BULLSEYE RESOURCE CENTER, SANTA FE

O c t O b e r 2 0 1 0 – j a n u a r y 2 0 1 1 • S a n t a F e , n e w M e x i c O

B u l l s e y e G l a s s Co. | c l a S S e S & S p e c i a l e v e n t S

Bullseye ResouRCe CeNTeR805 early Street, building e Santa Fe, new Mexico 87505

505.467.8951

[email protected]/santafe

On tHe cOver: alicia lomné, Ara Femina, 2009.

artists who initially come to bullseye as students often make great strides in their work and can end up making important contributions to the development and visibility of the methods they encounter in classes. One such artist is printmaker and painter Martha pfanschmidt, who since coming to bullseye for a workshop in 2003 has gone on to participate in several shows at bullseye Gallery and complete major architectural projects. this fall we’re pleased to welcome pfanschmidt to our teaching program in Santa Fe for the first time. consider taking her workshop, layered assemblage, or getting a broad overview of her practice by attending her lecture, Forays into Kiln-Glass.

we’ll also be welcoming former Santa Fe resident and pâte de verre artist extraordinaire alicia lomné to Santa Fe in november, when she will lead a workshop in which she reveals the methods she uses to make surprisingly large, thin-walled vessels with careful coloration.

in july 2010 we were honored to have richard whiteley, Head of the prestigious Glass workshop at the australian national university, come teach for our inaugural series of workshops. we’re delighted to announce that, following rave reviews, whiteley is scheduled to be back in Santa Fe to teach again from january 6-12, 2011.

we’re also pleased to announce that longtime bullseye instructor bonnie celeste will be coming from portland to Santa Fe at the end of january to teach a workshop on making kiln-glass components for jewelry and wearable art. Known for her easygoing manner and clean sense of design, celeste is comfortable guiding everyone from absolute beginners to seasoned artists in realizing well-executed works in the kiln-glass studio.

and, of course, Santa Fe-based instructor erik whittemore will continue to deliver a broad range of demonstrations and basic to intermediate workshops throughout the schedule. in all courses taught by whittemore and other instructors, you can expect to learn even the most basic skills and information at the highest level possible, enjoying a comprehensive experience that encompasses fundamental to advanced techniques as well as theory, practice, craft, design and art. at bullseye, we won’t just teach you how to do something; we explain how we’ve arrived at specific methods in our decades of research into processes, products and equipment.

if you have any questions about classes or events on the schedule, please don’t hesitate to get in touch with us using the contact information on the registration page. if you live nearby or are planning to visit Santa Fe, make a point to come to the resource center to see our classroom facilities, check out class projects in person, and learn more about our education programs.

we look forward to seeing you soon.

ted SawyerDirector of research & education

FRoM TH e DIR eC ToR

sPeCIa l e V e NT s

please note that bullseye’s Santa Fe special events are offered free of charge during fall and winter, but space is limited. reservations are required and are accepted on a first-come, first-served basis. to make a reservation, email [email protected]. all events are held at bullseye resource center, 805 early Street, building e, Santa Fe, new Mexico.

artiSt talK anD DeMOnStratiOn Catharine Newell / October 2 (evS701-0001) / Saturday 2pm–4pm

join artist catharine newell as she shares images of her work, discusses her influences, and demonstrates her working methods for making everything from extremely gestural experimental studies to highly resolved images through stacking multiple layers of glass.

artiSt talK: FOrayS intO Kiln-GlaSS Martha Pfanschmidt / October 15 (evS717-0001) / Friday 6pm–7pm

join printmaker and painter Martha pfanschmidt as she details how her forays into working with kiln-glass have enabled her to do several major architectural projects, and how moving between media has informed and enriched her entire art practice. this is a great opportunity for artists with backgrounds in two-dimensional media to learn about the possibilities afforded by working with kiln-glass.

DeMOnStratiOn: printMaKinG FOr Kiln-GlaSS erik Whittemore / October 20 (evS713-0003) / wednesday 5pm–7pm

See a step-by-step demonstration of how basic screen printing processes coupled with digital technologies allow artists to fire imagery ranging from photographs to hand-drawn artwork into glass.

preSentatiOn: wHat iS Kiln-GlaSS? erik Whittemore / november 10 (evS712-0003) / wednesday 5pm–7pm

this presentation will provide an overview of many kiln-glass working methods including fusing, slumping, creating painterly imagery in glass, kilncasting and coldworking. Slides of finished works will augment a series of abbreviated step-by-step demonstrations of the basics of each method.

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DeMOnStratiOn: paintinG witH GlaSS erik Whittemore / December 15 (evS714-0002) / wednesday 5pm–7pm

while there is a tradition of painting on glass that spans many centuries, it is only fairly recently that materials and processes have been developed that allow artists to paint with glass. in this presentation you will see how colored glass materials ranging from sheet to crushed glass powders and frits, along with threads of glass called stringers can be used to create a wide range of painterly effects and imagery.

DeMOnStratiOn: DrawinG witH GlaSS erik Whittemore / january 19 (evS711-0003) / wednesday 5pm–7pm

Drawing with crushed glass powders and frits is very different from drawing with traditional media such as graphite or ink. it is in ways a much more fluid and forgiving approach in which an incredible range of gesture and precision is possible. working primarily with black powders and frits on clear sheet glass, whittemore will demonstrate some of the many approaches to drawing with these materials as well as share images and physical samples of completed works.

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Some classes are offered more than once per term. a discrete “clS” number is attached to each class with inclusive dates indicated. classes range in length from a few hours to several days. please note the date(s) and times for yours and plan to arrive a few minutes early the first day, especially if you are new to bullseye Glass classes.

tuition includes all instruction, materials, and access to equipment needed for the class (with the exception of respirators for some classes), plus a $25 registration fee which is nonrefundable and nontransferable. you will receive any advance information needed for your class a few days prior to the start date. Daytime classes include a lunch break of approximately 45 minutes.

all classes, open studios, and special events are held at the bullseye resource center, 805 early Street, building e, Santa Fe, new Mexico.

For general registration information, see page 16.

if you would you like to receive future class schedules and notices of special events via email, please send your request to [email protected]. note: Our mailing list is kept confidential.

Ge N e R al Cl a ss IN FoR M aTIoN

inDex OF claSSeS anD Special eventS

DaTe TITle INsTRuCToR/PReseNTeR PRICe PaGe #

OctOber 2 Special event: artiSt talK & DeMO newell Free 4

4-5 & 7 intrO tO FuSinG & SluMpinG wHitteMOre $165 7

14-17 layereD aSSeMblaGe pFanScHMiDt $375 8

15 Special event: FOrayS intO Kiln-GlaSS pFanScHMiDt Free 4

20 Special event: printMaKinG FOr Kiln-GlaSS DeMO wHitteMOre Free 4

25-30 Survey OF Kiln-GlaSS wHitteMOre $550 7

nOveMber 5-7 printMaKinG FOr Kiln-GlaSS wHitteMOre $365 9

10 Special event: wHat iS Kiln-GlaSS? wHitteMOre Free 4

18-23 pÂte De verre, MetHODS tO FOrM by lOMnÉ $800 10

DeceMber 3-5 printMaKinG FOr Kiln-GlaSS wHitteMOre $365 9

15 Special event: paintinG witH GlaSS DeMO wHitteMOre Free 5

17-18 & 20 baSic KilncaSt GlaSS wHitteMOre $350 12

january 6-12 KilncaSt GlaSS wHiteley $1000 12

19 Special event: DrawinG witH GlaSS DeMO wHitteMOre Free 5

21-24 paintinG witH GlaSS wHitteMOre $450 9

28-31 cOMpOnentS FOr jewelry & wearableS celeSte $325 11


Cl a sse s

intrODuctiOn tO FuSinG anD SluMpinG erik Whittemore / October 4–5 & 7 (clS101-0003) / Monday & tuesday 6pm–8:30pm / thursday 6pm–7:30pm / 10 students / $165

in this workshop you will learn the fundamentals of fusing and slumping sheet glass, two of the most basic kiln-glass methods. First you will learn how to cut sheet glass, including straight cuts, curved cuts, and perfect circles. From there, you will take these skills and put them to use designing, cutting and composing the parts necessary to make two well-crafted fused and slumped plates. in addition to hands-on work, discussions and demonstrations will illuminate some of the basics of kilnforming, from types of glass and mold materials to kilns and firing schedules. no prerequisites.

Survey OF Kiln-GlaSS erik Whittemore / October 25–30 (clS108-0003) / Monday–Friday 10am–4pm / Saturday noon–2pm / 10 students / $550

this workshop will explore the basics of many of the practices that are known as kiln-glass. through discussions, demonstrations, slideshows and hands-on work time, you will learn about cutting sheet glass, fusing, slumping, kilncasting, firing cycles, the effects made possible by firing glass to various temperatures, coldworking and how to achieve painterly imagery with glass. after taking this class you will be ready to choose a direction in which to further your kiln-glass education. that direction could lead you back to your studio to hone your skills or to one of our more focused workshops. no prerequisites.


Martha pfanschmidt, Last Year, 2009.

layereD aSSeMblaGe Martha Pfanschmidt / October 14–17 (clS209-0001) / thursday–Saturday 10am–5pm / Sunday 10am–noon / 8 students / $375

in 2003, printmaker and painter Martha pfanschmidt harnessed the possibilities of creating richly layered assemblages of imagery and pattern during a bullseye artist Factory exchange project called “Found in translation.” now you have an opportunity to work with the artist to explore the same materials and methods employed in that work. using colored powders on clear sheet glass, students will develop patterns and images that will be fired, cut up, re-assembled and stacked into two-to-four-layer-thick compositions that will be fired again, to create visually complex finished works. this is an ideal workshop for artists from other media as well as beginning to advanced kiln-glass practitioners.

Cl a sse s


printMaKinG FOr Kiln-GlaSS erik Whittemore / november 5–7 (clS112-0003) / Friday–Saturday 10am–6pm /Sunday 10am–4pm / 9 students / $365

December 3–5 (clS112-0004) / Friday–Saturday 10am–6pm /Sunday 10am–4pm / 9 students / $365

this workshop will take students through a series of printing exercises that will allow them to fire imagery into kiln-glass ranging from hand-drawn artwork, to digital imagery, to photographs. processes covered include silk-screening enamels, photosensitive sandblast resist, and decal transfers. Students will leave with generous samples of each process along with enough information to continue working on their own. no prerequisites.

paintinG witH GlaSS erik Whittemore / january 21–24 (clS106-0003) / Friday 10am–6pm / Saturday & Sunday 10am–4pm / Monday 10am–noon / 8 students / $450

while there is a tradition of painting on glass that spans many centuries, it is only fairly recently that materials and processes have been developed, largely at bullseye Glass, that allow artists to paint with glass. Students in this class will work with colored glass materials ranging from sheet to crushed glass powders and frits, and threads of glass called stringers to build a palette of techniques that allows a wide range of painterly effects. after working through a series of very specific hands-on exercises, students will undertake several exploratory projects to further develop their understanding of the materials. this workshop is suitable for artists from other media who want to translate their work into glass and is also valuable to beginning through advanced kilnworkers.

ted Sawyer, Palimpsest, 2008.


Cl a sse s

pÂte De verre, MetHODS tO FOrM by alicia lomné / november 18–23 (clS211-0001) / thursday–Monday 9am–5pm / tuesday 9am–1pm / 8 students / $800

the French term “pâte de verre” translates literally as “paste of glass.” practiced in many variations, this method—which involves creating thin-walled vessels by hand packing multiple layers of fine glass grains into the interior of a mold—allows tremendous room for exploration. in this experimental workshop, students will explore a variety of processes used by lomné in her carefully colored forms. this will include model making, mold construction, color mixing, inlay design, texture control, firing cycles and coldworking. Students need not have extensive experience with glass, though a love of involved processes and a willingness to risk will propel you to success in this class. by the end of the workshop, students will be fully capable of working in these methods on their own.

alicia lomné at work in her studio.

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Kiln-GlaSS cOMpOnentS FOr jewelry anD wearableS Bonnie Celeste / january 28–31 (clS111-0001) / Friday–Sunday 10am–4pm / Monday 10am–1pm / 9 students / $325

Kiln-glass is often used in jewelry, but this glass is too often made with an emphasis on quantity rather than quality. Students in this class will learn to distinguish their work through thoughtful design, careful studio practices, multiple firings, coldworking methods and, ultimately, good craftsmanship. the class will cover creating jewelry elements for a variety of forms, functions and styles and will incorporate samples of and explanations about how such kilnformed elements may be used in jewelry applications or with other wearables. the class will also include discussions about studio setup, including costs and other considerations. artists with backgrounds in other media are encouraged to apply. no prerequisites.

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baSic KilncaSt GlaSS erik Whittemore / December 17–18 & 20 (clS103-0002) / Friday–Saturday & Monday 9am–5pm / 8 students / $350

this class introduces students to the hand-built refractory mold process through a series of sculptural casting projects. the first project gives students an opportunity to get their hands dirty with a basic open-faced casting. For the second project, students use found objects to create a series of molds that will be cast in frit, sheet, and billet to illustrate the unique qualities of each form of glass. Students will learn basic coldworking skills in addition to firing procedures and investment mold recipes. no prerequisites.

KilncaSt GlaSS Richard Whiteley / january 6–12 (clS303-0002) / thursday–wednesday 10am–6pm / 8 students / $1000

this intermediate-level class will develop a foundation in the techniques of mold-melted glass and coldworking. Students will learn a variety of mold-making processes, kiln firing procedures, and coldworking and carving of bullseye glass. the aim of the class will be for students to gain skills necessary to develop a creative dialogue with the material and to discover new perspectives for thinking through cast glass and its potential. jurieD claSS–please apply by november 1, 2010. See instructions on page 17.

richard whiteley, Ocularis, 2010.


Open KilnFOrMinG Bullseye staff / two-hour minimum / $5 per hour

Don’t miss this unique opportunity—one of the big perks for taking bullseye classes. bring your bullseye glass to the resource center kilnforming studio and enjoy access to tools, kilns, and non-glass supplies. learn studio practices, get exposure to diverse methods and materials, and be inspired by fellow members of the glass community. a bullseye staff member will be on hand to answer questions and serve as a guide. Firing fees and mold rental charges will apply. prerequisite: completion of at least one class in kilnformed glass at bullseye (portland or Santa Fe). no reservations or deposits are required. just drop in during one of the scheduled sessions and work for six hours straight or drop off work to be fired. to see the current schedule of sessions, visit www.bullseyeglass.com/santafe. please note: Only bullseye glasses may be used in Open Studio sessions. this policy prevents contamination of our teaching studio glass stock and prevents technical problems that could damage our equipment. no exceptions.

oPe N sTu DIo


INsTRuC To R s aN D leC Tu R e R s

Bonnie Celeste received her bS in education from buffalo State college in new york. She was selected by jury for pilchuck’s glass auctions 2006 through 2008 and has had work accepted to special international Society of Glass beadmakers exhibitions in 2007 and 2008. now a bullseye instructor/technician, she is a champion of good, thoughtful design and enjoys helping individuals build a solid foundation for their journeys in glass. www.bullseyeglass.com/aboutus/now www.bonnie-celeste.com

alicia lomné, who has studied fine arts and glass kilncasting nationwide, has dedicated the past ten years to exploring techniques in pâte de verre. She shows her extraordinary work in galleries across the united States and has taught pâte de verre workshops at anla Glass (Denmark), creative Glass (Switzerland), pilchuck Glass School, penland School of crafts and bullseye Glass company. lomné lives and works on whidbey island in washington State. www.bullseyegallery.com

Catharine Newell is recognized for her distinctive figurative work, which examines the persistence of memory and its impact on relationships. newell lectures, teaches and exhibits internationally. She was nominated for the louis comfort tiffany biennial award in 2003, and her work was selected for New Glass Review 26 and 30 and has recently been acquired for the permanent collections of Swedish Hospital in Seattle, university of Miami lowe Museum, Hunter Museum of american art, and the Museum of the academy of arts and Design tsinghua university in beijing. newell lives in portland, Oregon. www.bullseyegallery.com


Martha Pfanschmidt has taught printmaking at Marylhurst and portland State universities while also operating the portland-based group print workshop atelier Mars with tom prochaska. She was introduced to glass through a workshop led by tom prochaska and ted Sawyer in 2003, followed by a two-week artist Factory exchange project at bullseye Glass later that year titled “Found in translation.” pfanschmidt has since gone on to make commissioned works in glass for high-profile building projects and private clients, and to participate in another artist Factory exchange project called “printmakers Fired.” www.bullseyegallery.com www.pfanschmidt.com

erik Whittemore is the Studio coordinator for bullseye resource center, Santa Fe. whittemore earned his bS in art with a focus in sculpture from eastern Oregon university. From 2004 to 2010 he was an instructor/technician at bullseye portland, where he developed and taught courses in kilncasting and coldworking, along with many other methods, and assisted a number of world-class artists. whittemore can often be found in his studio developing new works. www.bullseyeglass.com/aboutus/now www.bullseyegallery.com

Richard Whiteley is Head of the Glass workshop at the canberra School of art, australian national university. a british-born australian, whiteley has taught at Sydney college of the arts (australia), north lands creative Glass (Scotland), and the Studio of the corning Museum of Glass (uSa). His practice is dedicated to making kilncast and coldworked glass, and he maintains an active exhibition program. His work is represented by bullseye Gallery and can be found in public and private collections around the world. www.richardwhiteley.com


enrollment in classes and workshops at bullseye is designed for those 18 years of age or older. unless juried, classes are filled on a first-come, first-served basis, and most fill very quickly. we recommend early registration to ensure your place in class. registration is confirmed upon full payment of the class fee, which includes a $25 nonrefundable, nontransferable registration fee. we accept cash, checks, visa, Mastercard and american express. a $20 fee will be charged for all returned checks. please register in person if you plan to pay for your class in cash.

at the beginning of class, you will be asked to complete a liability waiver. Only those who complete and sign the waiver may attend. you are not eligible for a refund if you refuse to sign the waiver. bullseye Glass reserves the right to use pictures of you and/or your work at the studio for educational and publicity purposes.

R eGIsTR aTIo N

tO reGiSterIn person or by mail: bullseye resource center805 early Street, building e Santa Fe, new Mexico 87505Hours: tues-Sat, 9am-5pm

By phone: 505.467.8951

By email: [email protected]

cOnFirMatiOnOne to two weeks before the start of your class, you will receive a confirmation notice with details of the class location, appropriate attire, meal arrangements, etc. if you have not received a confirmation notice within two days of your first class, call bullseye resource center at 505.467.8951.

cancellatiOn anD tranSFer pOlicieSIf we cancel: Our minimum class size is six. in the unlikely event that we cancel a class due to low enrollment, those who have registered will receive a full refund. whenever possible, cancellations are made at least one week prior to the beginning of class. if a class is cancelled, we are not responsible for reimbursing travel costs or other reservation fees.

If you cancel or transfer: Our class fees include a $25 nonrefundable, nontransferable registration fee, which is forfeited by those who cancel a registration or transfer a registration to another class session. Students who cancel or transfer registration fifteen or more days prior to the beginning of a class will receive a refund of the class fee, minus the $25 registration fee. cancellations made fewer than fifteen days prior will be refunded or exchanged only if we are able to fill the student’s space. in order to keep class costs low for all, we make no exceptions to this policy.


tO apply FOr jurieD claSSeSthe application process for juried classes is not the same as the registration process for regular classes. enrollment is based on a jury process.

to apply for juried classes, please submit the following materials by email:

• your complete contact information: mailing address, email, phone number. • your cv or a brief summary of your art/craft experience. • Six images of your work (at no more than 100Kb each). • the name(s) of the class(es) you wish to take.

email your materials to: [email protected]

applications are being accepted now. priority consideration will be given to applications submitted by november 1, 2010. notification of acceptance in classes will begin on november 9, 2010. applicants who qualify will have 72 hours to complete our easy registration and payment process.

applications received after november 1 will be considered only if there is space remaining in classes.


name ____________________________________________________________________________________

Mailing address ____________________________________________________________________________

city, State, Zip _____________________________________________________________________________

telephone ________________________________________________________________________________

email ____________________________________________________________________________________

Occupation _______________________________________________________________________________

please check your preferred method for notification: 0 Mail 0 telephone 0 email

payment Method: 0 visa 0 Mastercard 0 american express 0 check

credit card # ________________________________________________ exp. _________________________

please list requested class(es) by title and class clS number

___________________________________________________________ ____________________________

___________________________________________________________ ____________________________

___________________________________________________________ ____________________________

___________________________________________________________ ____________________________

Do you operate or work for a business that is involved in the fabrication or reselling of glass products or supplies?

0 yes 0 no

if yes, where? ______________________________________________________________________________

Have you taken classes at bullseye before? 0 yes 0 no (note: if previous glass experience is required, you MuSt describe.)

if yes, please list ____________________________________________________________________________

what do you hope to get out of the class(es) for which you are applying?

_________________________________________________________________________________________

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BULLSEYE RESOURCE CENTER, SANTA FE