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March to September 2012

Bullseye Glass Co.


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Classes & Special Events
From the Director
Welcome to the MarchSeptember 2012 schedule of classes and events at the Bullseye Resource Centers in
Portland and Santa Fe. In the following pages you will find, among many other great opportunities, EIGHT
new and expanded classes led by talented members of the Research & Education team as well as emerging
and established artists. Where have these classes come from? Fundamentally, they have come from people
who, through the course of doing research and/or making their work, have developed ideas and methods
that they would like to share in order to expand the aesthetic territory of the methods that we call kiln-
glass. Why so many all at once? We promise we havent been hoarding. A lot of things have simply come
together more or less at the same time, and our enthusiasm for the results has propelled us to launch this
new wave of workshops. Youll find them on the pages marked New Classes. (Tricky, huh?)
In the world of Special Events, we are delighted to welcome Klaus Moje to Portland in early April for a
conversation with Bullseye partners Daniel Schwoerer and Lani McGregor, in which the three will discuss
how their relationship has influenced the trajectory of an artists career, a companys mission, and the field
of glass. Portland will also host lectures with Michael Endo, Emily Nachison, and Heike Brachlow. Dont
worry Santa Fe; weve got you covered too. Look for lectures from Martha Pfanschmidt, Alicia Lomn, and
Stacy Lynn Smith.
If looking through this schedule makes you wish you could simply brush up on some kiln-glass basics before
taking a more advanced class, or you dont see an appropriate course, consider our online education
program. Our convenient videos allow you to learn in your own studio, at your own speed, on your own
schedule, and review information as often as you find necessary. For more information, visit:
bullseyeglass.com/education/online.
Whether the classes you take are online or in person, our educational mission is to provide you with
inspiring and informative curriculum for working with kiln-glass. We teach even the most basic skills
and information at the highest level possible, offering a comprehensive experience that encompasses
fundamental to advanced techniques as well as theory, practice, craft, design and art. At Bullseye, we
wont just teach you how to do something; we explain how weve 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, or are looking for something that
you dont see on this schedule, please dont hesitate to contact us using the contact information on the
Registration page. If you live near one of our Resource Centers or are planning to visit Portland or Santa
Fe, make a point to come see our classroom facilities, check out class projects in person, and learn more
about our education programs.
Ted Sawyer
Director of Research & Education
What is Kiln-glass?
In 1974 three self-described hippie glassblowers started Bullseye Glass Company, a small factory
for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored
sheets for use in stained glass, they aspired to do what had never been done before: to produce
a palette of colored glasses tested to be compatible with one another for producing works in the
kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something
remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a
long-term program of research projects working directly with artists to help pioneer and expand the
technical, aesthetic and conceptual development of the field that is today known as kiln-glass.
Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically
more accessible than many other working methods, such as glassblowing, in which one must first
develop basic physical skills for years before being able to effectively realize well-executed works.
By contrast, many of the skills required for kiln-glass are things that most artists already possess:
an understanding of design, composition and color theory, and the ability to conceive of layers of
process and material application. And while kiln-glass does require basic knowledge of technical
issues and nuances, these are readily obtained in short order through publications and curriculum
that have been developed as an outgrowth of Bullseyes years of collaboration with artists.
Bullseye staff and visiting instructors have offered this curriculum through classes, lectures, and
demonstrations at our Resource Center in Portland since the mid-1990s. We have done the same on
a national and international basis working with studios, schools, museums and universities from
New York to San Francisco, and from Australia to Scotland, and more recently in our first satellite
Resource Center in Santa Fe.
The Big Picture: A Survey of Kiln-glass, page 13.
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General Information
Classes
Bullseye classes may be offered more than once and in more than one location per term. A discrete
number is attached to each class with inclusive dates and location indicated. Classes range in
length from a few hours to several days. You will receive any advance information needed for your
class about a week before the start date. Tuition includes all instruction, materials and access to
equipment needed (with the exception of respirators for some classes), plus a $25 registration fee
which is nonrefundable and nontransferable. For class registration information, see page 22.
Special Events
Bullseye special events are offered free of charge, but advance reservations are required and are
accepted on a first-come, first-served basis. Reservations must be made at least 24 hours prior to
events. (We cannot take registrations at the door.) To reserve your spot, call or email us.
Portland: 503.227.2797 or portlandclasses@bullseyeglass.com
Santa Fe: 505.467.8951 or santafeclasses@bullseyeglass.com
Locations
Portland: All classes and special events are held at Bullseye Glass Company, either in the
Resource Center or the Research & Education studios. Please enter at the Resource Center, 3610 SE
21st Avenue, Portland, Oregon.
Santa Fe: All classes and special events are held at Bullseye Resource Center, 805 Early Street,
Building E, Santa Fe, New Mexico.
Keep in Touch
If you would you like to receive future class schedules and notices of special events via email, please
send your request to: portlandclasses@bullseyeglass.com and/or santafeclasses@bullseyeglass.
com. (Our mailing list is kept confidential.)
Private and Custom Workshops
Now you can dream up a special kiln-glass workshop for your organization or group of up to 16
people. Well design your course, reserve our studio space and provide world-class instructors,
glasses, materials, tools and equipment. Prices depend on group size and workshop type. Times
depend on studio availability. Just call or email to arrange the details.
Portland: 503.227.2797, portlandclasses@bullseyeglass.com
Santa Fe: 505.467.8951, santafeclasses@bullseyeglass.com
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Open Studio
Open Studio: Kilnforming
Dont miss this unique opportunityone 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 kilnforming class at Bullseye.
Open Kilnforming sessions are posted monthly in the Education/Classes section of
bullseyeglass.com. To attend a session, you must register at least 24 hours in advance. (See page 22.)
Portland and Santa Fe | Bullseye Staff | Two-hour minimum | $5 per hour
Open Studio: Torchworking
Take advantage of this chance to use Bullseye Resource Center torches and sharpen the skills youve
acquired in Bullseye classes. Limited amounts of scrap rod are available for use at no charge during
these sessions. Prerequisite: Completion of at least one torchworking class at Bullseye.
Open Torchworking sessions are posted monthly in the Education/Classes section of
bullseyeglass.com. To attend a session, you must register at least 24 hours in advance. (See page 22.)
Portland only | Bullseye Staff | Two-hour minimum | $10 per hour
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Index of Classes & Special Events
PORTLAND
Dates Class / Event instructor/lecturer Cost Page
mar
510 Survey of Kiln-glass Sandberg $600 13
7 First Glass Fusing Class Staff $100 12
911 Printmaking for Kiln-glass Krampien & Endo $365 18
1718 Beginning Beadmaking Celeste $225 13
1719 Vitrigraph Cane & Murrine Sandberg $325 14
1920 & 22 Intro to Fusing & Slumping Koch $165 12
21 First Glass Fusing Class Staff $100 12
2324 & 26 Go with the Flow Sandberg $325 15
25 Artists of Bullseye Gallery Endo Free 8
30Apr 2 Kilnforming with Rod Celeste & Koch $350 14
apr
1 Klaus Moje & Bullseye Glass Talk Moje, Schwoerer & mcgregor Free 8
59 NEW Collected Images/Powder Printing Smith $600 10
69 NEW More Pattern Bars Weiler $350 10
15 Endo & Nachison Artist Talk Endo & Nachison Free 8
18 First Glass Fusing Class Staff $100 12
2730 NEW Advanced Painting with Glass Endo $450 10
may
2 First Glass Fusing Class Staff $100 12
45 & 7 NEW Designing & Using Part Sheets Celeste $295 11
1013 Layered Assemblage Pfanschmidt $375 14
13 Martha Pfanschmidt Artist Talk Pfanschmidt Free 9
1418 Lost Wax Kilncast Glass Sandberg $650 17
16 First Glass Fusing Class Staff $100 12
1920 NEW Fresh Squeezed Beads Kruse $295 11
2527 Printmaking for Kiln-glass Krampien $365 18
jun
23 Special Effects in Kiln-glass Celeste $165 15
23 & 5 Boxes & Bowls Sandberg $350 17
3 Stacy Lynn Smith Artist Talk Smith Free 9
6 First Glass Fusing Class Staff $100 12
89 & 11 NEW Bas Relief Pte de Verre Koch $350 10
1112 & 14 Intro to Fusing & Slumping Weiler or Koch $165 12
1518 Basic Kilnformed Pattern Bars Weiler $325 15
2225 Set Your Kiln on Fire Celeste $350 16
2325 Vitrigraph Cane & Murrine Sandberg $325 14
27 First Glass Fusing Class Staff $100 12
2930 & July 2 Basic Kilncast Glass Weiler $350 13
Jul
78 & 10 Bullseye Box Casting Sandberg $295 17
1316 Painting with Glass Endo $450 18
1923 NEW Collected Images/Powder Printing Smith $600 10
2327 Finding Form Sandberg $600 17
25 First Glass Fusing Class Staff $100 12
2730 Expanded Image Transfers Intensive Iverson $350 18
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Index of Classes & Special Events
PORTLAND (continued)
Dates Class / Event instructor/lecturer Cost Page
aug
15 Pte de Verre Methods Lomn $800 16
34 & 6 NEW Designing & Using Part Sheets Celeste $295 11
5 Alicia Lomn Artist Talk Lomn Free 9
8 First Glass Fusing Class Staff $100 12
1012 Intro to Coldworking Sandberg $350 13
1315 On the Edge Weiler $165 16
1720 Jewelry & Wearables Celeste $325 15
1720 NEW Relief Print Methods Krampien $450 11
22 First Glass Fusing Class Staff $100 12
2526 & 28 Boxes & Bowls Sandberg $350 17
2728 & 30 Intro to Fusing & Slumping Weiler or Koch $165 12
sep
12 Beginning Beadmaking Celeste $225 13
5 First Glass Fusing Class Staff $100 12
9 Heike Brachlow Artist Talk Brachlow Free 9
1015 The Big Picture: Survey Koch $600 13
1416 Printmaking for Kiln-glass Krampien $365 18
2124 Kilnforming with Rod Koch $350 14
2224 Slumping survey Celeste $275 12
26 First Glass Fusing Class Staff $100 12
santa fe
Dates Class / Event instructor/lecturer Cost Page
mar
79 On the Edge Whittemore $165 16
1618 Intro to Coldworking Whittemore $350 13
28 First Glass Fusing Class Whittemore $100 12
apr
11 First Glass Fusing Class Whittemore $100 12
18 First Glass Fusing Class Whittemore $100 12
28 & May 5, 12, 19,
26 & June 2
The Big Picture: Survey Whittemore $600 13
may
12 & 4 Intro to Fusing & Slumping Whittemore $165 12
23 First Glass Fusing Class Whittemore $100 12
jun
13 Martha Pfanschmidt Artist Talk Pfanschmidt Free 9
1417 Layered Assemblage Pfanschmidt $375 14
20 First Glass Fusing Class Whittemore $100 12
29July 2 Basic Kilnformed Pattern Bars Whittemore $325 15
Jul
11 First Glass Fusing Class Whittemore $100 12
1721 Pte de Verre Lomn $800 16
21 Alicia Lomn Artist Talk Lomn Free 9
aug
36 Painting with Glass Whittemore $450 18
8 First Glass Fusing Class Whittemore $100 12
1718 & 20 Go with the Flow Whittemore $325 15
2830 On the Edge Whittemore $165 16
sep
5 First Glass Fusing Class Whittemore $100 12
13 Stacy Lynn Smith Artist Talk Smith Free 9
1416 NEW Powder Printing Smith $365 11
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Special Events: Artist Talks
The Artists of Bullseye Gallery
Bullseye gallerist Michael Endo will present a talk and slide presentation surveying contemporary
studio glass by discussing a cross-section of artists represented by Bullseye Gallery, from
acknowledged masters to emerging voices.
Portland | Michael Endo | March 25 (EV0723-0001) | Sunday 2pm3pm
Klaus Moje and Bullseye Glass: A Conversation
In the mid1970s, Klaus Moje helped to resurrect the ancient art of fusing when he began to cut up
multi-colored rods of glass normally used for making buttons in the garment industry and made
them into mosaics that he fired in a kiln. Shortly thereafter, he met the founders of Bullseye Glass,
who promised to make him a palette of fusible sheet glasses to use in his practice. Learn more about
those halcyon days from the players themselves as Klaus Moje and Daniel Schwoerer talk about
their first encounters and the ensuing relationship that helped define the trajectories of the artist,
the company, and the field of kiln-glass. Moderated by Lani McGregor.
Portland | April 1 (EV0732-0001) | Sunday 2pm3pm
Michael Endo and Emily Nachison: Of Other Spaces
Michael Endo and Emily Nachison will discuss their work and their Bullseye Gallery exhibition of
sculpture, installation and painting that explores mythmaking through the accumulation of meaning
and history. This event is a great opportunity to hear the artists talk about their work in the final
week before the close of their show.
Portland | April 15 (EV0733-0001) | Sunday 2pm3pm
For artist bios, see page 19.
Top:
Klaus Moje, Where is the Light 3, 2010.
Bottom:
Tools and studies compiled by
Michael Endo and Emily Nachison.
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Special Events: Artist Talks
Martha Pfanschmidt: Forays into Kiln-glass
Martha Pfanschmidt 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 opportunities afforded by working with kiln-glass.
Portland | May 13 (EV0717-0003) | Sunday 2pm3pm
Santa Fe | June 13 (EVS717-0003) | Wednesday 5:30pm6:30pm
Stacy Lynn Smith
Stacy Lynn Smith will demonstrate the powder printing technique she developed in her studio
practice, which involves traditional screen printing methods but replaces ink with powdered glass
and heat. She will also show images of her works on paper and kiln-glass and provide a sneak
preview of her current projects.
Portland | June 3 (EV0730-0002) | Sunday 2pm4pm
Santa Fe | September 13 (EVS730-0001) | Thursday 5:30pm6:30pm

Alicia Lomn: Pte de Verre
Alicia Lomn will show images of her work and working methods and demonstrate a variety of
processes used in the creation of her surprisingly large, thin-walled, carefully colored forms. She will
touch on model making, mold construction, color mixing, inlay design, texture control, firing cycles,
and coldworking, while discussing her motivations for working in this process-intensive manner.
Santa Fe | July 21 (EVS734-0001) | Saturday 3:30pm4:30pm
Portland | August 5 (EV0734-0001) | Sunday 2pm4pm
Heike Brachlow
Heike Brachlow, whose Bullseye Gallery solo exhibition opens on September 5, will discuss her
background, influences, working methods, and finished works in this image-based presentation. This
event is a great opportunity to hear the artist talk about her work in the context of her exhibition.
Portland | September 9 (EV0735-0001) | Sunday 2pm3pm
From top:
Martha Pfanschmidt, Last Year, 2009.
Stacy Lynn Smith, Collection 4, 2011.
Alicia Lomn, Veiled Green, 2006.
Heike Brachelow, Movement VI, 2006.
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New Classes
Collected Images and Powder Printing
Explore the powder printing method developed by Stacy Lynn Smith to create imagery and texture
in kiln-glass. This technique uses traditional screen printing methods, but replaces ink and paper
with glass and heat. Students will learn image preparation, design possibilities and firing options
through various hands-on projects, demonstrations and examples. Building on this foundation, Smith
will lead an exploration of her creative process, sharing her methodology by taking the class into the
field to gather visual information from around Portland. Much as in Smiths own work, the collected
ephemera will ultimately be used to create a final project. Prerequisite: Basic glass cutting skills.
Portland | Stacy Lynn Smith | April 59 (CL0217-0001) / July 1923 (CL0217-0002) |
ThursdaySunday 9am5pm, Monday 10am1pm | 8 students | $600
Bas Relief Pte de Verre
In this short course, learn to use pte de verre (paste of glass) techniques of packing glass powders
and frit into refractory molds to make low relief works that straddle the line between pictorial and
sculptural. Starting with a simple tile, you will explore mold making, color placement and texture.
You will then move on to a larger piece that will have the volume and depth of 3-dimensional work
but use only a fraction of the material used in other kilncasting methods while allowing for greater
precision in the placement of color. There are no prerequisites, back a background in working with
clay or sculpture is useful.
Portland | Trevor Koch | June 89 & 11 (CL0221-0001) | Friday & Saturday 9am5pm,
Monday 9am1pm | 8 students | $350
Advanced Painting with Glass
As a student in this class, you will have the opportunity to create multi-layered works that go beyond
basic frits and powders and begin to address the unique properties and opportunities that glass
provides when used in a painterly manner. Artistic concerns such as composition, complex color, line,
value and transparency/opacity will be discussed as they relate to glass. There are no prerequisites,
but students who have taken any of the following workshops will be better prepared to take full
advantage of this class: Painting With Glass (see page 18), A Particulate Language, Beneath the
Surface, Layered Assemblage, Painterly Figures, Drawing with Glass, or The Glass Sketch.
Portland | Michael Endo | April 2730 (CL0220-0001) | FridaySunday 11am6pm,
Monday 9am1pm | 8 students | $450
More Pattern Bars
In this course, you will explore three pattern bar methods that are different from those covered
in our Basic Kilnformed Pattern Bars class (see page 15). These range from developing controlled
internal imagery like letters and simple graphics to reaching into the kiln and manipulating the
bars during the initial forming process. Whether youve worked with similar methods before or not,
this class will challenge your notions of what can be achieved in glass as you explore the physical
properties of the material and new ways to conceive of, execute and use pattern bars. Prerequisites:
Basic glass cutting skills and kilnforming experience.
Portland | Jim Weiler | April 69 (CL0218-0001) | Friday 10am6pm, Saturday &
Sunday 10am4pm, Monday Noon1:30pm | 8 students | $350
Stacy Lynn Smith, Intersect 2 (detail), 2011.
Michael Endo, Smolder (detail), 2011.
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New Classes
Relief Print Methods Adapted to Kilncast Glass
The traditional relief printmaking process involves making multiple copies of an image by printing
inks onto paper from the high points of an incised block of wood or linoleum. In this class, you
will carve imagery into blocks and then use the blocks to make refractory molds for kilncasting
relief imagery in glass. The effects of mark making, color placement, opacity vs. transparency and
thickness will be explored. You will leave class with numerous pieces as well as the blocks used to
make them, and enough knowledge and experience to continue working with this process on your
own. There are no prerequisites, but previous kilnforming experience is recommended.
Portland | Louise Krampien | August 1720 (CL0120-0001) | FridaySunday
9am5pm, Monday Noon5pm | 8 students | $450
Designing and Using Part Sheets
Working with a palette of glass frits, powders and stringers, learn to create custom sheets of art
glass called part sheets that can be cut up and incorporated into fusing projects. On the first day
of this workshop, you will make three part sheets, using a different approach for each one. On the
second day, youll explore technical and design issues while combining your part sheets with other
glass materials to make three plates. Leave the class with new methods, three plates, and (in all
likelihood) part sheets scraps to use in future works. Prerequisites: Introduction to Fusing and
Slumping, or Survey of Kiln-glass, or strong glass cutting skills and basic kilnforming experience.
Portland | Bonnie Celeste | May 45 & 7 (CL0118-0001) / August 34 & 6
(CL0118-0002) | Friday & Saturday 10am4pm, Monday 10amNoon | 8 students | $295
Fresh Squeezed Beads: Flameworking with a Bead Press
A bead press is a small shaping tool that allows flameworkers to mold or squeeze bits of hot glass
to repeatedly produce specific shapes. In this class, you will learn how to use a bead press to produce
lentil-shaped beads. You will also explore producing these beads using a variety of methods and
materials. These include making them half transparent and half opaque; layering colors for depth;
incorporating swirls, raised dots, plunged bubbles, implosions, wraps, rakes and silver leaf; and
electroforming. The instructor will bring a variety of bead presses for students to view and discuss.
Prerequisite: At least one class in flameworked glass.
Portland | Carli Schulz Kruse | May 1920 (CL0119-0001) | Saturday & Sunday
10am5pm | 8 students | $325
Powder Printing
Explore the powder printing method developed by Stacy Lynn Smith to create imagery and texture
in kiln-glass. This technique uses traditional screen-printing methods, but replaces ink and
paper with glass and heat. As a student, you will learn the basics of powder printing, including
image preparation, design possibilities and firing options through various hands-on projects,
demonstrations and examples.
Santa Fe | Stacy Lynn Smith | September 1416 (CLS121-0001) | FridaySaturday
9am5pm, Sunday 10am1pm | 8 students | $365
Carli Schultz Kruse, Salmons Journey
(top), Evening Light (middle), Spring
Frost (bottom), 2011.
Relief Print Methods Adapted to Kilncast Glass
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Introductor y Classes
First Glass Fusing Class
In this 2.5-hour class, you will be introduced to many fundamental concepts related to creating
glass objects in the kiln. You will make an 8 x 8 fused and slumped plate, enjoying a wide range of
glasses to choose from. Plates will be fired after the workshop and available for pick-up a few days
later. After completing this class, you will be eligible to continue working in Bullseyes Open Studio
sessions. No experience with glass is required for this course, which is recommended for beginners.
Portland | Bullseye Research & Education Staff | March 7 (CL0115-0018) / March
21 (CL0115-0019) / April 18 (CL0115-0020) / May 2 (CL0115-0021) / May 16 (CL0115-0022)
/ June 6 (CL0115-0023) / June 27 (CL0115-0024) / July 25 (CL0115-0025) / August 8
(CL0115-0026) / August 22 (CL0115-0027) / September 5 (CL0115-0028) / September 26
(CL0115-0029) | Wednesday 6pm8:30pm | 16 students | $100
Santa Fe | Erik Whittemore | March 28 Wednesday 5:308pm (CLS115-0003) / April
11 (CLS115-0007) / April 18 (CLS115-0008) / May 23 (CLS115-0009) / June 20
(CLS115-0011) / July 11 (CLS115-0012) / August 8 (CLS115-0013) / September 5
(CLS115-0014) | Wednesday 6pm8:30pm | 16 students | $100
Slumping Survey
Slumping is the bending or shaping of glass into or over a mold in a kiln. This basic kiln-glass method
can be used to create plates, vessels and a variety of forms. In this class you will be guided and
inspired as you explore the possibilities during hands-on studio time. Working from a collection
of samples, you will use varied approaches to complete a well-unified table setting consisting
of a plate, a bowl, and an accessory such as a tray. Topics for discussion include firing schedules
for different mold profiles, alternative slumping-mold materials, and unconventional slumping
methods. Prerequisites: First Glass Fusing Class or Introduction to Fusing and Slumping.
Portland | Bonnie Celeste | September 2224 (CL0116-0002) | Saturday & Sunday
10am4pm, Monday 10am11am | 8 students | $275
Introduction to Fusing and Slumping
Fusing is the heat bonding of glass elements such as sheets, frits and stringers. Slumping is the
shaping or bending of glass into or over a mold. These methods are fundamental to kilnforming and
are gateways to many advanced methods. In this class, you will be introduced to both fusing and
slumping through demonstrations and discussions about the forms of art glass, mold materials,
kilns, and firing schedules. During hands-on work time, you will learn to cut glass (including circles
and curves) and will design, compose, and fire two fused and slumped plates. No prerequisites.
Portland | Jim Weiler or Trevor Koch | March 1920 & 22 (CL0101-0015) / June
1112 & 14 (CL0101-0016) / August 2728 & 30 (CL0101-0017) | Monday & Tuesday
6pm8:30pm, Thursday 6pm7:30pm | 10 students | $165
Santa Fe | Erik Whittemore | May 12 & 4 (CLS101-0009) | Tuesday & Wednesday
6pm8:30pm, Friday 6pm7:30pm | 10 students | $165
First Glass Fusing Class
Slumping Survey
Introductor y Classes
The Big Picture: Survey of Kiln-glass
This workshop will provide an introduction to the many practices known as kiln-glass. As a
student, you will learn basic kilnforming concepts through discussions, demonstrations, slideshows,
and working directly with materials. During hands-on work time, you will practice glass cutting and
then make a number of projects that will explore fusing, slumping, painting with glass, kilncasting,
coldworking, and firing to various temperatures. At the end of the class, you will take home sample
tiles, two finished plates, a relief casting, and an understanding of the many directions you can go
with kiln-glass, either by experimenting in your own home studio or advancing to our more focused
workshops. No prerequisites.
Portland | Nathan Sandberg or Trevor Koch | March 510 (CL0108-0005) /
September 1015 (CL0108-0006) | MondayFriday 10am4pm, Saturday Noon2pm |
10 students | $600
Santa Fe | Erik Whittemore | April 28, May 5, May 12, May 19, May 26, June 2
(CLS108-0007) | Saturdays 10am4pm (June 2, Noon2pm) | 10 students | $600
Beginning Beadmaking
This class covers the basics of beadmaking, including tools, safety and studio setup. Techniques
include hot glass manipulation, stringers, making basic bead shapes, marvering, dot application,
annealing, bead cleaning and more. Learn to work with hot glass on this smaller scale. No prior
experience is necessary and return participants are welcome.
Portland | Bonnie Celeste | March 1718 (CL0107-0010) / September 12
(CLO107-0011) | SaturdaySunday 10am5pm | 8 students | $225
Basic Kilncast Glass
This class is a rich introduction to kilncasting glass with hand-built refractory molds. As a student,
you will complete four projects. These will include a bas relief casting and three castings made with
different forms of glass (frit, powder, and billet) to illustrate the unique qualities of each form. You
will learn fundamental coldworking skills as well as firing procedures and investment mold recipes.
No prerequisites.
Portland | Jim Weiler | June 2930 & July 2 (CLO103-0008) | FridaySaturday &
Monday 9am5pm | 8 students | $350
Introduction to Coldworking
Coldworking is changing the shape and/or surface texture of glass using tools and processes
that dont rely upon heat. These processes include grinding, carving, engraving, polishing and
sandblastingall of which provide possibilities for artists and makers to resolve aesthetic and
functional issues in glass, ranging from shape and surface quality to strength and stability of edges.
In this class, you will try your hand at many coldworking methods, using state-of-the-art tools to
make three substantial pieces. You will also discuss ways to adapt basic methods to home studio
practice. There are no prerequisites.
Portland | Nathan Sandberg | August 1012 (CL0105-0008) | FridaySunday
9am5pm | 8 students | $350
Santa Fe | Erik Whittemore | March 1618 (CLS105-0001) | FridaySunday
9am5pm | 8 students | $350
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Introduction to Coldworking
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Kilnforming Classes
Vitrigraph Cane and Murrini
For hundreds of years, making richly patterned and cased glass canes has largely been the province
of the hotshop. Perhaps the most famous people making such canes have been the glassblowers of
Murano, set in Italys Venetian Lagoon. But now similar canes can be made far away from roaring
Italian furnaces, using the Vitrigraph kiln and Bullseye compatible glasses. In this workshop, you
will design and make multi-colored canes and incorporate them with other forms of glass into
several kilnformed projects. Creating the canes will involve handling and manipulating hot, molten
glass. Proper safety equipment will be provided. No prerequisites.
Portland | Nathan Sandberg | March 1719 (CL0210-0005) / June 2325
(CL0210-0006) | SaturdaySunday 9am4pm, Monday 9am1pm | 8 students | $325
Layered Assemblage
Printmaker and painter Martha Pfanschmidt began creating richly layered kiln-glass assemblages
of pattern and imagery during a 2003 Artist/ Factory Exchange project at Bullseye called Found
In Translation. Now you can work with the artist and explore the same materials and methods
she employed in creating that signature work. Using colored glass powders on clear sheet glass,
you will develop patterns and images, fire them, cut them up, and then reassemble and stack them
into compositions two to four layers thick. The final firing will result in visually complex finished
works. This workshop is ideal for artists from other media and beginning to advanced kiln-glass
practitioners.
Portland | Martha Pfanschmidt | May 1013 (CL0209-0005) | ThursdaySaturday
10am5pm, Sunday 10amNoon | 8 students | $375
Santa Fe | Martha Pfanschmidt | June 1417 (CLS209-0003) | ThursdaySaturday
10am5pm, Sunday 10amNoon | 8 students | $375
Kilnforming with Rod
Bullseyes glass rods were originally developed for flameworking, but they can also be used in the
kiln, and doing so opens exciting technical and aesthetic territory. Used alone or incorporated with
other forms of glass in kilnforming methods, rods can be used to create lenses, interior textures,
patterns and optical phenomena. In this workshop, you will explore the possibilities, make several
finished pieces, and learn coldworking techniques that can further extend the options for this
method. Prerequisites: Basic glass cutting skills and at least one Bullseye kilnforming class or
instructor approval.
Portland | Bonnie Celeste or Trevor Koch | March 30April 2 (CL0204-0006) /
September 2124 (CL0204-0007) | FridaySunday 10am4pm, Monday 1pm4pm |
8 students | $350
Martha Pfanschmidt, Five Poems About
Love (detail), 2004.
Kilnforming with Rod
15
Kiln-glass Components for Jewelry and Wearables
Kiln-glass is frequently used in jewelry, but the emphasis is often on quantity rather than quality. In
this class you will learn to distinguish your work through thoughtful design, careful studio practices,
multiple firings, coldworking methods and, ultimately, good craftsmanship. Instruction will cover
creating jewelry elements for a variety of forms, functions and styles. Samples of and discussions
about using kilnformed elements in jewelry applications or with other wearables will also be
included, as will practical considerations such as studio setup and costs. Artists with backgrounds
in other media are encouraged to enroll. No prerequisites.
Portland | Bonnie Celeste | August 1720 (CL0111-0007) | FridaySunday 10am4pm,
Monday 10am1pm | 9 students | $325
Special Effects in Kiln-glass
Bullseye glasses are made with a variety of basic chemistries. When some of our glasses are
combined with one another or with certain metal foils, the chemistries interact and produce
special effects. Reactive effects can range from subtle to dramatic, and can prove quite versatile in
art and design. Learn more about the basic chemistries behind these effects and how to harness
(or prevent) them to enhance your work. In this class you will study an extensive collection of
samples and finished works and will make your own samples, using many forms of glass and foils.
Prerequisites: Basic glass cutting skills and kilnforming experience.
Portland | Bonnie Celeste | June 23 (CLO202-0010) | Saturday 10am5pm, Sunday
10amNoon | 10 students | $165
Basic Kilnformed Pattern Bars
The pattern bar is a special method that allows for creating unique and complex designs in
kilnformed glass. In this workshop, you will learn to use glass flow and multiple firings to break
away from the flatness of sheet glass and into the realm of dimensional, organic patterning. You will
design and make pattern bars, cut them up on the wet saw, fuse them into blanks, do some basic
coldworking, and ultimately leave the class with three unique finished plates. Prerequisites: Basic
glass cutting skills and kilnforming experience.
Portland | Jim Weiler | June 1518 (CL0203-0009) | FridaySunday 10am4pm,
Monday Noon1:30pm | 8 students | $325
Santa Fe | Erik Whittemore | June 29July 2 (CLS203-0003) | FridaySunday
10am4pm, Monday Noon1:30pm | 8 students | $325
Go with the Flow
Explore the principles of glass flow, deformation, and displacement and learn to make work that
captures a sense of movement within. The process will involve learning kilnforming basics,
doing volume calculations, working with dams and refractory materials, and designing firing
schedules. Basic coldworking methods will also be covered. As a student, you will make three
finished pieces and leave the class with enough information to keep experimenting in this
relatively unexplored technique on your own. No prerequisites, but glass cutting experience is
recommended.
Portland | Nathan Sandberg | March 2324 & 26 (CL0205-0006) | FridaySaturday
& Monday 10am4pm | 8 students | $325
Santa Fe | Erik Whittemore | August 1718 & 20 (CLS205-0004) | FridaySaturday
& Monday 10am4pm | 8 students | $325
Kilnforming Classes
Special Effects in Kiln-glass
16
Set Your Kiln on Fire
Using flameworking as an approach to kilnforming opens up a world of possibilities and can
work for a variety of aesthetics. In this class, youll learn to use the Minor bench burner (oxygen-
propane torch) to create an exciting array of design elements for kilnforming applications, while
also exploring how kilnformed components can be used in the flame. This is truly a cross-process
approach in glass forming methods. Prerequisite: Basic glass cutting skills.
Portland | Bonnie Celeste | June 2225 (CL0206-0003) | FridaySunday 10am5pm,
Monday 10amNoon | 8 students | $350
On the Edge
Creating glasswork by firing strips of sheet glass on edge is a time-honored method that was
pioneered by Klaus Moje, the father of contemporary kiln-glass. In this class, you will explore the
on-edge technique and the design possibilities it offers by examining samples and making your own
piece. In the process, you will hone your glass cutting skills and extend your knowledge of the kiln.
Prerequisites: Basic glass cutting and kilnforming experience.
Portland | Jim Weiler | August 1315 (CL0201-0006) | Monday 6pm9:30pm, Tuesday
6pm8:30pm, Wednesday 6pm7:30pm | 8 students | $165
Santa Fe | Erik Whittemore | March 79 (CLS201-0001): Wednesday 6pm9:30pm,
Thursday 6pm8:30pm, Friday 6pm7:30pm / August 2830 (CLS201-0002): Tuesday
5pm8:30pm, Wednesday 5pm7:30pm, Thursday 5pm6:30pm | 8 students | $165
Pte de Verre, Methods to Form By
The French term pte de verre translates literally as paste of glass. 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. As a student in this workshop, you will explore a
variety of processes used by Lomn to create her signature work. These include model making, mold
construction, color mixing, inlay design, texture control, firing cycles and coldworking. Extensive
experience with glass is not necessary, though a fondness for involved processes and a willingness
to risk are helpful.
Portland | Alicia Lomn | August 15 (CL0211-0004) | WednesdaySaturday
9am5pm, Sunday 9am1pm | 8 students | $800
Santa Fe | Alicia Lomn | July 1721 (CLS211-0002) | TuesdayFriday 9am5pm,
Saturday 9am1pm | 8 students | $800
Kilnforming Classes
Set Your Kiln on Fire
Alicia Lomn, Ara Femina, 2010.
17
Kilncasting Classes
Boxes and Bowls
This class will focus on making two types of objects: kiln-glass boxes and kiln-glass bowls. You will
make two boxes using assembled molds with investment cores. You will make one bowl using the
lost wax casting technique (instead of slumping) and hand-built refractory molds. Basic principles
of kilncasting, volume calculation, and coldworking will be covered. Due to unique firing conditions,
the project sizes and wall thicknesses will be specified. There are no prerequisites, though mold-
making and/or kilncasting experience are helpful.
Portland | Nathan Sandberg | June 23 & 5 (CL0216-0002) / August 2526 & 28
(CL0216-0003) | Saturday & Sunday 9am5pm, Tuesday Noon8pm | 8 students | $350
Finding Form
Build a set of skills and a vocabulary for making relief sculptures in glass. Nathan Sandberg will lead
you through a series of exercises that explore the methods he uses to create his signature kilncast
work. Activities and discussions will include making open-faced investment molds, placing color,
doing multiple firings, kilncasting with frit at low temperatures, and applying three-dimensional
design principles to glass. Ultimately you will use a variety of materials to make models and four
finished castings that examine iterations of form and surface.
Portland | Nathan Sandberg | July 2327 (CL0213-0003) | MondayThursday
9am5pm, Friday Noon4pm | 8 students | $600
Lost Wax Kilncast Glass
In this class you will learn how to make fully sculptural cast glass objects using the lost wax
process. Steps in the process include creating a refractory mold around a wax model, steaming out
the wax, calculating the amount of glass needed to fill the mold, curing the mold, and firing the work
in the kiln. You will complete this process twice: first with a wax model we provide and then with a
wax model you will build in class. Finishing methods will also be covered, including how to safely
remove mold material from fired glass and how to alter fired surfaces using coldworking techniques.
There are no prerequisites, though a background in ceramics or 3D modeling is helpful. (To learn
more about this method, see TipSheet 8: Basic Lost Wax Kilncasting.)
Portland | Nathan Sandberg | May 1418 (CL0208-0004) | MondayFriday 9am4pm |
8 students | $650
Bullseye Box Casting
This course provides a relatively simple and direct introduction to kilncasting glass. As a student,
you will create a thick glass block featuring reverse-relief imagery. The process will involve making
refractory-plaster design elements, securing them in an open-faced mold, filling the mold with
pieces of glass billet, and firing the mold in the kiln until the glass flows and covers the design
elements. There are no prerequisites. (To learn more about this method, see TipSheet 5: Bullseye
Box Casting.)
Portland | Nathan Sandberg | July 78 & 10 (CL0117-0002) | Saturday 10am5pm,
Sunday 10am2pm, Tuesday 68pm | 8 students | $295
Boxes and Bowls
Finding Form
18
Painting with Glass
While the tradition of painting on glass spans many centuries, only fairly recently have materials and
processes been developed (largely at Bullseye) that allow artists to paint with glass. In this class,
you will work with colored glass sheets, powders, frits, and stringers to build a palette of techniques
that allow a wide range of painterly effects. After working through a series of very specific hands-on
exercises, you will make several pieces to further develop your understanding of the materials. This
workshop is great for artists from other media who want to translate their work into glass and is
also valuable for beginning through advanced kilnworkers. No prerequisites.
Portland | Michael Endo | July 1316 (CL0106-0007) | Friday 10am6pm, Saturday
& Sunday 10am4pm, Monday 10amNoon | 8 students | $450
Santa Fe | Erik Whittemore | August 36 (CLS106-0007) | Friday 10am6pm,
Saturday & Sunday 10am4pm, Monday 10amNoon | 8 students | $450
Printmaking for Kiln-glass
As a student in this workshop, you will learn to fire images such as hand-drawn or digital artwork
and photographs into kiln-glass. Hands-on studio sessions will provide practice time in a range of
printmaking methods, including silk-screening with enamels, photosensitive sandblast resist, and
decal transfers. By the end of the class, you will have printed and fired several finished pieces and
will have acquired enough skills and information to continue working on your own. No prerequisites.
Portland | Louise Krampien or Michael Endo | March 911 (CL0112-0013) / May
2527 (CL0112-0014) / September 1416 (CL0112-0015) | FridaySaturday
10am6pm, Sunday 10am4pm | 9 students | $365
Image Transfers Intensive (Expanded)
Learn how artist Carrie Iverson uses principles from lithography to develop a method to transfer
images from a Xerox or laser print onto glass. This expanded version of Iversons popular class will
provide students with additional time and projects to explore working with the process. Projects
include creating single-layer prints and a multi-layered 12mm-thick piece, incorporating alternative
print processes, and investigating the color variations made possible by using Bullseyes reactive
glasses through layers. No prerequisites.
Portland | Carrie Iverson | July 2730 (CL0219-0001) | FridaySunday 10am5pm,
Monday 11amNoon | 8 students | $350
Drawing, Painting & Printmaking Classes
Painting with Glass
Carrie Iverson, Catalyst (detail), 2007.
19
Instructors & Lecturers
Heike Brachlow was born and raised in Munich, Germany, and discovered glass while living in
New Zealand, where she worked as a glassblower in a small studio in Rotorua. She received her BA
in 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art in
London. Her work has been exhibited in the UK, the US, New Zealand, Europe, and Japan. Brachlow
draws her inspiration from her travels, human interaction, architecture and geometry.
www.heikebrachlow.com, www.bullseyegallery.com
Bonnie Celeste received her BS in education from Buffalo State College in New York. She was
selected by jury for Pilchucks glass auctions 2006 through 2008 and has had work accepted to
special International Society of Glass Beadmakers exhibitions in 2007 and 2008. As 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.bonnie-celeste.com
Michael Endo earned an MFA in painting from Cranbrook Academy of Art, Michigan, in 2009 and a
BA from Portland State University, Oregon, in 2005. His work has been exhibited internationally and
has been selected for group and solo exhibitions. Endo now resides in Portland and is a member of
the Bullseye staff, dividing his hours between the Research & Education Department and Bullseye
Gallery. www.michaelendo.com
Carrie Iverson earned her BFA at Yale and her MFA at the School of the Art Institute of Chicago.
Best known as a printmaker and painter, Iverson is quickly building a reputation for works in kiln-
glass, which she began as a direct outgrowth of classes taken at Bullseye. She has done a number of
publicly visible installations dealing with the Iraq War, including WAKE (at Brooklyn Public Library),
for which she garnered a great deal of press. Her work is in permanent collections at MOMA and the
Brooklyn Museum (NYC), and the MCA and Art Institute (Chicago). www.bullseyegallery.com
Trevor Koch received a BFA in studio art with an emphasis in ceramic sculpture from California
State University, Chico, in 2006. In spring 2010 he received an MFA in spatial arts from San Jose
State University. While earning the MFA, Trevor served as a museum preparator for the San Jose
Museum of Art and taught ceramic classes at SJSU. His work has been included in national juried
exhibitions and is part of several private collections. www.iamaconduit.blogspot.com
Louise Krampien received a BS in photography from Carroll College (Wisconsin) in 2007 and an
MFA in printmaking from Washington State University in Pullman in 2010. She has also studied print
at the School of the Museum of Fine Arts in Boston and at the University of Wales in Aberystwyth.
Her work is exhibited internationally and is part of numerous permanent collections and print
exchange portfolios. www.louisekrampien.com
Carli Schultz Kruse has worked in glass since 2004, starting with glass fusing and quickly
moving into lampworking as her main discipline. A resident of Beaverton, Oregon, she has studied
glass at Bullseye Glass Company and the Oregon College of Art and Craft. Her work has appeared in
the recently published book Art Glass Today, as well as The Flow and Bead Unique magazines. In 2008,
she won first place in the jewelry category at the Oregon Glass Guilds Glass Expo.
www.juiceglass.com
20
Instructors & Lecturers
Alicia Lomn, who has studied fine arts and glass kilncasting nationwide, has dedicated the past
eleven years to exploring techniques in pte de verre. She shows her extraordinary work in galleries
across the U.S. and has taught pte de verre workshops at Anla Glass (Denmark), Creative Glass
(Switzerland), Pilchuck Glass School, Penland School of Crafts and Bullseye Glass Co. Lomn lives
and works on Whidbey Island in Washington State. www.bullseyegallery.com
LANI MCGREGOR is a Bullseye co-owner and the Director of Bullseye Gallery. Before joining the
company in 1984, she operated a glass studio in Albuquerque that specialized in kilnformed and
flat architectural work. In 1990 she established Bullseyes R&E Department and its initial teaching
programs. Today she and partner Dan Schwoerer share a home that doubles as a private museum
and laboratory for the study of architectural kiln-glass. In 2005 the couple shared the GAS Lifetime
Membership Award. McGregor has served on the boards of various arts organizations and most
recently joined the board of trustees of the Portland Art Museum.
Klaus Moje, renowned artist and educator, has had a broad impact on the development of
kilnformed glass as an art medium. In 1983, Moje founded the Glass Workshop at the Canberra
School of Art, Australian National University. He has received the Rakow Commission from the
Corning Museum of Glass and Lifetime Achievement Awards from UrbanGlass and the Glass Art
Society. His work is represented in dozens of public collections around the globe and has been the
subject of major museum retrospectives that have toured Germany, Australia and the United States
in 1995, 2008 and 2009. www.bullseyegallery.com
Emily Nachison received a BFA in fiber from the Maryland Institute College of Art in 2006 and
an MFA in fiber from the Cranbrook Academy of Art in 2010. She has had numerous solo exhibitions
and has been included in multiple group shows across the country. In 2009 she was featured in the
art and architecture issue of 944 Magazine. Nachison was a finalist for the Virginia Commonwealth
University Craft and Material Studies Emerging Artist Residency Program and has received a grant
from the Regional Arts and Culture Council in her home city of Portland, Oregon.
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 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
21
Instructors & Lecturers
Nathan Sandberg earned his BFA in glass and ceramics from Southern Illinois University
Carbondale. His work has received critical recognition through awards and shows and is held in
private collections. As a member of the Bullseye Research & Education team, he develops and
teaches new curriculum in kilnformed glass. Nathan enjoys working with and learning from his
students, whether theyre new to glass or seasoned veterans. When he isnt at the factory, he can
usually be found in his Portland studio. www.bullseyegallery.com, www.nathansandberg.com
Daniel Schwoerer graduated from the University of Wisconsin (BS Civil Engineering; MS
Engineering Mechanics) where he also worked in the art department as graduate assistant to
Professor Harvey Littleton in 1968-69. He then moved to Portland, Oregon, where he set up a
glassblowing studio and later founded Bullseye Glass Company with partners Ray Ahlgren and
Boyce Lundstrom. He and Lundstrom co-wrote Glass Fusing Book One. In addition to his tasks as CEO
of Bullseye, Schwoerer researches and writes technical articles on glass and investigates leading-
edge issues in kilnforming.
Stacy Lynn Smith, a native of Vancouver, Washington, earned a BFA from the School of the
Art Institute of Chicago. After returning to the Northwest, she mounted her first solo exhibition,
Accumulate, in 2010. In 2011, Smiths work was shown at Art Santa Fe and was included in the
inFORM exhibition at Bullseye Gallery, which showcased kiln-glass by six recent graduates from
academic programs. www.bullseyegallery.com, www.stacylynnsmith.com
Jim Weiler received a BFA in sculpture from Bowling Green State University in 1998 and an MFA
in glass from Southern Illinois University Carbondale in 2004. After teaching glass at SIUC for two
years, he found himself blowing and coldworking glass in Fresno, California. Weiler received a grant
in 1996 to study sculptural anatomy in Klaipeda, Lithuania. In 2008 he joined the Bullseye Research
& Education team, where he enjoys teaching, helping artists execute designs, and testing various
products and processes related to kilnformed glass. www.weilerglass.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.bullseyegallery.com
22
Enrollment in classes and workshops at Bullseye is designed for those 18 years of age or older.
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 promotional purposes.
To Register For Classes & Events
Registration
Portland:
In person or by mail:
Bullseye Resource Center
3610 SE 21st Avenue
Portland OR 97202
By phone: 503.227.2797
By email: portlandclasses@bullseyeglass.com
By fax: 503.238.9963
Business hours:
MondayFriday, 10am6pm
Saturday, 10am5pm
Sunday, Noon5pm
Santa Fe:
In person or by mail:
Bullseye Resource Center
805 Early Street, Building E
Santa Fe, NM 87505
By phone: 505.467.8951
By email: santafeclasses@bullseyeglass.com
Business hours:
TuesdaySaturday, 10am5pm
Confirmation
About one week 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, please call us.
Portland classes: 503.227.2797
Santa Fe classes: 505.467.8951
Visiting Our Locations
Portland: Go to bullseyeglass.com/resource-center-portland.html and click on About Portland.
santa fe: Go to bullseyeglass.com/resource-center-santa-fe.html and click on the Santa Fe
Creative tourism button.
Cancellation & Transfer Policies
If 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 students space. In order to keep
class costs low for all, we make no exceptions to this policy.
23
Name
Mailing Address
City, State, Zip
Telephone
Email
Occupation
Please check your preferred method for notifcation: O Mail O Telephone O Email
Payment Method: O Visa O MasterCard O American Express O Check
Credit Card # CVC Code Exp.
Please list requested class(es) by title and class CL number




Do you operate or work for a business that is involved in the fabrication or reselling of glass products or supplies?
O Yes O No
If yes, where?
Have you taken classes at Bullseye before? O Yes O 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?
Registration Form
Bullseye Resource Center, Portland
3610 SE 21st Avenue
Portland, OR 97202
503.227.2797
portlandclasses@bullseyeglass.com
www.bullseyeglass.com/portland
Bullseye Resource Center, Santa Fe
805 Early Street, Building E
Santa Fe, New Mexico 87505
505.467.8951
santafeclasses@bullseyeglass.com
www.bullseyeglass.com/santafe
ON THE COVER: Bas Relief Pte de Verre, page 10.

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