bullseye glass co. classes special events · encompasses fundamental to advanced techniques as well...

Bullseye Glass Co. | Classes & Special Events

September 2012 – March 2013

Kiln-Glass and Bullseye

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 Bullseye’s years of collaboration with artists.

Bullseye staff and visiting instructors have offered this curriculum through classes, lectures, and demonstrations at our Resource Centers 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 Australia to Scotland. Our educational mission is to provide students with inspiring and informative curriculum in working with kiln-glass. We teach even the most basic skills and information at the highest level possible, giving students a comprehensive experience that encompasses fundamental to advanced techniques as well as theory, practice, craft, design and art. At Bullseye, we don’t just teach students how to do things; we explain how we’ve arrived at specific methods in our decades of research into processes, products and equipment.

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Class & Event Locations

Bullseye’s Resource Centers are well known as world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations. Our classes are led by respected national and international artists who teach in a friendly atmosphere with state-of-the-art equipment. Visit our website to learn more about our Resource Centers and instructors, view images of class projects, and link to visitor’s information.

Bullseye Resource Center Portland 3610 SE 21st Avenue Portland, OR 97202

503.227.2797 [email protected] www.bullseyeglass.com/portland

Bullseye Resource Center Santa Fe 805 Early Street, Building E Santa Fe, NM 87505

505.467.8951 [email protected] www.bullseyeglass.com/santafe

Bullseye Resource Center Bay Area 4514 Hollis Street Emeryville, CA 94608

510.595.1318 [email protected] www.bullseyeglass.com/bayarea

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ClassesMany Bullseye classes are 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 30.

Special Events (Artist Talks & Demonstrations)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 [email protected]

Santa Fe: 505.467.8951 or [email protected]

Bay area: 510.595.1318 or [email protected]

Private and Custom Workshops Now you can dream up a special kiln-glass workshop for your organization or group of up to 16 people. We’ll 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 or [email protected]

Santa Fe: 505.467.8951 or [email protected]

Bay area: 510.595.1318 or [email protected]

Keep in TouchIf you would you like to receive future class schedules and notices of special events via email, please send your request to: [email protected], santafeclasses@bullseyeglass and/or [email protected]. (Our mailing list is kept confidential.)

General Information

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Index of Classes & Special Events

PORTLANDDates Class / Event instructor/lecturer Cost Page

SEP 1–2 Beginning Beadmaking Celeste $225 16

5 First Glass Fusing Class Staff $100 14

9 Heike Brachlow Artist Talk Brachlow Free 10

10–15 The Big Picture: Survey Weiler $600 15


14–16 Printmaking for Kiln-glass Krampien $365 22


22–24 Slumping Survey Celeste $275 15


OCT 3 First Glass Fusing Class Staff $100 14


12–13 & 15 Harnessing Flow Sandberg $325 19

13–14 NEW Iridescent Effects Celeste $165 13

14 ∆ = Gulp!, or The Next Phase Sandberg Free 10


20–22 Vitrigraph Cane & Murrine Sandberg $325 16

26–27 & 29 Designing & Using Part Sheets Celeste $295 17

29–Nov 2 Lost Wax Kilncast Glass Weiler $650 20

NOV 3 Parrish and Sutherland Gallery Talk Parrish, Sutherland Free 10

3–4 Special Effects in Kiln-glass Celeste $165 17


9–12 More Pattern Bars Weiler $350 18


16–19 Basic Kilnformed Pattern Bars Weiler $325 18


dec 5 First Glass Fusing Class Staff $100 14

8–9 Beginning Beadmaking Celeste $225 16

8–10 NEW Sandblasting for Kiln-glass Krampien $295 12


14–16 Powder Printing Smith $365 24

16 Stacy Lynn Smith Artist Talk Smith Free 10

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PORTLAND (continued)

Dates Class / Event instructor/lecturer Cost Page

jan 4–6 Powder Printing Smith $365 24

6 Brunskill, Kingsbury, Newell, Rogers Artist Talk Brunskill, Kingsbury, Newell, Rogers Free 11


9–13 Pâte de Verre Methods Lomné $800 19

11–14 Screen Printing for Kiln-glass Krampien $400 22


19–21 NEW Sandblasting for Kiln-glass Krampien $295 12


25–27 NEW Cast and Cut: Faceted Wearables Celeste $275 13

25–28 Image Transfers Intensive Iverson $350 23

feb 1–4 NEW Scaling Up: Tabletops Sandberg $475 12

8–11 Painting with Glass Krampien $450 21


14–18 Collected Images/Powder Printing Smith $600 24

15–17 NEW Design for Drop-out Molds Celeste $295 13


23–25 NEW The Color Lab Sandberg $325 12


mar 2–3 & 5 Boxes & Bowls Sandberg $350 20


8–9 & 11 Designing & Using Part Sheets Celeste $295 17

8–9 & 11 Harnessing Flow Sandberg $325 19

10 Endo, Smith, Surgent Artist Talk Endo, Smith, Surgent Free 11


15–18 Advanced Painting with Glass Endo $450 21

16–18 Slumping Survey Celeste $275 15


22–25 More Pattern Bars Weiler $350 18

23–24 NEW Iridescent Effects Celeste $165 13

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santa feDates Class / Event instructor/lecturer Cost Page

sep 5 First Glass Fusing Class Whittemore $100 14


14–16 Powder Printing Smith $365 24

26 first glass fusing class whittemore $100 14

oct 17 First Glass Fusing Class Whittemore $100 14

20 First Glass Fusing Class Whittemore $100 14

23–24 & 26 Intro to Fusing & Slumping Whittemore $165 15

nov 7 First Glass Fusing Class Whittemore $100 14


30–Dec 2 Powder Printing Smith $365 24

dec 12 First Glass Fusing Class Whittemore $100 14

14–15 Special Effects in Kiln-Glass Whittemore $165 17

jan 5 First Glass Fusing Class Whittemore $100 14

11–12 & 14 Basic Kilncast Glass Whittemore $350 16

22–24 On The Edge Whittemore $165 19

feb 2 First Glass Fusing Class Whittemore $100 14

13 Lost Wax kilncast glass Demo Whittemore Free 11

15–18 Basic Kilnformed Pattern Bars Whittemore $325 18

28 Judy Tuwaletstiwa Artist Talk Tuwaletstiwa Free 11

mar 16 First Glass Fusing Class Whittemore $100 14


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bay areaDates Class / Event instructor/lecturer Cost Page

Sep 5 Catharine Newell Artist Talk Newell Free 10

6–10 Taking a Leap Newell $600 21



21–22 & 24 Bullseye Box Casting Scidmore $295 20


28–30 Intro to Coldworking Scidmore $350 15

Oct 3 First Glass Fusing Class Staff $100 14

9–13 Lost Wax Kilncast Glass Weiler $650 20


Nov 7 First Glass Fusing Class Staff $100 14



16–19 Screen Printing for Kiln-glass Scidmore $400 22


Dec 1 This Fragile Skin Gallery Talk Endo Free 11

4–8 Pâte de Verre Methods Lomné $800 19



Jan 4–5 & 7 Basic Kilncast Glass Scidmore $350 16


11–12 & 14 Boxes and Bowls Sandberg $350 20

18–19 Image Transfers for Kiln-glass Iverson $185 23

Feb 2 First Glass Fusing Class Staff $100 14


15–18 Screen Printing for Kiln-glass Scidmore $400 22


23–25 Vitrigraph Cane & Murrine Scidmore $325 16

Mar 6 First Glass Fusing Class Staff $100 14


12-16 Lost Wax Kilncast Glass Scidmore $650 20

21 Stacy Lynn Smith Artist Talk Free Free 10

22–26 Collected Images/Powder Printing Smith $600 24



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Free Artist Talks & Demonstrations

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

Bay Area September 5 (EVB701-0001) Wednesday 6pm–7pm

Heike BrachlowHeike 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 2pm–3pm

Stacy Lynn SmithStacy Lynn Smith will discuss her work and influences and will demonstrate the simple, elegant printing technique she uses to create images on glass with rich textures and colors that can’t be achieved with traditional printing methods.

Santa Fe September 13 (EVS730-0001) November 29 (EVS730-0002) Thursday 5:30pm–6:30pm

Portland December 16 (EV0730-0003) Sunday 2pm–4pm

Bay Area March 21 (EVB730-0002) Thursday 6pm–8pm

Nathan Sandberg: ∆ = Gulp!, or The Next PhaseHow does a young, self-supporting artist build a career in kiln-glass? Come discuss the possibilities with Nathan Sandberg, who has decided to take the leap into self-employment after seven years as an instructor/technician in Bullseye’s Research & Education Department.

Portland October 14 (EV0727-0001) Sunday 2pm–3pm

Richard Parrish and Karlyn Sutherland Richard Parrish and Karlyn Sutherland, both architects working in kiln-glass, will discuss their work just prior to the opening reception of their show at Bullseye Gallery. Please RSVP to [email protected].

Bullseye Gallery

Portland 300 NW 13th Ave

November 3 (EV0737-0001) Saturday 4pm–5pm

From top: Catharine Newell, Next VII, 2006. Heike Brachelow, Movement VI (detail), 2006. Stacy Lynn Smith, Intersect 2 (detail), 2011. Nathan Sandberg working at his home studio. Karlyn Sutherland, Harbour House, Lybster: Series 1, 2010.

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Free Artist Talks & Demonstrations

This Fragile SkinJoin Bullseye Gallery curator Michael Endo for an exploration of the work in This Fragile Skin, which will be on display in the Resource Center Bay Area Gallery October 27–January 12. Endo will specifically address how the flexibility of glass, as a material, allows for the exploration of many divergent ideas that resonate with the body and how, through kilnforming, glass, with all its shiny industrial associations, becomes human. We are connected through our shared experiences of attraction and repulsion, lust and taboo, solidity and permeability and, most of all, our shared fragility.

Bay Area Michael Endo

December 1 (EVB738-0001) Saturday 2pm–3pm

Shannon Brunskill, June Kingsbury, Catharine Newell and Michael Rogers: VanitasMeet four of the five artists whose work will be shown at Bullseye Gallery from January 2 to March 2, 2013. Curator Michael Endo will moderate a discussion of their work and how it fits into the theme of Vanitas.

Portland January 6 (EV0739-0001) Sunday 2pm–3:30pm

Michael Endo, Stacy Lynn Smith and April Surgent: The End And AfterThe Bullseye Gallery exhibition The End And After looks at America though an apocalyptic lens. Surgent’s work captures the imagined “last days” of America as we know it. Smith’s examines our civilization through the physical accretion of ephemera we leave behind. Endo’s work bridges the gap between pre and post, telling the sinister but human story of what remains when society fails. The artists will briefly show images of their work and then progress to a panel discussion moderated by Ted Sawyer.

Portland March 10 (EV0740-0001) Sunday 2pm–3pm

Judy Tuwaletstiwa: Poetry Is EverywhereJoin Judy Tuwaletstiwa as she presents a glimpse at her lifetime of art and a peek at the new glass works she has been creating while working in the studio at the Santa Fe Resource Center. “My work has always grown from my relationship to landscape, whether it is the landscape of the Hopi Reservation or of New York City. Just as a poem is composed of words we all use, my work is composed of mundane materials we all see. A poet creates rhythm and pattern, simile and metaphor from everyday language, giving birth to images that awaken us to new ways of seeing.”

Santa Fe February 28 (EVS741-0001) Thursday 5:30pm–6:30pm

Lost Wax Kilncast Glass Demonstration See the basic steps involved in creating lost wax kilncast glass, from making the model and duplicating it in wax to building the mold, to loading it with glass and firing it in the kiln.

Santa Fe Erik Whittemore

February 13 (EVS703-0003) Wednesday 5pm–8pm

From top: Clifford Rainey, Counting (detail), 2003. Shannon Brunskill, The Day She Left, 2011. Stacy Lynn Smith, Blue Spark (detail), 2012. Judy Tuwaletstiwa, Catching Light, Stopping Time 7, 2012. Mold pouring for lost wax kilncasting.

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New Classes

The Color LabEven when working with the largest palette of tested compatible colored glass on the market, you may find yourself seeking a color that isn’t available as an “off-the-shelf” option in the Bullseye line. Or you may find yourself wondering how to use some of the colors in the line for your work, if at all. As a student in The Color Lab, you will develop a system to zero-in on specific colors and greatly expand your ability to understand and use the palette, learning through demonstrations, discussions and hands-on work, making as many as 60 samples.

Portland Nathan Sandberg

February 23–25 (CLO222-0001) Saturday–Sunday 9am–4pm, Monday 10am–Noon 10 students | $325

Scaling Up: Tabletops A juicy, thick, solid-glass tabletop, counter or shelf has tremendous functional, visual and material appeal. Many artists and designers would like to make one, but are apprehensive due to the scale of the project. The good news is that with a firm understanding of a few basic principles and materials, the biggest hurdle becomes the size of the kiln. Gaining access to the appropriate kiln will be up to you, but in this workshop we can get you ready to design and prepare your scaled-up project for firing. Starting with small samples and concluding with a 15” x 18” x 1” tabletop, you will learn everything you need to know. While support systems made of a variety of materials will be demonstrated and discussed, the focus of this workshop is the design and fabrication of the kiln-glass components, not table legs and armatures. Prerequisite: Students must be able to accurately and effectively cut sheet glass.


February 1–4 (CLO223-0001) Friday–Saturday 9am–6pm, Sunday 10am–4pm, Monday 9am–5pm | 8 students | $475

Sandblasting for Kiln-Glass Sandblasting is a technique for altering the surface area of glass using a highly pressurized, propelled stream of abrasive material. Sandblasting can be used to create imagery and textures, selectively carve thin layers of surface material such as iridescent coatings or layers of colored glass, remove devitrification, refine a surface for fire-polishing, or even change the shape of a piece. In this course, make a number of small pieces while working with a range of glasses and masking materials including photo-resist films. You will also leave class with a sample set of sandblasted and fire-polished glass tiles.

Portland Louise Krampien

December 8–10 (CLO224-0001) January 19–21 (CLO224-0002) Saturday-Sunday 10-5, Monday 10-noon 8 students | $295

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New Classes

Design for Drop-out MoldsA drop-out mold is an elevated surface featuring a hole through which glass can slump or “drop” when fired in the kiln to form vessels. The part of the glass that slumps through the hole can stretch considerably, informing the design of the finished piece in a significant way. In this class, you will learn how glass slumps in an elevated drop-out firing and how to design in response to this phenomenon. You will make medium and large bowls using commercial drop-out molds and one piece using a custom fiberboard mold of your own design. To refine and finish the work, you will learn how to remove the substantial lip of a slumped vessel and coldwork the edge. Prerequisite: Students must be able to accurately and effectively cut sheet glass.

Portland Bonnie Celeste

February 15–17 (CLO225-0001) Friday–Saturday 9am–4pm, Sunday 9am–1pm 8 students | $295

Cast and Cut: Faceted WearablesIn this class you will learn how to make wearable elements such as jewelry, buttons, and fashion accents from thick blanks of glass that you will cast, coldwork, and in some cases fire-polish. You will start by selecting a combination of colors and forms of glass to cast into slab or cylinder. You will then mine and refine wearable pieces from your cast blank by cutting, carving and faceting them with lapidary equipment such as the wet tile saw and flat grinder, ultimately finishing some surfaces by fire-polishing.


January 25–27 (CLO226-0001) Friday 9am–4pm, Saturday 10am–5pm, Sunday 9am–1pm 8 students | $275

Iridescent EffectsThe iridescent coatings applied to a wide range of Bullseye sheet glasses present unique and exciting design opportunities for kilnformers. Learn more about how to harness the shimmering effects of iridescents by studying an extensive collection of samples and finished works and making your own set of 6”-square samples as you explore the possibilities. Prerequisites: Basic glass cutting skills and kilnforming experience.


October 13–14 (CLO227-0001) March 23–24 (CLO227-0002) Saturday 10am–5pm, Sunday 10am–Noon 9 students | $165

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Introductory Classes

First Glass Fusing ClassIn 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 Bullseye’s Open Studio sessions. No experience with glass is required for this course, which is recommended for beginners.

Portland

Bullseye Research & Education Staff

September 5 (CLO115-0028)September 12 (CLO115-0031) September 19 (CLO115-0032) September 26 (CLO115-0029) October 3 (CLO115-0033) October 10 (CLO115-0034) October 17 (CLO115-0035) November 7 (CLO115-0036) November 10 (CLO115-0037) November 28 (CLO115-0038) December 5 (CLO115-0039) December 12 (CLO115-0040) January 9 (CLO115-0041) January 19 (CLO115-0042) January 23 (CLO115-0043) February 13 (CLO115-0044) February 23 (CLO115-0045) February 27 (CLO115-0046) March 6 (CLO115-0047) March 13 (CLO115-0048) March 20 (CLO115-0049)

Wednesday 6pm–8:30pm OR Saturday 10am–12:30pm 16 students | $100

Santa Fe

Erik Whittemore

September 5 (CLS115-0014) September 26 (CLS115-0023) October 17 (CLS115-0016) October 20 (CLS115-0017) November 7 (CLS115-0018) December 12 (CLS115-0019) January 5 (CLS115-0020) February 2 (CLS115-0021) March 16 (CLS115-0022)

Wednesday 6pm–8:30pm OR Saturday 2pm–4:30pm 16 students | $100

Bay Area

Bullseye Research & Education Staff

September 15 (CLB115-0025)

September 19 (CLB115-0006) September 26 (CLB115-0026) October 3 (CLB115-0009) October 24 (CLB115-0010) November 7 (CLB115-0011) November 9 (CLB115-0012) November 14 (CLB115-0013) November 28 (CLB115-0014) December 12 (CLB115-0015) December 15 (CLB115-0016) January 9 (CLB115-0017) February 2 (CLB115-0018) February 6 (CLB115-0019) February 20 (CLB115-0020) March 6 (CLB115-0021) March 9 (CLB115-0022) March 30 (CLB115-0023)

Wednesday or Friday 6pm–8:30pm OR Saturday 10am–12:30pm 16 students | $100


Slumping SurveySlumping 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.

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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.

Introduction to Coldworking Coldworking is changing the shape and/or surface texture of glass using tools and processes that don’t rely upon heat. These processes include grinding, carving, engraving, polishing and sandblasting—all 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 pieces. You will also discuss ways to adapt basic methods to home studio practice. There are no prerequisites.


Bay Area jeremy scidmore

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 Jim Weiler

September 22–24 (CLO116-0002) March 16–18 (CLO116-0003) Saturday–Sunday 10am–4pm, Monday 10am–11am 8 students | $275

October 23–24 & 26 (CLS101-0011) Tuesday–Wednesday 6pm–8:30pm, Friday 6pm–7:30pm 10 students | $165

september 28-30 (CLB105-0002) Friday–sunday 9am–5pm 8 students | $350

September 10–15 (CLO108-0006) Monday–Friday 10am–4pm, Saturday Noon–2pm 10 students | $600

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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.


September 1–2 (CLO107-0011) December 8–9 (CLO107-0012) Saturday–Sunday 10am–5pm | 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.


January 11–12 & 14 (CLS103-0004) Friday–Saturday & Monday 9am–5pm | 8 students | $350

Bay Area Jeremy ScidmorE

January 4–5 & 7 (CLB103-0002) Friday–Saturday & Monday 9am–5pm | 8 students | $350

Vitrigraph Cane and MurrineFor 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 Italy’s 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.


October 20–22 (CLO210-0007) Saturday–Sunday 9am–4pm | Monday 9am–1pm 8 students | $325

Bay Area Jeremy Scidmore

February 23–25 (CLB210-0001) Saturday–Sunday 9am–4pm | Monday 9am–1pm 8 students | $325

Kilnforming Classes

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.


November 3–4 (CLO202-0011) Saturday 10am–5pm, Sunday 10am–Noon 10 students | $165


December 14–15 (CLS202-0003) Friday 10am–5pm, Saturday Noon–2pm 10 students | $165

Designing and Using Part Sheets Working with a palette of glass frit, 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, you’ll 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.


October 26–27 & 29 (CLO118-0003) March 8–9 & 11 (CLO118-0004) Friday–Saturday 10am–4pm, Monday 10am–Noon 8 students | $295

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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.

Kilnforming Classes

Portland Jim Weiler

November 16–19 (CLO203-0010) Friday–Sunday 10am–4pm, Monday Noon–1:30pm 8 students | $325


February 15–18 (CLS203-0005) Friday–Sunday 10am–4pm, Monday Noon–1:30pm 8 students | $325

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 above). 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 you’ve 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

November 9–12 (CLO218-0002) March 22–25 (CLO218-0003) Friday–Saturday 10am–6pm, Sunday 10am–4pm, Monday Noon–1:30pm | 8 students | $350

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Kilnforming Classes

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.

Harnessing 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.


October 12–13 & 15 (CLO205-0007) March 8–9 & 11 (CLO205-0008) Friday–Saturday & Monday 10am–4pm | 8 students | $325


January 22–24 (CLS201-0003) Tuesday 6pm–9:30pm, Wednesday 6pm–8:30pm, Thursday 6pm–7:30pm | 8 students | $165

Pâte de Verre, Methods to Form By The French term “pâte 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 instructor Alicia Lomné 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 Lomné

January 9–13 (CLO211-0005) Wednesday–Saturday 9am–5pm, Sunday 9am–1pm 8 students | $800

Bay Area Alicia Lomné

December 4-8 (CLB211-0002) Tuesday–Friday 9am–5pm, Saturday 9am–1pm 8 students | $800

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Boxes and BowlsThis 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.

Kilncasting Classes


March 2–3 & 5 (CLO216-0004) Saturday–Sunday 9am–5pm, Tuesday Noon–8pm 8 students | $350

Bay Area Nathan Sandberg

January 11–12 & 14 (CLB216-0001) Friday–Saturday 9am–5pm, Monday Noon–8pm 8 students | $350

Bullseye Box CastingThis 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 on our website - search for “TipSheet 5”.)


September 21–22 & 24 (CLB117-0001) Friday 10am–5pm, Saturday 10am–2pm, Monday 6pm–8pm 8 students | $295

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 on our website - search for “TipSheet 8”.)

Portland Jim Weiler

October 29–November 2 (CLO208-0005) Monday–Friday 9am–4pm | 8 students | $650

Bay Area Jim Weiler or Jeremy Scidmore

October 9–13 (CLB208-0001) March 12–16 (CLB208-0002) Tuesday–Saturday 9am–4pm | 8 students | $650

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Drawing, Painting & Printmaking Classes

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.


February 8–11 (CLO106-0008) Friday 10am–6pm, Saturday–Sunday 10am–4pm, Monday 10am–Noon | 8 students | $450

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 above), A Particulate Language, Beneath the Surface, Layered Assemblage, Painterly Figures, Drawing with Glass, or The Glass Sketch.

Portland Michael Endo

March 15–18 (CLO220-0002) Friday 10am–5pm, Saturday–Sunday 10am–4pm, Monday 10am–2pm | 8 students | $450

Taking a Leap: Making Resonant Work This intermediate course is geared toward helping participants make resonant work that is well conceived and skillfully executed. Using sheet glass and powders, begin by making simple black-and-white single-layer studies and ultimately move to multilayer monochromatic and color pieces. Develop your own trajectory along the way, experimenting with materials, engaging in personal examination, and learning to take creative risks. The class begins with structured exercises but evolves into a kind of group residency with independent research, group discussion, critique and student presentations, all under the guidance of the instructor. Prerequisites: Strong glass cutting skills and experience with frits and powders.

Bay Area Catharine Newell

September 6–10 (CLB305-0001) Thursday–Sunday 9am–5pm & Monday 9am–Noon 8 students | $600

Michael Endo, Smolder (detail), 2011.

Catharine Newell, Predation Risk Index (detail), 2009.

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Screen Printing for Kiln-Glass This class focuses on using screen printing techniques to fire finely detailed 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 methods, including putting images onto silk screens and ultimately onto glass, using materials such as photosensitive emulsion, screen filler, drawing fluid, hand-cut stencils, enamels 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.


January 11–14 (CLO122-0001) Friday–Sunday 10am–6pm, Monday Noon–4pm 9 students | $400


November 16–19 (CLB122-0001) February 15–18 (CLB122-0002) Friday–Sunday 10am–6pm, Monday Noon–4pm 9 students | $400

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 using 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.


September 14–16 (CLO112-0015) Friday–Saturday 10am–6pm, Sunday 10am–4pm 9 students | $365

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Image Transfers IntensiveThis expanded version of Iverson’s popular Image Transfers class will provide students with additional time and projects to explore working with the process, which employs principles from lithography to transfer images from a Xerox or laser print onto glass. 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 Bullseye’s reactive glasses through layers. No prerequisites.

Image Transfers for Kiln-Glass Explore this printmaking method, developed by artist Carrie Iverson for transferring images from a Xerox or laser print onto glass. The technique uses principles from lithography and results in prints composed of fine glass powder fired onto glass sheet. In the class, you will view images and examples of finished works, and following demonstrations, you will create several pieces using a variety of materials, including Bullseye reactive glasses. No prerequisites.

Bay Area Carrie Iverson

Jan 18–19 (CLB102-0001) Friday 10am–5pm, Saturday 11am–Noon 8 students | $185

Portland Carrie Iverson

January 25–28 (CLO219-0002) Friday–Sunday 10am–5pm, Monday 11am–Noon 8 students | $350

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Powder Printing Explore the printing technique used by Stacy Lynn Smith to create images on glass with rich textures and colors that can’t be achieved with traditional printing methods. In powder printing, images are produced by pressing dry glass powder through a prepared silkscreen. Prints can be full-fused for smooth surfaces or tack-fused for textured surfaces that resemble relief printing or sandblasting. Powder images can also be printed directly onto the kiln shelf (without base glass) to produce wafer-thin work that can stand alone or be attached to a substrate, as desired. In this class, learn image preparation, design possibilities and firing options through various hands-on projects, demonstrations and examples. No prerequisites.

Portland Stacy Lynn Smith

December 14–16 (CLO121-0001) January 4–6 (CLO121-0002) Friday–Saturday 9am–5pm, Sunday 10am–1pm 8 students | $365

Santa Fe Stacy Lynn Smith

September 14–16 (CLS121-0001) November 30–December 2 (CLS121-0002) Friday–Saturday 9am–5pm, Sunday 10am–1pm 8 students | $365

Collected Images and Powder Printing This workshop is an expanded version of Stacy Smith’s popular Powder Printing class. In addition to learning how to create images on glass by pressing dry glass powder through a prepared silkscreen, you will also build on this foundation and join Smith in an exploration of her creative process. Learn image preparation, design possibilities and firing options through various hands-on projects, demonstrations and examples. Then join Smith on a trip into the field around the city to gather visual information and use the collected images to produce finished work with the powder printing method. Prerequisite: Basic glass cutting skills.

Portland Stacy Lynn Smith

February 14–18 (CLO217-0003) Thursday–Sunday 9am–5pm, Monday 10am–1pm 8 students | $600

Bay Area Stacy Lynn Smith

March 22–26 (CLB217-0001) Friday–Monday 9am–5pm, Tuesday 10am–1pm 8 students | $600


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Open Studio: Kilnforming Don’t miss this unique opportunity—one of the big perks for taking Bullseye classes. Bring your Bullseye glass to the Resource Center kilnforming studio and enjoy access to tools, kilns, and non-glass supplies. Learn studio practices, get exposure to diverse methods and materials, and be inspired by fellow members of the glass community. A Bullseye staff member will be on hand to answer questions and serve as a guide. Firing fees and mold rental charges will apply. Prerequisite: Completion of at least one 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.

PORTLAND: 503.227.2797 or [email protected]

SANTA FE: 505.467.8951 or [email protected]

BAY AREA: 510.595.1318 or [email protected]

Portland, Santa Fe & Bay Area | Bullseye Staff | Two-hour minimum | $5 per hour

Open Studio: TorchworkingTake advantage of this chance to use Bullseye Resource Center torches and sharpen the skills you’ve 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: 503.227.2797 or [email protected]

Open Studio

Portland only | Bullseye Staff | Two-hour minimum | $10 per hour

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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 U.K., the U.S., New Zealand, Europe, and Japan. Brachlow draws her inspiration from her travels, human interaction, architecture and geometry. www.heikebrachlow.com, www.bullseyegallery.com

Shannon Brunskill received the Bronze Award in e-merge 2010 while she was a graduate student at the University of Texas at Arlington. After completing the MFA in 2011, she opened her own studio in Dallas, where she now maintains a rigorous studio practice. During the course of her education, Brunskill studied various glass techniques with world-renowned artists at the Corning Museum of Glass, Pilchuck Glass School and Haystack Mountain School of Crafts. She has been the recipient of a Pollack-Krasner Fellowship and has exhibited her work nationally and internationally. www.shannonbrunskill.com

Bonnie Celeste received her BS in education from Buffalo State College in New York. Her background in glass comes from years of experience working in the Research & Education Department at Bullseye as well as in her shared studio in Portland. Most recently, her work was included in the BodyWork exhibition at Bullseye Gallery. As a Bullseye instructor/technician, Celeste enjoys helping individuals build a solid foundation in glass by teaching workshops, developing online educational videos, and assisting with open studio sessions. www.bullseyegallery.com, 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. Her current focus is adapting and translating her extensive knowledge of printmaking processes into glass. She has done a number of publicly visible installations dealing with the Iraq War, including WAKE (at Brooklyn Public Library), and her work is in permanent collections at MOMA, the Brooklyn Museum (NYC), and the MCA and Art Institute (Chicago). Iverson has taught nationally, internationally, and in Bullseye’s online education program. www.bullseyegallery.com, www.zahrada.org

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June Kingsbury is an emerging artist from the U.K. who is currently pursuing her PhD at the University of Sunderland. Her work focuses on absence and memory, creating a dialogue between past events and current issues. Kingsbury has exhibited throughout the U.K. since 2000 and was a finalist in the British Glass Biennale in 2008 and 2010. Also recognized as a photographer, she was selected into the Royal Landscape Photography Exhibition in 2008. www.junekingsbury.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

Alicia Lomné, who has studied fine arts and glass kilncasting nationwide, has dedicated the past twelve years to exploring techniques in pâte de verre. She shows her extraordinary work in galleries across the U.S. and has taught pâte de verre workshops at Anla Glass (Denmark), Creative Glass (Switzerland), Pilchuck Glass School, Penland School of Crafts and Bullseye Glass Co. Lomné lives and works on Whidbey Island in Washington State. www.bullseyegallery.com

Catharine Newell is recognized for her distinctive figurative work in kiln-glass, which examines the persistence of memory and its impact on relationships. Newell lectures, teaches and exhibits internationally. She was nominated for the Louis Comfort Tiffany Biennial Award in 2003, and her work was selected for New Glass Review 26 and 30 and has recently been acquired for the permanent collections of Swedish Hospital in Seattle, University of Miami Lowe Museum, Hunter Museum of American Art, and the Museum of the Academy of Arts and Design Tsinghua University in Beijing. Newell maintains a private studio in Portland, Oregon. www.bullseyegallery.com

Richard Parrish maintains a studio for kilnformed glass and architecture in Bozeman, Montana. He holds a Master of Architecture degree from the Cranbrook Academy of Art in Bloomfield Hills, Michigan, and a Bachelor of Architecture degree from the University of Idaho in Moscow. He was awarded best artist in his category at the Western Design Conference Exhibition in 2008 and 2009. His work was selected for Corning’s New Glass Review 27, and he was awarded the American Craft Council Award of Achievement in 2003. His artwork is in public and private collections in the United States and Europe. www.bullseyegallery.com

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Michael Rogers maintains a private studio practice in Honeoye Falls, New York, and is a full professor at Rochester Institute of Technology in the College of Imaging Arts and Sciences. Before joining RIT in 2002, he spent eleven years in Japan, where he was head of the Glass Department at Aichi University. Rogers has taught workshops at The Furnace in Istanbul, Turkey, and in the United States at Corning, Pilchuck, and Haystack. His work can be found in the permanent collections of the Suntory Museum of Art (Japan), First Contemporary Glass Museum (Spain), Museo del Vidrio (Mexico), National Museum (L’viv, Ukraine), and the Corning Museum of Glass (USA). www.bullseyegallery.com

Nathan Sandberg received his BFA in glass and ceramics from Southern Illinois University, Carbondale, in 2003. After working at private glassblowing studios and independently furthering his education in kiln-glass, he joined the Bullseye in 2005. As a member of the Research & Education team, he taught and developed courses and online educational videos and assisted visiting artists until 2012. Currently Sandberg operates his own studio in Portland, exhibits his sculptures widely, and teaches at studios in the U.S. and abroad. www.bullseyegallery.com, www.nathansandberg.com

ted sawyer received his BA in art with a focus in ceramics from Lewis and Clark College. From 1992-1993 he was the artist in residence at the Museum of Contemporary Craft in Portland, Oregon. In 1997 he joined Bullseye, where he is the Director of Research & Education. Sawyer teaches and lectures internationally and directs the production of Bullseye’s online educational videos. His glass work, which was featured in Corning’s New Glass Review 28, 30, and 31, has been exhibited at galleries and museums around the world, including Bullseye Gallery. www.bullseyegallery.com, www.tedsawyer.com

Jeremy Scidmore earned a BFA at the School of the Art Institute of Chicago and later returned there for an MA in arts administration and policy. While in Chicago, he owned and managed a public glass-arts resource center, completed numerous private and public sculptural and architectural art commissions, and taught glassblowing and kilnforming. Scidmore joined Bullseye in 2011 and is now the Studio Coordinator for Bullseye Resource Center Bay Area. www.jeremyscidmore.com

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, Smith’s 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

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Karlyn Sutherland is originally from Lybster in Caithness, Scotland, and is now studying toward a PhD in architecture at Edinburgh College of Art, where she is also an architectural design tutor and research assistant. Heavily influenced by the environment she grew up in, Sutherland focuses her design-based research on attachment to place, memory and the role of cultural narrative in design. Glass has been part of her creative practice since she attended a master class led by Jane Bruce and Bruno Romanelli in July 2009. Sutherland’s current work draws upon personal explorations of light and shadow in derelict houses found along the Caithness coastline. www.bullseyegallery.com

Judy Tuwaletstiwa is the current Exchange Artist at Bullseye Resource Center Santa Fe (February 2012 to June 2013). She is a mixed media painter, writer and teacher based in New Mexico. Her most recent book, Mapping Water, seeks, through visual imagery and words, to embody the creative process. Tuwaletstiwa received her BA in English Literature from UC Berkeley and her MAT in English literature from Harvard University. She writes: “My work is to integrate the dark and the light into a harmonious whole that speaks directly to the soul.” Her art resides in numerous public, private and corporate collections, and she is represented by William Siegal Gallery in Santa Fe.

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. He then taught glass at SIUC for two years and blew and coldworked glass in Fresno, California. In 1996 Weiler received a grant to study sculptural anatomy in Klaipeda, Lithuania. In 2008 he joined the Bullseye Research & Education team, where he now teaches and develops educational videos. The current focus of his personal work is combining hot shop techniques with Bullseye glass to create innovative patterns and compositions.

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 taught courses, developed kiln-glass curriculum and educational videos, and assisted a number of world-class artists. Whittemore can often be found in his studio developing new works. www.bullseyegallery.com

April Surgent graduated with honors from the Australian National University, Canberra in 2004. Returning to her hometown of Seattle, she established a studio where she makes art full time. Surgent exhibits, teaches, and lectures internationally, and in 2008 co-instructed a series of courses with master Czech engraver and mentor Jiri Harcuba. In 2009, she was awarded one of two Neddy Fellowships through the Behnke Foundation, and received UrbanGlass’ 2010 New Talent award. Surgent mounted her first solo museum show at the Bellevue Arts Museum in 2010. www.bullseyegallery.com

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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: [email protected] By fax: 503.238.9963

Business hours: Monday–Friday, 10am–6pm Saturday, 10am–5pm Sunday, Noon–5pm

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: [email protected]

Business hours: Tuesday–Saturday, 10am–5pm

Bay Area:

In person or by mail: Bullseye Resource Center 4514 Hollis Street Emeryville, CA 94608

By phone: 510.595.1318 By email: [email protected]

Business hours: Tuesday–Friday, 10am–6pm Saturday 10am–4pm

ConfirmationAbout 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:

503.227.2797Santa Fe classes:

505.467.8951Bay Area classes:

510.595.1318

Cancellation & Transfer PoliciesIf we cancel: Our minimum class size is six. In the unlikely event that we cancel a class due to low enrollment, those who have registered will receive a full refund. Whenever possible, cancellations are made at least one week prior to the beginning of class. If a class is cancelled, we are not responsible for reimbursing travel costs or other reservation fees.

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

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Name

Mailing Address

City, State, Zip

Telephone

Email

Occupation

Please check your preferred method for notification: 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 [email protected] www.bullseyeglass.com/portland

Bullseye Resource Center Santa Fe

805 Early Street, Building E Santa Fe, New Mexico 87505

505.467.8951 [email protected] www.bullseyeglass.com/santafe

Bullseye Resource Center bay area

4514 Hollis Street Emeryville, CA 94608

510.595.1318 [email protected] www.bullseyeglass.com/bayarea

ON THE COVER: Vitrigraph Cane and Murrine, page 16.

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