Chasing is the art of using specialized hammers, punches, and chisels to emboss images into the surface of metal. From simple to complex, adding chased elements to a metal's surface softens and dignifies its appearance. This class will introduce you to the various tools and techniques to create images and patterns on any metal. You'll use these techniques to create a one of kind Reuleaux triangular vessel that can be used as a planter, vase, pencil holder or be an objet d'art on its own. A Reuleaux triangle is a curved triangular shape that has a constant width like a circle has, leading to a pleasing shape both visually and tactilely. Reuleaux polygons have endless uses in architecture and machine design. Other topics covered include annealing, work hardening, patination, and silver soldering.

This class is open a to all experience levels. Students with a meticulous eye for detail will love this class.

Student tips: Bring your glasses or best magnifying readers. Your noise cancelling earbuds or headphones can make many simultaneous hammers more pleasant.

Class will make use of hand tools, torches, and mild chemicals for cleaning and patination.

Class fee: $275

Materials fee: $75

Class size limited to 6

Brian took his first blacksmithing class in 2005 under local smith Richard Rightmyer to learn how to make his own woodworking tools. Captivated by the feel of hot metal under the hammer, Brian poured all his free time into advancing his smithing skills taking classes whenever he could. Brian began teaching blacksmithing and coppersmithing in 2012 and has demonstrated at many public events and conferences. Recently, he has focused on the art of copper chasing, finding the meticulous attention to detail it requires to be a form of meditation in motion. Brian is an electrical engineer by day and holds a 6th Degree black belt in Aikido. He finds many commonalities with the efficient body movements of martial arts and the proper ergonomics for blacksmithing and coppersmithing. Brian has blended the arts to create effective and safe hammering techniques for people of all sizes. s an engineer, he is fascinated by the science of blacksmithing, specifically the metallurgy that goes into tool making. He firmly believes that true learning happens when you are having fun.

Join ABS Master Blacksmith, Scott McGhee, in this class to make a hunting knife. In this 3-day class, students will create an 8.75-inch-long hunting knife with a four inch blade. Starting with a section of flat steel bar, the class will cover forging, grinding, heat treatment, handle fitment, and finishing techniques. Students will leave with a finished, full-tang blade.

This class is physically demanding, and the student is encouraged to be

familiar with blacksmithing or metalworking environment. Beginner blacksmithing

experience is recommended but not required.

Class fee $500

Material fee $50

Must bring:

Work boots/shoes. No sneakers

Long pants, no shorts

Clothing must be cotton/denim/wool, no synthetics

Comfortable safety glasses (we have extra on hand)

Hearing protection (we have extra on hand)

Notepad

Water Bottle

E. Scott McGhee is an ABS Master Bladesmith who lives and works in central North Carolina. Scott learned the art of blacksmithing at Penland School of Crafts at the age of 17 and has played at a coal-fired forge on and off since 1981. In August of 2009, Scott built a gas-fired forge and began bladesmithing in earnest. He obtained American Bladesmith Society Journeyman Certification in 2012, his ABS Mastersmith Certification in 2016, and has been a full-time maker since 2014. In addition to making knives, Scott is an ABS Master Bladesmithing Instructor and teaches knife making at various schools around the country, as well as in his home shop.

With an eye toward sculpture and design, this five-day project class digs deep into the legacy of Wendell Castle. Students will have the opportunity to create a 36” wide table with gracefully tapered curly maple legs that include a tapered walnut accent line and feet, and a gently dished walnut top. Shop skills involved in the project are table saw, band saw and router usage. The class will look carefully at the design process, templating, glue-up techniques and construction alternatives.

Class fee: $900

Materials fee: $150

Class size limited to 10

Andrew Glantz is a furniture designer and maker who lives and works in Scottsdale, Arizona. Born and raised on the East Coast, he graduated from the Frederic Gunn School, 1967 and Wesleyan University; BA, 1971 and MAT, 1972. After teaching Graphic Arts for ten years, he turned to period piece renovation and construction from 1978 to 1984. When he moved West in 1984, he began to devote his efforts solely to contemporary, sculptural furniture design and construction. He is the owner of Zenith Design, a one-person studio, and is responsible for all phases of design, construction and marketing. He is an arts activist and before moving to Scottsdale, he lived on the Navajo Nation from 1984 to 1987. He moved to Salt Lake City in 1987, and was involved with the Salt Lake Arts Council, the Salt Lake Arts Center, and the Utah Arts Council’s Endowment Fund Development Committee. He also ran the Vital Arts Gallery as volunteer executive director for three years and has curated several major exhibitions. He relocated to Scottsdale in 2002. A longtime member of the Furniture Society, Andrew was tapped to serve as a trustee in 2005, and served as treasurer, vice president and president of the board of trustees, as well as chair of the development committee. His term of office ended in 2011. He is an active advisor for the Southwest School of Woodworking. He teaches furniture design and construction at the Southwest School of Woodworking in Phoenix and the Marc Adams School of Woodworking in Franklin, Indiana. He is a presenter committee member of he Yuma Art Symposium. His articles on furniture design and construction appear in several trade magazines. He delights in mentoring makers far and wide through teaching and Zoom meetings from Florida to Utah and locally.

This two-day overview class will provide a quick look at how woodworkers can use their tools and equipment to include elements crafted from non-ferrous metals such as copper, aluminum and brass. Students will have the opportunity to get hands-on experience cutting and shaping copper into a hanging light to bring home. The class will touch on drilling, tapping, bending, rolling and shearing metals, and well as various soldering alternatives for joining pieces together.

Class fee: $300

Materials fee: $50

Class size limited to 10

Andrew Glantz is a furniture designer and maker who lives and works in Scottsdale, Arizona. Born and raised on the East Coast, he graduated from the Frederic Gunn School, 1967 and Wesleyan University; BA, 1971 and MAT, 1972. After teaching Graphic Arts for ten years, he turned to period piece renovation and construction from 1978 to 1984. When he moved West in 1984, he began to devote his efforts solely to contemporary, sculptural furniture design and construction. He is the owner of Zenith Design, a one-person studio, and is responsible for all phases of design, construction and marketing. He is an arts activist and before moving to Scottsdale, he lived on the Navajo Nation from 1984 to 1987. He moved to Salt Lake City in 1987, and was involved with the Salt Lake Arts Council, the Salt Lake Arts Center, and the Utah Arts Council’s Endowment Fund Development Committee. He also ran the Vital Arts Gallery as volunteer executive director for three years and has curated several major exhibitions. He relocated to Scottsdale in 2002. A longtime member of the Furniture Society, Andrew was tapped to serve as a trustee in 2005, and served as treasurer, vice president and president of the board of trustees, as well as chair of the development committee. His term of office ended in 2011. He is an active advisor for the Southwest School of Woodworking. He teaches furniture design and construction at the Southwest School of Woodworking in Phoenix and the Marc Adams School of Woodworking in Franklin, Indiana. He is a presenter committee member of he Yuma Art Symposium. His articles on furniture design and construction appear in several trade magazines. He delights in mentoring makers far and wide through teaching and Zoom meetings from Florida to Utah and locally.

Wendell Castle changed furniture history when he incorporated stack lamination techniques into his work. This allowed him to move away from “stick build” to more fluid pieces. This course will take you through the entire stack lamination process but will focus on the fabrication and carving steps. (The companion, 2-day, course will focus on the design front-end.) Each student will choose one of four designs to build or they can build what they designed if they took the preceding 2-day course, Design Techniques and Tools for Stack Lamination. Designs should be limited to a 12"x12"x24" envelope in order to finish the glue-up and carving within 5 days.. Templates of your chosen design will be provided to you. You’ll then trace the template on prepared stock, cut it out on a bandsaw, glue-up the laminations, and carve. We’ll progress through various power carving tools starting with an electric chainsaw and/or an angle grinder. We’ll then finish with hand tools. Instructor Taeyoul (Terry) Ryu was a longtime employee of Wendell’s and is a master of the stack lamination technique. There will also be at least one full-time assistant instructor. Class size is limited to 8 to ensure plenty of individualized attention.

Read about Castle's pioneering techniques in this Fine Woodworking article, originally published in 1976.

Class fee: $850

Materials: $100

Class size limited to 8

Taeyoul Ryu is a furniture designer with a BFA in Sculpture from the Chung-Ang University in Seoul, Korea and an MFA in Woodworking and Furniture Design from the Rochester Institute of Technology in Rochester, N.Y. Taeyoul worked for Wendell Castle for 17 years on all aspects of his work. Taeyoul is an expert in design, sculpting, and the stack lamination method. Taeyoul’s work has been featured in at least ten exhibitions at the Burchfield Penney Art Center, including six iterations of Art in Craft Media, a biennial juried exhibition at the center,In 2022. Ryu was named Langley Kenzie Prize winner and had an exhibition of his work, Royalty, featured at the Burchfield Penney Art Center. http://taeyoulryu.com/

Wendell Castle changed furniture history when he incorporated stack lamination techniques into his work. This allowed him to move away from “stick build” to more fluid pieces. This course will take you through the entire stack lamination process but will focus on the design and digital template creation front end. (The companion 5-day course will focus on the fabrication and carving processes.) Each student will create their own design. The process steps we will go through in class is as follows:

1. Sketch
2. Carve in foam or clay
3. 3D scan
4. Clean up model and manipulate
5. Digitally slice the model and to automatically create templates

Students will need to bring their computers for steps 4 and 5. Instructor Taeyoul (Terry) Ryu was a longtime employee of Wendell’s and is a master of the stack lamination technique. There will also be at least one full-time assistant instructor. Class size is limited to 10 students.

Read about Castle's pioneering techniques in this Fine Woodworking article, originally published in 1976.

Class fee: $350

Class size limited to 10

Taeyoul Ryu is a furniture designer with a BFA in Sculpture from the Chung-Ang University in Seoul, Korea and an MFA in Woodworking and Furniture Design from the Rochester Institute of Technology in Rochester, N.Y. Taeyoul worked for Wendell Castle for 17 years on all aspects of his work. Taeyoul is an expert in design, sculpting, and the stack lamination method. Taeyoul’s work has been featured in at least ten exhibitions at the Burchfield Penney Art Center, including six iterations of Art in Craft Media, a biennial juried exhibition at the center,In 2022. Ryu was named Langley Kenzie Prize winner and had an exhibition of his work, Royalty, featured at the Burchfield Penney Art Center. http://taeyoulryu.com/

There is no satisfaction like making something with tools that you've made. This workshop will focus on forging functional tools for use in the woodshop. Students will start by learning about appropriate steels and how to process them to bring out the desired qualities in hand tools such as durability, edge retention, and sharpenability. Students will then forge a drawknife and froe. Tools will be forged, filed, and rough ground prior to heat treat. After heat treating tools will be finish ground and sharpened as time allows. Students will also turn handles on a lathe. Final sharpening is an exercise left for home, though basic edge geometry will be established in the class.

Who Should Take this class:

This class is open a to all experience levels but prior forging experience is recommended. This is an interactive, hands on course where you will be forging tough materials and forge welding. Some project modifications may be made for those with less experience. Class will make use of hand and some power tools (grinders).

Class fee: $275

Materials fee: $50

Class size limited to 6

Brian took his first blacksmithing class in 2005 under local smith Richard Rightmyer to learn how to make his own woodworking tools. Captivated by the feel of hot metal under the hammer, Brian poured all his free time into advancing his smithing skills taking classes whenever he could. Brian began teaching blacksmithing and coppersmithing in 2012 and has demonstrated at many public events and conferences. Recently, he has focused on the art of copper chasing, finding the meticulous attention to detail it requires to be a form of meditation in motion. Brian is an electrical engineer by day and holds a 6th Degree black belt in Aikido. He finds many commonalities with the efficient body movements of martial arts and the proper ergonomics for blacksmithing and coppersmithing. Brian has blended the arts to create effective and safe hammering techniques for people of all sizes. s an engineer, he is fascinated by the science of blacksmithing, specifically the metallurgy that goes into tool making. He firmly believes that true learning happens when you are having fun.

In this weekend class, students will learn a few fundamental metalworking and woodworking techniques to create a series of small marking and layout tools. In the making of a marking knife, small bevel gauge, and a square, we'll learn about different metals and their applications (tool steels, brass, and bronze), learn to to file, grind, heat treat, drill, hammer, sand, and cut our metals, and we'll make wooden handles by incorporating cutting and shaping techniques using the bandsaw, drill press, sanders, and various hand tools. This class will be a practical way for any woodworker to dip their toes into metalworking.

Class fee: $275

Materials fee: $25

Class size limited to 8

Sophie is a metalworker, woodworker, and furniture maker currently based in Reading, PA. She makes classic furniture designs recreated out of steel to give voice to women in both the woodworking and metal fields, and she utilizes steel in the making of her work to explicitly expand upon the materials that are considered to be part of the fine furniture making field. Sophie received her MFA in Furniture Design and Woodworking from San Diego State University, and BFA in Sculpture and Drawing from SUNY Purchase College. She has exhibited her work across the country, including Blue Spiral 1 Gallery (NC), the Center for Art in Wood (PA), and the Metal Museum (TN), and has been fortunate to receive several grants, fellowships, and residencies to help advance her career, including the John D. Mineck Fellowship in 2022. Sophie currently teaches at Kutztown University and has taught workshops at A Workshop of Our Own, Penland School of Craft, Arrowmont School of Arts and Crafts, the Appalachian Center for Craft, and Haystack Mountain School of Crafts. https://sophieglenn.com

In this class, we will build a splayed-side tool tote. This project is designed to stretch your hand tool skills and show that anyone can complete the project. We will make angled dovetails, tilted grooves, and a steam-bent handle, assembling everything without glue, and doing it completely with hand tools. The project is intended for beginners and intermediates alike, and the goal is to conquer apparently complex hand tool skills and bring them within the reach of any woodworker. And in the end, you can take home a quality-built tool tote you can cherish for the rest of your life.

Class fee: $500

Materials fee: $50

James Wright has been working with wood since he could stumble into his father's shop. This led to a career in woodworking and design. But after years of power-tool woodworking, life circumstances forced James to switch to hand tools only. The hand tool workshop allowed James the time to slow down and enjoy the process. He is now a full-time woodworking educator and YouTuber with over 500,000 subscribers across two channels, and travels around teaching hand tool woodworking in person and online.

Bent lamination represents a dramatic departure from most traditional fine woodworking. Rather than working within rectilinear geometry, you will lean into the materiality of the wood and explore its natural strengths through curvature. Reference face is often non-existent, so cutting joinery requires some creative thinking and novel use of machinery and hand tools. We will explore a variety of methods including cold lamination, mold making, vacuum forming, and freeform bending. Students will design and prototype a project that showcases bent lamination aesthetically and structurally.

Class fee: $850

Materials fee: $100

Class size limited to 12

Laura Kishimoto is a designer and maker based in Denver, Colorado and a graduate of the Rhode Island School of Design, where she earned a BFA in Furniture Design in 2013. Her work falls somewhere between sculpture and furniture, distinguished by its spatial complexity and visually striking curves. Central to her practice is a technique known as freeform bent lamination, which allows her to push the wood to its material limits and create curiously organic and emotionally evocative forms. Her pieces can be found in the permanent collections of the Denver Art Museum in Colorado and the Mint Museum in North Carolina.