September 10 - 15, 2018
Fall Program courses are a new alternative to the longer Summer Program. They offer shorter one-week courses on campus with equal immersion and focus, while operating at a different pace. The number of students on campus is smaller than in the Summer Program, and campus events are minimalized for a quieter, more contemplative environment.
The Fall Program courses this year include glassblowing, flameworking, glass painting and enameling, as well as a hybrid printmaking course. The Fall Program is a dynamic and fulfilling way to end the summer and welcome in the fall.
Fire, water, air, steel, paper and glass are elements common to the hot shop as well as what students will use in this introductory course to glassblowing. Students will learn the tools and techniques involved in most basic forms of blown glass. With daily demonstrations and plenty of hands-on practice, students will develop both mind and body as they draw, design and execute works of art and functional crafted pieces in this fun and stress-free workshop.
B / ALL LEVELS
An American master glassblower, Ed Schmid has been living the dream and working with molten glass since 1984. He is also the guy that literally wrote the book on glassblowing; namely the world’s best-selling texts on how to do it: Beginning Glassblowing and Advanced Glassblowing Techniques. Schmid also teaches at his studio in the Pacific Northwest as well as giving classes and workshops worldwide. His work can be found in several museums and major collections around the globe.
THE EXQUISITE BRIDGE
Beginning with the basics, this course will purposefully wander through a variety of flameworking techniques to cement the knowledge necessary to build detailed structures in borosilicate. Students will focus on building, constructing and bridging (making a temporary scaffold to hold things in place). This course will cover strategies for simple moving parts such as hinges and swivels, as well as covering methods for transferring scale drawings using compasses and straightedges onto glass.
A / ALL LEVELS
Having received her BFA from Alfred University and her MFA from Southern Illinois University, Kit Paulson’s work draws on the implications of ornament, material-culture histories and objects that can be worn/inhabited/enacted. Her work incorporates traditional ballads with stop-motion video, equating handwork with the build-up of time. She has taught workshops around the US and completed various residencies including the Rosenburg Residency in Salem, Massachusetts and at Museum of Glass, Tacoma.
AESOP’S FABLES IN STAINED GLASS
Stained Glass, Painting, Imagery, Life Skills
In this intense five-day course, students will focus on developing strong concepts in their work, ultimately resulting in a stained-glass window based on one of Aesop’s fables. Students will explore hand-illustration processes on glass, including painting, air brushing, ‘pen-and-ink drawing’ and using kiln-fired enamel paints. Cutting, copper foiling and soldering will also be covered in the class, as well as demonstrations on lighting and framing finished pieces. Worksheets will be used to help students better focus on their work, life and future.
A / ALL LEVELS
Joseph Cavalieri is an award-winning native New York artist and educator. He has taught extensively in the US and internationally. He was invited to be the keynote speaker for the Glass Society of Ireland in 2015. His work is in permanent collection of Museum of Arts and Design, Italian American Museum, Leslie-Lohman Museum, Stax Museum, and in the collections of Simpson’s writers in Los Angeles. He has collaborated with illustrator Robert Crumb.
SCRATCHING THE SURFACE
Printmaking, Coldworking, Laser Engraving, Imagery, 3-D Printing
Combining flat glass and paper under pressure, this course will cover the subtleties of glass-plate printmaking while utilizing new technologies in glass etching. Demonstrations covering digital and physical techniques will take place in the Print Studio, BotLab and Cold Shop as students combine processing to discover new possibilities in mark making. The marked glass plates will act as shallow molds for paper while students work towards finalized prints by the end of the workshop.
B / ALL LEVELS
Hannah Marie Smith’s studio practice combines printmaking and technology to explore visual complexity and notions of understanding. Introduced to glass through vitreography, Smith has spent the last three summers managing the Print Shop at Pilchuck Glass School where she works with artists in residence in the production of prints for their permanent collection. Living in Boston, Massachusetts, Smith is exhibiting and teaching workshops nationally.