| 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. 4 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 5 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 6 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 7 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 8 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. 9 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. 10 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. 11 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 12 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 13 Introduction to Coldworking 14 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.