Bullseye Combined 2012 Mar-sep

8/11/2019 Bullseye Combined 2012 Mar-sep

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March to September 2012

Bullseye Glass Co. | Classes &Special Events


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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 re sults 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, andStacy 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 f ind 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 encompassesfundamental 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 classe s 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 SawyerDirector of Research & Education


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What is Kiln-glass?

In 1974 three self-described hippie glassblowers started Bullseye Glass Company, a small factoryfor making specialty sheet glass in Portland, Oregon. While they initially focused on making coloredsheets for use in stained glass, they aspired to do what had never been done before: to producea 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 somethingremarkable for which almost no demand existed. Ever the innovators, they decided to embark on along-term program of research projects working directly with artists to help pioneer and expand thetechnical, 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 radicallymore accessible than many other working methods, such as glassblowing, in which one must firstdevelop 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 ofprocess and material application. And while kiln-glass does require basic knowledge of technicalissues and nuances, these are readily obtained in short order through publications and curriculumthat 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, anddemonstrations at our Resource Center in Portland since the mid-1990s. We have done the same ona national and international basis working with studios, schools, museums and universities fromNew York to San Francisco, and from Australia to Scotland, and more recently in our first satelliteResource Center in Santa Fe.

The Big Picture: A Survey of Kiln-glass, page 13.


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General Information

Classes

Bullseye classes may be offered more than once and in more than one location per term. A discretenumber is attached to each class with inclusive dates and location indicated. Classes range inlength from a few hours to several days. You will receive any advance information needed for yourclass about a week before the start date. Tuition includes all instruction, materials and access toequipment 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 areaccepted on a first-come, first-served basis. Reservations must be made at least 24 hours prior toevents. (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]

Locations

Portland:All classes and special events are held at Bullseye Glass Company, either in theResource Center or the Research & Education studios. Please enter at the Resource Center, 3610 SE21st 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, pleasesend your request to: [email protected] and/or [email protected]. (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 16people. 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. Timesdepend on studio availability. Just call or email to arrange the details.

Portland:503.227.2797, [email protected]

Santa Fe:505.467.8951, [email protected]


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Open Studio

Open Studio: Kilnforming

Dont miss this unique opportunityone of the big perks for taking Bullseye classes. Bring yourBullseye glass to the Resource Center kilnforming studio and enjoy access to tools, kilns, andnon-glass supplies. Learn studio practices, get exposure to diverse methods and materials, andbe inspired by fellow members of the glass community. A Bullseye staff member will be on hand toanswer 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 ofbullseyeglass.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 youveacquired in Bullseye classes. Limited amounts of scrap rod are available for use at no charge duringthese sessions. Prerequisite: Completion of at least one torchworking class at Bullseye.

Open Torchworking sessions are posted monthly in the Education/Classes section of

bullseyeglass.com. To attend a session, you must register at least 24 hours in advance. (See page 22.)Portland only | Bullseye Staff | Two-hour minimum | $10 per hour


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Index of Classe s &Special Events

PORTLANDDates Class / Event instructor/lecturer Cost Page

mar 510 Survey of Kiln-glass Sandberg $600 137 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 859 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 122730 NEW Advanced Painting with Glass Endo $450 10

may 2 First Glass Fusing Class Staff $100 1245 & 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


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 $350 173 Stacy Lynn Smith Artist Talk Smith Free 9


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


2930 & July 2 Basic Kilncast Glass Weiler $350 13

Jul 78 & 10 Bullseye Box Casting Sandberg $295 171316 Painting with Glass Endo $450 18

1923 NEW Collected Images/Powder Printing Smith $600 10

2327 Finding Form Sandberg $600 17


2730 Expanded Image Transfers Intensive Iverson $350 18


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Index of Classes &Special Events

PORTLAND (continued)Dates Class / Event instructor/lecturer Cost Page

aug 15 Pte de Verre Methods Lomn $800 1634 & 6 NEW Designing & Using Part Sheets Celeste $295 11

5 Alicia Lomn Artist Talk Lomn Free 9


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


2526 & 28 Boxes & Bowls Sandberg $350 17

2728 & 30 Intro to Fusing & Slumping Weiler or Koch $165 12

sep 12 Beginning Beadmaking Celeste $225 135 First Glass Fusing Class Staff $100 12

9 Heike Brachlow Artist Talk Brachlow Free 9

1015 The Big Picture: Survey Koch $600 131416 Printmaking for Kiln-glass Krampien $365 18

2124 Kilnforming with Rod Koch $350 14

2224 Slumping survey Celeste $275 12


santa feDates Class / Event instructor/lecturer Cost Page

mar 79 On the Edge Whittemore $165 161618 Intro to Coldworking Whittemore $350 13

28 First Glass Fusing Class Whittemore $100 12

apr 11 First Glass Fusing Class Whittemore $100 1218 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 1223 First Glass Fusing Class Whittemore $100 12

jun 13 Martha Pfanschmidt Artist Talk Pfanschmidt Free 91417 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 121721 Pte de Verre Lomn $800 16

21 Alicia Lomn Artist Talk Lomn Free 9

aug 36 Painting with Glass Whittemore $450 188 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 1213 Stacy Lynn Smith Artist Talk Smith Free 9

1416 NEW Powder Printing Smith $365 11


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Special Events: Artis t Talks

The Artists of Bullseye Gallery

Bullseye gallerist Michael Endo will present a talk and slide presentation surveying contemporarystudio glass by discussing a cross-section of artists represented by Bullseye Gallery, fromacknowledged 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 upmulti-colored rods of glass normally used for making buttons in the garment industry and madethem 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 aboutthose halcyon days from the players themselves as Klaus Moje and Daniel Schwoerer talk abouttheir 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 meaningand history. This event is a great opportunity to hear the artists talk about their work in the finalweek before the close of their show.

Portland | April 15 (EV0733-0001) | Sunday 2pm3pm

For artist bios, see page 19.

Top:

Klaus Moje, Where is the Light 3, 2010.

Bottom:

Tools and studies compiled by

Michael Endo and Emily Nachison.


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Special Events: Artis t Talks

Martha Pfanschmidt: Forays into Kiln-glass

Martha Pfanschmidt details how her forays into working with kiln-glass have enabled her to doseveral major architectural projects, and how moving between media has informed and enrichedher entire art practice. This is a great opportunity for artists with backgrounds in two-dimensionalmedia to learn about the opportunities afforded by working with kiln-glass.

Portland | May 13 (EV0717-0003) | Sunday 2pm3pmSanta 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 studiopractice, which involves traditional screen printing methods but replaces ink with powdered glassand heat. She will also show images of her works on paper and kiln-glass and provide a sneakpreview of her current projects.

Portland | June 3 (EV0730-0002) | Sunday 2pm4pmSanta Fe | September 13 (EVS730-0001) | Thursday 5:30pm6:30pm

Alicia Lomn: Pte de VerreAlicia Lomn will show images of her work and working methods and demonstrate a variety ofprocesses used in the creation of her surprisingly large, thin-walled, carefully colored forms. She willtouch 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 3:30pm4:30pmPortland | August 5 (EV0734-0001) | Sunday 2pm4pm

Heike Brachlow

Heike Brachlow, whose Bullseye Gallery solo exhibition opens on September 5, will discuss herbackground, 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 2pm3pmFrom top:

Martha Pfanschmidt, Last Year, 2009.

Stacy Lynn Smith, Collection 4, 2011.

Alicia Lomn, Veiled Green, 2006.

Heike Brachelow, Movement VI, 2006.


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New Classe s

Collected Images and Powder Printing

Explore the powder printing method developed by Stacy Lynn Smith to create imagery and texturein kiln-glass. This technique uses traditional screen printing methods, but replaces ink and paperwith glass and heat. Students will learn image preparation, design possibilities and firing optionsthrough various hands-on projects, demonstrations and examples. Building on this foundation, Smithwill 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 collectedephemera 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 powdersand frit into refractory molds to make low relief works that straddle the line between pictorial andsculptural. 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 workbut 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 withclay 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 beyondbasic frits and powders and begin to address the unique properties and opportunities that glassprovides 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 theSurface, 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 coveredin our Basic Kilnformed Pattern Bars class (see page 15). These range from developing controlledinternal imagery like letters and simple graphics to reaching into the kiln and manipulating thebars 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 physicalproperties of the material and new ways to conceive of, execute and use pattern bars. Prerequisites:Basic glass cutting skills and kilnforming experience.

Portland | Jim Weiler | April 69 (CL0218-0001) | Friday 10am6pm, Saturday &Sunday 10am4pm, Monday Noon1:30pm | 8 students | $350

Stacy Lynn Smith,Intersect 2 (detail), 2011.

Michael Endo,Smolder (detail), 2011.


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New Classes

Relief Print Methods Adapted to Kilncast Glass

The traditional relief printmaking process involves making multiple copies of an image by printinginks onto paper from the high points of an incised block of wood or linoleum. In this class, youwill carve imagery into blocks and then use the blocks to make refractory molds for kilncastingrelief imagery in glass. The effects of mark making, color placement, opacity vs. transparency andthickness will be explored. You will leave class with numerous pieces as well as the blocks used tomake them, and enough knowledge and experience to continue working with this process on yourown. 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 artglass called part sheets that can be cut up and incorporated into fusing projects. On the first dayof this workshop, you will make three part sheets, using a different approach for each one. On thesecond day, youll explore technical and design issues while combining your part sheets with otherglass materials to make three plates. Leave the class with new methods, three plates, and (in alllikelihood) part sheets scraps to use in future works. Prerequisites: Introduction to Fusing andSlumping, 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 glassto repeatedly produce specific shapes. In this class, you will learn how to use a bead press to producelentil-shaped beads. You will also explore producing these beads using a variety of methods andmaterials. 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; andelectroforming. 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 & Sunday10am5pm | 8 students | $325

Powder Printing

Explore the powder printing method developed by Stacy Lynn Smith to create imagery and texturein kiln-glass. This technique uses traditional screen-printing methods, but replaces ink andpaper with glass and heat. As a student, you will learn the basics of powder printing, includingimage preparation, design possibilities and firing options through various hands-on projects,demonstrations and examples.

Santa Fe | Stacy Lynn Smith | September 1416 (CLS121-0001) | FridaySaturday9am5pm, Sunday 10am1pm | 8 students | $365

Carli Schultz Kruse,Salmons Journey

(top), Evening Light(middle), Spring

Frost(bottom), 2011.

Relief Print Methods Adapted to Kilncast Glass


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Introduc tor y Classes

First Glass Fusing Class

In this 2.5-hour class, you will be introduced to many fundamental concepts related to creatingglass objects in the kiln. You will make an 8 x 8 fused and slumped plate, enjoying a wide range ofglasses to choose from. Plates will be fired after the workshop and available for pick-up a few dayslater. After completing this class, you will be eligible to continue working in Bullseyes Open Studiosessions. No experience with glass is required for this course, which is recommended for beginners.

Portland | Bullseye Research & Education Staff | March 7 (CL0115-0018) / March21 (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) / April11 (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 methodcan be used to create plates, vessels and a variety of forms. In this class you will be guided andinspired as you explore the possibilities during hands-on studio time. Working from a collectionof samples, you will use varied approaches to complete a well-unified table setting consistingof a plate, a bowl, and an accessory such as a tray. Topics for discussion include firing schedulesfor different mold profiles, alternative slumping-mold materials, and unconventional slumpingmethods. Prerequisites: First Glass Fusing Class or Introduction to Fusing and Slumping.

Portland | Bonnie Celeste | September 2224 (CL0116-0002) | Saturday & Sunday10am4pm, 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 andare gateways to many advanced methods. In this class, you will be introduced to both fusing andslumping 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 circlesand 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) / June1112 & 14 (CL0101-0016) / August 2728 & 30 (CL0101-0017) | Monday & Tuesday6pm8:30pm, Thursday 6pm7:30pm | 10 students | $165

Santa Fe | Erik Whittemore | May 12 & 4 (CLS101-0009) | Tuesday & Wednesday6pm8:30pm, Friday 6pm7:30pm | 10 students | $165

First Glass Fusing Class

Slumping Survey


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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 astudent, 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 andthen 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 gowith kiln-glass, either by experimenting in your own home studio or advancing to our more focusedworkshops. 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 priorexperience 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 withdifferent forms of glass (frit, powder, and billet) to illustrate the unique qualities of each form. Youwill 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 processesthat dont rely upon heat. These processes include grinding, carving, engraving, polishing andsandblastingall of which provide possibilities for artists and makers to resolve aesthetic andfunctional 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 tomake 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) | FridaySunday9am5pm | 8 students | $350

Santa Fe | Erik Whittemore | March 1618 (CLS105-0001) | FridaySunday9am5pm | 8 students | $350

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Introduction to Coldworking


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Kilnforming Classe s

Vitrigraph Cane and Murrini

For hundreds of years, making richly patterned and cased glass canes has largely been the provinceof the hotshop. Perhaps the most famous people making such canes have been the glassblowers ofMurano, set in Italys Venetian Lagoon. But now similar canes can be made far away from roaringItalian furnaces, using the Vitrigraph kiln and Bullseye compatible glasses. In this workshop, youwill 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, moltenglass. 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 assemblagesof pattern and imagery during a 2003 Artist/ Factory Exchange project at Bullseye called FoundIn Translation. Now you can work with the artist and explore the same materials and methodsshe 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 finishedworks. This workshop is ideal for artists from other media and beginning to advanced kiln-glasspractitioners.

Portland | Martha Pfanschmidt | May 1013 (CL0209-0005) | ThursdaySaturday10am5pm, Sunday 10amNoon | 8 students | $375

Santa Fe | Martha Pfanschmidt | June 1417 (CLS209-0003) | ThursdaySaturday10am5pm, Sunday 10amNoon | 8 students | $375

Kilnforming with Rod

Bullseyes glass rods were originally developed for flameworking, but they can also be used in thekiln, 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 severalfinished pieces, and learn coldworking techniques that can further extend the options for thismethod. Prerequisites: Basic glass cutting skills and at least one Bullseye kilnforming class orinstructor 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


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Kiln-glass Components for Jewelry and Wearables

Kiln-glass is frequently used in jewelry, but the emphasis is often on quantity rather than quality. Inthis class you will learn to distinguish your work through thoughtful design, careful studio practices,multiple firings, coldworking methods and, ultimately, good craftsmanship. Instruction will covercreating jewelry elements for a variety of forms, functions and styles. Samples of and discussionsabout 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 backgroundsin 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 arecombined with one another or with certain metal foils, the chemistries interact and producespecial effects. Reactive effects can range from subtle to dramatic, and can prove quite versatile inart 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, Sunday10amNoon | 10 students | $165

Basic Kilnformed Pattern Bars

The pattern bar is a special method that allows for creating unique and complex designs inkilnformed glass. In this workshop, you will learn to use glass flow and multiple firings to breakaway from the flatness of sheet glass and into the realm of dimensional, organic patterning. You willdesign and make pattern bars, cut them up on the wet saw, fuse them into blanks, do some basiccoldworking, 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) | FridaySunday10am4pm, Monday Noon1:30pm | 8 students | $325

Go with the Flow

Explore the principles of glass flow, deformation, and displacement and learn to make work thatcaptures a sense of movement within. The process will involve learning kilnforming basics,doing volume calculations, working with dams and refractory materials, and designing firingschedules. 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 thisrelatively unexplored technique on your own. No prerequisites, but glass cutting experience isrecommended.

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


Special Effects in Kiln-glass


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Set Your Kiln on Fire

Using flameworking as an approach to kilnforming opens up a world of possibilities and canwork 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, whilealso exploring how kilnformed components can be used in the flame. This is truly a cross-processapproach 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 waspioneered by Klaus Moje, the father of contemporary kiln-glass. In this class, you will explore theon-edge technique and the design possibilities itoffers by examining samples and making your ownpiece. 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, Tuesday6pm8:30pm, 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): Tuesday5pm8:30pm, 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 involvescreating thin-walled vessels by hand packing multiple layers of fine glass grains into the interior ofa mold, allows tremendous room for exploration. As a student in this workshop, you will explore avariety of processes used by Lomn to create her signature work. These include model making, moldconstruction, color mixing, inlay design, texture control, firing cycles and coldworking. Extensiveexperience with glass is not necessar y, though a fondness for involved processes and a willingnessto risk are helpful.

Portland | Alicia Lomn | August 15 (CL0211-0004) | WednesdaySaturday9am5pm, Sunday 9am1pm | 8 students | $800

Santa Fe | Alicia Lomn | July 1721 (CLS211-0002) | TuesdayFriday 9am5pm,Saturday 9am1pm | 8 students | $800


Set Your Kiln on Fire

Alicia Lomn, Ara Femina, 2010.


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Kilncasting Classes

Boxes and Bowls

This class will focus on making two types of objects: kiln-glass boxes and kiln-glass bowls. You willmake two boxes using assembled molds with investment cores. You will make one bowl using thelost wax casting technique (instead of slumping) and hand-built refractory molds. Basic principlesof 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 vocabular y for making relief sculptures in glass. Nathan Sandberg will leadyou through a series of exercises that explore the methods he uses to create his signature kilncastwork. Activities and discussions will include making open-faced investment molds, placing color,doing multiple firings, kilncasting with frit at low temperatures, and applying three-dimensionaldesign principles to glass. Ultimately you will use a variety of materials to make models and fourfinished castings that examine iterations of form and surface.

Portland | Nathan Sandberg | July 2327 (CL0213-0003) | MondayThursday9am5pm, Friday Noon4pm | 8 students | $600

Lost Wax Kilncast GlassIn this class you will learn how to make fully sculptural cast glass objects using the lost waxprocess. Steps in the process include creating a refractory mold around a wax model, steaming outthe wax, calculating the amount of glass needed to fill the mold, curing the mold, and firing the workin the kiln. You will complete this process twice: first with a wax model we provide and then with awax model you will build in class. Finishing methods will also be covered, including how to safelyremove 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 learnmore 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 makingrefractory-plaster design elements, securing them in an open-faced mold, filling the mold withpieces of glass billet, and firing the mold in the kiln until the glass f lows and covers the designelements. There are no prerequisites. (To learn more about this method, see TipSheet 5: BullseyeBox Casting.)

Portland | Nathan Sandberg | July 78 & 10 (CL0117-0002) | Saturday 10am5pm,Sunday 10am2pm, Tuesday 68pm | 8 students | $295

Boxes and Bowls

Finding Form


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Painting with Glass

While the tradition of painting onglass spans many centuries, only fairly recently have materials andprocesses been developed (largely at Bullseye) that allow artists to paint withglass. In this class,you will work with colored glass sheets, powders, frits, and stringers to build a palette of techniquesthat allow a wide range of painterly effects. After working through a series of very specific hands-onexercises, 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 isalso 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 art workand photographs into kiln-glass. Hands-on studio sessions will provide practice time in a range ofprintmaking 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 andwill have acquired enough skills and information to continue working on your own. No prerequisites.

Portland | Louise Krampien or Michael Endo | March 911 (CL0112-0013) / May2527 (CL0112-0014) / September 1416 (CL0112-0015) | FridaySaturday10am6pm, Sunday 10am4pm | 9 students | $365

Image Transfers Intensive (Expanded)

Learn how artist Carrie Iverson uses principles from lithography to develop a method to transferimages from a Xerox or laser print onto glass. This expanded version of Iversons popular class willprovide students with additional time and projects to explore working with the process. Projectsinclude 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 reactiveglasses 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


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In structors &Lecturers

Heike Brachlowwas born and raised in Munich, Germany, and discovered glass while living inNew Zealand, where she worked as a glassblower in a small studio in Rotorua. She received her BAin 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art inLondon. Her work has been exhibited in the UK, the US, New Zealand, Europe, and Japan. Brachlowdraws her inspiration from her travels, human interaction, architecture and geometry.www.heikebrachlow.com, www.bullseyegallery.com

Bonnie Celestereceived her BS in education from Buffalo State College in New York. She wasselected by jury for Pilchucks glass auctions 2006 through 2008 and has had work accepted tospecial International Society of Glass Beadmakers exhibitions in 2007 and 2008. As a Bullseyeinstructor/technician, she is a champion of good, thoughtful design and enjoys helping individualsbuild a solid foundation for their journeys in glass. www.bonnie-celeste.com

Michael Endoearned an MFA in painting from Cranbrook Academy of Art, Michigan, in 2009 and aBA from Portland State University, Oregon, in 2005. His work has been exhibited internationally andhas 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 BullseyeGallery. www.michaelendo.com

Carrie Iversonearned 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 ofpublicly 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 theBrooklyn Museum (NYC), and the MCA and Ar t Institute (Chicago). www.bullseyegallery.com

Trevor Kochreceived a BFA in studio art with an emphasis in ceramic sculpture from CaliforniaState University, Chico, in 2006. In spring 2010 he received an MFA in spatial arts from San JoseState University. While earning the MFA, Trevor served as a museum preparator for the San JoseMuseum of Art and taught ceramic classes at SJSU. His work has been included in national juriedexhibitions and is part of several private collections. www.iamaconduit.blogspot.com

Louise Krampienreceived a BS in photography from Carroll College (Wisconsin) in 2007 and anMFA in printmaking from Washington State University in Pullman in 2010. She has also studied printat 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 printexchange portfolios. www.louisekrampien.com

Carli Schultz Kruse has worked in glass since 2004, starting with glass fusing and quicklymoving into lampworking as her main discipline. A resident of Beaverton, Oregon, she has studiedglass at Bullseye Glass Company and the Oregon College of Art and Craft. Her work has appeared inthe recently published book Art Glass Today, as well as The Flowand Bead Uniquemagazines. In 2008,she won first place in the jewelry category at the Oregon Glass Guilds Glass Expo.www.juiceglass.com


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In structors &Lecturers

Alicia Lomn, who has studied fine arts and glass kilncasting nationwide, has dedicated the pasteleven years to exploring techniques in pte de verre. She shows her extraordinary work in galleriesacross 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 livesand works on Whidbey Island in Washington State. www.bullseyegallery.com

LANI MCGREGORis a Bullseye co-owner and the Director of Bullseye Gallery. Before joining thecompany in 1984, she operated a glass studio in Albuquerque that specialized in kilnformed andflat architectural work. In 1990 she established Bullseyes R&E Department and its initial teachingprograms. Today she and partner Dan Schwoerer share a home that doubles as a private museumand laboratory for the study of architectural kiln-glass. In 2005 the couple shared the GAS LifetimeMembership Award. McGregor has served on the boards of various arts organizations and mostrecently joined the board of trustees of the Portland Art Museum.

Klaus Moje, renowned artist and educator, has had a broad impact on the development ofkilnformed glass as an art medium. In 1983, Moje founded the Glass Workshop at the CanberraSchool 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 ArtSociety. His work is represented in dozens of public collections around the globe and has been thesubject of major museum retrospectives that have toured Germany, Australia and the United Statesin 1995, 2008 and 2009. www.bullseyegallery.com

Emily Nachison received a BFA in fiber from the Maryland Institute College of Art in 2006 andan MFA in fiber from the Cranbrook Academy of Art in 2010. She has had numerous solo exhibitionsand has been included in multiple group shows across the country. In 2009 she was featured in theart and architecture issue of 944 Magazine. Nachison was a finalist for the Virginia CommonwealthUniversity Craft and Material Studies Emerging Artist Residency Program and has received a grantfrom the Regional Arts and Culture Council in her home city of Portland, Oregon.

Martha Pfanschmidthas taught printmaking at Marylhurst and Portland State Universitieswhile 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 InTranslation. Pfanschmidt has since gone on to make commissioned works in glass for high-profilebuilding projects and private clients, and to participate in another Artist/Factory Exchange Projectcalled Printmakers Fired. www.bullseyegallery.com, www.pfanschmidt.com


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Instructors &Lecturers

Nathan Sandbergearned his BFA in glass and ceramics from Southern Illinois UniversityCarbondale. His work has received critical recognition through awards and shows and is held inprivate collections. As a member of the Bullseye Research & Education team, he develops andteaches new curriculum in kilnformed glass. Nathan enjoys working with and learning from hisstudents, whether theyre new to glass or seasoned veterans. When he isnt at the factory, he canusually be found in his Portland studio. www.bullseyegallery.com, www.nathansandberg.com

Daniel Schwoerer graduated from the University of Wisconsin (BS Civil Engineering; MSEngineering Mechanics) where he also worked in the art department as graduate assistant toProfessor Harvey Littleton in 1968-69. He then moved to Portland, Oregon, where he set up aglassblowing studio and later founded Bullseye Glass Company with partners Ray Ahlgren andBoyce Lundstrom. He and Lundstrom co-wroteGlass Fusing Book One. In addition to his tasks as CEOof 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 theArt 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

inFORMexhibition at Bullseye Gallery, which showcased kiln-glass by six recent graduates fromacademic programs. www.bullseyegallery.com, www.stacylynnsmith.com

Jim Weiler received a BFA in sculpture from Bowling Green State University in 1998 and an MFAin glass from Southern Illinois University Carbondale in 2004. After teaching glass at SIUC for twoyears, he found himself blowing and coldworking glass in Fresno, California. Weiler received a grantin 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 variousproducts and processes related to kilnformed glass. www.weilerglass.com

Erik Whittemoreis the Studio Coordinator for Bullseye Resource Center, Santa Fe.Whittemore earned his BS in ar t with a focus in sculpture from Eastern Oregon University. From2004 to 2010 he was an instructor/technician at Bullseye Portland, where he developed and taughtcourses in kilncasting and coldworking, along with many other methods, and assisted a numberof world-class artists. Whittemore can often be found in his studio developing new works.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 earlyregistration to ensure your place in class. Registration is confirmed upon full payment of the classfee, 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. Pleaseregister 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 whocomplete and sign the waiver may attend. You are not eligible for a refund if you refuse to sign thewaiver. Bullseye Glass reserves the right to use pictures of you and/or your work at the studio foreducational and promotional purposes.

To Register For Classes & Events

Registration

Portland:

In person or by mail:Bullseye Resource Center3610 SE 21st AvenuePortland OR 97202

By phone:503.227.2797By email: [email protected] fax:503.238.9963

Business hours:MondayFriday, 10am6pmSaturday, 10am5pmSunday, Noon5pm

Santa Fe:

In person or by mail:Bullseye Resource Center805 Early Street, Building ESanta Fe, NM 87505

By phone:505.467.8951By email: [email protected]

Business hours:TuesdaySaturday, 10am5pm

Confirmation

About one week before the start of your class, you will receive a confirmation notice with detailsof 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 FeCreative 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 madeat least one week prior to the beginning of class. If a class is cancelled, we are not responsible forreimbursing travel costs or other reservation fees.

If you cancel or transfer:Our class fees include a $25 nonrefundable, nontransferable registration fee, which is forfeited bythose who cancel a registration or transfer a registration to another class session. Students whocancel or transfer registration fifteen or more days prior to the beginning of a class will receive arefund of the class fee, minus the $25 registration fee. Cancellations made fewer than fifteen daysprior 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.


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Name

Mailing Address

City, State, Zip

Telephone

Email

Occupation

Please check your preferred method for notication: OMail OTelephone OEmail

Payment Method: OVisa OMasterCard OAmerican Express OCheck

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?

OYes ONo

If yes, where?

Have you taken classes at Bullseye before? OYes ONo (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


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Bullseye Resource Center, Portland3610 SE 21st AvenuePortland, OR 97202

503.227.2797portlandclasses@bullseyeglass.comwww.bullseyeglass.com/portland

Bullseye Resource Center, Santa Fe

805 Early Street, Building ESanta Fe, New Mexico 87505

505.467.8951santafeclasses@bullseyeglass.comwww.bullseyeglass.com/santafe

ON THE COVER: Bas Relief Pte de Verre, page 10.

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