute; collaborator on many installations around the world.

Weekend October 15-17

The Big Picture: Dynamic Design for Kiln-formed Glass Design and composition are the basis for every successful project from production to fine art. Glass is no exception. In this class you will examine your influences and inclinations, find common threads in your work and build a personal visual vocabulary. Design concepts that add style, interest and originality to the glasswork will be explored. Working with a variety of Bullseye glasses, you will choose methods, techniques and materials that support your designs. This class is designed for the advanced student. Course Fee & ID: $325 | 2010GLS-Oct15 Kari Minnick is a studio owner/artist noted for architectural commissions, fine art and internationally recognized courses in kilnformed glass; received the prestigious Juror’s Choice Award at the Bay Area Glass Institute 2008 Gala; works are in private, corporate and embassy collections.


May 30 – June 5

June 6 -12

June 13-19

Clasps, Mechanisms & Terminations

Working with Steel in Jewelry

Jewelry Enshrined

Steel is generally known for its industrial qualities and overlooked as a jewelry art form. Discover the richness and contrasting qualities of steel in combination with non-ferrous metals such as sterling silver, bronze, brass and copper. Work with steel wire and sheet to create finished pieces of jewelry such as neckpieces, pendants, earrings, bracelets and rings. Techniques to be covered are micro-welding, simple silver soldering, small-scale forging, riveting, patinas on steel, and basic jump-ring and chain making. Find out how this inexpensive, wonderfully manipulative material works as wearable jewelry. Course Fee & ID: $475 | 2010MTL-Jun06

Throughout the world, shrines are made to hold sacred images and objects. In Latin America, nichos are a special type of shrine - often made of recycled tin which exhibits diverse objects, images and cultural icons. In this class you will alter and use tin containers to create your own unique nichos as well as wearable jewelry and objects. You will learn fabrication and soldering techniques for tin and iron wire, hydraulic die forming and surface alteration. Course Fee & ID: $475 | 2010MTL-Jun13

For many contemporary metalsmiths, the major design consideration for clasps and terminations is visual, focusing mainly on how it will look, rather than how it will work. All too often, little or no regard is given to the mechanical devices and attachments that allow us to pin, clasp, hang, and open our work. Expand your repertoire of alternatives to the mass-produced parts that we frequently tack onto otherwise handmade pieces. Explore the design and construction of a variety of clasps and fasteners, articulating mechanisms and assorted findings. Competent soldering and fabrication skills required. Course Fee & ID: $475 | 2010MTL-May30 John Cogswell is a jeweler, goldsmith,

silversmith, educator, author/illustrator; currently teaches at SUNY New Paltz, NY; 2006 inductee into the National Metalsmith’s Hall of Fame and selected Touchstone Center for Crafts’ 2007 Artist of the Year; author and illustrator of recently released Creative Stonesetting.


Christine Clark is a professor and head of

the metals department at Oregon College of Art and Craft in Portland, OR, where she has been teaching for over 25 years; BFA, University of Washington and MFA, Rochester Institute of Technology with degrees in both metalsmithing and jewelry; work exhibited nationally.

Marlene True is a metalsmith and nationwide workshop instructor; MFA from East Carolina University; works exhibited internationally and featured in Found Objects Art 2, Jewelry from Recycled Materials, Mixed Media Collage Jewelry and 500 Enameled Objects.

M E TA L S & enamels June 20-26

Righteous Reliquaries for Ordinary Objects Create elaborate containers for those cherished items you keep tucked away, wrapped up in an old sock or that you interact with every day. Design small containers that incorporate mechanisms from basic hinges to cradle hinges, from bayonet closures to pressure fitting. Cold connections and entrapments will be covered as you work with found objects that may not be able to withstand heat. Surface treatments and embellishments will be addressed as well as cutting glass for viewing options. You will relate your design choice back to the items you choose to contain. Course Fee & ID: $475 | 2010MTL-Jun20 Becky McDonah is Assistant Professor of Art at Arizona State University and head of the Metalworking Department; president of Arizona Designer Craftsmen Center Chapter; 2007 Distinguished Teacher Award for Herberger College of Arts at Arizona State University.

Two Weeks June 27 – July 10

Jewelry as Personal Adornment This class will explore a wide range of concepts applicable to personal adornment and the narrative object. Working with traditional and alternative materials—silver, copper, wire recycled materials, and found objects—you can fashion objects of personal importance, expression and adornment. Investigate the use of color and collage as a design tool. Through demonstrations, lectures and hands-on projects, discover the methods of selection, integration, and assembly inherent to this limitless range of materials. Soldering skills required. Course Fee & ID: $950 | 2010MTL-Jun27 Robert Ebendorf currently serves as the Belk Distinguished Professor in the Arts at East Carolina University, Greenville, NC; there was a 40 year retrospective exhibit of his work at the Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C. in 2003; co-founder and past president of Society of North American Goldsmiths; work in museum collections worldwide. Visiting artist Marissa Saneholtz is a jewelry maker from Greenville, N.C.; BFA from Bowling Green State University and MFA from East Carolina University; “Best of 2009”, Ohio Designer Craftsmen; featured in Art Jewelry Today 2; works exhibited nationally.

July 11-17

Line in Enamel Line is an important element in all visual design. It can be used in an expressive way, adding to the impact of a piece. Expand the potential of your work by learning to make a variety of line in enamel. You will explore ways of achieving line, each resulting in different effects. You will use both opaque and transparent enamels on copper and silver. All techniques learned can be used on jewelry or on larger scale objects. Course Fee & ID: $475 | 2010ENL-Jul11 Sarah Perkins is Professor and head of the

Metals Area at Missouri State University; works featured in Metalsmith, Ornament, American Craft, The Art of Enamel and Contemporary Enameling; works exhibited in U.S., India, Canada, Europe and Korea.

P hotographs Far Left: Filing and shaping Left: Robert Ebendorf Above Right: Becky McDonah


July 25-31

Cloisonné Enamel: A Personal Approach

July 11-17

July 18 -24

Fabricating Natural Forms

Sensual Jewelry– Fabricating Beads

Emulate your favorite natural forms such as leaves, berries, pods, acorns, etc., as jewelry forms or small-scale sculpture. We will forage for inspirational samples around Arrowmont’s campus, as well as work from photographs to create pieces of jewelry or small-scale sculpture. In addition to basic fabrication skills like sawing, filing and soldering, we will be doing some forging, chasing and repoussé, and patination. Course Fee & ID: $475 | 2010MTL-Jul11 Jen Townsend received her BFA from Rochester Institute of Technology/School for American Crafts and her MFA from Southern Illinois University, Carbondale; her work is exhibited internationally and was featured in “American Art Collector,” among others; work in the permanent collection of The Imperial War Museum, London.

Learn to construct jewelry scale forms that are as pleasing to hold as to look at and that make your jewelry more inviting and visually dynamic. You will explore fabrication techniques that take you away from flat surfaces. You will work creating beads, with all of the concepts covered applicable to any scale of work. Basic metalsmithing skills required. Course Fee & ID: $475 | 2010MTL-Jul18 Tom McCarthy has been a jewelry maker for over twenty years; MFA from Southern Illinois University – Carbondale; recipient of 2006 Fellowship in the Arts from State of Florida; works exhibited in numerous private and public collections, including the Mint Museum of Craft + Design in Charlotte, NC.

Learn a very simple step-by-step approach to create small-scale cloisonné pieces suitable for jewelry. Then moving beyond the basics, the fun begins! Experiment with handmade foils, blend subtle color gradations, create bold patterns, and discover how to make your enamel colors “glow”! Beginners will learn basic concepts and explore the process, while those with more experience can begin to find a way of working in enamel that comes from your heart. Course Fee & ID: $475 | 2010ENL-Jul25 Ricky Frank began enameling in the 4th grade with a hobby kiln in his parent’s basement; after graduating with a degree in psychology with no idea what to do with his life, he rediscovered his passion for enameling and has been making a living selling his cloisonné jewelry in fine craft and jewelry stores for the past 32 years;

July 25-31

Rings–360 Degrees Rings are rich with historical meaning and symbolism. They represent love and marriage, evoke nostalgia, embody authority and portray accomplishments. This class will explore jewelry design, fabrication, stone setting and assembling techniques to fashion rings of personal importance, expression and adornment. You will work to create rings that are unpredictable, honest, visually complex, bold, confident, simple and beautiful. Course Fee & ID: $475 | 2010MTL-Jul25 Timothy Lazure is an Associate Professor in the Metal Design program at East Carolina University; BFA from Rochester Institute of Technology and MFA from University of Massachusetts at Dartmouth; pieces in permanent collection of the Mint Museum of Craft + Design in Charlotte, NC and Gallery of Art and Design in Raleigh, NC; works published in 1000 Rings, 500 Brooches, The Art of Enameling and The Craft of Silversmithing.


M E TA L S & enamels August 1-7

August 15-21

Mixed Metals– New Directions

Formed, Fabricated & Cast Pewterware

Explore surface, connections, natural objects, architectural elements and personal imagery as studies to be interpreted into jewelry. Using copper, brass and silver sheet, we will burn, fold, wrap, forge, cut, patina and simply alter the surfaces to achieve amazing innovative results. Metal clay will also be incorporated with the sheet metal for innovative designs in mixed metals. Copper, silver and craft wires will embellish as we stitch, weave, twine, loop, knot coil and connect. Experiment with a variety of commercial cold connections such as nuts and bolts, eyelets, brads, jump rings and rivets. Learn to incorporate found objects such as rocks, pods, bark, glass and small sticks into your jewelry. Course Fee & ID: $475 | 2010MTL-Aug01

Employing techniques for working pewter sheet such as basic forming, fabrication and casting, create functional bowls, cups, candlesticks and more. A wide range of hollowware techniques will be demonstrated, including raising and seaming, scoring and folding, fusing and soldering, die forming, and pattern making. In addition, an introduction to casting pewter and mold making will be explored via room temperature vulcanizing rubber molds from original, found, or selected forms and ornaments. The castings made will be used to punctuate hollowware forms or create an entire object from multiples. Basic jewelry making skills required. Course Fee & ID: $475 | 2010MTL-Aug15

Mary Hettmansperger is a fiber artist with her focus on basketry, metals and beadwork. She has been teaching for over 25 years including craft schools, conferences guilds and retreats. She is author of Fabulous Woven Jewelry (Lark/Sterling);

Professor at Maine College of Art; MFA, San Diego State University; recent exhibitions include “Exterior/Ulterior,” National Ornamental Metal Museum, Memphis, TN, “Art Brussels” represented by Elisa Platteau Galerie, Brussels, Belgium;

August 8 -14

August 15-21

Color & Texture on Metal

Introduction to Painting Enamels

Experiment with adding color and texture to your jewelry and metalwork as a means of surface enrichment and personal expression. Explore color through the use of traditional and alternative methods of color on metal, including patinas, resins, image transfer, color pencil and torch fired enamel. Discover new surface texture techniques including roll printing, stamping, chasing, drilling and etching. Course Fee & ID: $475 | 2010MTL-Aug08 Kathryn Osgood is a studio artist and

assistant professor at College of the Albemarle in North Carolina; works exhibited nationally and internationally; MFA from East Carolina University; works published in The Art of Enameling, 500 Necklaces, 500 Earrings, 500 Enameled Objects and Contemporary Enameling, Art and Technique.

Jeffrey Clancy is a studio artist and Assistant

Explore painting enamels and ceramic pigments as an image making media and embellishment for enamel colors and scenes on a small jewelry scale. Add that little extra bit of depth, detail or realism to your images. Painting enamel is traditionally used over a white ground but can be used to lend subtle effects to colored enamels at a level of detail that traditional 80-mesh enamel can’t provide. Basic enameling principles, opaque vs. transparent, metal and enamel preparation, sifting, preparing ground, etc., will be covered. Course Fee & ID: $475 | 2010ENL-Aug15 Jewel Clark has been a studio jeweler, art

educator and workshop instructor since 1995; she exhibits her work in the U.S. and Japan; currently teaches art at South Mountain Community College and is an Artist-in-Residence at Mesa Arts Center; MFA, University of North Texas, Denton;

P hotographs Upper Left: Jen Townsend Left: Timothy Lazure Above: Jeffrey Clancy


M E TA L S & enamels August 22- 28

Metal Arts as Oral Tradition: The Story as Jewel Explore design and the concept of art as oral tradition as you discover the process of bringing expression and language into your art. Using traditional metal techniques, combined with surface embellishment and natural materials, you will fabricate small, wearable objects. You will apply the techniques of cutting, forming, fitting, hot and cold connections, and finishing, while experimenting with alternative possibilities for traditional techniques. Course Fee & ID: $475 | 2010MTL-Aug22 Charles Pinckney is a teaching artist who has progressed through a range of media from woodcarving and scrimshaw on bone to metal jewelry and sculpture; works shown at juried fine arts festivals and exhibitions around the country; common features of work include moving parts, articulated joins, the use of non-precious metals and found objects. August 29 – September 4

Journey of Art Making… Finding your Voice Want to jump start your designs, add some new life into tired ideas, re-invent yourself, revisit and shift your thinking? Through a series of design challenges and sketches you will discover new ways of turning ideas into reality and make art that matters to you. You will use traditional and alternative materials, and employ basic low-tech methods that will allow you to fashion jewelry or small objects of personal importance, expression and adornment. Techniques will include design, drawing, fabrication, collage, cold connection and new ideas brought to class to share. A basic knowledge of jewelry fabrication is needed. Course Fee & ID: $475 | 2010MTL-Aug29 Marcia Macdonald owns Macdonald

Designs and teaches classes in jewelry design and fabrication; MFA in Design from UNC Greensboro and MFA in Jewelry & Metals from UMASS Dartmouth; works exhibited internationally and in Smithsonian Museum of Art Craft show, Philadelphia Museum of Art Craft show and American Craft Council.


September 5-11

September 12-18

Framing the Object

Design in Nature– The Ratio of Beauty

Explore ways of integrating your found and natural objects to create unique “stones” or focal points for jewelry and objects using windows and framing. By thinking about prongs, bezels, and boxes differently, we will come up with truly unique and exciting pieces. Our goal is to complete a piece that seamlessly incorporates the object. Techniques of sawing, filing, cold connections, roller printing, etching, basic and improvised stone setting, die forming, and soldering, as well as tips and tricks to move us along quickly will be demonstrated. Course Fee & ID: $475 | 2010MTL-Sep05 Angela Bubash is a studio artist and teacher

who has received several grants including the North Carolina Regional Artist Project Grant; Metalsmith Exhibition in Print (2007); work represented in galleries nationally; teaches at Appalachian State University, Penland School of Crafts and Society for Contemporary Crafts;

The phi proportion has shown up in artistic composition as the golden mean, a proportion or ratio, the mathematics of beauty. Golden mean calipers were used by Renaissance artists, Egyptian scribes and Greek architects for laying out proportions for composition on canvas, stone, wood or jewel. In our class, we will construct this mechanical device known as phi calipers. After we create our new tool, we can use it to design a pendant. In both our caliper and pendant projects, we will use techniques of cold connections, piercing, soldering, reverse bezel stone settings, linkages and clasp mechanisms. Course Fee & ID: $475 | 2010MTL-Sep12 Dory Brown is a metalsmith creating

jewelry and sculpture; member Southern Highlands Craft Guild, Piedmont Craftsmen and Carolina Designer Craftsmen Guild; Southern Highland Craft Guild Ornament of the Year (2001) and the 75th Anniversary in 2005;

M E TA L S & enamels September 19-25

October 3-9

Exploration in Metal Clay

Mixed Metals: Richly Textured Jewelry

Metal clay has a magical quality. A humble lump can transform itself into glimmering silver that can be molded with your hands, carved like wood, textured and layered. Explore options with metal clay, including dry construction, stone setting and methods for custom texture such as photo polymer plates. Learn how to work with the new metal clays, BronzClay and CopprClay, and how they differ from silver metal clay. You will create pendants, hollow forms, earrings, bracelets and rings, leaving the class with several finished designs. Course Fee & ID: $475 | 2010MTL-Sep19 Patrik Kusek has been in the design and

fashion industry for over 20 years; works featured in numerous publications, including Art Jewelry, Lapidary Journal, 25 Creative Jewelry Projects, and 500 Pendants and Lockets; teaches workshops nationwide.

September 26 – October 2

Explore the possibilities of combining silver, copper, brass, 18k bi-metal and gold (optional) to create wonderful, patterned and richly textured mixed metal sheets from which you will create your own personal jewelry masterpieces. Investigate several methods of fusing sterling silver, how to use paste solder to create patterned, mixed metal sheets and how to fuse 24k gold foil (keum boo) onto your jewelry. Expect to improve soldering skills, learn a lot of new techniques for working with mixed metals, and take home at least one completed piece of jewelry. Prior silver soldering experience helpful. Course Fee & ID: $475 | 2010MTL-Oct03

Weekend October 15-17

Riveting Ideas This class is ideal for beginners interested in learning more about metals or any artist interested in cold connections. You will learn, or gain additional confidence with, the key skills of sawing, filing, drilling, texturing metal, riveting and finishing. Expect to complete the course with a finished pendant and the knowledge to begin making your own wearable jewelry. Course Fee & ID: $285 | 2010MTL-Oct15 Shand Stamper is a full-time studio

artist in Paducah, KY participating in the Artist Relocation Program; MFA in Metal Design from East Carolina University; work exhibited nationally and internationally.

Barbara Joiner has been a studio artist and teacher for over 30 years; she received her MFA from Southern Illinois University and has been a resident artist at John C. Campbell Folk School developing their jewelry program and studio for over 10 years; member of the Southern Highland Craft Guild.

Lost Wax Casting Explore jewelry making through the lost wax process. We’ll start with the basics of wax work, including carving and forming, plus we’ll cast natural and found objects. Learn to set stones fast by casting the stones in place! Transitions from fabricated to cast pieces through soldering or cold connections will be covered, as well as finishing techniques using the flexible shaft, buffers, and tumblers. Though the primary focus will be on technique and troubleshooting processes, there will be time to make finished pieces of jewelry. Course Fee & ID: $475 | 2010MTL-Sep26 Deb Stoner is a studio artist, designer and

teacher; MFA from San Diego State University, and a BS in Geology from UC Davis. Speaker at SNAG conferences in 1994 and 2004; curator of the international traveling exhibition Op Art: Eyeglasses by Jewelers;

P hotographs Far Left: Marcia Macdonald Left: Deb Stoner Above Right: Shand Stamper


Two Weeks May 30 – June 12

Collage to Paint/ Paint to Collage By starting with paint, or adding paint to your collage, you will learn to marry paint with other kinds of images and materials to recreate what you first started with. At times, you will totally transform your original creations. The collage will be as simple as polymer transfers or as complex as three-dimensional constructed sculptures. You will work with gluing and transfer techniques as well as layering and protecting the surfaces. The basics of painting and color will also be taught. Course Fee & ID: $950 | 2010MXM-May30 Holly Roberts is an artist and photographer

living in the southwest; MFA from Arizona State University; two-time recipient of National Endowment for the Arts Fellowships; works exhibited nationally and internationally; published in two monographs.


June 13-19

June 13-19

The Hand-altered Digital Print

Press Play: Monotype & the Responsive Print

Take an experimental approach to creating unique, hand-made prints using desktop inkjet printers. We will print on fine art papers and metal, work with paint, transparencies, acrylic lifts, and transfers. This class is great for anyone seeking to extend their photographs in a more painterly, personal direction. Basic digital camera and digital printing skills are necessary. Student is responsible for their own digital camera, computer and printer. Course Fee & ID: $475 | 2010PHT-Jun13

Explore improvisation and free play in response to themes you generate in order to produce a suite of prints that are thematically linked. This class will freshen your approach to representation, abstraction, and non-representation through an exploration of responsive printmaking and art-foolery. You will explore all aspects of creating combination prints, including monotype, collograph and chin colle. You will learn the basics of creating and registering images using plexiglass plates as well as the creation of paper plate collographs. Course Fee & ID: $475 | 2010PMK-Jun13

Alida Fish is known for work using unusual processes and hand-alteration; she is a Professor of Photography, The University of the Arts, Philadelphia; recipient of a Delaware Masters Fellowship, NEA Fellowship, Visiting Artist American Academy, Rome; represented by Schmidt-Dean Gallery, Philadelphia and Alan Klotz Gallery, New York.

April Flanders teaches printmaking at

Appalachian State University in Boone, NC; MFA in printmaking from Arizona State University; works exhibited nationally and internationally, including the Center for the Book Arts in New York, Anna Leonowens Gallery in Nova Scotia, Tucson Museum of Art and University of Florida rare books collection.

D R AW I N G | PA I N T I N G | P R I N T M A K I N G | P H OTO G R A P Y

June 20-26

De-mystifying Encaustic Painting & Collage This information packed class will explore layering encaustic medium, encaustic paint and collage. Encaustic painting uses pigment combined with warm wax to create a variety of luminous effects on a wide range of surfaces. Methods for mixing the medium and paint as well as interesting collage techniques will be covered along with substrate choices and studio safety. You will be encouraged and supported to explore your own imagery and subject matter whether abstract or representational while working in this seductive, translucent medium. Course Fee & ID: $475 | 2010PTG-Jun20

June 20-26

June 27 – July 3

Introduction to Digital Photography & Photoshop Quick Start

New Ways of Seeing: Drawing & Watercolor

Learn how to take great digital photos and process them into art quality prints and digital images. This class will demystify complex digital cameras and user manuals. You’ll receive understandable explanation for the key camera functions – f/stops, shutter speeds, light metering, lenses, flash, resolution, file formats and simple techniques for improving composition. You’ll learn the eight simple steps for image correction and properly sizing your photographs for printing or the internet. You will need your own camera and accessories. A laptop computer is helpful but not required. Course Fee & ID: $475 | 2010PHT-Jun20

In this structured class, carefully sequenced lessons will provide a meaning-filled framework for dramatic growth in your drawing and watercolor painting skills, even if you haven’t held a brush since kindergarten. You will work primarily in the studio, refining techniques and learning to see things in a new way. If weather permits, you will also spend time painting on location in the glorious Smoky Mountains. Course Fee & ID: $475 | 2010PTG-Jun27 Margaret Scanlan is a full-time studio artist and signature member of the American Watercolor Society, the National Watercolor Society and the Watercolor USA Honor Society; teaches workshops in the U.S. and France; works collected internationally.

Robert Renfrow is on the faculty of the Arizona Sonora Desert Museum Art Institute; co-founder of Art Research Tours and International Studio, a non-profit organization which helps students study abroad; BFA from Kansas City Art Institute and MFA from University of Arizona, Tuscon; taught workshops in Europe, Australia and New Zealand.

K. Rhynus Cesark is a studio artist and teacher who works narratively in encaustic and ceramics; fellowship recipient of the Colorado Council for the Arts; MFA, Massachusetts College of Art and Design, Boston; her work is exhibited nationally and she teaches at Colorado Mountain College in Aspen;

P hotographs Above Left: Painting in Great Smoky Mountains National Park Upper Left: K. Rhynus Cesark Lower Right: Margaret Scanlan


D R AW I N G | PA I N T I N G | P R I N T M A K I N G | P H OTO G R A P Y Two Weeks June 27 – July 10

Old Maps to New Worlds This mixed media class will chart a course from experience to idea to object so that you may find ways to make your work more personal. You will spend the first week navigating among drawing, painting, monoprint and collage looking for ways to combine these processes to tell stories. Visiting Artist Ke Francis will join the class in the second week, to lead lively reading and discussions and offer individual instruction with students. From pencil to plaster, photos to fabric, old maps to new worlds, the possibilities will be endless in this intensive studio atmosphere. Class open to the intermediate student. Course Fee & ID: $950 | 2010MXM-Jun27 Andrew Saftel produces works in a variety

of media from his studio in rural Tennessee; recipient of a Tennessee State Individual Artist Grant and selected for Tennessee-Israel Artist Exchange; graduate of the San Francisco Art Institute; held 44 solo exhibitions across the country; works exhibited in numerous public and private collections nationwide.

Visiting Artist Ke Francis is a narrative artist currently teaching sculpture and printmaking at the University of Central Florida; works are included in numerous public and private collections, including the Getty Museum National Gallery, New Orleans Museum, Mississippi Museum and Hechinger Collection.

July 4-10

Life Drawing This is a figure drawing class for students of all skill levels. We will explore the dynamics of figure drawing observing a live model, studying gesture, structure, anatomy and composition. Along with quick studies to develop observational and hand skills, we will also do more involved drawings exploring multiple techniques, spatial issues and conceptual approaches. Drawing time will be supplemented with lectures, demonstrations and critiques. Course Fee & ID: $475 | 2010DRW-Jul04 Tom Riesing is a Professor of Painting and Drawing at the University of Tennessee– Knoxville; Permanent Guest Professor at Sichuan University, China; artwork has been exhibited both nationally and internationally; 2009 Outstanding Alumni Award from the College of Fine and Performing Art, University of Nebraska.

July 11-17

Repeatable Matrix Monoprint Monoprinting is an admired craft known for its spontaneity and its combination of printmaking, painting and drawing media. The workshop will introduce you to a variety of approaches to the monoprint process, including xerox transfer, chine colle and several other printing techniques. The process of hand working and collage will be introduced and discussed. You are encouraged to bring clean plates and etching plates that are already worked. Course Fee & ID: $475 | 2010PMK-Jul11 Kurt Kemp is Professor of Studio Art –

Printmaking at Sonoma State University; BA from Marycrest College and MFA from University of Iowa; Exhibits in U.S. and internationally; has representation in Houston, Scottsdale, Seattle and Nashville.

P hotographs Above Left: Andrew Saftel Right: Kurt Kemp Far Right: Mary Todd Beam


July 11-17

July 25-31

August 1-7

Being You

COLOR! In Oil Painting

The Creative Edge

This course is designed to enable the student to experience the freedom of being him or herself in the creative process by working deeply through various mixed media, such as drawing, painting and photography. Finding your own voice will allow you to be “you,” thus becoming a spokesperson within your sphere of influence. Experimentation with the various media presented is highly encouraged. All you need are eyes to see, hands to make things, a heart to feel and believe, energy, and a good work ethic. Course Fee & ID: $475 | 2010DRW-Jul11

Using oil paint, learn classical underpainting, paint layering and glazing skills with the intention of gaining greater knowledge of expression in color. Based on the observation of still life and landscape forms, we will work on developing a better understanding of color, light and color temperature. Demonstrations of technical methods and in progress critiques will assist you in developing a personal style. Good drawing skills are necessary but the course will be helpful to both beginners and those more experienced in painting. Course Fee & ID: $475 | 2010PTG-Jul25

Jumpstart your creative juices as we experiment with various materials to broaden your knowledge of available outcomes for clear expression of your ideas. Learn skills such as threading, layering, under painting, resists, and staining. You will be pushed to identify and strengthen your personal unique painting style. Daily demonstrations are ongoing as is a lively discussion of alternative strategies for accomplishing a variety of outcomes. By week’s end, each student will present their paintings to the class for sharing and evaluation. Intermediate to advanced. Course Fee & ID: $550 | 2010PTG-Aug01

Frank Shelton is a painter, poet and teacher; he has over 30 years of teaching fine arts from elementary to university levels; his work is exhibited nationally in galleries and group shows; MFA in painting and currently teaches at Mount Vernon High School in Atlanta, GA.

July 18 -24

Virginia Derryberry is an accomplished

artist with a lengthy list of grant awards, solo and group exhibitions and residencies; her artist portfolio was published in New American Paintings, Vol. 82, 2009; work in the collections of the Carnegie Museum of Art among others and a site specific installation of 16 paintings at the HartsfieldJackson International Airport, Atlanta.

Mary Todd Beam is a member of A.W.S.,

D.F., N.W.S., Ohio Watercolor Society and twice winner of the A.W.S. Gold Medal of Honor Award; she is author of two books and a video with her most recent in 2009, The Creative Edge by F&W Publishers; her work is exhibited internationally;

Embracing Encaustic: Paint with Wax Encaustic is an ancient technique where beeswax, resin and pigment are layered to produce a luminous surface that captures and reflects light. This mixed media class will include step-by-step projects that will illustrate techniques involving painting, collage, image transfers, embossing, stencils, incising and textured finishes using wax in an assortment of vivid colors. Advanced techniques will include mixing your own wax medium and paint, experimenting with specialized wax painting tools, and adding oil and resist finishes to produce distinctive results. Course Fee & ID: $475 | 2010PTG-Jul18 Linda Womack is a full time artist in Portland, OR, who shares her love of encaustic painting through national gallery exhibitions, books, blogs and live workshops; author of Embracing Encaustic: Learning to Paint with Beeswax;


D R AW I N G | PA I N T I N G | P R I N T M A K I N G | P H OTO G R A P Y August 1-7

August 8 -14

August 29 – September 4

Photoshop Essentials

Self Portraits: Artist in Studio with Muse

Less Toxic Photo-etching

Create fine art quality photographs as you master the techniques of digital photography from the photographer’s point of view. You will be introduced to the basics of digital photography as well as management and organization of digital files. Lighting, exposure, shutter effects, techniques for creative outcomes and a full overview of the SLR camera will be covered. Weather permitting, you will work in the field in the beautiful Smoky Mountains. Bring your digital camera, card reader, laptop computer and any Adobe Photoshop version, preferably with Adobe Bridge and/or Adobe Lightroom. Course Fee & ID: $475 | 2010PHT-Aug01 John May is an experienced photographer

with 15 years of teaching experience; BA in photography from Lincoln Memorial University and MFA from East Tennessee State University; works featured in national and regional magazines and books.

August 1-7

Landscapes: Composition & Color Learn to simplify and control the shapes and values you see in nature, while experiencing a more expressive way to think about color. Create dynamic compositions through field sketches and color studies developed on location, and use those as the basis for your in-studio paintings. You’ll explore custom surfaces and a variety of pastel painting techniques as you develop a more personal approach to painting the landscape. Course Fee & ID: $475 | 2010DRW-Aug01 Susan Ogilvie is an artist, respected juror, painting instructor and popular guest speaker; signature status with Pastel Society of America; published in The Best of Pastel, The Best of Drawing, and Pure Color: The Best of Pastel; works exhibited nationally in public and private collections.

P hotographs Above: Robert Rivers Right: Billie Shelburn Far Right: Susan Roberts


Explore drawing of self portraits and the figure using a variety of materials including pencil, charcoal, pastels, ink and other water based media. Various drawing exercises and material choices will allow students to develop a portfolio of drawings which evolve into personal content, style and a new body of work. Course Fee & ID: 475 | 2010DRW-Aug08 Robert Rivers received his BFA from

Auburn University and his MFA in printmaking from the University of Georgia. He has taught at the University of Wisconsin, the University of Central Florida and at Edinburgh Art College as an exchange professor.

Create beautiful photographic results with the photo-etching techniques of Solar Etching and Imagon. Experiment with simple computer methods as well as direct drawing methods to discover your preference. Test the difference between using an exposure unit and the sun, and learn intaglio printing and chine colle methods. You will work on copper and etching in ferric chloride, using water-based inks and nontoxic materials for clean-up. Course Fee & ID: $475 | 2010PMK-Aug29 Anita Jung teaches intaglio and relief classes

at the University of Iowa; exhibited intensely in the U.S., Europe and India; serves on the board of SGA International, Mid-America Print Council and the American Print Alliance.

September 12-18

September 12-18

Artist’s Books: Vessel for Word & Image

Plein Air & Studio Watercolors in the Smoky Mountains

The artist’s book is like an egg—complete in itself, containing all that is needed to protect the vitality inside. It can use a combination of drawing, painting, printmaking, and collage, with sculptural elements as you build a form to contain your pages. The structure becomes an expression of your ideas, both in the way you design the pages and the way you put them together. We will make a number of non-adhesive books as prototypes using technical and design exercises, including painting, printmaking and writing. You will then develop an artist’s book that houses your vision. Course Fee & ID: $475 | 2010SPL-Sep12 Annie Cicale holds an MFA in graphic design

and teaches calligraphy, artist’s books, drawing and painting for calligraphy guilds in the U.S. and Canada; work published in the Calligraphers Engagement Calendar, among others; author of The Art and Craft of Hand Lettering (Lark 2004);

Discover how to achieve the feeling of depth in your watercolor landscapes that makes flowers pop out of your paintings and trees, dirt roads and fences look convincing. Learn how to paint buildings from the best view, in the correct perspective and add drama with shadows and exciting contrasts. Learn techniques that will make your efforts come to life. The Great Smoky Mountains provide the opportunity for plein air painting if the weather allows. You will paint barns and other structures, flowers in the field and landscapes in the area. Some painting experience is helpful but all levels are welcome. Course Fee & ID: $475 | 2010PTG-Sep12 Oscar Rayneri is a watercolor artist in

Dahlonega, GA; works on exhibit in private and public collections, including Procter & Gamble, Miller Brewing, Merck Chemical, University of Florida Shands Hospital, and the Albany Museum of Art; watercolors and drawings featured as magazine covers and book illustrations.

Weekend October 15-17

Paintings in Progress; Keep Making Your Work Create work in a mini-series to allow experimentation, simplify your ideas, and discover direction in your work. Develop a series of small to medium paintings on paper, with an emphasis on layering transparent paint, drawings and semitransparent collage elements to create intriguing surfaces, vibrant color, and life in your work. Set limits and create related work to help clarify the ideas you want to convey. Bring images, photos, objects and ideas as a starting point for your series. Acrylic paint and a variety of mediums are recommended for quick drying time and layering abilities. Course Fee & ID: $285 | 2010PTG-Oct15 Susan Roberts is an Assistant Professor

of Art at Walters State Community College in Morristown, TN; she is a former Resident Artist at Arrowmont working in painting, drawing and mixed media; MFA in Studio Art from University of Alabama, Tuscaloosa; work exhibited nationally.

October 3-9

Creative Watermedia Techniques Want to walk through fields of green, dive into blue waters or see beautiful landscapes without ever leaving your home? In this class you will learn techniques of painting, design and color that will enable you to create these scenarios with a brush, watermedia and paper. Some collage elements will be included in your work. Course Fee & ID: $475 | 2010PTG-Oct03 Billie Shelburn is a full-time studio artist and instructor; paintings have won national and international awards and are included in many private, governmental and commercial venues in the U.S. and abroad; inductee of National Organization for Women in the Arts.


May 30 – June 5

May 30 – June 5

June 6 -12

Form & Flow: Working with Nature

The Art of Exploration Part 1: The Wooden Form

This workshop focuses on using the forms, the live edges, and the imperfections of wood to create pieces that mirror the beauty and elemental feel of what is found so readily in the natural environment. In this work much of what appears “natural” will actually be highly manipulated through the use of clever techniques with knife work, hand carving and the use of machine tools. We will explore utensil construction from the use of branches; shallow vessel construction from logs; and the inlay of found stones into wood. Course Fee & ID: $550 | 2010WDW-May30

Take a journey through the many aspects of woodturning, from basic faceplate and spindle turning to the more complex hollow forms and multi-center sculptural work. Discover ways in which turned forms can be cut and manipulated and look for ways to inspire and personalize your turnings. You will receive a full understanding of wood and the various tools used to shape it. Choose from a wide range of projects or set your own. This is the first of a two-class series. You may take either or both classes. Course Fee & ID: $550 | 2010WDT-May30

The Art of Exploration Part 2: Now What Do I Do with It?

Michael Cullen has been designing and

making studio furniture and objects for over 20 years; work exhibited widely in both museums and galleries such as the Peabody Essex Museum, and Pritam & Eames; writes extensively for magazines on woodworking topics, and is author of Tops: Making The Universal Toy;

P hotographs Above Left: Wood carving outside the sculpture studio Upper Right: Hans Weissflog Lower Right: Mark Sfirri


Discover how to take your wood carving to the next level with a wide range of carving and surface embellishment techniques. Texturing, masking, paints and color, inlaying various materials, branding and carving with woodburners will be explored to help personalize your creations. You will also learn how to build a high-powered wood burner for branding and texturing. Bring pre-turned forms, carved objects or even just blocks of wood to experiment with. Those who have taken the first class in this series may bring works from that class. This is the second of a two-class series. You may take either or both classes. Course Fee & ID: $550 | 2010WDW-Jun06 Graeme Priddle is a studio woodturner and sculptor; recipient of numerous awards for his turned pieces, which have been included in exhibitions in New Zealand, Japan, France, Germany, U.S. and Canada; recent work featured on a New Zealand postage stamp.


June 6 -12

Boxes & More Craft your own unique boxes with special features that inspire fun and imagination. Create a Drunken Box or the Saturn Ring. Learn the basic techniques and use of tools that allow you to apply distinct features, such as pierced lids and rings, to your boxes. The class will be paced to assure that every student leaves with a completed piece. Course Fee & ID: $550 | 2010WDT-Jun-6 Hans Weissflog is a mechanical

engineer, interior designer, woodturner and teacher; operated studio for over 25 years; works on exhibit in museums and private collections throughout U.S. and Europe

June 13-19

June 20-26

Creativity & Design

Making the Connection: Woodturning For Furniture

Energize your woodturning/woodworking and find personal direction in your work with this unstructured workshop that encourages exchange through making. Use a variety of media and materials–rawhide, paper, found objects, metal, wood–and a range of techniques in turning, carving, painting, drawing, and assembling for your own creative explorations! The class environment encourages open exchange of information to create solutions. Come have fun with no formalities or hierarchy. No expertise or knowledge of woodturning/woodworking is required but will be an asset. Mark and Mikey are part of a roving gang of international art instigators that will be at Arrowmont for a rare joint appearance. Don’t miss this rare opportunity to be a part of the fun. Anything goes. Course Fee & ID: $550 | 2010WOD-Jun13 Michael Hosaluk is an internationally recognized woodturner; work exhibited throughout Canada, in Europe, China, Japan, Australia and the United States; profiled in numerous publications including Fine Woodworking, American Craft, and Woodwork magazines; subject of Scratching the Surface: Michael Hosaluk. Mark Sfirri is a professor in, and coordinator of the Fine Woodworking Program at Bucks County Community College; works seen in the permanent collections of 16 major museums and over 175 publications, including 25 books; lectured and demonstrated in workshops and symposia throughout the United States, Canada, England, Ireland, New Zealand, and France.

Lathe turned joinery provides infinite possibilities for creative connective solutions for furniture. Explore how bowl and spindle shaping techniques can achieve interesting parts for a larger assemblage and experiment with appropriate joinery connections. Demonstrations will concentrate on lathe turned connections, composing an artistic piece of furniture, and safe machine and tool use. A portion of the class will be dedicated to decorative finishing techniques. You will leave the class with several connective solutions and all completed work. Course Fee & ID: $550 | 2010WDT-Jun20 Jake Antonelli former Arrowmont Resident Artist, currently runs a small furniture-making business and teaches woodworking classes in the Crafts Department at The University of the Arts; BFA in Furniture Design from Rhode Island School of Design and apprentice to studio furniture maker Michael Hurwitz; works exhibited at the Ohio Craft Museum, del Mano Gallery, Sienna Gallery and the Woodturning Center. June 20-26

Table Manners Having good table manners is very important. Having good knowledge of table construction is equally important. In this workshop, we’ll look at various types of tables, their history, design and construction. Through demonstration and hands-on sample making, we’ll learn the joinery used in building a small coffee, end or bedside table. Techniques will include mortise and tenon joinery, how to taper legs, proper tabletop construction and fastening, and laminating. Course Fee & ID: $550 | 2010WDW-Jun20 Steven Butler is currently the department head of the wood studio at Peter’s Valley Craft Center; he is a graduate of Sheridan College of Arts & Design, Ontario; his work is widely published including Lark’s 500 Tables and 500 Chairs.


WOOD June 27 – July 3

July 4-10

What’s Your Hang Up?

Murmur, Mutter, Roar: Wood Sculpture & the Social Voice

Wall cabinets are a great opportunity to display your visual and hand skills as well as store unique items. Work at your own level as you learn the use of various materials and techniques. Beginners will create spline-mitered cabinets with simple pivot hinged doors. Advanced students will have the opportunity to take their work to the next level. Carving, paint, fine woods and found objects will provide the surface design to support the form you generate. Various methods of hanging cabinets on the wall will also be covered. Course Fee & ID: $550 | 2010WDW-Jun27 Mark Del Guidice has been making one-ofa-kind and limited production furniture in his studio since 1986; recipient of Gold Award at 2005 Smithsonian Craft Show and Artist Award from 2000 Society of Arts and Crafts in Boston; featured in many publications, including Studio Furniture: Today’s Leading Woodworkers. June 27 – July 3

Containers The focus of this class will be on making open bowls and hollow forms. Work with fresh-cut green logs, learn the location of the bowls or vessels within the logs and then process them directly on the lathe using the Ellsworth Signature Gouge and various hollowing tools. Subjects will include tool design, attaching devices, sanding and finishing, measuring wall thickness, working with green wood, and anything else we can think of in five happy days of making shavings. Course Fee & ID: $550 | 2010WDT-Jun27 David Ellsworth has become known as one of the premier designers of turned wood vessel forms over the past 30 years; work included in the permanent collections of 33 museums and numerous private collections; Fellow and past Trustee of the American Craft Council; recipient of a Lifetime Achievement Award from the AAW and the Collectors of Wood Art;

34 36

July 4-10

Turning for Food It’s those everyday things you can use in your kitchen, to prep, serve or spice that we’ll be making this week. Create honey dippers, rolling pins, salt shakers and pepper mills, bottle stoppers, bowls, plates and a few surprises. All the projects are kitchen related and include both spindle and faceplate turning techniques. Start with the basics of tool selection, sharpening, chucking techniques and go into sanding, finishing and how to market your wares. Course Fee & ID: $550 | 2010WDT-Jul04 Nick Cook is a full-time production turner

producing gift items, one-of-a-kind bowls and vessels as well as custom work for furniture makers and millwork contractors; founding member of the AAW who teaches and demonstrates internationally; named 12th honorary lifetime member of the AAW and was featured demonstrator at their 23rd annual symposium;

Creative exploration begins with a murmur: the sound of the conceptual seed as it takes root in the artist’s thinking. The seed begins to sprout as it becomes an idea, taking shape in the form of a mutter. It gains strength as we become more vocal; and, finally, it erupts in a roar. Our voices are heard through the unified practices of craft and concept. View the creative process as an investigation of the social voice. Through our materials, fabrication techniques, and aesthetic considerations, we will explore the ways in which the sculptures we make might function as bearers of social messages. Course Fee & ID: $550 | 2010WDW-Jul04 Lanie Gannon taught sculpture at Belmont University, Nashville, TN, for 18 years and is currently a full-time studio artist; MFA, Memphis College of Art, and studied woodworking at Appalachian Center for Crafts; received grants from NEA and Tennessee Arts Commission; included in the The Penland Book of Woodworking; Rob Ogilvie has 25 years woodworking experience and is a master craftsman, creating studio furniture and public art in Nashville, TN; his interest in woodworking began while living on a boat and sailing around the world and learning to maintain his sailboat; studied furniture at Boston University’s Program in Artisanry and completed his degree at Appalachian Center for Crafts.

WOOD July 11-17

July 18 -24

July 18 -24

Vessels & Surfaces

Additive & Subtractive: Band Saw Box Expanded

Mastering Turning Tools

Imagine taking a hollow form that you just turned, looking at the grain and form of the piece to help guide the manipulation of the exterior surface, then making so much more than a standard turning. Learn to turn hollow vessels of all shapes and sizes, then use an extensive array of surface embellishment techniques such as carving, burning, sandblasting, coloring and more to make that vessel more than just a hollow form. Limited only by your imagination, surprise yourself and take your turning skill and creativity to a new level. Course Fee & ID: $550 | 2010WDT-Jul11 Trent Bosch has been woodturning professionally for 18 years; he began exploring the art of woodturning while pursuing his Fine Arts degree from Colorado State University; work exhibited in fine galleries and held in permanent collections of museums and craft centers; he teaches and exhibits his work throughout the U.S. and abroad; July 11-17

Upholstery: Traditional to Modern Learn the basics of upholstery by exploring the foundation of traditional and modern upholstery. You will work on individual samples using various techniques, including a simple covering with a stretched webbing base, tufting, covering unusual shapes and determining the most logical approach for your own designs. In addition to working with samples, you are encouraged to bring a small chair or stool to work on in class. Muslin fabric will be used and you may bring your own favorite fabric. Course Fee & ID: $550 | 2010WDW-Jul11 Katherine Ortega is a furniture maker in San Diego, CA; MFA in Wood, University of Wisconsin–Madison; studied upholstery at Buckinghamshire Chilterns University College; work exhibited nationally, including the San Francisco Museum of Craft + Design, and Oceanside Museum of Art; Recipient of American Craft Council-Emerging Artist Grant.

Are you bored with straight lines and boxy shapes? Want to add curved forms into your vocabulary? Square lumber will be our starting point, but it will be transformed into a box or wall hung cabinet that is anything but square. We will cut, join and build forms with glue, half-inch laps, and mortise and tenon joinery. Once our mass is formed, it will be reworked with power, hand carving, and shaping tools. Forms will be revealed with the band saw, rasp, spoke shave, hand plane, scraper, and grinder. Course Fee & ID: $550 | 2010WDW-Jul18 Sylvie Rosenthal–woodworker and sculptor in Asheville NC; BFA Rochester Institute of Technology; has taught at Anderson Ranch Arts Center; visiting artist at San Diego State University and Tainan National University of the Arts, Taiwan; recipient of North Carolina Arts Council Crafts Fellowship 2008-2009.

When you master the primary tools used in woodturning, you gain the freedom to innovate and create objects you never thought possible. Beginning turners will come to know how and when to use the basic woodturning tools. Experienced turners will benefit by learning to make smoother, cleaner and finer cuts. Care of tools will be stressed, with instruction provided on sharpening your tools and keeping them that way. Course Fee & ID: $550 | 2010WDT-Jul18 Joe Ruminski has been a professional woodturner for the past seven years; member of the Southern Highland Craft Guild, Carolina Mountain Woodturners, and American Association of Woodturners; teaches and demonstrates his work in central and eastern U.S.

July 25-31

Woodturning–Aesthetic Forms, Technique & Finishing Gain new confidence in your woodturning as you advance through varied class projects and increase your skill level. The class will emphasize tool technique, sharpening, shape, form and aesthetics. You will be turning boxes and fitting lids, turning bowls and squares, spindle work, and exploring color and finishing. Design will be discussed in detail. Course Fee & ID: $550 | 2010WDT-Jul25 Jimmy Clewes has over 20 years of experience in woodturning and woodworking; on Register of Professional Woodturners in the United Kingdom; studied wood, metal, ceramics and glass at Manchester Polytechnic; demonstrates internationally, including United Kingdom, Europe, New Zealand, U.S., Canada and Australia.

P hotographs Above Left: Mark Del Guidice Lower Far Left: Lanie Gannon Left: Sylvie Rosenthal


WOOD July 25-31

August 1-7

August 8 -14

Concrete Casting for Furniture

Wood Bending for Beginners

At Your Service

Nature inspires the exploration of techniques in bending wood. Learn the processes of steam bending solid wood and creating curves made through laminations of both plywood and veneer. You will explore jig making, free form bending and the coopering of the curves you make. Apply your newly acquired skills to create imaginative, tabletopsized open and closed vessels. Course Fee & ID: $550 | 2010WDW-Aug01

Expand your arsenal of woodworking skills as we design and build tabletop valets. Part jewelry box, part desktop organizer, and with a mirror to boot, these useful little catch-alls can be as funky and fun or as staid and serious as you wish. In making one, we’ll tackle such topics as molding design, tambour making (think roll top desk), drawer construction, and decorative inlay. Spend time designing wooden pulls that really complement a design and get into funky joinery techniques such as half blind finger joints. Course Fee & ID: $550 | 2010WDW-Aug08

Explore the potentials of cast concrete far beyond the usual sidewalks and buildings. Learn how to construct a variety of different types of molds and incorporate hardware for attachment or decoration. Discover casting and finishing techniques that incorporate objects and pieces. Practice sanding, hand-grinding and finishing techniques, including how to use acid stains. You will learn these techniques as you cast and design your own piece. Course Fee & ID: $550 | 2010WDW-Jul25 Mia Hall is a furniture maker and teaches

furniture design at the University of Arkansas; MFA in Furniture Design, San Diego State University; work exhibited nationally, including the Fuller Craft Museum in Brockhurst, MA, Nicolaysen Art Museum, Casper, WY and The White House, Washington, DC.

Dustin Farnsworth is a graduate of

Kendall College of Art and Design with degrees in woodworking, functional art and printmaking; work shown across the midwest and east coast as well as internationally in Dubai; works featured in both Sculptural Pursuit and Woodwork magazines.

August 1-7

Woodturning: The Bowl is Just the Beginning Turned form provides the starting point for you to explore the creative possibilities of surface embellishment. Using primarily green wood, you will turn bowls, vessels, spoons and sculptured forms that provide the surface for the exploration of design, texture and finishes. The proper use of the bowl gouge will be emphasized as well as sharpening the turning and sawing tools used in the class. Course Fee & ID: $550 | 2010WDT-Aug01 Mark Gardner is a full-time studio turner/ sculptor; BFA from University of Cincinnati; studied with John Jordan; works exhibited in many public collections, including Museum of Craft and Design in New York, Yale University Art Galley, Minneapolis Institute of Art and Long Beach Museum of Art.

P hotographs Above: Mia Hall Right: Dean Pulver Lower Right: David Caldwell


Ken Burton has been working with wood professionally since 1982; he holds a BS in Industrial Arts Education from Millersville University and an MFA from School for American Crafts at Rochester Institute of Technology; operates Windy Ridge Woodworks in New Tripoli, PA;

August 8 -14

Surface Strategies for Wood Surface strategies - texturing, carving, pattern and color - can strengthen and expand our sense of form in woodturning. Using green wood, explore the techniques and methods that enhance the natural qualities and embellish - or entirely change - the surface of turned and/or carved wood bowls and vessels. You will use a variety of tools and experiment with dyes, paints and adding other materials. Focus on turning/tool techniques and fluid tool use, with a special emphasis on the deep fluted bowl gouge. Good basic turning and sharpening skills required. Course Fee & ID: $550 | 2010WDT-Aug08 John Jordan is a woodturner who has been featured in nearly every major turning exhibition the past twenty-five years; works in the permanent collections of over twenty-five museums, including the Smithsonian, High Museum of Art in Atlanta, the Museum of Art and Design in New York City, the White House, Boston’s Fine Arts Museum, and the prestigious Victoria & Albert Museum in London.

WOOD August 15-21

August 22-28

Beauty in Translucent Wood

Woodcarving: What a Relief!

This course will explore the endless possibilities of making translucent light shades from the many wonderful species of wood that grow in the United States. The skills that will be covered include: ability to produce finishes from the tool that does not require sanding; selecting, shaping and sharpening of those tools; mounting techniques for large end grain tree sections ready for safe turning; drying and treatment of the light shades; design and creation of lamp stands to hold and display finished shades. This exploration will be a challenging and exciting journey. Course Fee & ID: $550 | 2010WDT-Aug15

Wood provides the perfect medium to apply a variety of techniques to achieve distinctly different results. Begin with the mallet and create an “in the round” sculpture, followed by relief carving using linden, one of the most enjoyable of carving woods. Explore more advanced techniques while carving a “picture” into wood. Throughout the course, you will learn the use of a variety of carving tools–with the use of power tools kept to a minimum - as traditional carving methods are emphasized. Course Fee & ID: $550 | 2010WDW-Aug22

Sören Berger lives in New Zealand and

has been a woodturning artist for 33 years; well known throughout the world as a teacher, demonstrator and exhibitor, with his art pieces featured in many journals, publications and books;

August 15-21

August 15-21

Wood Sculpting: New Forms & Textures

Extreme Pens Take your pen making to extremes. Master the fits and finishes to perfection and then stretch your abilities into new materials, design and truly unique creations. You’ll work with woods, plastics, antler, solid surface, cast materials, metals and more. After turning, enhancements will include piercing, painting, pyrography, inlay, engraving and other treatments. In addition to constructions, design and materials, you will explore the extremes in pen presentation. Course Fee & ID: $550 | 2010WML-Aug15 Kurt Hertzog is a professional woodturner, teacher, and demonstrator; regular columnist for Woodturning Design magazine; Council Member of the Pen Makers Guild; works featured in Woodturning Design, American Woodturner, Pen World and Stylus magazines.

David Caldwell is a professional woodcarver; formerly principal carver for the Shelby Carousel restoration and currently Master Carver for Cornel Zimmer Organ Builders and Bob Trotman Studios; twice recipient of the North Carolina Regional Artist Grant; works can be seen in churches from New York to San Francisco.

Discover new forms and textures to inform and inspire your woodwork. Apply traditional and non-traditional woodworking techniques, including carving, cutting, grinding, planing, compressing, burning, and bending. Through the innovative use of various hand and power tools you will create samples, models, sculptures, parts, and a small box, stool or table. Basic woodworking skills are helpful but not necessary. Course Fee & ID: $550 | 2010WDW-Aug15 Dean Pulver is a full time woodworker creating one-of-a-kind, limited production, and commissioned furniture, cabinetry, and sculpture for the past 25 years; works exhibited in many museum shows and represented in fine art and craft galleries throughout the United States.


WOOD August 22-28

August 29 – September 4

September 5-11

Mind Metal & Motion

Subject to Change: Turning & Finishing Workshop

Fine Cabinetmaking

Through this tour of elements of woodturning you will come to master tool usage and create your own series of tools used in woodturning. The safe use of the lathe will be covered as well as all the possibilities it provides as a tool of creative, artistic development. Creativity as a quantifiable process will also be explored. Come spend a week developing skills, making tools and having fun. Course Fee & ID: $550 | 2010WDT-Aug22 Beth Ireland runs Beth Ireland Woodworking,

specializes in architectural woodturning, furniture and cabinetry; BA in Art Education from State University College at Buffalo; lectures, teaches and demonstrates nationally; former Director of the Wood Program at Worcester Center for Crafts; works seen in galleries throughout the U.S. and in publications such as Bead and Button and Design Book 7.

August 29 – September 4

This workshop will explore change, experiment with forms and shapes, and look at a variety of wood carving and texturing tools, color materials and finishes. Learn the differences in tools and techniques and how to make the best choices for each project. By working with sketchbooks and making sample boards, you will expand your woodturning vocabulary and knowledge of possibilities. Intermediate skill required - you should be able to turn a bowl and plate. Course Fee & ID: $550 | 2010WDT-Aug29 Merryll Saylan is a full-time studio artist who has taught at UC Berkeley Extension and numerous workshops; Merit Award recipient from the American Association of Woodturners; works exhibited in numerous private and public collections, including Museum of Art and Design in New York and the Renwick, Smithsonian Museum.

Wall Cabinets Alive! Explore the ins and outs of cabinets with natural slab doors. Begin by constructing very simple mitered boxes with dados in the back to create a cabinet. Then, natural edge slabs will be used to transform our simple cabinets into sculptural objects. Re-sawing, table saw, router jigs, hinging, inlays, veneering and finishing will be presented. Be encouraged to customize your project with wood choices, pull details, inlays, dyeing, etc. Some woodworking skills and basic machine use are essential. Course Fee & ID: $550 | 2010WDW-Aug29

September 5-11

Peter Dellert is a cabinet maker, furniture maker and sculptor and mixed media artist from Holyoke, MA; Niche Award 2004; included in Lark Books 400 Wood Boxes, 500 Chairs, and 500 Cabinets; Merit Award / Furniture 2006 Craft Boston; work exhibited nationally;

Dixie Biggs lives in Gainesville, FL, and has been a full-time studio woodturner/ artist since 1989; she is known for her meticulously carved “leaf wrapped” vessels, exhibiting her work in such notable venues as the Smithsonian Craft Show, Philadelphia Museum of Art Craft Show and del Mano Gallery; work in many public and private collections worldwide;

P hotographs Above Left: Dixie Biggs Upper Right: Alain Mailland Lower Right: Ray Key


Bring Life to Your Work Add personality to your woodturnings through surface enhancements using a power carver and woodburner. Starting with a basic turned form, we will use power carvers, pyrography, color and imagination to expand the visual impact of your pieces. Basic woodturning skills are required, particularly the ability to successfully turn small bowls or vessels without assistance. Course Fee & ID: $550 | 2010WDT-Sep05

Discover the techniques and design considerations necessary to produce fine, formal cabinetry. Primarily using solid wood to build a small cabinet, you will learn multiple methods of fundamental joinery, including dovetails, mortise and tenon, as well as coping with solid wood movement, smooth gliding drawers and perfectly-fitted doors. Students should be comfortable with a table saw. Course Fee & ID: $550 | 2010WDW-Sep05 Steven Tengelsen has been a fine woodworker for over 30 years and an instructor for more than 10 years; currently makes furniture and cabinetry at his studio in North Carolina; BA from Humboldt State and an MA from San Diego State, along with residencies at Anderson Ranch and the Appalachian Center for Craft.

WOOD September 12-18

September 19-25

A Comfortable Contemporary Chair

Benches Regardless of use–in the garden, in the mudroom or in a more formal setting– benches all share the same elements of legs, seat and connecting pieces. In this class you will look at traditional benches, the woods used and their structures and finishes. Explore the options and possibilities of altering and embellishing these traditional forms to make a more personalized version. Begin with rough lumber, take it through rough milling and examine the many joints available for assembling these boards into a beautiful and functional bench. Course Fee & ID: $550 | 2010WDW-Sep19

Create one of the most distinctive and comfortable chairs you will ever experience using Michael Doerr’s “New Number One” chair design as a model. Start with pre-milled blocks of wood in the wood species of your choice to form a “cube” that will then be disassembled and reduced into chair parts with consideration to comfort and your own unique design elements. Seat construction and leg to seat joinery using a table saw, router, band saw and simple hand tools will be demonstrated. The class is about learning an approach to chair construction and design, not a race to the finish. Experience with power tools and comfort using them is essential for this workshop. Course Fee & ID: $550 | 2010WDW-Sep12 Michael Doerr is a studio artist, educator,

designer and builder of handmade wooden furniture for residential and commercial needs; work widely published; recipient of the 2006 Prima Award “best new product” Fine Furniture International magazine;

September 12-18

Woodturning: Pure & Refined “Let the Wood Speak for Itself,” “Keep it Simple, Stupid” and “If in Doubt, Leave it Out” will be the three guiding principles as you design shapes that are pure and pleasing to the eye, with an extra touch of refinement. You will create bowls, boxes and open and enclosed vessels by applying fluid, safe, efficient techniques that provide you new control and an eye for pure form. Course Fee & ID: $550 | 2010WDT-Sep12 Ray Key is a professional turner for more

than 36 years; works exhibited in major museum collections including the Victoria and Albert London; Honorary Lifetime Member of American Association of Woodturners and Association of Woodturners of Great Britain; author, demonstrator and instructor worldwide.

Anthony Ulinski has been creating functional

residential works and sculptural forms in his studio since 1976; has shown works at numerous shows and galleries, including the Smithsonian Craft Fair, the Philadelphia Museum of Art Craft Fair and the John Elder Gallery.

September 19-25

Vegetable & Sea Shapes in Sculpture Discover how to turn and carve natural shapes in sculpture using the instructor’s personal “flower tool” and off-centering techniques on the lathe. You will experiment with carving these turned forms using both power tools and hand tools. There will be special focus on design and surface treatments. Course Fee & ID: $550 | 2010WDT-Sep19 Alain Mailland is an internationally acclaimed woodturner who has gained a reputation for his visionary approach to aesthetics and technique; studied at the National Art School of Cergy-Pontoise; lectures and demonstrates in the U.S. and abroad.

September 26 – October 2

Seating: Techniques & Challenges Seating comes in all shapes and sizes from simple stools and benches to patio and dining chairs. Come with your own chair idea or develop one in class, and you will learn everything you need to build it. We will cover pattern making, joinery, shaping curves, stack lamination, bent lamination and finishing with additional demonstrations tailored to the needs of your project. Instruction will be flexible and individualized for all levels of woodworkers, and at the end of the week, we can all sit on art. Familiarity with basic machine tools is desirable. Course Fee & ID: $550 | 2010WDW-Sep26 Seth Rolland is a full-time studio furniture

maker producing commissioned work in Port Townsend, WA; his work has been featured in Fine Woodworking and on the television show Modern Masters; he has taught previously at Arrowmont and is represented by numerous galleries;


WOOD September 26 – October 2

October 3-9

The Well-Rounded Turner: Woodworking Basics & More

Creative Turning with Epoxy Resin

From spindle to bowl, this class will provide you with a solid understanding of the fundamentals of woodturning in a fun, open and sharing atmosphere. Whether you’re a rank beginner or need to improve your current skills, you will be guided through proper tool selection, sharpening, safety and technique to allow you to realize the vast possibilities of turning. Aspects of design and surface embellishment, such as paint and texture, will be explored and emphasized. You will not only leave with a variety of completed projects but also have a new arsenal of turning techniques. Course Fee & ID: $550 | 2010WDT-Sep26

Explore your creative side as you make eye-catching turned platters using simple methods of epoxy inlay, overlay, and molding techniques. Learn pigmenting, painting, texturing and piercing of epoxy components. You will be assisted in working on two or more turned projects in which epoxy resin is used as a complementary medium to wood. Achieve stand out work and explore design possibilities with these simple techniques. Come with an open mind and a general knowledge of woodturning; projects can be geared to any level. Course Fee & ID: $550 | 2010WDT-Oct03

Kimberly Winkle teaches at Tennessee Technological University; MFA in Furniture Design from San Diego State; works are widely exhibited, including SOFA Chicago, Knoxville Museum of Art and Museum of Contemporary Craft and a number of private and public collections; featured in publications 500 Tables, 500 Chairs and Fine Woodworking Design Book Eight.

Marilyn Campbell is a self-taught turner from Kincardine, Ontario; she has demonstrated and taught her methods in Canada, Australia and the U. S.; her work is exhibited internationally and in several publications, including New Masters of Woodturning and Woodturning Masters;

October 3-9

Hand, Eye & Bench– Furniture Techniques

P hotographs Above: Kimberly Winkle Upper Right: Papermaking outside the paper studio Lower Right: Mary Hark


The focus of this process-oriented workshop is the development of skills that balance the sensitive use of hand tools with a proper use of machines. Learn traditional techniques, such as mortise and tenon joinery, hand-planed surfaces, and wood selection, as well as sharpening techniques and the proper use of Japanese and western hand-tools. Additional techniques such as resawing veneers, edge-jointing by hand, hand-cut dovetails, and design and mockups considerations will be explored. The class is geared to advanced beginner and up with basic skills and some knowledge of stationary woodworking machines. Course Fee & ID: $550 | 2010WDW-Oct03 Craig Vandall Stevens designs and builds one-of-a-kind furniture for exhibition and commission; studied furniture making at the College of the Redwoods Fine Woodworking Program; works exhibited around North America and Japan; written feature articles for Fine Woodworking magazine and author of five books on the subjects of chip carving, marquetry, and furniture making.

Weekend October 15-17

Routers to Boxes This weekend workshop is all about using your most popular workshop power tool–the router. Make several kinds of functional and decorative boxes, such as jewelry boxes and humidors, while learning how to make routing safer and more accurate by using various jigs, fixtures, and the router table. Course Fee & ID: $325 | 2010WDW-Oct15 Mark Barr is a full-time furniture maker, designer and workshop leader. Weekend October 15-17

Turned Boxes: Explore the Possibilities Spend a unique weekend exploring the possibilities of turned lidded boxes. Learn basic box making techniques and the full range of shapes and new ideas to incorporate into your box making. An assortment of dry woods will be used to create the turned boxes throughout the weekend. Sharpening and customizing tools to fit your needs will also be covered. Basic turning skills required. Course Fee & ID: $325 | 2010WDT-Oct15 Mark St.Leger, from Virginia, has been turning for over 20 years and is known for his creative teaching style and techniques. He has been an active demonstrator and workshop leader regionally and nationally for the past 12 years.

S P E C I A L T opics

May 30 – June 5

June 6 -12

June 27 – July 3

Carved in Stone

The Nature of Surface: Exploring the Tactile with Handmade Paper

3-D Beading: Vessels, Baskets & Sea Forms

This is an all-encompassing workshop covering the entire process of creating art pieces in stone. Begin with the acquisition of the stone and follow the creative process through the designing, carving, polishing, finishing and mounting of the piece. Emphasis will be on the proper use of tools as applied to direct carving. Course Fee & ID: $475 | 2010SPL-May30 Bob Lockhart is a stone and wood

sculptor from Louisville, KY; Professor of Art at Bellarmine College in Louisville; MFA from the Art Institute of Chicago; work is in numerous permanent collections, including the Whitney Museum of Art, NY.

Master the techniques and tools needed for you to produce a fine sheet of paper suitable for printing, bookbinding or sculptural applications using flax, abaca and Asian fibers. Explore ways of approaching the surface of handmade paper. Lace papers, stitching and collage techniques, indigo and walnut dye, embedding and subtractive approaches to surface development will be explored. Leave with a large portfolio of uniquely beautiful papers as well as abundant information about the fine craft of hand papermaking. Course Fee & ID: $475 | 2010PAP-Jun06 Mary Hark is a studio artist, production

papermaker and an Assistant Professor of Textile Design at University of Wisconsin, Madison; has been working since 2006 to establish the first hand paper mill in West Africa; founding member of the Kumasi Center for Book and Paper Arts; exhibits and facilitates workshops internationally.

Explore the creative process of beading in three dimensions creating beaded vessels, baskets and sea forms using a variety of sizes, colors and shapes of vibrant glass beads. A number of off-loom beadweaving stitches will be employed, including gourd (peyote), herringbone, brick and right angle weave. These ancient forms of stitchery can be used to make traditional basketry and vessel designs or combined to make free-form, one of a kind sculptural objects. Surface embellishment will be explored. Course Fee & ID: $475 | 2010TXT-Jun27 Wendy Ellsworth is an internationally known

seed bead artist with work in major gallery exhibitions of contemporary fiber, beadwork and basketry; recipient of a Fellowship from the PA Council on the Arts and has made many trips to Kenya to help elevate the status of Maasai and Samburu women through bead work and education; author of Beading–The Creative Spirit: Finding Your Sacred Center Through the Art of Beading;


S P E C I A L topics Two Weeks June 27 – July 10

August 15-21

Art Sticks– Right Angle Beadweaving

Wooden Books: Windows & Curiosities Focusing on the Ethiopian bindings, you will create several book structures that emphasize the unique characteristics of wood, mica, handmade papers and other materials. Explore a variety of media and materials with the intention of showcasing and protecting small treasures and imagery within your work. Working primarily with milk paints and acrylics, you will learn to create a variety of surfaces on your book covers. You will utilize mostly hand-powered tools to learn the skills and techniques to build a wooden book that houses found objects. Course Fee & ID: $950 | 2010BOK-Jun27 Daniel Essig is a studio artist and workshop leader in Asheville, North Carolina; recipient of the North Carolina Artist Fellowship Grant; exhibits nationally in private and public collections, including the Smithsonian Renwick Museum, University of Iowa Library and the Topeka Shawnee County Public Library. Visiting artist Dolf Smith was a faculty member at Memphis College of Art for 30 years teaching painting, drawing and developed a paper/book program: The Flying Vat; retired in 1995 and was awarded Honorary Doctor of Fine Arts in 2004; profiled in The Penland Book of Handmade Books.

July 18 -24

Dynamic Dimensional Design Discover a playful approach to generating sculptural ideas and artworks using simplified architectural and engineering principles. Create maquette studies that have applications in sculpture, clay, metal, fabrics, jewelry, books and boxes. You will experiment with the techniques of pleat and twist folding, origami, pop-ups, tessellations and dimensional weaving with various media. The magic of kinetic and collapsible concepts will be explored. Course Fee & ID: $475 | 2010PAP-Jul18 Joan Michaels Paque is a mixed media dimensional artist and author; recent recipient of the Gary Gobberville Memorial Fellowship to Ragdale Foundation; teaches and exhibits internationally.


August 8 -14

Stop-motion Animation–Making History Learn the basics of stop-motion animation with members of the collaborative artist group, Tiny Circus. This exciting workshop will focus on the unique nature of both artistic collaboration and the animation process. You will collaborate to create a variety of animations ranging from a few seconds to a few minutes in length. The week will culminate with your work incorporated into a spectacular animation show projected from the Tiny Circus mini Airstream trailer projection unit. Course Fee & ID: $475 | 2010SPL-Aug08 Carlos Ferguson is the founder of Tiny

Circus and currently works full time on the project; taught at Berea College, The College of William and Mary, and Ithaca College; former resident at the Macdowell Colony, the Virginia Center for Creative Art, and the Sacatar Foundation in Brazil.

Greta Songe is Professor of Art at Florida State College and a core member of the collaborative art group, Tiny Circus (tinycircus. org), which makes stop motion animations with community groups across the country; former Arrowmont Resident Artist; degrees in painting, drawing and printmaking.

What do you see when you look at a stick? Find a stick that “speaks to you” and bring it along with your favorite seed bead colors, paint, markers and any other art materials you enjoy. We will use these materials, the off loom beadweaving technique of free form right angle weave and your imagination to create sticks of personal meaning. Your stick creations will be made through expressing what you see. Participants must be able to do off loom right angle weave. Course Fee & ID: $475 | 2010TXT-Aug15 NanC Meinhardt, is an off loom bead

weaving artist in the Chicago area; she is published in over 39 books including, “Masters: Beadweaving,” “500 Beaded Objects,” and “The Art Of Beadwork”; she teaches internationally and is best known for her Master Class, The Maze Project;

S P E C I A L topics August 29 – September 4

September 19-25

September 26 – October 2

Acrylic Reinforced Concrete Forming over Steel

Exploring Paper’s Potential

Think Big, Work Big: Large Scale Jewelry Forms in Polymer Clay

This adventurous course will introduce you to the basics of creating concrete sculpture using a steel armature. You will learn the basic welding techniques for creating armatures and steel elements, how to apply wire mesh material over the armature and how to layer the acrylic reinforced concrete over the mesh to create unique concrete forms. Experiment with powder and acid etching dyes on the concrete surface to achieve interesting color effects. Course Fee & ID: $475 | 2010SPL-Aug29 Michael Waller has worked professionally as a blacksmith, fabricator, foundryman, moldmaker and private sculpture instructor; BFA from East Carolina University; created over a dozen public art projects throughout North Carolina as well as other private commissions.

September 5-11

Bracelets, Bangles & Cuffs Polymer clay is an extremely versatile material for both two and threedimensional work. Learn decorative surface treatments such as carving, texturing, simple sculpting and building hollow forms as you create several pieces of jewelry. The emphasis of the class is on exploring colors and shapes while experimenting with different techniques. The class is ideal for beginners, jewelers who want to incorporate polymer clay into their repertoire as well as intermediate and advanced polymer clay artists. Course Fee & ID: $475 | 2010PCL-Sep05

This class is all about exploring paper’s potential. With the help of a Hollander beater, vacuum table, deckle boxes and just your hands you will explore low-cast reliefs, hand-formed images, embossing, landscape-like sheets and three-dimensional forms. Course Fee & ID: $475 | 2010PAP-Sep19 Claudia Lee is a full-time papermaker, author,

designer and teacher; owns and operates Liberty Paper Mill, a working studio in Tennessee; work found in many public and private collections.

September 26 – October 2

The Art of Concrete Concrete’s not just for sidewalks anymore! Concrete is an amazing sculpting material that can be used in a variety of techniques for personal expression. Learn the basics of working with armatures, modeling, and carving as you explore form development while building on sculptural skills through handson projects. Explorations in color and surface treatments will add to the range of artistic expression possible through this versatile material. No previous experience with concrete is necessary. Course Fee & ID: $475 | 2010SPL-Sep26

Big is the “in” trend in studio and fashion jewelry. Discover how to create large, elegant and lightweight jewelry that people will want to wear. Master the unique challenges that artists face when working big, from design considerations and construction pitfalls to unique ways to present and display large-scale work. Topics and techniques to be covered include design considerations, understanding scale and proportion, wearability and color, and fabrication and finishing techniques. Course Fee & ID: $475 | 2010PCL-Sep26 Seth Lee Savarick is a full-time artist creating polymer jewelry and personal ornaments; taught art and design at Parsons School of Design, Corcoran School of Art, and the Bransdale Art Center as well as many international clay conferences; works represented in numerous galleries, boutiques and fine craft shows nationally.

Sherri Warner Hunter creates public and private commissions, community art projects and gallery work in her studio in Bell Buckle, TN.; BFA from the Kansas City Art Institute and MA from Claremont Graduate University; author of two books on concrete, including Creative Concrete Ornaments for the Garden.

Cynthia Toops is a full-time artist and

jeweler who has been working with polymer clay for over 20 years; works exhibited in museums and private collections nationally and internationally and widely published.

P hotographs Above Left: Daniel Essig Lower Left: NanC Meinhardt Right: Seth Lee Savarick


Arrowmont’s workshops are designed to provide creative opportunities for anyone who wants to learn new skills, be energized, and inspired. One- and two-week sessions offer a concentrated experience of working in a professionally equipped studio with dedicated and talented instructors and other students. Professional artists and hobbyists, young and older students work side-byside,exchanging ideas and techniques. The power of focused time together results in new thinking and artistic growth for all. Workshops are open to students 18 years old or older, at all skill levels unless indicated otherwise in the course description. Please call for more information if you have questions about participating in a specific workshop.

Work in the Galleries is for sale, supporting artists in their careers and the work of the School. Their central location in the Turner building makes it easy to spend time in the Galleries during a workshop session or visit. The Galleries are open to the public, most exhibitions include an opening reception. The Jerry Drown Wood Studio Gallery features a revolving wood exhibition from the School’s collection, much of which was donated as a bequest from Jerry Drown, a long time supporter of the School. Exhibitions include turned and constructed wood objects and wood sculpture. These objects are not for sale, but the Drown Gallery, located in the Wood Studio, is open to visitors.

Community Programs Arrowmont offers a series of classes especially for residents of our local community. Adults and children can take advantage of the opportunity to work in our professionally equipped studios with skilled teaching artists. Scheduled on weekday evenings during the winter for adults and on Saturday mornings for children, Community Classes are a great way to learn a new skill or perfect a technique, try a new media, and have some fun. Complete information about Community Classes is available in a separate brochure. Please call to request a copy.

Exhibition Galleries at Arrowmont

2010 Exhibition Schedule Sandra J. Blain Galleries The Loggia Gallery

The Sandra J. Blain and Loggia Galleries offer a full schedule of regiional and national changing exhibitions that complement and support workshops and other Arrowmont programs. Serving as an educational resource, the exhibitions in the Galleries enable students and visitors to learn about various media and techniques, and how different artists express ideas through their work. Exhibitions also honor local artists, both adults and children, through collaborations with other organizations.

Sevier County Invitational January 8 – February 27


The 17th Annual Sevier County Student Art Show will be presented n the Painting Studio from February 19 to March 6.

Annual Artists-in-Residence Exhibition March 5 – May 1 2010 Arrowmont Instructor Exhibition May 7 – October 8 Figurative Association: Celebrating the Human Form October 15 – December 24

Selections from Arrowmont’s Permanent Collection March 5 – April 10 Spring Wildflower Artist of the Year April 16 – May 22 Selections from Arrowmont’s Artists-in-Residence Collection May 27 – July 3.


Artist-in-Residence Program

Artist Outfitters Supply Store

The Artist-in-Residence Program, established in 1991, provides early career, self-directed artists time, space and support to develop a new body of work in a creative, supportive community environment with over 160 visiting artists/ instructors and students. Residents are selected annually to participate in the 11 month program. Residents live on campus and are provided private studios, a monthly stipend, a furnished shared house with private bedrooms & bathrooms, and meals during workshop sessions. Professional development, paid teaching and exhibition opportunities are available. The program encourages early career artists who embrace community experiences and enjoy working in a team environment. For more information visit our website,

Workshop supplies and books are available in the Artist Outfitters Supply Store on campus, along with artwork by current and former Resident Artists. The Supply Store carries materials requested by instructors for classes, as well as an extensive collection of supplies for work in all media. Artist Outfitters is open seven days a week during class sessions, from 9:00 a.m. to 5:00 p.m. for students and the public. Winter hours through May 15 are Monday-Friday 8:30 a.m. to 5:00 p.m.

The program is generously funded through an anonymous gift, the Robyn and John Horn Resident Artist Woodturning Endowment, the Trabue Family Scholarship, Reid-Wild Scholarship, Virginia Alpha Scholarship, and Pi Beta Phi Sign of the Arrow Endowment.

Arrowmont Facility Rental Arrowmont’s facilities provide the perfect location for conferences, corporate retreats, business meetings or family gatherings. Housing, meals, presentations and art-making can be easily accommodated on campus. Contact Steve Reilly, Facilities Manager at 865436-5860 ext. 35 for more information.

P hotographs Above Left: Sandra J. Blain Galleries Above Right: Resident Artist Martina Lantin working in her studio Above: Artist Outfitters Supply Store


spending time at arrowmont

Most people come to Arrowmont to be immersed in art and away from the pressures and responsibilities of daily life. Housing, meals, evening slides, and almost 24-hour studio access provide everything you will need to be stimulated and inspired. Students may choose never to leave campus during their workshop session. However, if you want to get a drink, shop, or sightsee, Gatlinburg is just down the driveway. Located on 14 acres on a wooded hillside in downtown Gatlinburg, TN at the edge of Great Smoky Mountains National Park, Arrowmont offers both a secluded retreat experience and a busy tourist center. The School is easily accessible by car and shuttle service is available from Knoxville McGhee Tyson Airport. Information will be sent with your registration confirmation. A typical one-week workshop session begins on Sunday with check-in between noon and 6:00 p.m. Classes begin at 7:30, following dinner at 5:30 and a Welcome and Orientation at 6:30. Class continues Monday through Friday, 9:00 a.m. – 5:00 p.m. but studios are generally open until 1:00 a.m. for students who wish to continue to work. Studio clean-up is Friday afternoon with departure on Saturday morning. Two-week classes


follow the same general schedule but students may work in the studios through the weekend in between. Weekend classes begin on Friday evening and continue through Sunday at 3:00 Workshops are held in wellequipped studios clustered together to encourage exchange and dialogue between instructors and students. Arrowmont instructors include studio artists and college and university faculty; the best in their fields of both traditional and contemporary art. The Sandra J. Blain and Loggia Galleries host exhibitions that add to the learning experience. Our Artist Outfitter’s Supply Store stocks materials needed for classes, and students maintain an account during their workshop that is settled prior to departure. The Marian Heard Resource Center houses an extensive collection of books and periodicals available to use on-site. Two iMacs and one PC computer enable instructors and students to access the Internet for additional research and to print from a connected black & white and color copier. Most of the campus is wireless for those who bring a laptop. The Resident Artists host a reception and open studio each week. Dinner is an outdoor barbecue every Wednesday,

weather permitting. Images of instructor work are presented each evening in the auditorium as a great way to learn about other media and be inspired. There are many places on campus to gather in small and large groups, including porches with rocking chairs overlooking the mountains, and a student lounge with snack and coffee machines open 24 hours for night-owls. Arrowmont studios and housing facilities are accessible on a campus that is considered moderate mountain terrain. A gradual walk up a short hill to most facilities is necessary. If you have special housing or other requirements, please discuss with the registrar at the time of registration so we can best meet your needs. A week or two at Arrowmont offers time to focus on your work. The combination of formal instruction and collaboration with other students will stimulate and inspire you to apply yourself fully to the task and accomplish more than you imagined. The impact of the experience will influence your work and life long beyond your time on campus. New ideas, new friends and a new way of looking at art and at the world are lasting results of the Arrowmont experience.

HOUSINg/MEALS Stuart and Teachers are rustic and charming houses with airconditioning that include single, double and triple rooms sharing common bathrooms. Prices are per person. One Week

Students generally live on campus during their workshop, to take full advantage of the immersion opportunity, get to know their fellow students, and spend as much time as possible focused on their work. Campus housing includes single, double, triple and dormitory rooms in four buildings. All linens are provided. Rooms are assigned on a first come, first served basis. All campus housing prices include three meals daily in the Staff House Dining Hall. Meals are served Sunday dinner through Saturday breakfast for one-week classes and Friday dinner through Sunday breakfast for weekend classes. Although we cannot provide special options for everyone, we do provide vegetarian meal choices.

Students staying off-campus may purchase meal plans at $199 for one-week, $439 for two-week, and $70 for weekend workshops.

Single (private bath) $682 $1,412


Students may choose to stay offcampus. Information on off-campus housing can be obtained from the Gatlinburg Chamber of Commerce (800-588-1817, No camping is permitted on Arrowmont property. No pets are permitted on campus except service animals.

Single (shared bath) $522 $1,092


Double (private bath) $527 $1,102


Double (shared bath) $432 $912


Two Weeks


Single (shared bath) $522 $1,092


Double (shared bath) $432 $912


Triple (shared bath) $372 $782


Red Barn is a renovated historic structure without air-conditioning. It offers double, triple and dormitory style rooms accommodating 4 – 13 people, all with shared baths. Prices are per person.

Hughes Hall has air-conditioned rooms, private or adjoining baths, a lounge with television, and a large, comfortable porch. Hughes is a threestory facility, and is first floor handicap accessible but does not have an elevator. Rooms with private baths have limited availability. Prices are per person. One Week

Two Weeks

One Week


Two Weeks


Double (shared bath) $377 $787


Triple (shared bath) $342 $722


Dormitory - 4-12 per room (shared bath) $312 $667 $116

Shuttle Service & Rental Car Information

Shuttle Service is available from Knoxville McGhee-Tyson Airport. Call Rocky Top Tours (877-315-8687 ask for Linda Hall) to make reservation at least two weeks prior to your workshop. Rental Cars are also available at the airport. A 10% discount is offered through Enterprise Rent-A-Car with corporate code: 56EN632.

P hotographs Above Left: Local artist, Pat K. Thomas, dyeing fabric outside the textile studio during a workshop Above: Stuart Dormitory Left: Teachers Dormitory Room


Registration for 2010 workshops begins in January 2010 (the actual date will be posted on our website). Applications for Scholarships, Work-study and Studio Assistant positions are due March 1, 2010. See the next page for more information. Classes are filled on a first come, first served basis. A complete registration includes the registration form on the back page, $300 consisting of your $50 registration fee and a workshop fee deposit of $250 for each class.

Special discounts are available for 2010 • E arly Bird Registration Discount: Registrations received by March 1, 2010, receive a 15% discount on workshop fees. • M  ultiple Class Registration Discount: When a student registers for multiple classes at the same time he/she will pay the full regular workshop fee for the first class then receive $50 discount on each of the additional classes. • K  -12 Teachers Discount: Teachers receive a $100 discount on workshop fees for registrations received 30 days or less from the start of the workshop. Applicants must be currently


working as a teacher to be eligible for the discount. A paystub or other documentation of current employment is required. Classes are subject to availability and there are no refunds. Teachers may choose to pay the full fee to ensure a confirmed space in a class. • L ocal Residents Discount: Those who live in Blount, Cocke, Jefferson, Knox and Sevier counties in Tennessee receive a $100 discount on workshop fees for registrations received 30 days or less from the start of the workshop. A valid driver’s license or voters registration card is required. Space in classes is subject to availability, and no refunds are available. Local residents may choose to pay the full fee to ensure a confirmed space in a class. In all cases, only one discount per student may be used. Discount programs cannot be combined. You may register by phone: 865436-5860; or by fax: 865-4304101. or by mail with credit card or check. Checks, MasterCard, VISA, or Discover card are accepted.

Payment, Cancellations, Transfers & Refunds PLEASE READ CAREFULLY OUR REGISTRATION PROCESS HAS CHANGED! • All registrations require a $50 nonrefundable registration fee, regardless of the number of workshops for which you are registering. Each person registering must include the $50 fee. • A deposit of $250 per workshop is due at registration for all workshops (regardless of the cost of the workshop or housing choice). • Full payment of all charges is due 30 days prior to the beginning of your workshop. • Workshop registration is nontransferrable from person to person or from class to class. • Cancellations received in writing more than 30 days prior to the start of your workshop are entitled to a refund of the $250 deposit. • Cancellations received 30 days or less prior to the beginning of the workshop receive no refund.

R egistration


• A  rrowmont reserves the right to cancel any class due to insufficient enrollment and will notify students of any cancellation at least two weeks prior to the start of the workshop. In the event that Arrowmont cancels a class the student will receive a full refund, including the registration fee. • A  rrowmont cannot be responsible for airline tickets or other travel costs in the event of a cancellation.

Workshop Fees: One-Week Workshop $550 Woodworking, woodturning & glass* $475 All other classes

Two-Week Workshop $1,100 Woodworking, woodturning & glass* $950 All other classes

Weekend Workshop $325 Woodworking, woodturning & glass* $285 All other classes

* These workshop fees are slightly higher to cover the increased expenses of operating highly technical studios and equipment. Arrowmont is working with several colleges and universities to offer an affordable option for students enrolled in a workshop to earn college credit hours. Please call Arrowmont before you register to find out what opportunities are available if you are interested in college credit. Students should be aware that in many workshops they may be working with tools and equipment which, if improperly or carelessly used, can cause injury. All classes will include a safety review to inform students about proper use of tools and equipment in the studio. By registering for a workshop, students assume the risk of working with the tools, equipment, and materials provided by Arrowmont, and neither the instructor, the School nor its employees will be responsible for injuries received by students as a result of the improper or careless use of those tools and equipment.

Materials Fees: Materials fees will be charged to all students based on materials used in each class, and are in addition to materials or supplies that your instructor may ask you to bring or that you purchase at the Artist Outfitters Supply Store during your workshop. Materials fees are collected on the last day of class. The chart below offers a range for the average materials fees for various classes. It is possible for fees to be less or greater than the range indicated depending on the class. Clay






Fiber/Surface Design/Marbling $25-$90 Glass Kiln Casting (Glass) Metals/Enamels/ Polymer Clay

$90-180 $150-$300 $15-$85

Paper/Book Arts/Printmaking $20-$80 Photography


Woodturning/Woodworking $20-$120 Sculpture


Encaustic Painting


P hotographs Above Left: Student working on a mixed media collage Above Top: Stuart Dormitory Above: Printmaking students sport their handmade hats


scholarships Arrowmont offers several opportunities to enable students to attend workshops at reduced cost. Individual scholarships provide partial or full coverage of workshop fees, room and housing. They are awarded to a student to take a specific workshop based on financial need and various criteria depending on the source of the funds. An application is required for each scholarship and is available to download at The application deadline for the 2010 workshop season is March 1, 2010. For more information about applying for a scholarship, please call 865-436-5860. Friends of Arrowmont Scholarships are partial scholarships that cover 50% of the workshop fee, meals and dormitory housing for a one- or twoweek workshop. These scholarships are intended to make Arrowmont’s programs available to the broadest population of students. Qualifications include financial need and a commitment to personal artistic goals. Skill in a particular medium is not required. Applicants must describe why they want to take a specific class, why the cost would be a hardship for them, why they would make a good candidate for a scholarship, and how they intend to use the experience to further their artistic goals. Friends of Arrowmont Scholarships are funded by gifts to the Friends of Arrowmont Annual Fund, Scholarship Auctions, the Margaret L. Gongaware Scholarship Fund, the Suzanne Hill Memorial Scholarship Fund, the Helen M. Russell Bequest, the Robert H. Skinner Bequest, and the Rude & Daphne Osolnik Scholarship Fund.

P hotographs Above: Scholarship student Tali Weinberg Right: Kate Borcherding with scholarship student, Jessica Turner Upper Far Right: Work-study student Allen Chen Lower Right: Work-study student Kelsey Roberts (L) making cakes in the kitchen with Ms. Patsy, Arrowmont’s cook.


The Dr. Judith Temple Scholarship Fund provides full scholarships that cover 100% of the costs of attending a one- or two-week workshop at Arrowmont. These scholarships are for promising and talented students who could not otherwise afford to come to Arrowmont. Applicants must provide images of their work and letters of recommendation along with their application. The Dr. Judith Temple Scholarship Fund was established by an anonymous donor. The Steven E. & Carolyn J. Gottlieb Woodcraft Scholarship is a full scholarship that covers 100% of the cost of attending a one-week workshop including transportation and supplies to a financially deserving student pursuing woodturning. Preference will be given to students 18 – 23 years of age who are launching a career in woodturning, but older students are also encouraged to apply. The Steven E. & Carolyn J. Gottlieb Woodcraft Scholarship Fund was established by Steven and Carolyn Gottlieb. The Pi Beta Phi Foundation provides scholarships to both members and non-members of the national Pi Beta Phi Fraternity. Application procedures and materials are available directly from the Foundation at www.pibetaphifoundation. org. Go to the “scholarship link” to download an application.

work - study & assistantships Work-study students & studio assistants are an integral part of the School’s operation and a great way for students with limited financial resources to attend classes. The application deadline for Work-study and Studio Assistant positions is March 1, 2010. Application forms can be downloaded from Arrowmont’s website. Work-study students function as part of the kitchen team preparing food, washing dishes, and setting and cleaning up the dining room. Work-study students might also help with grounds maintenance, housekeeping, library and technology support, or in the Artist Outfitters Supply Store. Since previous art experience is not necessary for workstudy positions, this is a great way to learn new skills, gain confidence artistically and make life-long friends working in a fun and creative environment. Work-study students receive one week of class for each 45–50 hour week of work. Students are also expected to work up to 22 hours during the week they are in class. The workshop fee for your week(s) of class as well dormitory housing and meals for the length of your commitment are provided. Materials fees and other art supplies are the responsibility of the student and are to be paid weekly. Classes are awarded based on availability. Students must arrive the Friday prior to their session and stay through the Sunday after their last workshop. Workstudy positions are physically demanding and require that you be able to lift 50 pounds. The minimum commitment is two weeks with a preference given to applicants of four weeks or longer.

fee for your week(s) of class as well as dormitory housing and meals for the length of your commitment are provided. Materials fees and other art supplies are the responsibility of the student and are to be paid weekly. Classes are awarded based on availability. Students must arrive the Friday prior to their session and stay through the Sunday after their last workshop. Studio Assistant positions are physically demanding and require that you be able to lift 50 pounds. The minimum commitment is two weeks with a preference given to applicants of four weeks or longer. Arrowmont considers individuals who are mature, team oriented, self-motivated and who have experience and skills in the arts. Enthusiasm and commitment are required. Educational assistance is provided to the student-employee as part of the Studio Assistant and Work-study Programs. As an employee of Arrowmont, meals and lodging are provided on Arrowmont premises and must be accepted by the student-employee as a condition of their employment. For more information: Arrowmont School of Arts and Crafts P.O. Box 567 | 556 Parkway Gatlinburg, TN 37738 865-436-5860

Applications are available online: Studio Assistantships: Work-study:

Arrowmont considers individuals who are mature, team oriented, self-motivated and interested in the arts. Enthusiasm and commitment are required. Studio assistants provide support to instructors by preparing and maintaining studios for workshops and assisting students. Although Studio Assistants may have expertise in a specific area, they will work in all studios in some capacity. Studio Assistants receive one week of class for each 45 – 50 hour week of work. Studio Assistants are also expected to work up to 22 hours during the week they are in class. The workshop


SU PPORT FOR AR ROWMONT Support for Arrowmont Arrowmont is committed to keeping workshop fees and other costs as low as possible to make the creative experience accessible to most everyone. This would not be possible without generous contributions from foundations, corporations and individuals like you. Many gifts of all sizes to the Friends of Arrowmont Annual Fund combine to provide scholarships, support children’s programs, equip studios and sustain the School. When you become a Friend of Arrowmont with an annual gift, you strengthen your connection to this community and help others. All Friends of Arrowmont receive our e-Visions Newsletter and regular communications about events and opportunities on campus and around the country. Friends who contribute $100 or more also receive a discount on supplies in the Artist Outfitters Supply Store. Those who make gifts of $1,000 or more become members of our Signature Circle, serving as leaders and advisors to help plan for the future. Please consider adding a Friends of Arrowmont gift to your registration, send a gift in the mail or make a gift online at through our secure server. All contributions are tax-deductible to the fullest extent of the law. Gifts of stock and planned gifts are also welcomed. Both offer special tax advantages for the donor. Planned gifts allow you to make arrangements now to support Arrowmont in the future. In-kind gifts of equipment, supplies and materials help us keep our studios state-of-the-art. Check out the Studio Needs List on our website to see if you can help with an in-kind gift. For more information on how you can help, contact the development office at 865-436-5860, ext. 32. Programming has also been made possible in part through a joint agreement with the Tennessee Arts Commission and the National Endowment for the Arts, which believes that a great nation deserves great art.


Friends of Arrowmont Educational Assistance Fund Auctions Exciting auction events are being planned for 2010. Join us for two live auctions on campus, “mini-auctions” and real time live online auctions throughout the year! Auctions include outstanding art and craft generously donated by our instructors. Similar works by these artists are sold in fine galleries and held in museum collections worldwide. All proceeds from the auctions support

the Scholarship Fund at Arrowmont. Each campus event begins with a preview, bidder registration and a silent auction followed by the live auction. Refreshments are served and there is no cost to attend. Visit our website www.arrowmont. org for dates and details and join the mailing list to receive our newsletter and updates throughout the year.

Early Birds: Register before March 1 and get 15% off.

2 0 1 0 R e g istration form

Please complete this form for each workshop for which you are registering.

How did you hear about Arrowmont? q Magazine or Periodical, Which one?



Address City


q Friend, Name _______________________________ q Instructor, Name ____________________________ q Website ___________________________________ q School ____________________________________ q Other _____________________________________


Home Phone Cell Phone Email





Two Weeks


One Week

Two Weeks



One Week

Two Weeks


Single (private bath) $682 $1,412


Single (shared bath) $522 $1,092


Double (shared bath) $377 $787


Single (shared bath) $522 $1,092


Double (shared bath) $432 $912


Triple (shared bath) $342 $722


Double (private bath) $527 $1,102


Triple (shared bath) $372 $782


Double (shared bath) $432 $912


Dormitory - 4-12 per room (shared bath) $312 $667 $116

You must indicate a first and second choice for housing. 1.


Roommate Request




q Check enclosed q VISA

Course Fee Housing

Card No.

Meal Plan Option: $70/Weekend; $199/1 Wk.; $439/2 Wks. (for off campus students)

4 Digit Exp.

FOA Contribution*

q Discover

3 digit security code


Total Deposit

q MasterCard

q I am 18 years of age or older. minus $300

Balance (due 30 days prior to workshop) *Gifts of $100 or more entitle you to a 15% discount in the Artist Outfitters supply store

q New Student

q male q female (for housing purposes) q I have read and understand there will be a lab fee to be paid the last day of class. This is in addition to tuition and materials my instructor may suggest I bring. See lab fee information on page 49. q I have read and understand the refund, cancellation and transfer policies on page 48.

w w w. a r r ow m o n t . o r g | 8 6 5 - 4 3 6 - 5 8 6 0

2010 Workshop Catalog for Arrowmont School of Arts and Crafts  

Designed and produced through mailing this print catalog for Arrowmont School of Arts and Crafts.

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