Workshops at Bryn Athyn
The Workshops at Bryn Athyn present blacksmithing, stained glass, mosaic, and stone carving courses taught by nationally recognized master craftsmen. In addition to participating in hands-on workshops, participants watch demonstrations, examine original medieval artifacts, and explore Bryn Athyn’s own National Historic Landmarks.
Classes are held in the heart of the Bryn Athyn Historic District. The idyllic setting and magnificent resources offer an unparalleled learning experience. Participants not only have access to Bryn Athyn’s landmarks—including Glencairn Museum, Cairnwood Estate, and Bryn Athyn Cathedral—but they can also study both the preliminary drawings and models made by the original craftsmen and the medieval works that inspired them.
2016 Summer Workshops
Our workshops are designed as intensive five-day courses. Each course meets for six hours a day, with a lunch break. This summer, courses will be offered over four weeks in June and July:
|2016 Workshop Instructor Calendar|
|Workshops||June 27- July 1||July 11-15||July 18-22||July 25-29|
|Blacksmithing||Warren Holzman||Michael Rossi|
|Glass Mosaics||Carol Stirton-Broad|
|Stained Glass||Sasha Zhitneva||J. Kenneth Leap||Steve Hartley|
|Stonecarving||Jens Langlotz||Simeon Warren|
You may view general course details below, and instructor bios here.
When it comes to studying the art of blacksmithing, one can scarcely find a better location than Bryn Athyn. In addition to offering a beautiful and well-equipped shop that would be the envy of any professional smith, we also provide access to an incredible collection of metalwork that challenges the very notion of what blacksmithing is. Working under the direction of professional instructors who are nationally recognized as some of the best in the industry today, participants have the opportunity to experience metalworking in an exciting and comprehensive way.
Students will learn the fundamentals related to chasing and repousse in steel. Repousse is an exciting way to create relief images that exists somewhere between drawing and sculpture. The approach will focus on dynamic image development not unlike composition related to painting. Students will have the opportunity to work on larger scale pieces created over a wood stump. The course will cover design development, tool making and finishing.
Warren Holzman is a Philadelphia based artist working in forged and fabricated metals and the owner of Iron Studio LTD, a respected professional practice executing craftwork in iron for residential and commercial markets around the globe. He has received numerous public art commissions in Philadelphia and nationally. His work is also included in several private collections. He has taught blacksmithing and sculpure classes at Peters Valley School of Crafts, Penland School of Crafts, New England School of Metalwork, University of the Arts and Moore College of Art and Design in Philadelphia as well as a visiting artist and lecturer at Kent State University and Suny New Paltz. Warren is also the blacksmith professor and program coordinator for Bryn Athyn College in Pennsylvania.
This class will focus on using the techniques of blacksmithing to make useful objects for the home. Starting with fundamental hand-forging exercises, we’ll quickly move into self-directed assignments. Each student will complete 2-3 small projects, and gain an understanding of the versatility and characteristics of forging steel. Inspired by the amazing metalwork of the Bryn Athyn Historic District, we’ll also discuss the relationship of architecture to design in metal. Plan on working hard, having fun, and leaving with some new work!
Mike Rossi is the principal of Rossi Metal Design based in Philadelphia, specializing in unique architectural works and sculpture. Born in Pontiac, Michigan, he has a BFA in Blacksmithing from Northern Michigan University, and an MFA in Metalsmithing from Cranbrook Academy of Art. He has exhibited nationally and internationally, most recently at the Torpedo Factory in Alexandria, VA as well as the National Ornamental Metals Museum in Memphis, and the Houston Center for Contemporary Craft. He has taught at Ox-Bow School of Art, Penland School of Craft, Haystack Mountain School of Craft, Bryn Athyn College and Kalamazoo College. He was recently awarded the Windgate Artist Residency at Purchase College, NY.
Mosaic art is enjoying a resurgence in the United States; and glass especially, in its many forms, is playing a major role in this new wave of artistic creativity. In this workshop, participants look at several types of glass, but focus on the traditional Italian smalti and compare it to products from Mexico, China, and the United States. In addition, a sampling of other mosaic materials is available, including marble and stone.
Mosaic Art is having a resurgence in the United States and glass in many forms is playing a major role in this new wave of artistic creativity. In this workshop we will look at several of these types of glass, focusing on the traditional Italian Smalti and comparing it to the products from Mexico, China, and the United States. In addition, we will have a sampling of other materials available including some marble and stone. Each participant will produce a small sampler using traditional techniques. Next you will design a larger piece, using these materials in your own style. We will cover design transfer and realize the final work of art using the direct method. There are a limited number of hammer and hardies available for you to try as well as a collection of glass nippers for you to experiment with. I hope that you will love this process and the beautiful materials as much as I do.
Carol Stirton-Broad holds a B.F.A. from Temple University’s Tyler School of Art, and has also studied at Glasgow School of Art (Scotland), Orsoni (Venice, Italy), Scuola Arte del Mosaico (Ravenna, Italy), and the Chicago Mosaic School. Carol has taught ceramic and mosaic workshops at the Philadelphia Museum of Art, the Institute of Contemporary Art (Philadelphia), Fleisher Art Memorial (Philadelphia), Main Line Art Center (Haverford, PA), and Abington Art Center (Jenkintown, PA). Carol’s work has been exhibited in many locations, including The Magic Garden, The Clay Studio, Ariana Gallery (Royal Oak, MI), the Bath House Cultural Center (Dallas), Abington Art Center, Fleisher Art Memorial, Main Line Art Center, Philadelphia Art Alliance, and Tyler School of Art.
Don’t miss this unique opportunity to study glass painting in a breathtaking historical setting: Glencairn Museum. Participants familiarize themselves with Old World techniques by observing Glencairn’s collection of more than 100 stained glass panels from the Middle Ages. After studying the fluid brush strokes found on actual 12th-century windows, participants are inspired to create their own masterpieces.
For a glass artist, lamination opens many possibilities for merging different glass techniques in creating a two-dimensional panel. This workshop will present a new method of combining the functionality of modern architectural glazing substrates, such as insulate glass and safety glass, with the tradition of stained glass artistry. The lamination technique offers a practical application for stained glass designs that can be efficiently combined with acid etching, painting, and abrasive etching processes to provide an economical architectural-design solution.
Bringing together glass painting, fused glass, copper foil or lead techniques allows the artist to overcome certain constrains imposed by a particular medium and create work in a format that suits an artist’s needs on any given project. For example, relieved from its role as a carrying structure, a lead line can be used a graphic element, layering colored glass enriches the palette and expands it beyond what is offered in fusing compatible glass, etc. Various laminating adhesives by Bohle and corresponding processes are going to be covered as well as technical aspects that have to be taken into account for constructing structurally solid work. Students will understand the theory behind the lamination process and possible field applications; and, Practical: A “hands-on” lamination application combining stained glass and a safety glass substrate using Verifix© 2K Silicone.
Steps such as designing a piece, breaking it into layers, deciding on the order of those depending on different media, execution and assembly are going to be covered. Also, we’ll explore the effects of lighting on different types of glass and talk about how taking these into account is a crucial element for a coherently composed glass panel/collage.
Sasha Zhitneva is an award-winning designer and artist who has worked creatively with glass since 1995. She studied in Russia, Spain and in the United States. Her work has been exhibited in SOFA expositions in Chicago, Palm Beach and New York, and in numerous solo and group shows in United States and overseas. Primarily known for her “signature style” abstract fused panels, she has amassed a diverse body of work that ranges from stained glass and mosaic to an exquisite line of kiln-formed jewelry. Aside from her gallery artwork, she has also completed a number of architectural and lighting installations in both stained glass and kiln-formed glass.
Learn the art of mixing, applying and firing glass-based paints, enamels and stains. This class will start with the core skills of traditional glass painting – tracing & matting. We will then concentrate on 19th century figurative techniques as exemplified by the Munich Style. Students can choose to practice replicating brocade patterned drapery, foliage, ornamental architectural borders and of course painting the figure. This course will introduce a variety of processes for mixing and layering pigments with exotic mediums. Glass selection and enamel work for flesh will be explored in depth. This class will be of specific interest to restoration painters and to all who admire the techniques of the 19th century. This class is designed to complement the workshop “Stained Glass Repair & Conservation” with Steve Hartley offered July 25-29, 2016
J. Kenneth Leap began his career in stained glass in 1987 when he opened his studio The Painted Window a year after earning a BFA in Glass from the Rhode Island School of Design. He received a fellowship from the New Jersey State Council on the Arts and is primarily known for his public art installations throughout New Jersey. He is an ambassador artist for the Wheaton Arts and Cultural Center in Millville, NJ where he has maintained his primary studio since 1994. He’s also an artist in residence at Glencairn Museum in Bryn Athyn, Pennsylvania and teaches stained glass at Bryn Athyn College. He’s currently the colleges’ Director of Building Arts. From 2012 to 2014 he served as president of the American Glass Guild.
This hands-on course will introduce proper evaluation and documentation techniques for stained glass conservation. Students will participate in repairing a 19th Century stained glass window from a listed historic building while practicing conservation techniques including cleaning, copper foil repairs and chemical edge bonding. Restoration painting including glass selection and color matching historic pigments will be discussed and practiced.
A current PhD candidate at the University of York, England, Stephen Hartley earned his M.F.A. in Historic Preservation from Savannah College of Art and Design. He has participated in the restoration of more than thirty historic sites, winning awards from the Historic Savannah Foundation for his work. Steve has taught at SCAD and Armstrong Atlantic State University and lead the Historic Preservation and Restoration program at Savannah Technical College. He is internationally recognized for his work in the field and has served as a peer reviewer for the Association for Preservation Technology. Steve is also a member of the International College of Traditional Practitioners (ITCP), a branch of the Prince’s Trust for the Built Environment.
Hartley is academically active, having presented at the International Association for the Study of Traditional Environments (IASTE) in Beirut Lebanon, International Trades Education Symposium (ITES) in Lincoln, England, as well as several conferences within the United Sates. He has also assisted in organizing major preservation conferences. In 2012 he was Workshop Chair for the Association for Preservation Technology’s International Conference in Charleston, South Carolina, where he led a post conference workshop on stained glass restoration, as well as chairing a paper session.
In 2013 Hartley won the Artisan Award from the American Institute of Architects, Savannah Chapter for his dedication to teaching and practicing historic preservation in Savannah and the low country.
His professional affiliations include:
National Trust for Historic Preservation
International Council for Monuments and Sites
Association for Preservation Technology
Preservation Trades Network
Timber Framer’s Guild of North America
Artist Blacksmith Association of North America
US Green Building Council
American Glass Guild
The art of stone carving is an integral part of our architectural history. Both Bryn Athyn Cathedral and Glencairn Museum evolved gradually, relying on creative input from carefully selected European stonemasons and artisans. This collaboration was exceptional: the various components of the buildings, such as the doors, windows, pillars, and capitals were designed and built on-site and by hand. Before picking up their own hammer and chisel, participants have the opportunity to examine the intricate stonework on both the interior and exterior of Bryn Athyn Cathedral and Glencairn Museum.
Brief demonstrations of techniques will prepare you for shaping your own piece. The workshop covers stone types and properties, the use of different kinds of chisels for texturing, the fundamentals of letter design, both low and high relief carving, and rosette design. You may choose to copy an architectural detail from Bryn Athyn Cathedral, such as one of the rosettes on the side of the building, or make an original piece of your own. No experience is necessary, and more advanced students are always welcome.
As a master sculptor and carver with more than 20 years of experience, Jens Langlotz has worked with and mastered the major design building styles — from Romanesque, Gothic, and Renaissance to American Colonial and American Victorian. He graduated from Fachschule Fur Steintechnik in Munich. He has apprenticed under master sculptor Hans Kupe, one of Germany’s leading stone restorers, and under Al Walters, master craftsman in stone, metal, and wood. He serves as Head Stone Mason for both Bryn Athyn Cathedral and Glencairn Museum, and has also done work at many other sites, including the Philadelphia Museum of Art, Villanova University, Princeton University, Reading Terminal, and Philadelphia City Hall.
In 1290 Queen Eleanor, Edward 1st beloved wife, died near Lincoln Cathedral. The Kings Masons where tasked to design and build 12 Memorial Crosses sited along the funeral procession’s path between Lincoln Cathedral and Westminster Abbey. This workshop is based on the recreation of a stone element for a newly designed Eleanor Cross for Lincoln City by The Stone People Project.
Simeon Warren is the Dean Emertus of the American College of the Building Arts in Charleston, SC. As a stone carver he learned his trade at Weymouth College, gaining an Advanced Craft Certificate in Masonry from the City and Guilds of London Institute. His first professional position was as an apprentice at Lincoln Cathedral, later becoming Deputy Yard Foreman at Wells Cathedral, where he worked on the central tower. He has also produced stone for a number of historic buildings including Buckingham Palace and The Houses of Parliament. At Glasgow School of Art he received a Fine Arts Degree in Environmental Art, which allowed him to create more contemporary conceptual work.
Simeon has served on the Board of Directors of both the Association for Preservation Technology and the Preservation Trades Network, and was instrumental in working with both organizations to advance collaboration and dialog through parallel annual conferences. That the conferences theme, “Cornerstones: New Foundations in Preservation” should spring from the inspiration of a stone carver is a testament to Simeon’s vision for a future in which the trades have a respected and valued role in the conservation of built heritage and the making of beautiful, useful and durable buildings.
Simeon has played a pivotal role in the development of the American College of the Building through its formative years as the School of the Building Arts, through the graduation of its first four year college graduates in 2009, and pursuing accreditation. He has worked tirelessly, frequently in the face of immense obstacles and difficulties, to ensure the future success and sustainability of the ACBA program, and to inspire and support its students and graduates.
Register for workshops by following the link within the course description, or by calling the College Office at 267-502-2401.
Each workshop includes 5 days of classes, and each day runs from 8 am – 5 pm. Small class sizes allow for individualized instruction with projects tailored to all skill levels. Workshops are suitable for life-long learners, craft professionals, college students, and high school uppperclassmen.
TOOLS AND MATERIALS
There are no additional fees for tools and materials. All tools and materials are provided.
HOUSING / MEALS
Limited housing may be available on the Bryn Athyn College campus. Please email [email protected] if you are interested in staying on campus.
Each course qualifies for Act 48 Professional Development Credit. For an additional $90, Bryn Athyn College will offer one academic credit per workshop.
REFUND/ CANCELLATION POLICY
Bryn Athyn College makes a substantial investment when planning a workshop, and vacancies can be hard to fill even if there is a waiting list, so we must charge cancellation fees to offset the cost of these vacancies. If you cancel any time up to 30 days before the beginning of a workshop, you will receive a full refund minus a $100 cancellation fee. If you cancel later than 30 days before the beginning of the workshop, there is no refund. This policy also applies to scholarship students.
If it is necessary for Bryn Athyn College to cancel a class for any reason, students will be notified and offered another workshop or a full refund. We cannot be responsible for nonrefundable airline tickets.