Textiles Workshops at Penland

Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include tapestry weaving, sewing, knitting, quilting, surface design, natural dyes, shibori, basketry, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Enrollment for spring and summer 2017 workshops is currently open.

 


 

 

Spring Concentration
March 12 - May 5, 2017


Tommye McClure Scanlin, Flight, wool, cotton, 60 x 52 inches

 

Bhakti Ziek, Sisyphus: Emoticons (detail), cotton, silk, metallic

yarns, 88-1/2 x 27-1/2 inches

Tommye McClure Scanlin & Bhakti Ziek
Weaving: A Dialogue

Taught by a tapestry weaver and a Jacquard expert, this workshop will focus on image making and storytelling through weaving. Advanced weavers and novices will be encouraged to learn from each other as they explore woven structures for ways to make images. The instructors have extensive knowledge of weaving in all its forms, and we’ll explore everything (almost!) possible in a “weaverly” way. We’ll work with tapestry looms and/or floor looms. Open to weavers and artists of all types at all levels of skill. Code S00TB


Tommye: professor emerita from University of North Georgia; other teaching: Arrowmont (TN), Peters Valley (NJ); Hambidge Center Fellow; exhibitions: American Tapestry Biennial. Bhakti: studio artist; teaching: School of the Art Institute of Chicago, Arizona State University, Haystack (ME), Arrowmont (TN); co-author of The Woven Pixel; collections: Museum of Arts and Design (NYC).

tapestry13.blogspot.com

bhaktiziek.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

Spring One-Week Session 1
March 26 - April 1, 2017


Martha Clippinger, Licha, hand-dyed, woven wool, 72 x 48 inches

 

Martha Clippinger
Intuitive Geometries

Rather than plan and execute a quilt with precise cutting and predetermined patterns, students in this workshop will use their intuition. We’ll study our fabrics, noting their colors and textures, and consider potential arrangements. During the process of piecing, participants will be encouraged to divide, add, split, shift, flip, and turn their compositions into new designs. The broken patterns and irregular symmetries of these intuitive geometries will produce quilts that are full of color, texture, and most of all, rhythm. All levels. Code S01TA


Studio artist; grants and awards: American Academy of Arts and Letters Purchase Award, Fulbright-Garcia Robles Research Grant (Mexico); residencies: MacDowell Colony (NH), Edward F. Albee Foundation (NY), Marie Walsh Sharpe Art Foundation (NYC); representation: Elizabeth Harris Gallery (NYC).

marthaclippinger.com


 


 

 

SUMMER session 1

May 28 - June 9, 2017


Charllotte Kwon and Sophena Kwon, Dyed Yarn Samples

 

Charllotte Kwon & Sophena Kwon
The Natural Dye Studio

This workshop will introduce students to natural dyes and the cultures that use them. We’ll cover mordants and tannins in depth and work with some of the most important colorants in the world: from madder reds to cochineal and lac insect dyes to intense browns, yellows, and golds from petals, barks, leaves, and roots, and, of course, indigo—perhaps the most magical and singular dyestuff. We’ll explore shaped-resist techniques, and we’ll print with mordants and experiment with the interplay of dyes, mordants, and tannins in a way that is not possible with straight immersion dyeing. We’ll create samples on a variety of fibers and conclude with a period of personal study. This workshop requires lifting dyepots. All levels. Code 01TA

 

Charllotte: owner of Maiwa Handprints and founder of the Maiwa Foundation (Vancouver); teacher of dyeing workshops worldwide. Sophena: dyer, workshop teacher, and clothing designer for Maiwa.

maiwa.com

sophenakwon.com

 

 

 


 


Anna Sudo, Miréio Shawl, silk, wool

 

Anna Sudo
Designing Hand-Knits

During this workshop you’ll design an original knitted garment and dye yarn for it. We’ll begin by investigating various garment shapes and construction techniques. You’ll learn how to adapt stitch patterns to suit your design, how to design to your measurements, and finishing techniques. We’ll also explore various dyeing techniques to create the perfect yarn to suit your design. You’ll leave with several skeins of hand-dyed yarn and the beginnings of your custom-designed garment. Intermediate; this workshop requires basic knitting skills. Code 01TB

 

Knitwear designer; published on ravelry.com, knitty.com, and in American Spun: 20 Classic Projects Exploring Homegrown Yarn.

ravelry.com/designers/anna-sudo

 

 

 


 

 

SUMMER session 2

June 11 - 23, 2017


Wayne Wichern, Fallen Leaves Collection, printed and solid

millinery felt, rayon ribbons, silk flowers

 

Wayne Wichern
Felt & Straw Hats: Blocked & Freeform

Create felt and straw hats using traditional hat blocks and freeform blocking methods. Form, sculpt, and mold onto wooden hat blocks to create classic hat shapes or onto found objects to form sculptural and eccentric hats. Learn traditional finishing and embellishment techniques: rolled brim edges, hand-sewn and machine-sewn welts, bias binding, or petersham ribbon bindings. Millinery ribbons, flowers, silk fabrics, horsehair, straw braids, and other trimmings will complete your fanciful hats. Expect to create six or more hats. All levels; machine- or hand-sewing skills will be helpful. Code 02TA

 

Millinery designer; teaching: Peters Valley (NJ), Oregon Shakespeare Festival, Millinery Meet-Up (TN); collections: de Young Museum (San Francisco), Museum of History and Industry (Seattle); galleries: Gallery of the Mountains (NC), Fino Fino (CA).

waynewichernmillinery.com

 

 

 

 

 

 

 


 


Jessica Green, Handspun Coverlet, homegrown handspun wool,

organic American cotton, 60 x 60 inches

 

Jessica Green
Color/Texture, Structure/Pattern

There is a weaving myth that one is either a color/texture weaver or a structure/pattern weaver. Using these hilariously limiting either/or categories as a starting place, we’ll set up looms along this continuum and explore a cornucopia of weave structures, materials, and techniques. While working traditionally and building necessary skills, we’ll also learn to push ourselves and our craft toward some far-out possibilities. You can expect to create a diverse and exciting set of samples as a reimagining of your weaver’s identity and to put that new knowledge to work in a personal project. All levels. Code 02TB

 

Studio artist; weaver and designer behind A Little Weather handwoven home goods; teaching: Warren Wilson College (NC); residencies: Hambidge Center (GA) distinguished fellow; exhibitions: Bradbury Art Museum (AR), Center for Craft, Creativity & Design (NC).

alittleweather.com

 

 

 


 

 

SUMMER session 3

June 25 - JULY 7, 2017


Sherri Lynn Wood, Business Attire, dress shirts, ties, fleece, linen

table cloth, scavenged thread, 72 x 57 inches

 

Sherri Lynn Wood
Making Do

Connecting to patchwork quilting’s roots in scarcity, we’ll employ the practice of “making do” to activate a level of creativity that may only be possible when we are freed from unlimited choice. We’ll use ruler-free piecing techniques and improvisational process to create patchwork from discarded clothing, scavenged materials, and/or materials charged with memory. As we recognize and collaborate with the natural shapes and limitations of our materials, surprising geometries will be revealed. You may finish your patchwork into a quilt or take it to a conceptual or three-dimensional level. All levels. Code 03TA

 

Studio artist; teaching: QuiltCon (GA), modern and traditional guilds nationally, Penland; Joan Mitchell Foundation Painters and Sculptors Grant (NYC); residencies: MacDowell Colony (NH), Headlands Center for the Arts (CA), Blue Mountain Center (NY), Recology San Francisco.

sherrilynnwood.com

 

 

 


 


Janie Woodbridge, Triple Weave Ombre Block, cotton yarn woven

on a 12-harness dobby loom, 18 x 18 inches

 

Janie Woodbridge
The Woven Rug

This workshop will explore different methods used in rug making, from tapestry and hand knotted techniques to loom-controlled pile weaves. Students will learn to set up a loom and weave and finish their rugs. Students will make a collection of samples and a final project. This will be a good workshop for beginning students who want to learn the basics of weaving or intermediate students who want to learn the specifics of rug weaving. All levels. Code 03TB

 

Studio artist, designer; teaching: North Carolina State University College of Design and College of Textiles, Rhode Island School of Design; design clients: Raxon Fabrics, Wearbest, Robert Allen, Richloom, Martha Stewart, Cotton Inc, WeaveUp.

janiewoodbridge.com

 

 

 

 


 

 

SUMMER session 4

july 9 - 21, 2017


The School of Making, Fabric Detail, reverse appliqué,

cotton jersey

 

Natalie Chanin
Explorations in Hand Sewing

This workshop will focus on fabric manipulation using various stitching, stenciling, and coloration techniques. Students will learn how to hand-sew using time-honored techniques like appliqué, couching, and a variety of thread and embroidery methods for contemporary embellishment. Using organic cotton jersey, we’ll explore inspiration, color, and layout for fabric design. This workshop will not focus on garment construction. Students will complete sample blocks that can be used for reference or pieced together to create scarves, shawls, pillows, and a range of other items. All levels. Code 04TA

 

Designer and founder of Alabama Chanin and The School of Making; winner of the Council of Fashion Designers of America/Lexus Eco-Fashion Challenge; publications: American Craft, Selvedge, Southern Living, New York Times, Vogue.

alabamachanin.com

 

 

 


 


Sarita Westrup, Huevos Rancheros, woven waxed linen, hand

netting, eggs, cactus needles, unique dimensions

 

Sarita Westrup
Sculptural Basketry

This workshop will cover expressive ways to use basketry to create sculptural works from organic, found, and recycled materials. We’ll work intuitively with chosen objects while incorporating off-the-loom textile structures such as twining and netting. Materials might include waxed linen, reed, wire, cast concrete, air-dried clay, and anything students bring with them. We’ll emphasize process, material relationships, and experimentation. All levels. Code 04TB

 

Studio artist; teaching: University of North Texas (TX), Southwest School of Art (TX), Modern Art Museum of Fort Worth (TX), Oil and Cotton (TX); exhibitions: Idaho State University (ID), Box 13 Artspace (TX), Kirk Hopper Fine Art (TX).

saritawestrup.com

 

 

 

 

 

 


 

 

SUMMER session 5

july 23 - August 8, 2017


Tim Eads, Weekender, Black New Lines, screen-print on canvas,

28 x 22 x 6 inches

 

Tim Eads
Textile Design: Fundamental to Experimental

This workshop will cover the fundamentals of screen-printing, from screen prep to designing and printing repeat patterns on fabric. We’ll quickly move past the basics so you can begin experimenting with multi-layer color transparencies and monoprinting. After printing the fabric, students will be encouraged to turn them into sculptures (wall pieces or 3d forms) or wearable garments. (No sewing required for the sculptures.) We’ll cover simple repeats (both hand drawn and digital) so you can easily print yardage of any size using color formulas that can be scaled up for larger projects. All levels. Code 05TA

 

Studio artist, designer; teaching: Tyler School of Art (Philadelphia); lectures: University of the Arts (Philadelphia), Moore College of Art and Design (Philadelphia); exhibitions: Delaware Art Museum, Delaware Contemporary; collections: The West Collection (Philadelphia), Please Touch Museum (Philadelphia).

thisistimeads.com

 

 

 


 


Amy Putansu, Adrift (detail), raw silk

 

 

Amy Putansu
Introduction to Ondulé

Ondulé is a French word for undulating or wavy. Ondulé fabric breaks the grid of conventional weaving, producing gently curving threads in the cloth through the use of an unusual tool: the fanning (or ondulé) reed. Students will become acquainted with this rare technique through a round-robin experience, making a collection of fabrics. We’ll emphasize learning how to maneuver the reed. We’ll cover the materials and structures most suitable for ondulé and the techniques that complement it. Students are encouraged but not required to bring an ondulé reed. Intermediate/advanced; students must be able to warp a loom independently and be familiar with basic weave structures. Code 05TB

 

Instructor in the professional crafts program at Haywood Community College (NC); nominated for U.S. Artists Fellowship and American Crafts Council Rare Craft Award; collections: Renwick Gallery (DC), National Silk Museum (China).

 

 

 


 

 

SUMMER session 6

August 13 - 25, 2017


Akemi Nakano Cohn, Katazome Samples, paper stencil, resist-

dyed ramie, stencil: 12 x 14 inches, samples: 15 x 28 inches each

 

Akemi Nakano Cohn
Katazome with Natural Dyes & Indigo

Katazome is a traditional Japanese rice paste resist technique that is applied through a stencil and colored with natural dyes. In this workshop, students will learn basic katazome and explore images representing their own story. We’ll cover cooking rice paste, making soy milk, brushing a variety of natural dyes, mordants, earth pigments, and steaming to set colors. We’ll also dip rice-pasted fabric into the indigo pot to create intense shades of blue. Tsutsugaki—freehand drawing with rice paste in a pastry tube—will add to the work. Students will take home a variety of experimental fabric pieces to use as a guide for future projects. All levels. Code 06TA

 

Studio artist; studied dyeing in Japan for 10 years; teaching: School of the Art Institute of Chicago, Haystack (ME); exhibitions: Museum of Arts and Design (NYC), Bellevue Art Museum (WA), Gallery Uesuto (Japan).


 


Saberah Malik, What Will I Be, polyester fabrics, Plexiglas,

mirrors, toy calves, 14 x 40 x 18 inches

 

Saberah Malik
Transforming Textiles

The first week of this workshop will cover up to ten different shibori techniques of stitching, binding, restricting, and immersion dyeing to create sample yardage, wearable art, or fine art. During the more experimental second week, we’ll build on our understanding of fabric manipulation to mold flat fabric into freestanding sculptural forms by ‘encrypting’ the shape of any mold being used onto the memory of the cloth. Students will make dimensional work using fabric, especially silk, dyed during the first week. All levels. Code 06TB

 

Studio artist; teaching: Stonehill College (MA), Panjab University College of Art and Design (Pakistan); exhibitions: Danforth Art Museum (MA), Green Space (RI), Contextile (Portugal); work published in Dimensional Cloth Art: Sculpture by Contemporary Textile Artists by Andra Stanton.

saberahmalik.com

 

 

 


 

 

SUMMER session 7

August 27 - September 2, 2017


Lisa Sorrell, Wild and Blue, kangaroo and alligator leather

 

Lisa Sorrell
Leather Inlay & Overlay

This is a workshop for learning to create art through inlay and overlay using fine leather, such as chrome-tanned kangaroo and calf. We’ll make several small leather projects and finish with an opportunity for each student to design and create a unique project of their own. All levels. Code 07TA

 

Bootmaker; teaching: Hiko Mizuno College (Tokyo), Penland; 2010, 2013, 2016 Gold Medal at the triennial International Shoemaker’s Days (Germany); work published in The Art of Leather Inlay and Overlay (Schiffer).

sorrellcustomboots.com

 

 

 

 


 


Rebecca Ringquist, Untitled, cotton, hand embroidery, machine

stitching, 16 x 12 inches

 

Rebecca Ringquist
Maximalist Embroidery

This workshop will explore a maximalist aesthetic in drawing and embroidery. Through doodling, collage, and contour line drawing, we’ll use our sketchbooks to collect images and patterns. Students will learn a bevy of surface embellishment techniques—including hand embroidery, drawing with the sewing machine, appliqué, and reverse appliqué—improvising and using chance to create new ways of accumulating marks. Starting with traditional embroidery, students will develop their own vocabulary of mark making and additive processes to create dense designs. All levels; comfort with a sewing machine will be helpful. Code 07TB

 

Studio artist; teaching: Art Institute of Chicago; exhibitions: Grand Rapids Museum (MI), Museum of Arts and Design (NYC), Textile Art Center (NYC); author of Rebecca Ringquist’s Embroidery Workshops: A Bend-the-Rules Primer.

rebeccaringquist.com