2011 Idyllwild Arts Summer Program Adult Workshops by Idyllwild Arts

Idyllwild Arts 2 O 1 1

P R O G R A M Wo rk s h o p s f o r A d u l t s

H A N D S - O N W O R k S H O P S • L E C T U R E S • D E M O N S T R AT I O N S • P E R F O R M A N C E S • R E A D I N G S • E X H I B I T I O N S

Ceramics: Clay Works

Hot Clay

The Figure

Soda & Salt Firing

Surface Decoration

Colored Clay

Perfecting Porcelain

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7/18–22

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7/11–15

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CERAMICS

7/4–8

Page

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Please see course descriptions for exact dates and durations.

6/27–7/1

T a b le o f C o n te n ts Wknd

SCHEDULE &

JEWELRY/METALS 10

Creative Clasps in Metal Clay

Form, Fold, Shape & Solder

San Jacinto Mountains, Idyllwild, CA

Junk Drawer Metalsmithing

The School Mission

Things to do in Idyllwild

Metals Week

Drawing/Painting in Enamel

Hinges & Articulations

Metal & Non-Acid Etching

The Rings Class

The mission of the Idyllwild Arts Foundation is to promote and advance artistic and cultural development through education in a beautiful, natural environment conducive to positive personal growth.

The Art of Setting Sm. Gems

Idyllwild has earned the distinction of becoming one of the 100 Best Small Art Towns in America, (as designated in the book of the same name by John Villani), and features over 15 galleries representing the work of more than 200 artists.

Surface Embellishment

The Idyllwild Arts Summer Program provides arts instruction and experiences of the highest caliber to a diverse student population of all ages and abilities.

MIXED-MEDIA 11

Art Quilts: Surface Techniques

Assemblage

Creative Exploration

Gourd Art: Vine to Design

Green Art Journaling

Handbook of Elements

Marbling on Paper & Fabric

Wet Felting

Wood Collage Totems

The Idyllwild Arts Academy (Sept.–May) provides pre-professional training in the arts and a comprehensive college preparatory curriculum to a diverse student body of gifted young artists from all over the world.

Location Idyllwild is located at an altitude of 5000' in the Strawberry Valley of the San Jacinto Mountains approximately a 21/2 hour drive from Los Angeles and San Diego and a one hour drive from Palm Springs and Riverside.

NATIVE AMERICAN ARTS 16

Cahuilla Basketry

Hopi Jewelry

Native Arts Festival

Beadwork

Cahuilla Style Pottery

Hopi-Tewa Pottery

Native American Cuisine

Native American Flutes

Transportation

Native Plants

Navajo Inlay Jewelry

Navajo Weaving

Santa Clara Pueblo Pottery

There is no public transportation to or within Idyllwild. Transportation is available for a fee via campus vans from Ontario International Airport or Palm Springs Regional Airport to Idyllwild. Arrangements must be made in advance. Please see transportation information section of the Registration Form on page 29.

The Idyllwild Arts campus is situated two miles from the center of the village of Idyllwild. This tranquil site, remote from urban distractions, affords the student a unique learning environment.

PAINTING/DRAWING 19

Abstract Painting-Landscape

Calligraphy

Drawing As Meditation

Drawing Intensive

Encaustic Painting

Exploring Color in Painting

The Figure & Still Life

Lodging and Dining

Pastels & Natural Light

Plein Air Painting

Travel Painting & Journaling

The village offers many lodging alternatives, from luxury to rustic and includes motels, bed and breakfast inns, cabins and lodges.

Watercolor Unleashed

Weather Summer temperatures vary between the high 70’s to low 90’s during the day and drop to the 50’s-60’s in the evenings.

There are also public and private campgrounds in and around Idyllwild.

PRINTMAKING/BOOK ARTS 23

Alternative Book Structures

Beyond Monotype

Numerous restaurants and cafés are located in the village and feature a variety of cuisine from gourmet to classic fare.

SCULPTURE 23

Kinetic Sculpture

Metal Casting

Paperplaster Sculpture

GENERAL INFORMATION

WRITING 24

Graphic Novel

Hecht, Plath: Craft of Poetry

Memoir, Essay, Nonfiction

Poetry Writng Intensive

The Reality of Fiction

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T W Th F

June 5 6 7 12 13 14 19 20 21 26 27 28

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T W Th F

July 3 4 5 6 7 10 11 12 13 14 17 18 19 20 21 24/31 25 26 27 28

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Campus Facilities & Services........................2 Daily Schedule................................................3 Discounts/Credits.....................................3, 30 Events Schedule ....................................26, 27 Fee Payment/Refunds.................................29 Helpful Weblinks.............................................2 Housing and Meals........................................3 Arts Academy Information.........................31 Location/Transportation................................2 Maps (Location & Campus).......................28 On Campus Activities for Adults...................3 Registration Form...................................29, 30 Things to do in Idyllwild .................................2

Idyllwild is filled with unique gift and antique shops, galleries, a movie theater, and restaurants. There are hundreds of miles of hiking trails for all levels from gentle strolls to strenuous trails leading to the meadows and peaks that tower above the village. Idyllwild is also known for rock climbing. Horseback riding and fishing are available within 20 minutes from campus.

Helpful Weblinks Additional information regarding Idyllwild may be found on the following websites: www.idyllwildarts.org www.towncrier.com www.idyllwildchamber.com www.idy4u.com www.artinidyllwild.com

The Summer Program The summer tradition that began in 1950 to bring the best artists in their fields to teach under the pines continues today. Intensive hands-on workshops in music, dance, theatre, visual arts, writing, filmmaking and Native arts are offered to students from age 5 to 105. Each year more than 1,700 adults and children attend the Idyllwild Arts Summer Program. There are four arts centers plus Family Camp that comprise the Summer Program. • The Children’s Center (ages 5–12) (See separate Youth Program Catalog) • Junior Artist’s Center (ages 11–13) (See separate Youth Program Catalog) • The Youth Arts Center (ages 13–18) (See separate Youth Program Catalog) • Adult Arts Center (This Catalog) Family Camp: The whole family is welcome at Family Camp. Everyone will enjoy a week of arts activities and fun! (See separate Youth Program Catalog)

Campus Facilities and Services The campus features large modern dormitories, modest residence halls, dining hall and a snack bar. Services include health center, bookstore and laundry facilities. The art studios include numerous indoor and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden. Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and Junior Players Theatre among others. The Krone Library houses resource areas with internet access and wireless connection, classrooms and a museum. There are dedicated dance studios, rehearsal halls, film studio and practice rooms located throughout the campus.

August

SCHEDULE/CONTENTS/SCHOOL

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

We offer two catalogs, one for adults and one for children and teenagers. This catalog contains program information for adults. To request a Youth Catalog please call: 951-659-2171 ext. 2365 or visit www.idyllwildarts.org

On-Campus Activities for Adults Todd Center/Campus Bookstore

Each evening there are many activities taking place throughout campus (see pages 26 & 27). In addition to the program “traditions” that are scheduled each week, there are other lectures, readings, recitals and performances that dot the calendar. The weekly schedule includes:

Flutemaking Workshop 2010

Please note: At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with the commitment of the Idyllwild Arts Summer Program to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies. For specific dates see class descriptions. For updates or changes, see our website at www.idyllwildarts.org.

Summer ‘10 Photographer: Lucy Schiller.

Monday–Parks Exhibition Center reception: Faculty Art Show and Artist demonstration/ presentation Tuesday–Faculty artist slide lecture or Poetry Reading Artist Demonstration

Wednesday–Potluck and Barbeque at Studio D for all adult students, faculty members and school community members.

Nelson Dining Hall

Friday–Adult student art show

Campus Trail

There will be several lunchtime and evening lectures and presentations that all adult students are invited to attend.

HUSCH Hall

Discounts and Credits Idyllwild Arts offers students the following options: (See page 30 for details) • Early Payment Discount • Family Discount • Teacher/Student Discount • Bring a Friend Discount

Adult Arts Center In the Adult Center, students work intensely in a focused, yet relaxed setting which provides detailed technical instruction and personal attention to individual artistic needs. Instructors are experienced and interested in working with students of all levels of background and ability.

Daily Schedule One & Two-Week Workshop Participants: For a one-week course, students can expect a minimum of 30 class hours, six hours per day, Monday through Friday. In general, classes meet from 9 a.m. to 4 p.m. daily with the exception of writing workshops which meet 3–4 hours daily with time for writing, conferences, and other activities in the afternoon. Some studios remain open in the evening hours so that students may continue to work. Students may check in from 3–5 p.m. on Sundays or between 8-8:30 a.m. on Monday morning. All students should plan to attend a welcome reception and orientation on Monday morning at 8:30 a.m. Weekend Workshop Participants: Weekend workshops meet Saturdays and Sundays from 9 a.m. to 4 p.m. Students may check in on Friday afternoons or Saturday mornings before classes begin. Unfortunately, residence hall accommodations are not available for weekend workshop participants. Please see the Off-Campus Housing information on this page.

The campus also offers endless trails for hiking and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks Exhibition Center is open daily and features the work of artists in residence as well as a selection of fine Native American art and jewelry.

On-Campus Housing and Meals For adult students and adult students with children in a program, there are two oncampus housing options: Residence Halls - Modest motel-like units with twin or bunk beds and private bath accommodate one or two adults. Rates are based on occupancy of one-room units plus meals from Sunday, 4 p.m. to Saturday, 10 a.m. The charge includes linens and towels which are changed weekly. a. Two persons per room, meals included $520 per person per week $310 per person for three days b. Private room & meals (limited availability) $725 per week $450 per person for three days Residence Hall check-out time is 10 a.m. on Saturday. Please observe the 10 p.m.–8 a.m. quiet hours. Smoking is prohibited in all campus facilities. No pets are allowed. Lunch is included for all registered adult students at no charge. Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at every lunch and dinner. In addition, an extensive salad bar featuring fresh fruits and vegetables is available at all lunches and dinners. Students may purchase additional meals by the week. A one-week meal pass (20 meals) is $90.

Nelson Dining Hall Parks Exhibition Center

Off-Campus Housing As a service to our adult students, we have provided a list of lodging facilities in Idyllwild. The list is for information purposes only and should not be construed as an endorsement. Motels and Inns Bluebird Cottage Inn............ 951-659-2696 Creekstone Inn..................... 800-409-2127 Fern Village Chalets.............. 951-659-2869 Fireside Inn........................... 877-797-3473 Idyllwild Inn.......................... 888-659-2552 Knotty Pine Cabins............... 951-659-2933 Manzanita Cabins................ 951-659-3151 Mile High Country Inn......... 951-659-2931 Quiet Creek Inn.................... 800-540-6110 Rainbow Inn......................... 951-659-0111 Silver Pines Lodge................ 951-659-4335 Strawberry Creek Inn........... 800-262-8969 Strawberry Creek Bunkhouse.. 888-400-0071 Tahquitz Inn.......................... 877-659-4554 Wilder Cabins....................... 951-659-2926 Woodland Park Manor......... 877-659-2657 Cabins and Homes Idyllwild Cabin Rentals........ 877-270-3285 Idyllwild Mtn. Rentals.......... 951-659-5349 Idyllwild Vacation Rentals.... 800-297-1410

Adult Center Potluck

Adult Center Culmination Exhibit

Artist Lecture

Camping Idyllwild County Park........... 800-234-7275

Additional information Please see page 28 and 29 for additional information including campus location maps, and registration forms. Parks Exhibition Center Reception

The school also offers a snack bar which operates on a cash basis beginning July 10. Sandwiches, snacks and soft beverages are available from 11:30 a.m. to 7:30 p.m. daily.

One, Two, Three & Four-Day Workshop Participants: One, two, three and four-day workshops generally meet from 9 a.m. the first day to 4 p.m. the last day. Students may check in on the afternoon before classes begin or in the morning of the day classes begin. Limited on-campus accommodations may be available for these workshops. Please note: There are no provisions for those arriving before or after registration hours. HUSCH Hall sum m er @ id y llwi l dart s . o r g

The Village of Idyllwild

THE PROGRAM

CERAMICS Ceramics: Clay Works..................................... 6 Greg Kennedy Hot Clay........................................................... 4 The Figure.................................................... 4 Debra Fritts

Hot Clay June 26–July 9, 2011

Soda & Salt Firing....................................... 5 Richard Burkett & Joe Molinaro Surface Decoration.................................... 5 Lisa Orr Colored Clay.............................................. 5 Chris Campbell Perfecting Porcelain.................................. 6 Martha Grover

SEE ALSO Cahuilla Style Pottery.................................... 18 Tony Soares Hopi-Tewa Pottery......................................... 18 Mark Tahbo Santa Clara Pottery...................................... 18 Nathan Youngblood

Debra Fritts, Open Possibilities

Paperplaster Sculpture................................ 24 Trudy Golley

Mary Kay Botkins 2010

Idyllwild Arts has a long history of offering outstanding ceramics programs, with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and Maria Martinez among others. In recent years, Hot Clay faculty has included Ingrid Lilligren, Lesley Baker, Tom Bartel, Mary

Debra Fritts, Both Ways

Week I

The Figure

Kay Botkins, Lisa Clague, Cynthia Consentino, Patrick Crabb, Rosette

Debra Fritts

Gault, Arthur Gonzalez, Glenn Grishkoff, Stephen Horn, Jeff Irwin, Paul

June 26–July 2 Course # AACR ØØA1

Lewing, Terry Rothrock, Esther Shimazu, Neil Tetkowski, Geoff Wheeler, and Lana Wilson.

OVERVIEW • Hands-On Workshops and Open Studios • Demonstrations and lectures presented by all faculty • Critiques and feedback • Exhibits of faculty work Explore innovative techniques and concepts in the workshop of your choice. Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with

So Much More Than the Figure This workshop will explore the figure in clay using basic handbuilding techniques. Personal and narrative interpretations will allow the works created to have a spiritual connection between the sculpture and the maker. Demonstrations on building a head and a torso will be shared with students. Visual measurement and ways to create the facial features by pushing on the interior of the form and by additions will be demonstrated. During the building, personal mark making will be discussed on ways to personalize the figure. Creating a surface on wet clay will be achieved by using dry clays, slips and underglazes on the forms. Materials: A complete materials list will be sent upon registration Tuition: $655 Lab fee: $30

a great deal of crossover during each week’s workshops. Artist

Enrollment limited to 12 students.

receptions for the faculty exhibit are planned June 27 and July 4. Class size is limited to allow for maximum interaction among participants and with the instructors. The ceramics studio is equipped with gas and elec-

Six-day session

Hicks Studio

tric kilns, wheels, handbuilding equipment and a glaze lab.

Debra Fritts is a studio artist working in Roswell, Georgia and Abiquiu, New Mexico. She received her undergraduate degree in Art Education but continued studies in ceramic sculpture, painting and printmaking. Debra enjoys national recognition for her work through invitational exhibitions and awards, museum exhibitions and permanent collections. Her sculptures were included in “Form and Imagination” – honoring women ceramic sculptors at the American Museum of Ceramic Art, Pomona, California and has been included in many exhibitions at SOFA Chicago and New York. Currently Debra teaches at Art Center West in Roswell, Georgia and continues to conduct master classes and workshops nationally.

Please note: Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded. (Colored Clay ends at 4 p.m. on Friday) Raku Firing

CERAMICS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Lisa Orr, Bowl Richard Burkett, Cups

Soda & Salt Firing: Functional to Sculptural Richard Burkett & Joe Molinaro Chris Campbell, Wall Tile

June 26–July 2 Course # AACR ØØA2

Week II

Six-day session Explore soda and salt-firing with two experienced potters, Joe Molinaro and Richard Burkett, while expanding your ceramics vocabulary of form and surface. Handbuilders and throwers from advanced beginner to the most advanced potters will be able to make and fire work during this week-long workshop. Whether you’re interested in pots or sculpture, these two accomplished instructors will help you broaden your ideas and techniques. We’ll explore a variety of forming techniques, from slab-building and press-molds to extruding and throwing. You’ll hone your abilities and learn new surfaces, textures, slips and glazes. Participants are encouraged to bring bisqued work for cone 10 soda/salt firing to be glazed, decorated and loaded the first day. We’ll make and fire more work during the week.

Colored Clay

Chris Campbell

July 3–8

This workshop will teach students how to color clay, fade those colors and make secondary colors. We will be creating murrini and cane patterns, then using these patterns in our work. We will explore other methods of using colored clays including murrini ware, marbleized patterns, colored slip decoration, layered slip sgraffito and veneer.

Lisa Orr, Mug

Surface Decoration: Low Fire Layering Lisa Orr

June 26–July 2 Course # AACR ØØA3 Six-day session Joe Molinaro, Teapot

Materials: A complete materials list will be sent

upon registration. Tuition: $655 Lab fee: $30

Enrollment limited to 14 students. Richard Burkett has over 40 years of experience firing soda- and salt-glazed ware. He is currently Professor of Art-Ceramics at San Diego State University where he teaches beginning to graduate ceramics. He is the coauthor of the 6th edition of Ceramics: A Potter’s Handbook. He curated the artists and wrote for the Lark publication Porcelain Masters: Major Works by Leading Ceramists and is the author of HyperGlaze glaze software. He loves to make pottery and has studied ceramics around the world. With Joe Molinaro, he has studied the ceramics of Ecuador for over 15 years.

This workshop will focus on complex layering of textures and slips to create low fire glazes as rich as gemstones. Both functional wares and small-scale sculptural pieces will be demonstrated. Initially, the class will be introduced to low relief texture sprigging, stamping and soft forming techniques. Students will view examples by slides and demonstration after which they will make their own. Next, students will learn how nichrome wire can be utilized for attaching smaller moving parts. Color layering will be emphasized by use of engobes under transparent low fire glazes. Pieces will be fired in electric kilns and everyone will take home finished works.

Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $70

Enrollment limited to 16 students. Chris Campbell has been specializing in Colored Porcelain for twenty years. She learned the basics of coloring clays from Jane Pieser in 1991. She has been experimenting with style, patterns and techniques since then. Over the years, she has written several articles on the subject of colored clays for Pottery Making Illustrated Magazine. She was recently featured in an Invitational Show, “Porcelain – 12 Masters” at Mudfire in Atlanta. Her work is shown in galleries in the United States, Canada and abroad.

Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $40

Enrollment limited to 12 students.

Joe Molinaro is a Professor of Art at Eastern Kentucky University in Richmond. He is the author of the book A Pottery Tour of Kentucky, and for the past fifteen years has, together with Richard Burkett, been engaged in research in Ecuador on the pottery of the Upper Amazon Basin region. He has contributed writings on ceramics for various national and international publications and has produced videos on the indigenous potters of Ecuador. He is the founder of Clayart, a popular electronic ceramic Listserv, and has served as Program Director for NCECA (2005-09). Along with teaching and research, he continues to produce both functional and sculptural pottery.

Course # AACR ØØB1

Six-day session

HOT CLAY Events Open to the Public Week 1 Monday, June 27 7 p.m. Lecture: Debra Fritts

Lisa Orr has been a professional potter and student of ceramics for 27 years. She completed an MFA at the NYSCC at Alfred University in 1992 and later received grants including a Fulbright and a MAAA/NEA. Her work is in numerous public and private collections including the Fine Arts Museum of San Francisco, and the permanent collection of WOCEF in Korea. Currently she teaches, lectures and shows nationally and internationally.

Chris Campbell, Cup & Dish

8 p.m. Artists Reception. Hot Clay & Visiting Faculty Show Parks Center Wednesday, June 29 7 p.m. Lectures: Richard Burkett & Joe Molinaro Thursday, JuNE 30 7 p.m. Lecture: Lisa Orr Week 2 SUNday, July 3 7 p.m. Lecture: Martha Grover MONday, July 4 8 p.m. Artists Reception. Parks Center Wednesday, July 6 7 p.m. Lecture: Chris Campbell

Richard Burkett sum m er @ id y llwi l dart s . o r g

Lisa Orr

Chris Campbell, Wall Piece

CERAMICS

JEWELRY/METALS

H O T C L AY

Metals Week.................................................... 7 Drawing/Painting in Enamel..................... 7 Charity Hall Hinges & Articulations.............................. 8 Fred Zweig Married Metal & Non-Acid Etching......... 8 Sandra Noble Goss The Rings Class........................................... 8 Joanna Gollberg The Art of Setting Small Gems.................. 9 Pauline Warg

Martha Grover, Vases

Surface Embellishment.............................. 9 Harold O’Connor Creative Clasps in Silver Metal Clay........... 10 Jonna Faulkner Fold, Form, Shape & Solder.......................... 10 Deborah Jemmott Greg Kennedy

Ceramics Workshop Clay Works Greg Kennedy Martha Grover, Soup Tureen with Ladle

July 11–23

Perfecting Porcelain Martha Grover

July 3–9

Course # AACR Ø1-Ø2

Two-week session

Course # AACR ØØB1

Six-day session Discover the idiosyncrasies of working with porcelain on and off the wheel. Learn special throwing, altering, and glazing techniques suited for this elegant and sensuous material and how to exploit its best qualities. Demonstrations will include working with various wheel-thrown forms in both the soft and leather-hard stages to create a variety of cups, bowls, vases, pitchers, lidded forms, and teapots. We will explore bottomless thrown forms, with the additions of slabs, handles and spouts. High-temperature grolleg porcelain clay body will be used. Crack repair and mending techniques will be addressed. The use of a spray gun for glaze application will also be discussed. Designed for intermediate to advanced wheel throwing students. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $70

Enrollment limited to 12 students. Martha Grover is a functional potter, creating thrown and altered porcelain pieces. She attended Bennington College in Vermont, where she received her undergraduate degree in Architecture. Martha received her MFA in ceramics from the University of Massachusetts Dartmouth. Since then she was awarded the Fogelberg at the Northern Clay Center, as well as the Sage Scholarship and the Taunt Fellowship at the Archie Bray Foundation in Helena, Montana. Martha completed a year- long residency at Red Lodge Clay Center in Montana in August 2009. Her work can be found at galleries across the country. Her work has been published in Ceramics Monthly, Clay Times, 500 Pitchers, 500 Platters and Chargers, and 500 Vases. It was the cover feature of Ceramic Monthly’s May 2010 issue.

Students may take one week of this workshop only by permission of the instructor. This intensive course is designed for beginning and advanced participants who would like to expand their experience in clay. The philosophy of the studio is to encourage interaction between fellow students of all skill levels. Activities such as clay mixing, kiln loading, firing, kiln unloading and glaze mixing are highly encouraged. Beginning instruction in the use of the pottery wheel is stressed and throwing on the potter’s wheel is emphasized. The studio also has the facilities for the hand builder, i.e. slabroller, extruder, and ample work space. Students will complete artworks in cone 6, high temperature reduction firings, and low temperature salt (saggar) and raku. Technical and aesthetic demonstrations take place each day.

Junk Drawer Metalsmithing.......................... 10 Stephanie Lee

SEE ALSO Hopi Jewelry..................................................17 Lawrence & Griselda Saufkie Metal Casting................................................24 Paul Leathers Navajo Inlay Jewelry....................................17 Richard Tsosie

The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab roller, clay extruders, Soldner clay mixer, gas kilns, electric kilns, as well as our Anagama and fast fire wood kiln. We have ample work space, including a glaze room and separate facilities for throwing and hand building; in addition we have several outdoor work areas. Students may bring their own tools, but studio tools are available. The studio is open weekdays, 9 a.m. to 4 p.m. Each student will complete an abundance of pieces. Tuition: $655 per week Lab fee: $25 per week (Includes clay-150 lbs.

of clay per student-and firing costs.) Enrollment limited to 10 students per week. Greg Kennedy: BS, Biology, University of Nevada, Las Vegas. National Science Foundation Award for botany and geology studies in the Spring Mountain Range of Clark County Nevada. After graduating with honors in 1972, Greg turned his attention toward ceramics. Since that time, he has been a studio potter and ceramics teacher. His focus and inspiration is mountain topography and is continually charmed by nature. Respectful of traditional pottery, he enjoys meeting with indigenous potters and learning from them during his global travels. This will be Greg’s 26th year of teaching for Idyllwild Arts. His home and studio are located in the coast range of Oregon, where he practices quietness, authenticity, harmony and sustainability.

David Delgado is a mixed media Sculptor/Potter who has been working in ceramics for seven years, where his focus in clay has been on both the hand-built and wheel-thrown object. Having recently received his BFA in Sculpture from the California College of the Arts, David lives and works in Oakland California where he has a sculpture/ pottery studio for his mixed media practice. This will be David’s sixth year working for the Idyllwild Arts Summer Program. Martha Grover

CERAMICS/JEWELRY

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

METALS WEEK June 26–30, 2011 Other activities during the week include: • Exhibition of faculty work and opening reception

Charity Hall, Hornet Brooch

• Faculty slide show & lectures

Drawing & Painting in Enamel Charity Hall

• Potluck dinner

June 26–30

Course # AAJW ØØA

One-week session

• Auction • End-of-the-week student exhibition

It’s all about the image! Using enamels as your palette, we will explore the endless possibilities of drawing and painting techniques in enamel. The best part is that you don’t need to know how to draw or paint! We will begin by developing an eye for line, investigating several methods to create line-based images, such sgraffito, cloisonne, and stencils. From the rich, metallic lines of cloisonne wire to finely inscribed lines used in the sgraffito process, each student will create several pieces that can later be set into pendants, earrings, or other pieces of jewelry. By constructing simple, yet professional riveted bails, you’ll be able to easily convert your enamel samples into wearable works of art.

Val Link 2010

We will then explore color through painting with watercolor enamels and learning what to look for when firing these types of enamels. Finally, we will focus in on details, including stippling effects, the inclusions of silver granules, and setting faceted stones within the enamel surface, to personalize your enamels. All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $45 (Includes the use of liquid enamels

OVERVIEW Deborah Jemmott, Coordinator

and some other enamels, Klyr Fire, underglaze, and shared supplies.) An optional tube setting kit (burs, practice stones, sterling heavywalled tubing, hard solder) will be available for purchase from the instructor for students wishing to incorporate faceted stone setting with enameling. Students should bring their own metals and hand tools – but they must be clearly marked. Enrollment limited to 12 students.

Deb Jemmott

Metals Week is designed to be a week of creative and social renewal where you can relearn how to be open to learning and seeing from a creative perspective. You will be working with master instructors in an environment that encourages opportunities to test ideas, try new techniques and create

Fred Zweig

work as well as network and exchange ideas with others jewelers and metalsmiths. Whether you come to learn new skills or enhance the skills and techniques you already know, you will have the opportunity to grow as an artist in metal. This week of intensive metals studies will begin on Sunday, June 26 and

Charity Hall is a jeweler who specializes in enameling and metalsmithing. She teaches classes and workshops through Pima Community College and the City of Tucson Parks and Recreation. Charity earned a bachelor’s degree in biology from Colorado College and worked for the San Bernadino National Forest as a botanist before becoming a full-time artist. Her love of botany and entomology forms the premise of her designs. She received her MFA from East Carolina University. She exhibits work at the Penland Gallery, NC and Quirk Gallery, VA. Her work is also featured in 500 Enameled Objects.

run through Thursday, June 30. You will have the opportunity to work with one of six outstanding jewelers/metalsmiths – but in addition, you will have the opportunity to sign up for two lecture/demos from other instructors teaching during the week. This is a time for you to attend a lecture/demo, examine samples, ask questions and visit with instructors teaching other Metals Week workshops. This schedule offers the opportunity of a rich and well-rounded experience with intensive studies focusing in the area and with the instructor you have chosen. Pauline Warg sum m er @ id y llwi l dart s . o r g

Charity Hall, Rituals

JEWELRY

Joanna Gollberg, Amethyst Ring

The Rings Class Joanna Gollberg June 26–30

Course # AAJW ØØD

One-week session

Sandra Noble Goss, Multi-Metal Lamination Pin

Just like it sounds: in this class, we will make rings! Any kind of ring! We will discuss hollow forming, bending, sizing, texturing, roller printing, simple stone setting, soldering methods, and kinetic rings. Instructor will have a slide show and an extensive array of samples. Open to any level of expertise. Students are required to bring open minds. Materials: A complete materials list will be sent upon registration.

Hinge samples

Hinges & Articulations Fred Zweig June 26–30

Course # AAJW ØØB

June 26–30

The making of hinges is an essential skill that allows the artisan to create objects that move and conform to the body as well as provide a flexible connection between two or more parts.

One-week session

For the first three days, each student will make connected samples of at least eight different hinges that they can use in their work. The explanations will be clear and will demystify the precision required to make smooth working articulations. With these skills the student will be able to make bracelets, necklaces, belts and long, free-flowing pendants. The possibilities are boundless. The next two days will be spent making a hanging locket or multi-hinged pendant or brooch. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $35 (Includes the use of tools, equip-

ment, and consumables such as flux and compounds.) Students are encouraged to bring their own metal and tools – but they must be clearly marked. Some metal will be available for purchase in class. Enrollment limited to 12 students.

ment, and consumables such as flux and compounds.) Students should bring their own metals and hand tools - but they must be clearly marked. The instructor will havemany materials, tools and supplies available for purchase. Enrollment limited to 12 students.

Sandra Noble Goss

One-week session

This workshop will explore the making of tube hinges and other forms of interconnecting members that allow your designs to move freely.

Tuition: $655 Lab fee: $25 (Includes use of all tools, equip-

Married Metal & Non-Acid Etching Course # AAJW ØØC

Married Metal and Non-Acid Etching are two very different, but complementary approaches to creating decorative surfaces, pattern and graphic imagery in jewelry and hollowware. Married Metal techniques enable you to create “inlay” patterns and designs by combining different colored metals. The first half of the workshop will introduce three versions of the technique, from the more traditional married metal “inlay’ to the freer, more painterly and unconventional twisted wire lamination and multi-metal lamination (metal overlay). Students will work with a variety of metals, including sterling silver, brass, bronze, copper and gold to create images and pattern in metal. The three techniques can be used alone or in combination, producing rich and mysterious patterns and designs in metal. The second part of the workshop will introduce non-acid etching. Etching with Ferric Chloride provides the metalsmith with a technique that can be used by itself or in combination with married metals. Using ferric chloride as the etchant, you will design and execute etched patterns using pens and photocopies as resists. All these techniques are valuable additions to the jeweler’s and metalworker’s arsenal of techniques and give highly rewarding graphic and textural results.

Fred Zweig has been actively working in metal and teaching others for more than 30 years. His current body of work includes raised bowls and brooches that involve hand forged elements combined with textured and modified planes of metal. Fred is a creative innovator of materials and tools to create his unique designs. His passion for metal and interest in the earlier craftsmen who have kept metalsmithing alive have led him to study and collect the work of American metalsmiths of the Arts & Crafts Movement.

Joanna Gollberg is a studio jeweler in Asheville,

Sandra Noble Goss, Wall Hanging with Carpet Pin

This is an intermediate to advanced level workshop; students should know basic jewelry-making skills, particularly soldering, sawing and filing. The aim is to produce a series of samples of techniques that may be used later in jewelry or hollowware. If they chose, students may also produce a finished piece of jewelry, but the emphasis of the workshop is experimentation and exploration.

North Carolina. In addition to making jewelry, she is the author of four books: Making Metal Jewelry, Creative Metal Crafts, The Art and Craft of Making Jewelry, and The Ultimate Jeweler’s Guide, all published by Lark Books. Joanna teaches jewelry making at craft schools such as The Penland School of Crafts as well as for metalsmithing groups across the country. She exhibits her work at fine craft shows and galleries nationally. www.joannagollberg.com

Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $45 (Includes some materials for

married metal use and the use of all tools, equipment and consumables such as flux and compounds.) Students should bring their own metal and hand tools – but they must be clearly marked. The instructor will have many materials, tools and supplies available for purchase. Enrollment limited to 12 students. Sandra Noble Goss has been a studio jeweler in Canada since 1973. Sandra has taught many workshops and has been a part-time instructor in Jewelry & Metals at Georgian College, Ontario since 1991. Sandra’s work has been exhibited widely and internationally in jewelry and craft exhibitions and has received many awards. Her work is sold across Canada. Her jewelry is hand made using traditional techniques and her metals of choice are sterling silver, brass, copper and bronze. She has a special passion for married metal and etching techniques. In addition she designs metal sculptures, wall pieces and books, combining etched metal images with intaglio prints.

Joanna Gollberg

Making hinges

JEWELRY

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

M E TA L S W E E K Surface Embellishment Harold O’Connor June 26–30

Course # AAJW ØØF

One–week session In this workshop students will learn how to put lively surfaces on what is often a mundane metal surface, as well as how to manipulate metal into dimensional forms, breaking from the flat look that is common with sheet metal. One consideration in these times of high metal prices is making more of the metal you work with. Hollow forms can be created with thinner metals while still creating a structurally sound piece with proper technique. Students will learn how to create hollow pieces with scoring and bending, and creasing and folding techniques to create hollow forms. We will make the most out of limited amounts of metal by making our own bi-metal through lamination of copper and gold to silver.

Pauline Warg

The Art of Setting Small Gems Pauline Warg June 26–30

Course # AAJW ØØE

One-week session Small gemstones can be added to jewelry as accents or they can become the focal point of a piece. All of the settings presented in this class are for 5mm or smaller gemstones and 6+ on the Mohs scale of hardness. The techniques presented will address the setting of cabochon and faceted stones, round stones and square stones. In this class we will explore 4 ways to address setting very small gems. Several of the techniques may be used for either cabochons ( 3mm - 5mm) or faceted stones (1 mm - 5mm ). Incorporated into each setting technique will be a focus on proper measuring of height, depth and diameter, soldering techniques for small settings, accurate use of burring and setting tools, preparation of surfaces for successful setting, options for the actual setting and finishing without damaging the settings. Students will also be taught about gems that are most appropriate for these types of settings, hints and helps for the techniques, and hammer setting. In addition students will be instructed on how to bend, form and solder rings and bracelets using very heavy half round or flat metal stock. Students will have the opportunity to create a piece using at least one of the following techniques: 1) Tube settings for round cabochons and faceted gems. 2) Tube settings for square cabochons and faceted gems. 3) Gypsy setting or flush mount. 4) Jump Ring Bezel.

Pauline Warg, Necklace

Instruction will be given for all levels of students, however this class is best suited for Intermediate +, level students. Solder experience would be helpful. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab fee: $55 (Includes a packet with 3 tools,

some sterling square and round seamless tubing, some appropriate square and round gemstones, use of specialized tools, consumable materials such as solders, fluxes, sandpaper etc., and use of instructors tools.) Students should bring their own metals and hand tools – but they must be clearly marked. The instructor will have many materials, tools and supplies available for purchase. Enrollment limited to 12 students. Pauline Warg is a metalsmith with 36 years experience. She earned a Journeyman Metalsmithing Certificate after completing a 3 year apprenticeship to Master Goldsmith Philip Morton and holds a BFA from the University of Southern Maine. Her work encompasses fabricated jewelry, silversmithing and enameling both jewelry and holloware. She owns and operates WARG Enamel and Tool Center, in Scarborough, Maine. The center features a gallery of her own work, a full service tool and supply store for jewelers and enamelists, and teaching studio for metalsmithing and enameling. Pauline is the author of Making Metal Beads. She teaches at the Maine College of Art, Armory Art Center, FL, Wildacres, NC, and a variety of art centers and colleges across the country. Most recently Pauline created a bracelet for and wrote a segment of the book: Jewelry Design Challenge, a collaborative of 30 artists (Lark Books). www.wargetc.com

Surface embellishment techniques will include torch reticulation (including how to use the right torch to make creative shapes and patterns in silver), roller printing techniques, and an introduction that will take the mystery out of silver granulation. Instruction will be given for all levels of students, however this class is best suited for Intermediate +, level students. Solder experience would be helpful. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab Fee: $25 (Includes use of specialized tools,

consumable materials such as flux, compounds, etc., and use of some instructor tools.) Students should bring their own metals and hand tools – but they must be clearly marked. The instructor will have many materials, tools and supplies available for purchase. Enrollment limited to 12 students.

Harold O’Connor, Pendant

2011. He is featured in many publications, including American Craft, Ornament, Metalsmith, MASTERSGold, and the Handbook of Jewelry TechniquesCharlos Codina: 500 Brooches-Lark Books. In addition, he has authored several books including The Jewelers Bench Reference and The Flexible Shaft Machine: Jewelry Techniques. His work is included in the public collections of 16 museums including: Smithsonian Institution, D.C.; Metropolitan Museum of Art, NYC; Boston Museum of Fine Arts; National Ornamental Metal Museum, Memphis, TN; Koch Collection, Switzerland; and the Victoria & Albert Museum, London, England.

Harold O’ Connor has studied goldsmithing arts in the US, Denmark, Finland, Germany, Austria and Mexico. His work has been exhibited in over 200 exhibitions throughout the world including SOFA: Chicago and New York City; THE NECKLACE: Mobilia Gallery-Cambridge, MA; THE RING: Ruhin Craft Centre, Ruhin, England; and GRASS INTO GOLD: World Crafts Council exhibition in New Delhi, India

Harold O’Connor

Pauline Warg, Ring, round tube settings,

Harold O’Connor, Necklaces

Pauline Warg, Rings, round tube setting sum m er @ id y llwi l dart s . o r g

Pauline Warg, Bracelet

JEWELRY

Jonna Faulkner, Spear Toggle

Deborah Jemmott, Corrugated Spoon

Stephanie Lee, Jewelry

Fold, Form, Shape & Solder Deborah Jemmott July 18–22

Course # AAJS Ø2

One-week session Jonna Faulkner, Leaf Clasp

Creative Clasps in Silver Metal Clay Jonna Faulkner  July 16–18

Course # AAJC Ø1

Three-day session One of the challenges in creating artistic jewelry is how to close a necklace or bracelet. While there are many lovely commercial clasps available, they do not express a unique vision. This workshop will focus on the creation of several types of clasps that can be used either as dramatic focal pieces or as pieces that enhance other elements of an entire bracelet or necklace. We will explore a variety of technical approaches to building fabulous clasps that will each be one-of-a-kind works of art. Construction techniques will include building boxes, beads, and other hollow forms. Decorative techniques will include setting pearls and stones, applying 24k gold foil using the keumboo process, texturing, and appliqué. Silver metal clay is a wonderful medium for creating gorgeous jewelry. It consists of tiny molecules of silver, water and an organic binder. It’s easily worked by hand using simple tools and, after firing, can be hallmarked as .999 pure silver.

So often we design on paper, cut from sheet metal, work on a table top or bench pin, and view with close- up precision. It’s no wonder we end up with flat pieces. But there are difficulties working with dimensional pieces. How do you plan? How do you create dimension? How do you hold pieces that don’t fit well together while soldering?

Designing in 3-D will also be part of the week long experience.

July 3–4

Deborah Jemmott, Totem Piece

students who have some metalworking experience. Solder experience would be helpful.

Instruction will be given for all levels of students, however this class is best suited for

Tuition: $655 Lab fee: $45 (Includes some metals, materials

for making forming blocks to take home, use of specialized tools, consumable materials such as solders, fluxes, sandpaper etc., and use of instructors tools.) Students should bring their own metals and hand tools – but they must be clearly marked. Some materials and supplies will be available for purchase in class. Enrollment limited to 12 students. Deborah Jemmott has shared her love for metal

Tuition: $465 Lab Fee: $25 (Includes use of basic kits, kilns

by teaching jewelry making and metalsmithing to others since 1978. She teaches through the San Diego Community College District and Saddleback Community College in addition to teaching many workshops and private lessons in a wide range of topics. Her students have won awards for their work and many sell work that they have produced in class. Deb’s belief that we all have artistic creativity combined with her mastery of jewelry making techniques is key to her teaching. She works at nurturing the artistic creativity in each student as well as helping them achieve their ideas in metal. Deb’s work has been featured in American Style, American Craft, Metalsmith, San Diego Home Garden and Redbook magazines as well as the San Diego Union Tribune newspaper. It has also appeared in Art Clay Silver and Gold by Jackie Truty, The Goodfellow Catalog of Wonderful Things III, Jewelry Making: A Guide for Beginners by Thomas P. Foote, and 20 Years in Metal. She has exhibited widely and currently has work in galleries across the country. She continues to exhibit and create custom artwork in addition to keeping up with her jewelry and metalsmithing company, Enhancements. www.debjemmott.com

and consumable materials.) Metal clay, various types of wire, pearls, fire-in-place stones, etc., will be available for purchase in class. Enrollment limited to 12 students. Jonna Faulkner has been working with metal clay since 1999. She is certified to teach in both Art Clay Silver and Precious Metal Clay. She is a contributing artist to Art Clay Silver and Gold by Jackie Truty, Exceptional Works in Metal Clay and Glass by Mary Ann Devos, The Art and Design of Metal Clay Jewelry and More 2009 by Holly Gage and The Art and Design of Metal Clay Jewelry 2010 by Holly Gage. Her Protector Pendant was chosen as the cover piece for Holly Gage’s The Art and Design of Metal clay Jewelry 2011. Jonna has taught workshops at venues in France, New Mexico, California and Arizona. She also teaches out of her home studio in Escondido, CA. Her work has been sold at a number of fine craft shows and galleries. www.jonnafaulkner.com

Deborah Jemmott

Course # AAJM ØØ

Two-day session

Materials: A complete recommended supply and tool list will be sent upon registration.

Materials: A complete materials list will be sent upon registration.

JEWELRY

Junk Drawer Metalsmithing Stephanie Lee

Students will have the opportunity to create finished work or to focus on technique alone and create samples to inspire future work.

Instruction will be given for students at all skill levels, although a minimal knowledge of metal clay would be helpful but not required.

Stephanie Lee, Bracelet

We will spend the first part of the week exploring how to create dimensional forms in metal. Bending (simple and complex), sinking, dapping, fold forming and corrugation will be some of the techniques we will use to create interesting dimensional forms. Beginning mid-week, we will study soldering. After covering the basics, we will learn how to solder two pieces that barely touch each other, pieces that are very large or very small, and how to solder very heavy metal to very thin metal.

Metalsmithing is presented in an innovative and non-intimidating way, making it so you’ll never look at metal the same again. Not your typical metalsmithing class, it is designed to show you how to take readily accessible materials and tools to create totally original pieces. Many techniques will be presented in this technique-focused workshop. Learn how to etch on metal, create original and simple bezel forms, fabricate metal boxes and shrines to showcase your smaller works of art or to fill with resin, plaster or found objects to incorporate into book arts, assemblage, jewelry and more! All skill levels welcome. Materials: A complete materials list will be sent

upon registration. Tuition: $310 Lab Fee: $20 (Includes sheet brass and

nickel-silver, consumable compounds, butane torches, tools and supplies for use in class) Enrollment limited to 20 students. Stephanie Lee is a modern day expeditioner, and is most inspired by nature and reinventing the ordinary into something expressive. Having traveled all over the United States and internationally to offer creative instruction, she finds respite in her home studio in the valleys of Southern Oregon. Her work is featured in numerous Stampington publications as well as in her book Semiprecious Salvage which arrived in bookstores February 2008.

Stephanie Lee, Pendant detail 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

MIXED-MEDIA Art Quilts: Painting/Surface Techniques.. 11 Judy Coates Perez Assemblage.................................................. 11 Michael deMeng Creative Exploration.................................... 12 Lesley Riley Gourd Art: Vine to Design........................... 12 Bill Colligen Green Art Journaling................................... 12 Karen Michel Handbook of Elements................................ 13 Stephanie Lee Marbling on Paper & Fabric....................... 13 Galen Berry Wet Felting..................................................... 13 Jane LaFazio Wood Collage Totems................................. 14 Karen Michel

Judy Coates Perez, Quilt, Primordial Sea

Michael deMeng, Cold-Blooded Journal

Assemblage Michael deMeng

SEE ALSO Junk Drawer Metalsmithing........................ 10 Stephanie Lee

June 30–July 1 Course # AAAS ØØA July 2–3 Course # AAAS ØØB June 30–July 3 Course # AAAS ØØ

Travel Painting & Journaling....................... 22 Barbara Roth

Two two–day sessions Students may select to enroll in one or both workshops.

Session I

June 30–July 1: Cold-Blooded Journals “Sssssssssssssss” –translation from snake language: “Howdy”. Judy Coates Perez, Illustrated Document No. 1

Art Quilts Painting & Surface Techniques Judy Coates Perez July 19–21

Course # AAMQ Ø2

Three-day session We’ll begin by studying the basics of color theory, learning key color concepts by mixing paint and creating helpful charts providing you with the tools you’ll need to choose pleasing color palettes and mix the colors you desire for successful fabric painting. Next, learn multiple techniques for applying paint to fabric for quilting. In class we’ll cover; painting backgrounds, making freezer paper resists, creating smooth gradations from one color to another, glazing with colorless extenders and adding fine lines and details to your painted textiles. Then, explore incorporating alternative materials and media in your quilts by using textile paint, printed paper imagery, transfers, colored pencils, rubber stamps, paint sticks, tea bags and more, while creating a mixed media fabric collage that you can stitch or quilt. Materials: A complete materials list will be sent upon registration. Tuition: $465 Lab Fee: $35

This class is all about reptiles and snaky things, and the reason is that I recently came across a product that creates a nice scaly surface. Ssssso it dawned on me that this would be an interesting technique to use on a semi-sculptural surface, and to make it even more interesting, I thought that it would be interesting to make that surface an object that could be used everyday. That surface? A sketchbook, for the cold-blooded. Of course you can fill the sketchbook with whatever you like but the exterior is going to be built up and scaled up to the point in which if you’re not noticed walking down the street with this… well…there probably isn’t anyone on the street. Ssssssounds sssssssswell doesssssssn’t it? Yesssssssssssss! Enrollment limited to 20 students. Materials: A complete materials list will be

sent upon registration. Tuition: $310 for Session I

$595 for both Session I & II

conjunction with the art of assemblage. For those who aren’t familiar with this process, basically malleable metal is shaped and formed from the underside and then refined; this is also called repoussé and chasing. It creates these very nice raised effects. I will show you a variety of techniques with this process and most importantly how you can combine it with other media, such as sculpture and paint, to create a little antiqued casa. Don’t be afraid… no one is the emboss of you. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition: $310 for Session II

$595 for both Session I & II

Michael deMeng is an assemblage artist whose work is heavily influenced by Latin American art forms such as retablos, ex votos, and milagros. Born in Southern California, he now works and resides in Missoula, Montana. As an artist he has participated in numerous exhibits that promote awareness of such issues as AIDS, breast cancer, environmental and other social issues. DeMeng is co-founder of Missoula’s Festival of the Dead, an annual event based on the Latin Dia de los Muertos designed to celebrate life, death and the arts, through education, performance, and visual arts. He is the author of the bestselling craft book, Secrets of Rusty Things. As an educator, he offers a variety of mixed media workshops throughout the country and over the years has been actively involved with VSA Montana. Through these activities, as well as his artwork, deMeng fosters community awareness, and offers creative methods to explore the human experience. www.michaeldemeng.com

Session II

July 2-3: Casa Embossa One of my favorite things when I visit Mexico is the little embossed metal shriney things. Usually they are filled with little saints (either painted or actual) and surrounding them are little decorative metal homes. In this class we are going to explore metal embossing in

Enrollment limited to 20 students. Judy Coates Perez, an international award winning textile artist well known for her highly detailed, colorfully painted whole cloth quilts earned a BFA from The Otis Art Institute. Exploring themes drawn from folklore, history and nature, she enjoys working in a variety of media. Often blending quilting skills with techniques drawn from her graphic arts background, she uses textile paints, dyes, inks, acrylic powders, artist’s pencils and occasionally stitches metal onto her fabric. Judy has written numerous articles for Quilting Arts and Cloth Paper Scissors magazines, been a guest multiple times on PBS Quilting Arts TV, made 3 instructional DVD’s and teaches at national and international venues.

Michael deMeng, Casa Embossa sum m er @ id y llwi l dart s . o r g

MIXED MEDIA

Bill Colligen, Gourd Vessel

Gourd Art From Vine to Design Bill Colligen

Creative Exploration Lesley Riley July 16–17

Course # AAME Ø1

Two-day session Life is a constant search for answers, for an understanding of life’s secrets and wonders. Occasionally you can catch a fleeting glimpse of a universal truth, in an artfully crafted phrase, an image that draws you in or a work of art that touches your soul. What if you could plot a course that guided you to discover (or re-discover) your own unique path to life’s magic and wonder? This is a class for artists, writers, or anyone – both beginners and experienced - that enjoys self-discovery and making meaning. The most successful works of art are the ones that convey the soul of the maker. You know it when you see it, but how do you achieve it in your own work? This class will help you find and communicate what is in your soul. We will use music and movement, images and words, the written world of quotes, prose and poetry - freedoms and barriers that will shake your body and stir your soul. You will create inspired artwork using TAP transfers, word play, new color combinations and spontaneous responses to your new awareness. These tools will help you awaken your soul and stretch your creativity. There will be fun solo and group assignments, color and word play and many surprises. You will create your own, unique-to-you, colorful, handmade, book full of artwork, discoveries and guideposts that you will be able to return and refer to again and again. You’ve learned so many art techniques, now find out how to create the magic and follow your star. Leave your ego at the door and come prepared to look at your art making experience in a new way. All levels welcome.

July 20–23

Course # AAMG Ø2

Four-day session This workshop will cover the basic relief carving of a design into the gourd shell, along with engraving the design using a technical burning system for detail. Working with award winning gourd artist Bill Colligen, learn the application of metal leafing, ink dyes and stone inlay, as well as special dying techniques used for the “burlwood” effect, and more. Students will also learn how to attach a bamboo or reed handle. No prior gourd art experience is necessary. Some experience using a dremel tool with a flexarm attachment and a burning system such as Detail Master/Razor Tip, is helpful, but not required. Materials: A complete materials list will be

sent upon registration. Tuition: $595 Lab Fee: $25 (Includes cleaned gourd with

lid, dyes, glue, metal leafing, stones, bamboo, and reed) Enrollment limited to 8 students. Bill Colligen is a self-taught gourd artist. He began working with gourds in 1995 while still managing a landscape company. In 2000, he began his career exhibiting his artwork at fine art shows in Arizona, California, and New Mexico. His work has been featured in Southwest Art, The Crafts Report, Phoenix Home and Garden, and several books including Teapots: Makers & Collectors. Recent awards include Best of Show at both the 2010 Plaza Arts Festival in Santa Fe, NM, and the Sedona Arts Festival in Arizona, as well as awards at the Indian Wells Arts Festival (CA) for 3 years, among many others over the last 10 years.

Karen Michel

Green Art Journaling for the Mixed Media Artist Karen Michel July 22–23

Course # AAMJ Ø2

Two–day session

Day I

July 22: The Recycled Fused Plastic Artist Journal Collaging with plastic bags???? Thats right! In this workshop we will explore making our own beautiful journals from everyday recycled materials, including recycled plastic shopping bags! Bring in your collage paper scraps, half empty notebooks and sketchbooks along with all those plastic shopping bags you have hiding under your kitchen sink and we’ll build/ fuse/collage beautiful journals. Inside pages will be bound with remnant papers you have laying around your work area (don’t forget to check the junk mail pile for fun patterned envelopes!). Simple bookbinding techniques and embroidery will be explored for embellish-

Karen Michel, Altered Photo

Materials: A complete materials list will be sent upon registration.

Bill Colligen, Untitled

MIXED MEDIA

July 23: Inside the Green Artist’s Journal: Paintmaking & Altered Photo Documentation Art Journaling is fuel for your creativity and in this class we’ll explore different ways of working within the books pages. We’ll start by exploring how to mix up earth friendly paints and adhesive recipes from scratch from materials such as plants and minerals (and even items that may already be in your pantry) using and documenting our creations within our new journal’s pages. In this new age of digital photography we have all become avid photographers with hundreds of photos to prove so. Let’s integrate these photo documentaries of our lives into our journal pages. We will play with a variety of fun ways to alter the photographs and integrate them into our journals. You’ll never be afraid of the blank journal page again!

Karen Michel is a mixed media artist and author of

Bill Colligen, Untitled, detail

Green Guide for Artists and The Complete Guide to Altered Imagery who creates work from recycled and repurposed materials, mojo and sunshine. She lives in New York where she runs a non-profit art center for kids with her artist husband Carlo Thertus, the Creative Art Space for Kids Foundation. www.caskfoundation.org www.karenmichel.com

of small fabric collages, and is also an internationally known quilter and mixed-media artist with a passion for color and the written word. She has taught extensively in the US and internationally. Her art and articles have appeared in numerous publications and juried shows. In her current position as Contributing Editor of Cloth, Paper, Scissors magazine, Lesley showcases new talent and mixed-media art. Her first book, Quilted Memories, brought new ideas and techniques to quilting and preserving memories. Her second book, Fabric Memory Books, combined fabric and innovative ideas with the art of bookmaking. Fabulous Fabric Art with Lutradur takes a new material to a new level. Using her experience and knowledge of image transfer, she has also recently introduced a new product TAP (Transfer Artist Paper) that creates state of the art image (and text) transfers. Her latest book, Create with Transfer Artist Paper was published Spring 2011. Lesley is now focusing her creative energy and talents to helping other artists achieve the success they dream of through her new coaching and mentoring services at ArtistSuccess.com.

Day II

Tuition: $310 Enrollment limited to 20 students.

Lesley Riley is best known for her Fragment series

ing our covers. By the end of the day everyone will have created their very own beautiful art journal made completely from recycled materials. Note: we will be fusing the plastic bags at a low heat, so there is NO off-gassing or stinky fumes!.

Materials: A complete materials list will be sent upon registration.

Tuition: $310 Lab Fee: $20 (Includes artist quality sketch-

book, a variety of papers, paint & surprises) Enrollment limited to 20 students.

Karen Michel, Fused Journal

Karen Michel, Altered Photo 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Stephanie Lee, Untitled Book

Handbook of Elements Stephanie Lee July 5–6

Course # AAMH ØØ

Two-day session The earth offers tactile and durable materials for use in artistic expression. Metal and gypsum, both earth elements, are combined in this stout little book comprised of solderflooded metal covers and plaster pages. In this project-focused workshop, students will learn how to transform and build up sheet metal, adding vintage and found elements to the cover of the book using innovative and non-traditional metalsmithing techniques and materials. Students will also learn the nuances of plaster and various plaster-like products to create pages and unexpected journal surfaces to stockpile between the palm-sized metal covers. Various ways to combine paper and plaster pages for writing, painting and collage surfaces as well as knotting and binding techniques will also be taught. Each student can expect to take home a completed or very nearly complete blank journal at the end of class. Please note: Solder, fluxes and blackening agents will all be used in this class. All measures will be taken to create adequate ventilation as much as possible. If you have extreme sensitivities to these products, consider this carefully before registering.

Studio A

Jane LaFazio, Felted Soap

Marbling on Paper & Fabric Galen Berry July 5–7

Course # AAMP ØØ

Three-day session Remember the beautiful, multicolored patterned papers you often see in the covers of old books? You can learn to make them yourself in this three-day workshop class! Marbling looks very complex and intricate, but it is surprisingly easy - anyone can marble! You will be able to produce some professional-looking work right in your first day of class. Unlike many art forms, marbling can be learned in a few days - but there is so much variety that exploring all its possibilities will give you years of satisfaction. The first day is a beginning class, where we will learn all the basics of fine marbling. We will learn many of the traditional patterns, such as the Peacock, Feather, Nonpareil, French Curl, Italian Vein, and more. We will learn proper use of the necessary marbling ingredients such as alum, carrageenan, and gall. We will work on both paper and fabric. Each person

Materials: A complete materials list will be sent upon registration. Tuition: $310 Lab Fee: $20 (Includes torches, spine wires,

Galen Berry, Marbled Paper, Stone Marble

will be able to make up to 15 marbled sheets per day to take home. The second and third days we will learn some more advanced patterns, such as the Thistle, Chevron, Moiré, Spanish Wave, Birdwing, Overmarbling, Stone Marble, Antique Spot, and Figure Marbling. Marbling has become very popular in recent years, and can be used in many ways, such as bookbinding, picture framing, lamp shades, placemats, giftwrap, collages, and origami. Marbling is fun and easy – no artistic talent or ability is necessary! Materials: A complete materials list will be sent upon registration.

solders, fluxes, patinas, binding threads and tools, prepared sheet metal for one large or two small books. Extra kits will be available for purchase) Enrollment limited to 20 students.

Tuition: $465 Lab Fee: $36 (Includes all marbling supplies)

Enrollment limited to 20 students. Galen Berry of Oklahoma City is one of the bestknown marblers in the country. It has been his full time occupation for over 20 years, and he has taught his popular marbling classes in 30 states to over 4000 people. He has done marbling work for the Library of Congress, the Smithsonian, Princeton University, Neiman-Marcus, and provides marbled papers for many stores and bookbinders throughout the country. He attended the University of Paris (Sorbonne), and graduated from UCLA. www.MarbleArt.us

Stephanie Lee is a modern day expeditioner, and is most inspired by nature and reinventing the ordinary into something expressive. Having traveled all over the United States and internationally to offer creative instruction, she finds respite in her home studio in the valleys of Southern Oregon. Her work is featured in numerous Stampington publications as well as in her book Semiprecious Salvage which arrived in bookstores February 2008.

Galen Berry

Jane LaFazio, Zen Eucalyptis

Wet Felting Jane LaFazio July 1–2

Course # AAMF ØØ

Two-day session Make felt the Tibetan way and embellish the California way! Using colorful merino wool fibers, a modernized ancient technique, some creative designing and a lot of elbow grease, you will create a beautiful, feels-so-soft felt square in class. It may not be large enough to build a yurt, but it will make a lovely wall hanging or become part of another fiber piece. Your felt will dry overnight and the next day you will create a fabulous art piece, small journal cover, pillow top or box by embellishing your own original handmade felt with hand embroidery and/or beading. During the first day, felting requires agitating the wool fibers so you will be standing for about an hour, rolling the felt with your forearms. It’s not hard! It just takes some time. Materials: A complete materials list will be sent upon registration. Tuition: $310 Lab fee: $40 (Includes 6 oz. merino wool rov-

ing and an equipment kit to create an 18"x18" piece of felt) Enrollment limited to 16 students. Jane LaFazio is a mixed media artist who works in paper and cloth. Her artwork has been featured in Cloth, Paper, Scissors and Quilting Arts magazines many times and she appeared on Quilting Arts TV season 3. Her piece wet-felted “Eucalyptus Zen” was featured at the International Quilt Festival in Long Beach and Houston 2010 and was juried in the prestigious Quilt Visions Biennial at the Oceanside Museum of Art. Jane’s artwork has been featured in Danny Gregory’s An Illustrated Life, Mixed-Media Self-Portraits, Material Visions, and Art Quilts at Play. www.PlainJaneStudio.com

Galen Berry, Marbled Paper, Orange-Red Feather sum m er @ id y llwi l dart s . o r g

MIXED MEDIA

NAT I V E A M ER I CAN A R T S The Native American Arts Workshops are designed for adults at all levels of experience and knowledge. Working closely with master artists and cultural specialists, students have the rare opportunity to learn traditional and contemporary Native American art forms and to gain an understanding of the rich cultural foundation which inspires and motivates each artist.

Native American Arts Festival July 10–July 16, 2011

CULTURE Native Arts Festival....................................... 14 Native American Cuisine Freddie Bitsoie

Karen Michel, Wood Collage 2

...................... 15

Native Plants for Food & Utility Barbara Drake & Abe Sanchez

................ 15

FIBERS Beadwork .................................................. 16 Teri Greeves Cahuilla Basketry........................................... 16 Rose Ann Hamilton Navajo Weaving ...................................... 16 Barbara Ornelas & Lynda Pete JEWELRY Hopi Jewelry.................................................. 17 Lawrence & Griselda Saufkie Navajo Inlay Jewelry Richard Tsosie

Karen Michel, Untitled

Wood Collage Totems Karen Michel July 24

Course # AAMC Ø2

One-day session In this workshop we will create our own personal mixed media totems, exploring the idea of using art to create objects of personal power, to evoke and inspire magic and inspiration in our daily lives and spaces. Bring along a handful of varied objects you have been collecting that speak to you and we will craft them into personal and unique works of art that sing your personal story using a variety of mixed media applications. Pull out those paper scraps, photos, beads, collections and findings you’ve been saving, grab your glue and hammer and we’ll put them to work. We will discuss various ways of building our pieces and will also be making our own paints from earth pigments to further infuse our pieces with a bit of extra good mojo.

............................... 17

MUSIC/CARVING Native American Flute Making .............. 17 Marvin & Jonette Yazzie, Ernest Siva Parks Exhibition Center Native American display

POTTERY Cahuilla Style Pottery ................................ 18 Tony Soares Hopi-Tewa Pottery Mark Tahbo

................................... 18

Santa Clara Pueblo Pottery ........................ 18 Nathan Youngblood Indicates workshop takes place during the Native American Arts Festival.

Overview The week-long Native American Arts Festival, designed to enhance and add depth to the hands-on workshops, includes performance, the Michael Kabotie Lecture series, and informal discussions with a distinguished

group of artists, tribal elders and scholars. In addition, the Festival Week offers a way for those not enrolled in a workshop to participate and learn about the most current issues and theories concerning Native American artists, art and culture. The spirit of this annual series is

Materials: A complete materials list will be

to bring the scientific, intuitive

sent upon registration.

and trickster voices together

Tuition: $155

Enrollment limited to 20 students. Karen Michel is a mixed media artist and author of Green Guide for Artists and The Complete Guide to Altered Imagery who creates work from recycled and repurposed materials, mojo and sunshine. She lives in New York where she runs a non-profit art center for kids with her artist husband Carlo Thertus, the Creative Art Space for Kids Foundation. www.caskfoundation.org www.karenmichel.com

Hopi Pottery Firing

for a balanced and provocative learning experience. This year’s program, “Fusion,” ranges across traditional disciplines to engage the present. Moving effortlessly

Tony Soares Artist Demo 2010

between painting, film, sound, installation, pottery, beadwork and chocolate - combining different media in charismatic melodies artists and scholars examine the complexity of culture and art’s relationship to it.

Ernest Siva, Bird Singers

Please note: Workshops that occur during the festival are designated with the festival logo.

MIXED MEDIA/NATIVE AM. ART

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CULTURE

Abe Sanchez

Freddie Bitsoie

Native Plants for Food & Utilitarian Purposes

Gerald Clarke Jr, Continuum Basket

Barbara Drake & Abe Sanchez July 9–10

Course # NANP ØØ

Two-day session

Freddie Bistoie

Native American Cuisine Foods of Arizona

Brent Michael Davids Dr. Patricia L. Crown

Freddie Bitsoie July 9–10

Course # NANC ØØ

Two-day session

Teri Greeves, ndn girlz rez girlz

FESTIVAL WEEK Guests Joe Baker Delaware Tribe, Consultant to this program, Executive Director, Longue Vue House and Gardens, New Orleans Freddie Bitsoie Navajo, chef, anthropologist Patricia L. Crown Archaeologist, University of New Mexico Gerald Clarke Cahuilla, artist, Vice Chairman, Cahuilla Tribal Council Dustinn Craig White Mountain Apache/Navajo, filmmaker, director, producer Brent Michael Davids Stockbridge-Munsee Band of the Mohican Nation, film composer Teri Greeves Kiowa, beadwork artist Ernest Siva Cahuilla/Serrano, President & Founder, Dorothy Ramon Learning Center Tony Soares Artist Mark Tahbo Hopi-Tewa, potter Additional guests to be announced.

Dustinn Craig, Film Still, 4wheelwarpony

FESTIVAL WEEK Events Open to the Public Fusion in NativeAmericanArts and Culture. Each day, the visiting scholars and artists will explore a wide range of topics with slide lectures, demonstrations, & performances. Native food tastings daily. Sunday, July 10 6:30 p.m. Mini Film Festival: Dustinn Craig Fusion Monday, July 11 7 p.m. Lecture: * Teri Greeves Beaded Sneakers

8 p.m. Exhibition Opening/Reception

Tuesday, July 12 12-1 p.m. Brown Bag Lecture: * Patricia Crown, Prestige Fusion: Chocolate and Macaws in Mesoamerica, the American Southwest & Europe Wednesday, July 13 12-1 p.m. Brown Bag Lecture: * Gerald Clarke Jr., The conFUSION of Native American Art Thursday, July 14 12-1 p.m. Brown Bag Lecture: * TBA, Fusion in Pueblo Pottery Traditions

During this two-day class, students will learn about the history of indigenous ingredients and dishes from Arizona’s different cultural regions - from the Sonoran Desert to the Colorado Plateau, and from the Arizona/New Mexico border region to the Colorado River Valley. Enjoy learning to cook with a wide variety of native plants, like Saguaro Cactus seeds, Colorado Plateau Sumac, Tepary Beans and much more. Discover how pre-Iberian foods were processed and used, and look at how and why that has changed dramatically over the centuries. Today most of the ingredients from these regions are used in a “culinary cultural fusion” and have been displaced from their traditional cultural place. With demonstrations and food tastings throughout the weekend, participants will have the opportunity to enjoy the tastes of indigenous Arizona, both pre-Iberian and contemporary progressive culinary culture. Each student will receive a booklet of Chef Freddie Bitsoie’s recipes to take home. Tuition: $310 Lab fee: $45 (Includes all food, supplies and

recipe booklet) Enrollment limited to 15 students. Freddie Bitsoie, Dine (Navajo), is the owner of FJBits Concepts, a firm that specializes in Native American food ways. He has traveled the country, making presentations for organizations and companies such as Kraft Foods, The College of Holy Cross, Yale University, the Heard Museum, Phoenix, AZ; and has taught “Healthy Cooking” classes and events for White Earth, MN, and the Salt River Indian Community, AZ. Freddie attended the University of New Mexico, majoring in cultural anthropology with a minor in art history before attending culinary school. Today, he is one of the most sought after and renowned Native American chefs and Native foods educators in the country. www.fjbits.com

Participants will learn ways to save and utilize native plants from helping the environment to medical alternatives. Native plants are taking their rightful place in health and nutrition. This class will offer a hands-on experience in collecting, growing and using these culturally valuable plants today. Students will have an opportunity to make a soap root brush and a pine pitch stick as a take home project. Saturday we will honor a beloved teacher, and elder of the Cahuilla tribe, Katherine Siva Saubel. Her book Temaipakh will be available. We will be joined by Abe Sanchez, noted basket weaver and native plant chef. The evening will take us to some local rock painting sites with Daniel McCarthy, U.S. Forest Service Tribal Relations Program Manager. Sunday will be devoted to gathering, preparing and cooking with various native plants such as yucca, cactus, elderberry, stinging nettle, mesquite, acorn, and many others. Each student will receive a native plant cook book. Tuition: $205 Lab fee: $15

Enrollment limited to 15 students. Barbara Drake is a member of the Ti’at (canoe) Society of the Gabrielino (Tongva) tribe and has served as secretary of the Tribal Council. She is a member of Mother Earth Clan, a group of Native American women educators who give cultural presentations on Southern California Indians in schools, museums and other venues throughout the region. She teaches Native Californian Lifeways at UC Riverside Extension. Barbara is a consultant to museums, nature centers and libraries and is involved in setting up cultural exhibits and living histories that reflect early California Indian lifestyles.

Abe Sanchez, promoter in the Revitalization of Indigenous Arts, is of Purepecha decent and active in the revival of Southern California Native American Basketry and the gathering and preparation of native foods. He has been teaching the craft of basket making throughout the Southwest and Mexico with the intentions of preservation and revival. He has worked with many Southern California tribes in the gathering and processing of basketry materials and wild foods. He has presented and exhibited in numerous museums such as The Museum of Man, The Malki Museum, the Gene Autry Museum and The Heard Museum.

Friday, July 15 8 a.m. Cahuilla Style Pottery Firing. 7 p.m. Performance: Cahuilla Birdsingers. Brent Michael Davids, & ensemble Film Score from Last of the Mohicans. SaturDay, July 16 8 a.m. Hopi-Tewa Pottery Firing. * Includes Native Food Tastings

sum m er @ id y llwi l dart s . o r g

NATIVE AMERICAN ARTS

FIBERS

Teri Greeves, ndn girlz rez girlz, detail

Beadwork Teri Greeves July 11–15

Course # NABW Ø1

Historic Cahuilla Basket

Navajo Weaving Studio

One-week session Several beadwork techniques will be taught including Humpstitch, Tackdown (or 2-needle applique), edgework, and welt sewing. Two small projects, a bag and a pin of the student’s own design will start the students learning these techniques. The third project will be a pair of child’s moccasins. These traditional techniques can be used on any contemporary object and will be incorporated into the final object that the student will develop with the instructor. The three initial projects will provide a foundation in the traditional techniques, and are all small enough to finish during the week. The final project will take more time and may be completed at home, but the instructor will help students develop their ideas and help them with any technical issues they encounter. All levels welcome, though sewing skills are helpful (threading needles, knotting, etc.). Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab Fee: $75 (Includes hide and shared sup-

plies) Enrollment limited to 12 students. Teri Greeves is enrolled with the Kiowa Tribe of Oklahoma and has been beading since she was eight years old. Winning Best of Show at Santa Fe Indian Market in 1999 began her official career and since then she has won numerous awards and honors at Santa Fe Indian Market and the Heard Museum Fair. In 2002 she was the signature artist for the Heard Fair and in 2003 she was the Dobkin Fellow at the School of American Research. In 2009 she was featured in the PBS television series, Craft in America and was a part of the traveling exhibit produced and curated for the show. Her work has recently been exhibited in Changing Hands 2, curated by the Museum of Art and Design in New York; How the West is One, the semi-permanent exhibit of the collection of the New Mexico Museum of Art in Santa Fe; The Perfect Fit: Shoes Tell Stories, curated by the Fuller Craft Museum in Brockton, MA; and the traveling exhibit from the British Museum, Treasures: The World’s Cultures from the British Museum. Finally, Greeves’ work has been purchased for the permanent collections of the Smithsonian’s National Museum of the American Indian, the British Museum, the Heard Museum, the Brooklyn Museum, and the Museum of Arts and Design among others.

Cahuilla Basketry Rose Ann Hamilton July 4–8

Course # NACB ØØ

One-week session The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition. Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use. Tuition: $655 Lab fee: $40 (Includes materials, field trip

transportation and use of tools in the class) Enrollment limited to 10 students. Rose Ann Hamilton, Mountain Cahuilla, learned the art of Cahuilla Basketmaking from Donna Largo, longtime Idyllwild Arts summer faculty member and the weaver responsible for the current revival of the tradition. Rose Ann was one of Donna’s first Cahuilla students, and has been making baskets for 20 years . She is active in the Southern California Indian Basketweavers Association, and teaches basketmaking at numerous venues, including Agua Caliente Cultural Museum and UCLA.

Navajo Weaving Beginning & Intermediate Barbara Ornelas & Lynda Pete July 4–8 July 11–15

Course # NANW ØØ Course # NANW Ø1

One or Two-week session Students will have the rare opportunity to learn the art of weaving from two of the Navajo Nation’s premier weavers, Barbara Teller Ornelas and Lynda Teller Pete from the Two Grey Hills region of the Navajo Reservation. While instructing and demonstrating, Barbara and Lynda will share personal stories and experiences, allowing participants the chance to gain fascinating insights into the world of Navajo weaving. Beginners: Students will learn the traditional method of Navajo weaving and will begin by learning how to prepare an upright Navajostyle loom for weaving. The majority of the week will be spent designing and learning how to weave a 16" x 24" rug. In order to complete the rug and learn how to finish the piece, it is recommended that students continue for the second week. Beginning weavers may enroll for the full two weeks or in the first week only. For beginners wanting to weave only, pre-warped looms will be available (must preorder). Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only. Intermediate students must bring their own loom and it must be set up for weaving before class begins. If you wish to warp your loom, you must attend the first session, even if you are a returning student.

Lynda Pete

skeens provided], battens and combs will be available for purchase). An additional $75 required if requesting a pre-warped loom-must be preordered. (does not include purchase of loom) Intermediate students: no lab fee (wool and warp will be available for purchase) Enrollment limited to 10 students per week. Barbara Teller Ornelas is best known for her “tapestry” weavings (95-108 weft threads per inch). She has set several records with her weavings: she is the only weaver in history to win Best of Show at the Santa Fe Indian Market – which she did twice; she established a new record in 1987 by selling a weaving for $60,000 that she and her sister made; and she has woven the largest tapestry style Navajo weaving on record. Barbara is a fourth generation weaver who was raised near Two Grey Hills on the Navajo Reservation where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples Magazines, as well as numerous books. She has won dozens of awards, and has demonstrated and lectured at museums and institutions across the country. www.nativeart.net

Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win numerous awards for her weaving including two Blue Ribbons from the Santa Fe Indian Market. Lynda collaborates with museums, schools and other art venues in Colorado and around the country to teach the public about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work as well.

Materials: Students may wish to bring a seat cushion and small lamp. Tuition: $655 per week Lab fee: $45 beginners (Includes warp and

weft materials and the use of a loom and all tools in class. Looms, additional wool [6 Teri Greeves, NDN Art

NATIVE AMERICAN ARTS

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MUSIC/CARVING

JEWELRY

Richard Tsosie

Navajo Inlay Jewelry Richard Tsosie July 11–15

Course # NAJN Ø1

One-week session

Lawrence Saufkie

Hopi Jewelry Lawrence & Griselda Saufkie July 4–8

Course # NAJH ØØ

One-week session Students in this workshop will learn the Hopi overlay technique of silversmithing. Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering a new technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience. Materials : Students should bring finished stones/cabachons (if planning to set stones); Gold/gold solder (only if planning to use gold instead of sterling silver). Optional Items: Work lamp with extension cord; seat cushion; Tools, silver, stones are optional, but must be clearly marked. Tuition: $655 Lab fee: $35 (Includes the use of all tools,

equipment and consumables such as solder and compounds. An additional charge will be made for all silver and stones used.) Enrollment limited to 13 students. Lawrence Saufkie is from Shungopovi village on Second Mesa on the Hopi Reservation, and is a member of the Bear Clan. He has been a silversmith since he was eleven years old, and learned the craft from his father, Paul Saufkie, who along with Fred Kabotie, is recognized as the leader who created the Hopi overlay style known today as the “traditional” Hopi style. Lawrence travels and exhibits throughout the U.S. His award winning jewelry has been featured in numerous books on Hopi art and jewelry. In 1962, he was the first Hopi to attend the Santa Fe Indian Market. In 1998 he was named an Arizona Indian Living Treasure.

Griselda Saufkie, lives on the Hopi Reservation in Arizona, where she began making baskets upon initiation, when she was about 12 years old. She has the distinction of being named an Arizona Indian Living Treasure. Griselda has received many awards for her basketry, and is included in books such as Art of the Hopi: Contemporary Journeys on Ancient Pathways, by Lois and Jerry Jacka. She is also an accomplished jeweler, and has assisted Lawrence in their home studio throughout his career.

Griselda Saufkie sum m er @ id y llwi l dart s . o r g

The Navajo adopted the art of jewelry making from the Spanish after contact, taking the art to new heights and establishing a style that is now considered to be the “traditional” Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry. Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver. Tuition: $655 Lab fee: $45 (Includes the use of all tools,

equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types.) Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked. Enrollment limited to 10 students. Richard Tsosie is a Navajo jeweler and sculptor from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, the video “Beyond Tradition: Contemporary Indian Art and Its Evolution”, as well as several books including, Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California.

Marvin Yazzie (center)

Native American Flute Making Marvin & Jonette Yazzie, Ernest Siva July 14–17

Course # NANF Ø1A

Intermediate: 4-day session (Thurs.-Sun.)

July 15–17

Course # NANF Ø1B

Beginners: 3-day session (Fri.-Sun.) In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music. Beginning students (3-day session begins July 15) will use cottonwood, new this year, for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A).

Intermediate students (4-day session begins July 14): The first day of this workshop students will gather and make a “Southern California Old Style” 4 hole flute using elderberry. These are patterned after the old flutes in the Riverside Metropolitan Museum. These flutes are not hard to make, but are hard to play. On Friday, intermediate students will work alongside beginners making a Native American Flute of cottonwood. The intermediate section is designed for those students who have already completed a flute in this workshop in prior years. Materials: A complete materials list will be sent upon registration. Tuition: $465 (Beginning, 3-day session)

$565 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)

$55 (Intermediate, 4-day session) (Includes wood, materials and the use of tools and equipment in class.) Enrollment limited to 10 students. Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flute making, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music has used Yazzie flutes on Sacred Dreams and New Fire, two of his CDs. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette have studied the “old style” flutes at the Riverside Metropolitan Museum. www.yazzieflutes.com

Ernest H. Siva is a musician and teacher. He is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Siva formerly taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife June are Idyllwild Arts alumni and trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center.

Jewelry Lab

NATIVE AMERICAN ARTS

POTTERY

Nathan Youngblood, Long Neck Black Jar

Santa Clara Pueblo Pottery

Mark Tahbo

Nathan Youngblood July 4–9

Course # NAPS ØØ

One-week session-includes Saturday a.m. firing

Tony Soares

Mark Tahbo, Jar with Moths

Cahuilla Style Pottery

Hopi-Tewa Pottery

Tony Soares

Mark Tahbo

July 11–15

July 11–16

Course # NAPC Ø1

One-week session

Cahuilla Style Pottery Firing

Learn how to create the beautiful ollas used by the Cahuilla people of Southern California to store food and water. Using two different clay types during the week, including Salton Sea clay (for buff ware) and brown clay, students will hand build two to three 6" to 12" pots using the paddle and anvil method. Experience all techniques and steps used in the process including paintbrush making, grinding and preparing paint stones to decorate the pots, making nets (used for holding and hanging the round-based ollas), and more. Take a field trip to collect firing materials, and see a demonstration of fire-starting by friction. Students will have the opportunity to experience two types of firings during the session and will learn to make an “urban kiln” for use at home. Tuition: $655 Lab Fee: $55 (Includes gathered and prepared

Salton Sea clay and brown clay; paints, firing materials, net making materials, and the use of all tools in class.) Enrollment limited to 10 students.

Course # NAPH Ø1

One-week session-includes Saturday a.m. firing Students in this workshop will learn the traditional Hopi method of creating polychrome pottery. Revived at the turn of the century by Hopi potter Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery is recognized and collected throughout the world. Students will learn the Hopi techniques of coil building, stone burnishing, painting with natural pigments, and firing.

Tony Soares learned the fundamentals of pottery from his grandmother at age seven, starting a 30+ year journey to revive the fading art of olla making. Though not of Cahuilla descent, he is credited with helping to revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. Today, his pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony is dedicated to sharing his knowledge to ensure that Native American pottery making is never lost. He has taught his skills at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, Arizona.

New this summer: Students will also have the opportunity to experiment with two types of clay, the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used; learn how to process and prepare raw clay for pottery making; prepare beeweed plant for paint; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots). The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired. Tuition: $655 Lab Fee: $55

Learn the traditional methods and techniques for making Santa Clara Pueblo pottery – the distinctive black polished work with carved designs. The instructor will guide students through all the steps from processing the native clay, hand-building using the coil technique, designing, carving, slipping and stone burnishing, to reduction firing for blackware. Because the instructor’s method requires extensive air-drying time, each student will have the privilege of using a dried vessel prepared by the instructor to learn the carving, polishing and firing techniques. In addition, each student will start pieces from the beginning of the process - mixing clay (with your feet!) and building pots - and will be able to complete those pieces at home after the 30-day drying period. The workshop will also include individual firings, and discussions about Santa Clara Pueblo, the pottery making tradition, and the cultural foundation from which the art is inspired. The raw clay and paints are provided by the artist, and are gathered from his home. Tuition: $655 Lab Fee: $125 (Includes clay, paints, stones

and all materials, as well as one 5” to 6”dried vessel to complete) Enrollment limited to 15 students. Nathan Youngblood is a sixth generation potter from Santa Clara Pueblo, New Mexico, and is the grandson of renowned potter Margaret Tafoya, and son of Mela Youngblood. He has been making pottery since 1972, creating both black and red & tan traditional styles, and adhering to all the traditional aspects of making a bowl. Nathan has won numerous awards in Native American pottery competitions. His work has been exhibited widely at galleries and museums across the country, and he has been included in numerous magazines and books on Native American art and pottery. Nathan has served on the boards for the American Craft Council, Gallup Inter-Tribal Ceremonial, the Southwestern Association of Indian Arts (SWAIA), and the Wheelwright Museum.

Enrollment limited to 15 students. Mark Tahbo is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery “revival” artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery which he earned for 3 consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in numerous books and articles on Pueblo pottery. Nathan Youngblood

NATIVE AMERICAN ARTS

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PA I N T I N G & D R AW I N G Abstract Painting within Landscape......... 19 Marie Thibeault & William Vaughan Calligraphy......................................................................19 Lisa Engelbrecht Drawing As Meditation................................ 20 Robert Regis Dvorak Drawing Intensive......................................... 20 Margaret Scanlan Embracing Encaustic Painting w/Wax..... 20 Linda Womack

Marie Thibeault, Blue World

Exploring Color in Painting.......................... 21 Devon Tsuno

Abstract Painting Within Landscape

The Figure & Still Life..................................... 21 Peggi Kroll-Roberts

July 4–8

Pastels & Natural Light................................. 21 Bill Cone Plein Air Painting........................................... 22 Ray Roberts Travel Painting & Journaling....................... 22 Barbara Roth Watercolor Unleashed................................ 22 Nicholas Simmons

SEE ALSO Art Quilts: Painting/Surface Techniques.....11 Judy Coates Perez Graphic Novel...............................................24 Dan Archer Green Art Journaling & Paintmaking..........12 Karen Michel

Marie Thibeault & William Vaughan Course # AAPN ØØ

One-week session This unique team-taught course presents an opportunity to deeply engage the natural environment surrounding the Idyllwild area as a source for the discovery of new forms and the development of abstract paintings. This course will have an interconnected morning and afternoon component. In the mornings, the students, guided by William Vaughan, will explore distinctly different natural ecosystems, and record their responses in various ways including drawing, watercolor, photography and writing. The group will become aware of the distinct poetry of each place, and respond to a range of conditions including geographical forms, color, light, and intimate details of surrounding plant life and animal activity.

Calligraphy From Formal to Funky Lisa Engelbrecht July 8–10

Course # AAPC ØØA

Three-day session Forget what you know about calligraphy! It’s not all about structure - endless lining and prolonged practice. This workshop will be a whirlwind introduction to lettering as it should be-fun, inventive and freeing. You’ll learn new handwriting styles for art projects, journals and for everyday use. This is definitely not your grandma’s calligraphy! You will begin with the traditional dip pens and a historic

A discussion of our creativity will usher us to the next step of developing a personal style of lettering. Exercises and many exemplars including modern street influences will jump-start this process. We’ll break the rules of calligraphy and begin to trust our creative decisions. What we say is equally important as we develop text related to our artistic life. New and handmade tools will be explored and created, leading to even more discoveries. Various media such as gouache, watercolors, acrylic inks, gold foil and metallics will inform these discoveries.

In the afternoons, Marie Thibeault, abstract landscape painter, will guide the group in interpreting the field studies, which will become source material for the development of a series of abstract paintings. The students may choose to work from a range of responses, including drawing, watercolor, writing, photography, memory, and painting from actual plant specimens as inspiration for the development of abstract works on canvas or paper. Each student will have individual guidance with composition, materials and process. The goal is to heighten ones awareness of the living world as a source for creative inspiration, and to develop a distinctly individual approach to abstract painting from direct experience.

And finally, we will put together a creative collaged wall hanging that will be created by our experiments which we will hand sew or join together by wire. The wall hanging will showcase our new personal style of lettering and our new discoveries.

Some drawing, painting, or photography experience will be helpful. Materials: A complete materials list will be sent upon registration.

style of Italic calligraphy using a tried and true rhythmic technique. Even total beginners will create amazing results. Those students that have previous calligraphic experience will find this a great warm up, to touch base and to analyze their current style. Next we will go back to when all we knew as children was how to make marks - that gestural line and play that comes from deep within us. We will look for tools on the Idyllwild campus to use in our explorations-writing with a banana anyone? While being a lot of fun, this mark making will serve as a scaffolding for our next step as lettering artists (and as cool backgrounds for letters to come).

Lisa Engelbrecht, Untitled

Tuition: $655 Lab Fee: $15 (Includes field work supplies)

Materials: A complete materials list will be sent upon registration. Tuition: $465 Lab Fee: $10

Enrollment limited to 14 students.

Enrollment limited to 20 students.

Marie Thibeault is a Professor of Art at California

Lisa Engelbrecht is a lettering and multimedia

State University, Long Beach. She received her BFA in painting from Rhode Island School of Design, and an MFA in painting from UC Berkeley. Her large abstract paintings are arenas of action, informed by the contemporary landscape in transition and utilizes symbolic color as an expressive force. She has an extensive exhibition record, and is the recipient of numerous awards. Her most recent exhibitions include Broken Symmetries at the Torrance Museum of Art, and a solo exhibition at George Lawson Gallery in San Francisco. www.mariethibeault.com William Vaughan

William Vaughan is an ecologist, artist and writer studying the relations and interactions between organisms and their environment. Employed by government agencies, privately contracted, and in association with not-for-profit concerns, he specializes in field tracking threatened and endangered species (TES), documenting profiles of these life forms under environmental stress, in habitat restoration and in historic wilderness enclaves. He writes ironic and humorous stories about his many forays into the wild, and paints TES-portraits and landscape based life dramas. A graduate of Humboldt State University, he continues his studies in ecology, exhibits his artwork when pressed, and tells his stories when asked.

artist and instructor in calligraphy. She teaches workshops internationally, specializing in lettering on fabric, experimental lettering and the creative process. Lisa has been on the faculty of ten international lettering conferences and teaches at collage, quilting and alternative arts conferences nationwide. She is a frequent contributor to Somerset Studios magazine and her work on fabric was featured on the covers of Legacies and Quilting Arts magazines. She taught at Cerritos College, was a freelance lettering artist for American Greetings, and is the author of the best selling book, Modern Mark Making, from Classic Calligraphy to Hip Lettering. This book is now in paperback too-under the name Modern Calligraphy. Her DVD from Creative Catalyst features Hand Lettering on Fabric while creating a hand lettered Bali Lantern. Lisa’s work can also be seen in the June 2008 issue of Mary Engelbreit’s Home Companion and currently in the fall issue of Somerset Workshop. www.lisaengelbrecht.com

Marie Thibeault sum m er @ id y llwi l dart s . o r g

PAINTING & DRAWING

Linda Womack, Such Earthly Patina

Embracing Encaustic

Margaret Scanlan, Hancock Window

Painting with Wax Linda Womack July 11–15

Course # AAPD Ø1

One-week session

Margaret Scanlan, Cow Plate

Margaret Scanlan, Thinking Cow

Drawing Intensive Margaret Scanlan July 11–15

Robert Dvorak, Woman gesture

Course # AAPD Ø1A

One-week session Whether you draw regularly or haven’t drawn since kindergarten, this class will provide, in one solid week, a meaning-filled framework for tremendous growth in your drawing ability. The techniques, tricks, and sequential exercises in this structured class can dramatically improve and give confidence to your drawing skills if you are new to drawing. If you have some experience, you can expect to be drawing at a whole new level of sensitivity and competence at the end of the class. Expect to work hard, learn a lot, and have a very good time. If you’ve always wanted to draw, or to draw better, this class is for you.

Robert Dvorak, Man Reclining

All levels are welcome.

The Practice of Drawing as Meditation

Tuition: $655 Lab Fee: $40 (Includes materials and model

Robert Regis Dvorak July 22–24

fee) Enrollment limited to 12 students.

Course # AAPD Ø2

Three-day session

Margaret Scanlan is a full-time studio artist in

We live in a fast-paced world with text messaging, cell phones and emails. When we want to relax, drawing can be a way to refresh our minds and body, to create just for fun anytime, anywhere. This class is about not only learning to draw well but also learning to make drawing a meditation-a relaxed, conscious, and aware state that is optimum for the drawing experience-a state of restful alertness. Drawing and meditation are mutually beneficial for physical, mental, spiritual, and creative growth. You will learn to be mindful as you draw. You will learn to perceive your world with clarity as you draw. Without an agenda for success and the fear of failure, you will find that drawing can become pure enjoyment.

Knoxville, TN, working in acrylic and watercolor, large and small scale work. She is a signature member of the American Watercolor Society, the National Watercolor Society, and the Watercolor USA Honor Society. For many years she has taught painting, drawing, and color theory workshops at Arrowmont, the John C. Campbell Folk School, Penland School, le Petit Bois Gleu and Chateau du Pin in France. Her work is in numerous private, corporate, and public collections in the US and Europe, including Huntsville Museum of Art (AL), the Springfield Art Museum (MO), Sloan-Kettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, RedHaired Mary.

Some of the benefits of this workshop are: Improve drawing skill Many new drawing techniques New skill drawing the figure Relaxed and focused attention Finding your creative voice Seeing with the heart and hand A stillness of being and a sense of peace Learning to see, truly seeing Increased perception Seeing space, line, form, and light Drawing without fear Get outside of negativity Finding a world at the end of your pen Present moment awareness A sense of peace

Robert Dvorak, Apple

Tuition: $465 Lab Fee: $45 (Includes model fee, a 12" x 9"

drawing pad, the book: The Practice of Drawing as Meditation, all drawing materials, handouts) Wear comfortable drawing clothes. Enrollment limited to 25 students.

No experience is necessary for this jam packed mixed media class in encaustic – an ancient wax based medium. Encaustic can be applied to many surfaces including wood, paper, and ceramics. The molten nature of the medium lends itself to adding collage embellishments and elements of texturing and carving the wax. Encaustic is one of the oldest forms of painting, with paint made from pure pigment mixed with molten waxes and resin. The mixture is applied hot with a variety of tools, then reheated to fuse the layers together. Students will learn to make their own encaustic paint which will be used throughout the class. In this workshop, step-by-step projects will illustrate techniques involving painting, collage (with a variety of papers and dried plants), working with embossing, transfers, layering, incising and textured finishes using wax in an assortment of vivid colors. Advanced techniques will include working with pigment sticks, pastels, shellac and other surprising materials to produce unusual and distinctive results. This workshop will offer you an expanded visual language plus information on supply sources and safe studio set-up methods for further experimentation. Materials: A complete materials list will be

sent upon registration. Tuition: $695 Lab Fee: $85 (Includes kit and shared sup-

plies) Enrollment limited to 10 students. Linda Womack is a nationally recognized artist, art instructor and the author of Embracing Encaustic: Learning to Paint with Beeswax. In 2010 she was the curator for Luminous Layers: Exploring Contemporary Encaustic, a wide ranging exhibit in Oregon featuring 65 artists and more than 160 pieces of art. Linda is often a featured speaker and instructor at the International Encaustic Conference and her work has been published in American Art Collector and Encaustic with a Textile Sensibility. www.lindawomack.com

Robert Regis Dvorák, an artist and popular speaker (over 1000 speeches) on subjects of creativity for education and business, has been teaching drawing and watercolor painting for 35 years at colleges and universities in California and Hawaii. He has worked as an architectural designer and is a former Professor of Architecture at the University of Oregon and the University of California, Berkeley. He has authored four books on drawing: Drawing without Fear, The Magic of Drawing, Experiential Drawing, and The Practice of Drawing As Meditation. www.youcreate.com

You will discover your artist within. Through a variety of fascinating subjects and methodsincluding live models-you will experience how easy and enjoyable drawing can be in this new and innovative workshop. Robert Dvorak

PAINTING & DRAWING

Linda Womack 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Bill Cone, Untitled

Student Color Studies

Exploring Color in Painting Devon Tsuno July 4–8

Course # AAPC ØØ

One-week session

Bill Cone, The High Country

Pastels & Natural Light

This one-week course is designed to help train the mind, eyes and soul to help you grasp the full potential of color in painting. Los Angeles based painter and curator, Devon Tsuno will guide you in a fun and informative course addressing color theory and how to apply it to composition, concept, abstraction and painting.

Bill Cone July 8–10

Nature, perhaps the greatest teacher of all, presents ever-changing real world examples of lighting issues that are always available for study. Working out of doors will give everyone the opportunity, and challenge, of exploring and expressing lighting ideas with their bare hands. Throughout the day and seasons, light exhibits an enormous dynamic range and complexity that is humbling to say the least, but it can inspire as well. Pastels being fast, simple, and primitive, make them an ideal medium for direct physical interaction with the lighting problems that working outdoors presents. This class is geared towards those who are interested in spending time outside, analyzing and recording light and color in nature with very simple tools. This is experience and inspiration that can be taken back to the studio and put to work in a very powerful way.

Color theory guru Josef Albers stated, “Color is the most relative medium in art.” You will begin to explore this through personal exploration and training of vision by utilizing collage, design, acrylic and gouache painting, and proven color theory principles. You will leave Idyllwild with new ideas for future paintings and stronger fundamental knowledge and skills with color to execute them. Focus will be on making art in the studio. In addition, your days in the studio will be energized with short lectures on current topics in contemporary painting, an update on the current art scene in Los Angeles and a special one-day guest artist visit with a painter invited by Devon to add an additional value to your experience. Students are welcome to bring recent works for feedback. This course is designed for all levels, first time artists to advanced painters. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab Fee: $58 (Includes Color Aid paper pack

and Bristol board paper pad) Enrollment limited to 15 students. Devon Tsuno is an abstract painter and curator. He received an MFA from Claremont Graduate University in 2005, and a BFA from California State University, Long Beach. His hard edge paintings based on Los Angeles have been shown at galleries and museums across the country at Sam Lee Gallery, Carl Berg Gallery, the Indianapolis Museum of Contemporary Art, PØST, and Louisiana Tech University. Devon teaches color theory and painting at CSULB and has also taught at the University of La Verne, CSSSA at Cal Arts, East Los Angeles College and is currently the gallery director at Cypress College Art Gallery where he also teaches painting, drawing and curatorial studies. His work as a curator started as the founder of Concrete Walls Gallery in 2003 and in addition he has curated numerous shows at spaces such as Angels Gate Cultural Center, focusing on developing community building exhibitions of mid-career and emerging artists. www.devontsuno.com

Ataloa Studio

The Figure & Still Life Peggi Kroll-Roberts June 27–29

Course # AAPF ØØ

Three-day session In this workshop the figure will be the subject matter, however the focus will be on improving drawing skills and seeing values and colors correctly and understanding their relationships to each other. Two days will be devoted to figure painting, and one to still life painting. There will be daily demonstrations emphasizing the big shapes and establishing their relationships correctly. This provides a springboard to adding additional information if the individual artist desires. We will address design and technique in a manner in which the individual artist may express themselves in a personal way. The student will experience many specific assignments, which helps to “get to the point a little more quickly.” Be ready to cover a lot of canvas and “learning through earnest mileage.” Students will receive plenty of one-on-one instruction and individual demonstrations as needed.

Peggi Kroll-Roberts, Untitled sum m er @ id y llwi l dart s . o r g

Course # AAPP ØØA

Three-day session

Materials: A complete materials list will be sent upon registration. Tuition: $465 Enrollment limited to 12 students. Bill Cone, a graduate of the Art Center College Peggi Kroll-Roberts, Butter on Green Plate

This oil painting workshop is appropriate for all levels. Pastel, acrylic, and watercolor painters welcome, but must be well-versed in using their selected medium. Materials: A complete materials list will be sent upon registration. Tuition: $465 Lab Fee: $25 (Includes model fee and group

of Design, has been painting outdoors for over 14 years, and has exhibited his work in group and one man shows throughout California. His ‘day job’ is as a production designer for Pixar Animation Studios, and he has done hundreds of pastel, lighting and color studies for films. He has also taught classes on lighting and color at Pixar for the last 10 years, and has given lectures on design for film at museums and universities around the world. You can see more of his work at billcone.blogspot.com

supplies) Enrollment limited to 15 students. Peggi Kroll-Roberts, award winning artist and teacher, was trained at Arizona State University and the Art Center College of Design in Pasadena, CA. Peggi worked as a fashion and advertising illustrator before making the transition into fine art. Using intense color and value to accentuate her subject, she moved into fine art with a bold palette, a love for small paintings and a very loose style that achieves a lot with a few very energetic brush strokes. She prefers to suggest reality than render it. Inspired by her children she paints beach scenes and other aspects of their lives. She also breaks away from the conventional still life by painting scenes of cosmetics and the occasional coffee cup or slab of butter. Peggi’s work gives us a new appreciation of our own daily life. www.krollroberts.com Bill Cone, Limantour Marsh

PAINTING & DRAWING

Nicholas Simmons, Zarzuela

Watercolor Unleashed

Ray Roberts, San Mateo Creek

Plein Air Painting

Nicholas Simmons

Painting Landscapes on Location Ray Roberts

July 18–20

June 27–29

This workshop will concentrate on concepts and techniques for which Simmons is noted: diversity in subject matter; composition; poured watercolor; fluid acrylic used as transparent watercolor; unusual textures such as the instructor’s popular “batik” technique; large scale painting; computer-aided design (computer not required for enrollees); and creative photography for obtaining unconventional reference shots. Focus will be on concepts, composition and design elements. Students will paint daily, watch demos, and receive individualized attention. Be prepared for Nicholas’ high energy, unorthodox, and varied approach to watercolor. All levels welcome in this workshop designed to bring lots of new ideas and techniques to experienced painters, and introduce new painters to the medium.

Course # AAPP ØØ

Three-day session This will be a plein air workshop, where a portable painting setup is required for out in the field. We will cover all aspects of outdoor oil painting. Beyond the painting setup is the approach. Important in making a painting is to have a plan and overview of all aspects in your painting. The concept, composition and drawing, seeing the big and simple shapes, and color/value relationships of those shapes all fit together like a puzzle. Juggling these components is the challenge to making a painting manageable. We will be painting exercises that will help you learn to create thoughtfully composed oil paintings that have ‘light’ in them. This approach reinforces awareness of the different parts to a painting enabling each artist to create a solid painting and develop their own voice. There will be demonstrations often and as needed, and lots of one-on-one attention. This oil painting landscape workshop is appropriate for all levels – beginners through professional. (Pastel and acrylic painters are also welcome, but must be well-versed in using their selected medium.) Please note: Sack lunches will be provided when class is painting off-site. Materials: A complete materials list will be sent upon registration. Tuition: $465

Enrollment limited to 15 students. Ray Roberts was born in California and has been a professional artist for over 30 years, dividing his time between California and Arizona. Receiving his BFA from Art Center College of Design, Roberts began his career as an illustrator before transitioning to fine arts. He is the recipient of many prestigious awards including the California Art Clubs’ Gold Medal Award. Roberts incorporates his on-location painting experience into his studio works. He brings to Idyllwild more than 15 years experience conducting plein air workshops. www.krollroberts.com

Ray Roberts

Course # AAPW Ø2

Three-day session

Barbara Roth, Watercolor Journal

Travel Painting & Journaling Keeping a Watercolor Diary Barbara Roth June 27–29

Course # AAPJ ØØ

Three-day session Would you like a creative way to increase your powers of observation, lower your stress level, and add more clarity and color to your life? Not to mention improve your memory as well. In this workshop. you will develop the ability to keep a diary filled with drawings, paintings and writing wherever you go. You will be able to record your special events, thoughts, feelings and observations daily, weekly or monthly, anywhere from your own backyard to Istanbul. During the course of this 3-day workshop you will see step by step demonstrations of simple drawing and watercolor painting techniques that will enable you to create sketches and paintings in your diary to illustrate and enliven your thoughts and writing. You will have studio time to practice with your instructor standing by to help and answer all your questions. No matter if you already know how to draw and paint or are a returning student to this class, you will learn new concepts including: beginning with postage stamp sketch, moving into a playing card size pen and ink wash painting and then creating a postcard size color painting,as well as receive help on developing your own personal style. Plus you will keep your watercolor diary in a ready made journal made by Global Art. Our emphasis will be on keeping all of our diary supplies portable and you’ll learn how to make a portable studio you can take with you anywhere. Other topics presented include creating mood in your paintings with color, avoiding muddy colors, pen and ink + water color, using shading and how to fix mistakes plus, most importantly, how to find time to keep your diary. We will use lots of recycled materials in our portable studios too. Also you will learn how to make your pages look eye catching by using composition and creative lettering.

Barbara Roth

Barbara Roth has a degree in art from UCLA, a teaching credential with specialization in art education, and has studied art at Art Student’s League in NY, Art Center in Pasadena, and Otis Parsons in LA. For many years, she taught school and wrote and illustrated children’s books. Today, she teaches at Palomar College Community Ed. the Art Shed in La Jolla, the Encinitas Public Library, in her home studio and at art retreats in the US, as well as in Italy and France. Barbara uses this method of keeping a diary for her own personal journals and has found them to work out really well. She spends her free time planning backyard gardens on paper, cooking soup and practicing yoga as well as caring for her family and 3 dogs. www.barbararothart.com

Materials: A complete materials list will be sent upon registration. Tuition: $465 Enrollment limited to 20 students. Nicholas Simmons has quickly become a renowned name of the contemporary watercolor scene, winning major awards and gaining media exposure. His art is characterized by its diversity and power, and has been featured in a variety of publications, and on Maryland Public Television. In 2008 his DVD Innovative Watermedia was released by Creative Catalyst Productions. He is sponsored by Da Vinci Paint and Princeton Brushes. Awards include top prize at the 2007 National Watercolor Society, consecutive gold medals at the Pennsylvania Watercolor Society, 2008-2009, and the gold medal at the Texas Watercolor Society in 2010. The artist exhibits internationally with major watermedia stars, and was the only judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010, the world‘s largest watercolor exhibition. Nicholas is one of six painters in the newly-formed North American Watercolor Artists group, which will represent the United States in various international exhibitions. He is sought after as a workshop instructor, lecturer, and judge, known for his fresh, unorthodox, and often irreverent approach. The artist lives in the Washington, D.C. area. www.nicholassimmons.com

In addition, you receive advice on how to take notes and photos on location so you can create larger paintings in your home studio and how to draw from your photos using a grid. Upon leaving this workshop you will be able to keep a watercolor diary on any topic under the sun including your trip to Tuscany, your process of healing and rediscovering yourself, planning a garden or your life story you want to record for your grandchildren. Materials: A complete materials list will be sent upon registration. Tuition: $465 Lab Fee: $5

Enrollment limited to 20 students. Nicholas Simmons

PAINTING & DRAWING

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

PRINTMAKING/BOOKARTS

SCULPTURE

Alternative Book Structures........................ 23 Priscilla Spitler

Kinetic Sculpture.......................................... 23 Moto Ohtake

Beyond Monotype...................................................... 23 Ron Pokrasso

Metal Casting................................................................ 24 Paul Leathers

SEE ALSO

Graphic Novel...............................................24 Dan Archer

Assemblage...................................................11 Michael deMeng

Handbook of Elements.................................13 Stephanie Lee

Hot Clay: The Figure........................................4 Debra Fritts

Marbling on Paper & Fabric........................13 Galen Berry

Gourd Art: From Vine to Design..................12 Bill Colligen

Ron Pokrasso, Two Heads Are Better Priscilla Spitler, Concertina Book

Priscilla Spitler, Artist Book

Alternative Book Structures Priscilla Spitler July 18–22

Course # AABA Ø2

One-week session

Priscilla Spitler, Detail, Pop-up Book

Ron Pokrasso

This workshop is designed to encourage the artist/student to think ahead when making a unique artist book, but without compromising the spirit of their creation. Too often the book structure is overlooked and technical problems arise, such as a “yawn” at the opening from adding more materials than the book can contain.

Moto Ohtake, Untitled

Kinetic Sculpture

Three structures will be constructed adapted from a sewn, in-boards binding style, where the book boards are attached prior to covering. Students will learn a versatile sewing method and how to make room at the spine to compensate for later additions of collage imagery and photographs, or for engineering pop-ups. Techniques include sewing on a paper spine concertina and making a book with accordion text pages that are tipped or glued together instead of being sewn. The cloth covered spine component on the bindings will allow the text to lay flat to view full text spreads. Bindings require no pressing, edge trimming and very little adhesive. What could be more perfect for the artistic temperament? Prior to binding, time will be allotted for paste paper decoration of cover papers and for toning some text pages. After the bindings are complete, if desired, the artist/student may continue to work on their creations with further applications of visual materials on the text pages. Materials: A complete materials list will be

sent upon registration. Tuition: $655 Lab Fee: $30 (Includes text and cover papers,

cloth for binding, sewing materials and bookboard, adhesives, acrylic paint for decorating paste papers and use of all equipment in class) Enrollment limited to 10 students. Priscilla Spitler is a professional bookbinder specializing in limited editions and modern leather bindings. She received a BFA in Printmaking from the California College of the Arts (1975) and studied bookbinding at the London College of Printing (1980-1981). Priscilla was binder at the Palace Press, Museum of New Mexico, Santa Fe, from 1982-1986 until her move to Austin, Texas, where she worked eight years at BookLab, Inc. In 1995, she established Hands On Bookbinding, now located in Truth or Consequences, New Mexico. http://priscilla.bookways.com

sum m er @ id y llwi l dart s . o r g

Moto Ohtake July 1–3

Course # AASK ØØ

Three-day session

Mellor Studio

Beyond Monotype Ron Pokrasso July 18–22

Course # AABM Ø2

One–week session Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop. The program is non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Though some monotype and/or

other printmaking experience is helpful, all levels of students are welcome. Materials: A complete materials list will be

sent upon registration. Tuition: $695 Lab fee: $75

Enrollment limited to 12 students. Ron Pokrasso received his MFA degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private, and corporate collections throughout the US and abroad as well as being featured in several books. He is originator of the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com

In this workshop, students will explore the mechanics and structure of sculpture which moves. This will be an opportunity to experiment with various materials and methods to create small-scale kinetic sculptures made from wire, wood and paper. This project will include a step by step lesson which will explore the principles and elements of 3-D design, with a focus on kinetic movement. These principles can be applied to larger projects for future efforts. The focus of the workshop will be an exploration of linear forms (lines) and the concepts of balance, connections and movement. Students will be introduced to these methods and materials: basic model making, utilizing hot glue, epoxy and soldering; metalworking including MIG welding, pop riveting and the use of power and hand tools to bend, cut and attach parts of the kinetic sculpture as it is being constructed. This workshop is suitable for all levels, and beginners are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $465 Lab Fee: $75 (Includes steel sheet and rods,

wire, solder and pop rivets, as well as the use of tools and equipment in class) Enrollment limited to 15 students. Moto Ohtake graduated from the San Francisco Art Institute, with an MFA in sculpture. He teaches sculpture at De Anza College in Cupertino. Ohtake’s work is inspired by the geometric manifestations of nature. He exhibits in the Bay Area, Washington, New Mexico and Tokyo. His work includes several public art pieces in Tokyo, Dublin, Ireland, The Atlanta Botanical Garden, Stockton Marina, and an upcoming project for the City of San Francisco. www.motoohtake.com

PRINTMAKING/BOOK ARTS/SCULPTURE

WRITING Graphic Novel.............................................. 24 Dan Archer Hecht, Plath & The Craft of Poetry......................... 25 B.H. Fairchild Memoir, Essay & Creative Nonfiction........ 25 Amy Friedman Poetry Writing Intensive............................... 25 Alba Cruz-Hacker

Trudy Golley

The Reality of Fiction.................................... 25 Amy Wallen

Dan Archer, Hardhat Trudy Golley, Untitled

Paperplaster Sculpture Trudy Golley July 18–22

Paul Leathers, Casting

July 11–15 Course # AASP Ø2

One-week session

Paul Leathers

Introduction To Metal Casting Paul Leathers July 18–22

Course # AASC Ø2

One-week session Metal casting has often been selected as the technique of choice for creating wearable, functional or sculptural objects. This hands-on workshop will explore processes that will be of interest to students wishing to incorporate small-scale cast metal objects into their current art projects. Participants will be able to complete a number of small-scale wearable or sculptural objects during the week, but the focus will be on exploring a variety of casting techniques that have been adapted for use in the home-based studio. Topics will include; direct method casting, model development, mold-making, surface finishing, coloring and patination. Visual presentations, demonstrations and handouts will support the learning process. While instruction will be given for students of all levels and media backgrounds, students with some prior metalsmithing experience will be encouraged to exploit the techniques fully. Emphasis will be placed on keeping the process simple, inexpensive and safe. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab Fee: $65 (Includes metals, waxes, plasters

and consumables) Enrollment limited to 12 students.

Graphic Novel Dan Archer

In this hands-on, five-day course, participants will learn the low-tech method of making and using Paperplaster (cellulose-reinforced plaster) as a material for making light and durable sculptures. This course with Trudy Golley, the originator of Paperplaster, will consist of demonstrations, hands-on experimentation, visual presentations and directed discussions. Techniques covered will result in a number of samples of the various approaches (low relief, assembled parts, and built-up surfaces) as well as a freestanding, multipart sculpture through which the student’s personal approach to sculptural solutions will be encouraged and developed. This method is for anyone who wants to work directly with plaster as a sculptural material and wishes to be liberated from the trauma of the traditional methods of working with plaster: no more plaster disasters. Be prepared to cover some exciting new territory! All levels welcome, so those exploring sculpture of the first time will enjoy using this groundbreaking new material as much as the more seasoned sculptors. Materials: A complete materials list will be sent upon registration. Tuition: $655 Lab Fee: $25

Enrollment limited to 15 students. Trudy Ellen Golley received her training at the Alberta College of Art and Design, the University of Calgary (BFA) and the University of Tasmania (MFA). She has been invited to participate in artist’s residencies, exhibit, lecture and lead workshops internationally. The Head of Ceramics at Red Deer College, her work is represented in numerous private and public collections in Canada and abroad. She challenges many of the conventionally held notions of ceramics by incorporating such elements as light that bleeds through openings, suggesting an internal presence. “For me,” Golley states, “the use of light is the manifestation of an energy—symbolic of one’s inner spirit—that offers a sense of mystery.” See Trudy’s recent article, Paperplaster in Ceramics: TECHNICAL, Issue No. 28. www.alluvium.ca

Course # AAWN Ø1

One-week session From Art Spiegelman’s Pulitzer Prize–winning Maus to Alan Moore’s The Watchmen, graphic narratives have a unique capacity to tell complex stories through the simple combination of rich visuals and text. They have become synonymous with bold, innovative storytelling far beyond superheroes and encompass memoir, historical fiction, journalism, and more. This course offers a balance between the hands-on and the theoretical, and will begin with discussions of several key graphic novels as well as an overview of this hybrid literary form. Students will then learn the necessary writing and artistic skills to turn their story ideas into a realized graphic novel extract. Welcoming both newcomers and those with experience, the course will examine each step of the creative process: scripting and narrative arcs; thumbnailing; pencilling; inking; scanning; and production. Students will then collaboratively produce a 30pp comic, complete with color cover, that they will be able to take with them in both hard copy and digital format. Materials: A complete materials list will be sent upon registration. Tuition: $655 Enrollment limited to 12 students. Dan Archer creates non-fictional, journalistic comics to offer a new perspective on US foreign and domestic policy and give voice to stories that wouldn’t otherwise be heard. His journalistic pieces have been published by the Huffington Post, Alternet, The Guardian UK, Presente, Wired, Operamundi (Brazil), Expressbuzz (India) and Independent World Report. He was recently awarded a John S.Knight Fellowship for Professional Journalists at Stanford University, where he is investigating ways of combining visual storytelling and digital technology to make news stories more compelling. He has also worked with several publishers, including Penguin, Atlantic Books, Random House and Farrar, Strauss and Giraud. He is currently working on a graphic novel about the Hardhat riots of May 1970. He received his MFA in cartooning from the Center for Cartoon Studies in Vermont and also co-teaches the graphic novel project through the Creative Writing Department at Stanford University.

Paul Leathers is an award-winning metalsmith with over thirty years experience who holds degrees from the Nova Scotia College of Art & Design (BFA) and the University of Calgary (MFA). Paul has headed metalsmithing departments in Manitoba and British Columbia and has exhibited, attended artist’s residencies, lectured and led workshops internationally. His studio practice ranges from wearable jewelry to small-scale functional objects and, after developing a portable foundry and adapting refractory shell technology, has recently expanded to include installation-based sculpture. He enjoys introducing students to the wonderful world of metalworking. www.alluvium.ca Trudy Golley, Chinese Clouds

SCULPTURE/WRITING

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Poetry Writing Intensive Alba Cruz-Hacker July 18–22

Course # AAWR Ø2

One-week session

Amy Friedman

Hecht, Plath & The Craft of Poetry B.H. Fairchild July 18–22

Memoir & Creative Nonfiction Amy Friedman July 18–22

Course # AAWP Ø2

One-week session This is a poetry workshop which, I believe, would be useful for anyone beginning to compose poems, although I am especially looking for participants who have been writing for a couple of years, regardless of whether they’ve begun to publish. Because poets learn from other poets, in particular from those who might be described as master poets, we will be looking at the best work of Anthony Hecht and Sylvia Plath, vastly different writers but both employing rhetorical and prosodic techniques at such a high level that the apprentice poet, whatever his or her poetic style, can learn much from them. Focus will be on tropes, schemes, and auditory techniques, but we will also take up many other issues of craft - such as invention and closure - that may extend beyond the poems of Hecht and Plath. Morning sessions will be devoted to discussion and analysis of master poems, and afternoon sessions will be workshops, focusing upon group critique of the work of the participants. In addition, participants will come together with the instructors of both poetry sessions (Alba Cruz-Hacker) for an evening of readings by the instructors as well as an open mic reading by participants. Tuition: $655 Lab Fee: $5 (Includes use of copier and

printer) Enrollment limited to 10 students. B.H. Fairchild currently teaches poetry at the Claremont Graduate School. Poems in New Yorker, Paris Review, Poetry, Yale Review, and other journals and anthologies, including Best American Poetry of 2000 and 2010. Nine books of poetry, including The Art of the Lathe, finalist for the National Book Award; Early Occult Memory Systems of the Lower Midwest, chosen for the 2002 National Book Critics Circle Award; and Usher, selected by the L.A. Times as one of their favorite 25 books in poetry and fiction for 2009. Recipient of NEA, Guggenheim, and Rockefeller fellowships.

Course # AAWE Ø2

One-week session This workshop is for those just beginning and those whose work is well underway (and/or stalled), for those writing memoir, personal essay, a travel or cookbook, or any work of creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme. Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will jump-start your writing and offer guidance for your work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works). Our goal will be to complete a full essay and/ or chapter by week’s end. We’ll meet for four hours each morning, with afternoons devoted to individual conferences, writing and reading time. One afternoon will feature CranioSacral practitioner, Jeannine Wiest, who uses innovative, light-touch techniques to help creative writers tap into their hidden resources so their writing flows with more depth, clarity and ease.

In the Idyllwild Arts tradition-which holds that the diversity of participants enriches the learning experience for all-this workshop is open to anyone with a serious interest in writing poetry, from beginners to published poets. The instructor is committed to creating a workshop environment that encourages creative risk-taking, discipline and attention to craft, and to building a community of writers-with the more experienced writers taking a leadership role, and the newer writers offering the freshness of their perspective on the creative process. Workshop activities will focus on helping participants generate new work and explore a wide range of literary styles and techniques, including exciting and fresh voices from the Caribbean and other less known poets. It will also include close-critique of drafts and revisions. Class will meet from 9 to noon each morning and again from 1-2 p.m., with time for writing and conferences during the afternoons. Small class size will ensure that each participant receives individual attention and is able to work at his or her own level. In addition, this workshop will include one afternoon discussion on publishing. Participants will also come together with the instructors of both poetry sessions (B.H. Fairchild and Alba Cruz-Hacker) for evening readings by the instructors as well as an open mic reading by participants. Tuition: $655 Lab Fee: $10 (Includes use of copier, reader

and printer) Enrollment limited to 10 students. Alba Cruz Hacker is the author of No Honey for Wild Beasts (2008). A Pushcart Prize nominee, she was the recipient of the 2007 UCR Poet Laureate Award and the 2007 Thomas Rivera Selection for Poetry. Her work has been published throughout the Caribbean, Canada and the United States, both in print and on the web, including Poetry Magazine (Senior Editor’s Choice), The Caribbean Writer, Canadian Woman Studies, Bear Flag Republic: Prose Poems and Poetics from California and the Encyclopedia of Hispanic-American Literature.

Amy Wallen

The Reality of Fiction Amy Wallen July 18–22

Course # AAWF Ø2

One–week session This workshop will explore the art and craft of fiction. If you have a vivid imagination, or if you are a storyteller who likes to embellish, or you want to look at your tales with a new perspective, the class will provide you with the tools to paint with words. Whether you are a beginner or are a prolific writer, you will learn new techniques to create characters who come to life on the page, to set the stage with words, and to generate new story ideas. All levels of writer will be able to apply the lessons. Through in-class writing and creativity exercises, we will explore the freedom of writing without the boundaries of fact. While writing fiction is often about finding the truth of the story, come prepared to make stuff up. And to write! Class time will be about practicing what we learn—bring plenty of pens and blank notebooks. By the end of the week, everyone will have at least one well-honed piece of fiction presentable for public consumption. This workshop will meet from 9-noon each morning and again from 1-2pm in the afternoon for writing sessions. Tuition: $655

Enrollment limited to 12 students. Amy Wallen, author of Los Angeles Times bestselling novel, MoonPies and Movie Stars, is a writerin-residence at New York State Summer Writers Institute, creator of DimeStories 3-minute reading series spotlighted on NPR, and a fiction judge for the PEN/USA 2010 Literary Awards. Amy has also been the novel writing instructor at UC San Diego Extension since 2003, and is the host of www. SavorySalons.com. www.amywallen.com

Tuition: $655 Lab Fee: $25

Enrollment limited to 12 students. Amy Friedman is the author of two books of creative nonfiction, Kick the Dog and Shoot the Cat and Nothing Sacred: A Conversation with Feminism. She recently completed the memoir, The Murderer’s House, and is the author of the long-running, world-wide syndicated newspaper for children, Tell Me A Story. She often performs her personal essays at Spoken Word venues in LA and has published hundreds of stories, columns and articles. Amy teaches creative writing at UCLA Extension and through PEN/USA and at the Skirball Center.

Fiction Workshop student reading 2010 sum m er @ id y llwi l dart s . o r g

WRITING

SUMMER EVENTS Early Payment Discount Deadlines 10% off the total cost of a program if payment in full is received by March 15, 2011. 5% off the total cost of a program if payment in full is received by April 15, 2011. See page 30 for details and information regarding additional discounts for families, friends and teachers. Parks Exhibition Center

Hopi-Tewa Pottery Firing

Weekly Adult Student, Faculty and Staff Potluck

sunday monday tuesday wednesday thursday Metals Week. Lectures: Gollberg, Hall, Goss, Jemmott, O’Connor, Warg, Zweig. 7 p.m. Krone Library.

26 Hot Clay. Lecture: Martha Grover 7 p.m. Krone Library.

Hot Clay. Lecture: Debra Fritts, 7 p.m. Krone Library. Parks Exhibition Center Opening Reception. Hot Clay, Metals Week & Faculty. 8 p.m. Continues through July 3. Parks Center.

27 Native Artist Demonstration: Santa Clara Pottery, Nathan Youngblood 7 p.m. Parks Center.

Artist Lectures: Peggi Kroll-Roberts, Barbara Roth, Ray Roberts 7 p.m. Krone Library.

28 Artist Lectures: Marie Thibeault & Devon Tsuno, 7 p.m. Krone Library.

Hot Clay Lectures: Richard Burkett, Joe Molinaro 7 p.m. Krone Library.

friday saturday

Metals Week. Student Show. 4 p.m. Krone Library Patio. Hot Clay. Lecture: Lisa Orr, 7 p.m. Krone Library.

Hot Clay. Lecture: Chris Campbell 7 p.m. Krone Library.

JUNE

J U LY

2 Native American Arts Pottery Firing. Nathan Youngblood, Santa Clara. 8 a.m. Kennedy Kiln Yard.

Adult Arts Center Culminations. 4 p.m. Parks Center.

Parks Exhibition Center Opening Reception. Hot Clay & Faculty 8 p.m.

3 Native Arts Week. Mini Film Festival “Fusion” Dustinn Craig 6:30 p.m. Krone Library.

4 Native Arts Week. Lecture: Teri Greeves. Beaded Sneakers 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Faculty Jazz Combo Concert. 8 p.m. IAF Theatre.

11 Artist Lectures: Trudy Golley, Paul Leathers, Ron Pokrasso, Priscilla Spitler, 7 p.m. Parks Center.

5 Native Arts Week. Lecture: Patricia Crown, Prestige Fusion: Chocolate & Macaws in Ancient Times. PlusNative Food Tastings 12 p.m. Krone Library. Artist Lectures. Margaret Scanlan, Dan Archer. 7 p.m. Krone Library.

12 Poetry Reading. B.H. Fairchild, Alba Cruz-Hacker. 7 p.m. Krone Library.

Native Arts Week. Lecture: Gerald Clarke Jr., The conFUSION of Native American Art PlusNative Food Tastings 12 p.m. Krone Library.

Native Arts Week. Lecture: TBA, Fusion in Pueblo Pottery Traditions PlusNative Food Tastings 12 p.m. Krone Library.

Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Children’s Center Open House. 2:45 p.m. Children’s Ctr

Native Arts Week. Performance: Cahuilla Birdsingers. Brent Michael Davids, Classical Music Performance. 7 p.m. TBA

Youth Song & Dance Performance. 8 p.m. IAF Theatre.

Faculty Jazz Combo Concert. 8:30 p.m. IAF Theatre.

Cahuilla Birdsingers

Student Jazz Concert. 1 p.m. IAF Theatre.

Adult Arts Center Culminations. 4 p.m. Parks Center.

Adult Arts Center Culminations. 4 p.m. Kennedy Kiln Yard.

Vocal Music Recital. 8 p.m. Stephens.

Native American Arts Pottery Firing. Mark Tahbo, Hopi, 8 a.m. Kennedy Kiln Yard.

Native Am. Pottery Firing. Tony Soares, Cahuilla Style. 8 a.m. Kennedy

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center

Parks Exhibition Center Opening Reception. 8 p.m.

16 Children’s Center Culminations. Art From Many Cultures. From Page to Stage. 9:30 a.m. Dance Workshop. 10 a.m. Filmmaking. 10:30 a.m. Theatre of Myth 11:15 a.m. Children’s Center. Piano Workshop 10 a.m. Stephens. Youth Art Exhibit. 10 a.m. Parks Center. Youth Computer Animation. 10 a.m. Krone Library. Youth Fiction Reading. 10 a.m. Todd Quad. Youth Piano Recital. 1 p.m. Stephens. Youth Jazz Concert. 10 a.m. IAF Theatre. Youth Jazz Concert. 1 p.m. IAF Theatre.

Parks Exhibition Center

SUMMER EVENTS

Artist Lecture

Junior Artist’s Theatre of Myth Performance 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Youth Song & Dance Performance

Youth Chamberfest Performance

Youth Theatre Festival Performance

sunday monday tuesday wednesday thursday Parks Exhibition Center Opening. 7 p.m.

Multiarts Day Program Culmination

friday saturday Children’s Center Open House & Culminations. 2:45 p.m. Children’s Center

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Theatre Production. 8 p.m. JPT. Music Faculty Recital. 8 p.m. Stephens.

24 Symphonic Band. 1 p.m. IAF Theatre.

25 Student Recital: Instrumental Music. 8 p.m. Stephens.

26 Student Recital: Instrumental Music. 8 p.m. Stephens.

28 Student Recital: Instrumental Music. 8 p.m. Stephens.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center

Chamberfest Music Faculty Recital. 8 p.m. Stephens.

2 Parks Exhibition Center Opening. 7 p.m.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

30 Children’s/Junior Artist’s Culminations. Modern Art/Nature Arts. Magic of Art. Jewelry. Textiles 9:30 a.m. Computer Animation. Mini-Musical. 10 a.m. Beyond the Mask. 10:45 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Student Art Exhibit. 10 a.m. Parks Center.

Youth Performance: Actor Prepares 8 p.m. JPT.

AUGUST

HS Wind Ensemble. 1 p.m. IAF Theatre. HS Symphony Orchestra. 3:30 p.m. IAF Theatre.

Student Chamber Music Recital. 8 p.m. Stephens.

Youth Film Making Screening. 10 a.m. Ryan Soundstage.

Theatre Production. 8 p.m. JPT.

Young Harpists Recital. 7 p.m. Stephens.

Children’s Culmination. Drawing What You See/3D Explosion. 10 a.m. Children’s Center.

5 Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center

Fiction Reading. 10 a.m. Todd Quad. Dance Culmination. 10 a.m. Fisher Studio. Acting/Directing for Camera. 10 a.m. Ryan. Actor Prepares. 10:30 a.m. JPT. Symphonic Band. 11 a.m. IAF Theatre. HS Wind Ensemble. 1 p.m. IAF Theatre. HS Symphony Orchestra. 3:30 p.m. IAF Theatre.

Student Chamber Music Recital . 10 a.m. Stephens. HS Festival Choir. 1 p.m. IAF Theatre. Chamberfest: Chamber Orchestra 3:30 p.m. IAF Theatre

8 Student Recital: Vocal Music. 8 p.m. Stephens.

9 Student Percussion Recital. 7 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

10 Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

11 Festival Music Faculty Recital. 8 p.m. Stephens.

Student Recital: Instrumental and Vocal Music. 8 p.m. Stephens.

12 Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center

Jr. Artist’s Culminations. Adventures in Art. Comics. Young. Writers Workshop. 9:30 a.m. Shakespeare’s World. 10 a.m. Musical Theatre. 11:30 a.m. Children’s Center

Sketch Comedy Performance. 8 p.m. JPT.

Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center.

HS Festival Choir 8 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

HS Chamberfest: Final Concert 1 p.m. IAF Theatre.

Acting/Directing for Camera. 10 a.m. Ryan. Fiction Readings. 10 a.m. Todd Quad. Poetry Readings. 10 a.m. TBA. Dance Culmination. 10 a.m. Fisher Studio. Chamberfest Ch. Music 10 a.m. Stephens. Sketch Comedy Performance. 10 a.m. JPT. HS Festival Choir. 1 p.m. IAF Theatre.

Youth Jazz Concert sum m er @ id y llwi l dart s . o r g

Junior Artist’ Musical Theatre Performance

Youth Dance Workshop

Chamberfest Chamber Orchestrra. 8 p.m. IAF Theatre.

Youth Choir Performance

SUMMER EVENTS

MAPS CAMPUS MAP Water Tanks

(Bowman Arts Center)

Site of the new Housekeeping Facility

Idyllwild Arts Pool

REGISTRATION

Site of the new Maintenance Yard

33 32

67b

55 LA

63 58

Site of the new Theatre & Classrooms

Tennis Courts & P.E. Facilities to be sited

VE RI N

59 ra St

22b. Escherich Humanities Ctr.

erry

C re

TOLLGATE RD. (to hwy 243)

25. Eymann Sculpture Garden 46. Fisher Dance Studio

49. Rush Hall

3. Fitzgerald Jr. Players Theatre

Nelson Dining Hall

1. Fugl Studio 60. Academy Admission Office

Krone Library

21b

65 5

8 7

1 4

61b

HU CA

22b

13 14

15 22

12 10

67 LL

DRIVE APELA

11 8

TEMECULA ROAD

Dormitory Road

7. Health Center

16. Meadow 5

28. Ryan Sound Stage

17. Meadow 6

44. Sage Classroom

26. Ataloa Visual Arts Studio

30. Hicks Studio

21. Meadow 7

10. Schoustra Science Lab

14. Birchard

8. Holmes Amphitheatre

22. Meadow 8

2. Sherman Costume Shop

35. Bowman Arts Center

70. Housekeeping

21b. Meadow 9

68. South Classroom

59. Campus Security Office

5. Hummingbird Hollow

32. Mellor Studio

33. Summer Offices

63. Cedar Classroom

54. HUSCH Hall

29. Millsap Studio

41. Spruce A & B

11. Chemistry Lab

36. IAF Theatre

27. Native Arts Studio

31. Steere Studio

4. Childrenâ&#x20AC;&#x2122;s Center

56. Krone House

6b. Nelson Dining Hall

13. Stephens Recital Hall

43. College Counseling Office

12. Krone Library

69. North Classroom

37. Studio A

47. Dance Offices

40. Lewitzky Dance Studio

55. Oak Chalet

19. Studio D

23. Old Dining Hall

53. MacNeal Hall

24. Parks Exhibition Center

34. Todd Center/Bookstore

48. Dorm 1

64. Maintenance Building

50. Photography Lab

39. Dorm 3

1. Maintenance Bldg (new)*

9. Physics/Mathematics Lab

66. Troy Restrooms

38. Dorm 4

51. Manzanita Chalet

52. Pierson Hall

58. Wayne Hall

67. Eagles Nest Classroom

18. Meadow 1

62. Pine Chalet

61. Wayne Music Rooms

45. El Centro Classroom

15. Meadow 2

61b. Ponderosa Classroom

67b. Wilson Classroom

6. Elf Shelf

20. Meadow 4a & 4b

57. Pool

42. Zimmerman Log Lodge

65. Troy Music Classrooms

Parks Exhbition Center

L O C AT I O N M A P

Left onto Ramona Express Way, travel 8 miles to Florida Ave. Left at traffic light onto Route 74. Fifteen miles up the

210

101

Ontario

Left onto Route 243, 4 miles to Idyllwild. Left

From the LA Area, through Banning:

405

Newport Beach

Route 10 or 60 East to Banning. Take the

Riverside

91 Long Beach

San Bernardino

215

LOS ANGELES

mountain to Hwy. 243 at Mountain Center. on Tollgate Road., one mile to campus.

215

Beaumont

Banning

Va n Buren

79 Ramon a E xp ress way 215

15 Laguna Hills

215

8th St. exit to Route 243 which leads up the

IDYLLWILD

Palm Springs Palm Desert

111 111

Hemet

Mtn. Center

View of Tahquitz Peak from campus

i nc

371

Temecula

mountain 25 miles to Idyllwild. Continue

243

74 Road

Right on Route 79, 8.3 miles to traffic light.

Burbank

405

ster

Route 60 Riverside, towards Beaumont.

From the Riverside Area through Hemet:

Anza

1 mile through the Village. Right on Tollgate Road one mile to campus.

To Warner Springs

From the San Diego Area: 1) Hwy 15 north to Temecula. Exit Hwy 79 south toward Indio/Palm Desert. Turn left

onto Hwy 371 (Continue towards Indio/

San Jacinto Mountains

Palm Desert). Left at Hwy 74, 10 miles to Hwy Escondido

243. Right 4 miles to Idyllwild. Left at Tollgate Road 1 mi. to campus.

SAN DIEGO

2) Route 15 north to Winchester Road. Right on Winchester Road to Route 74; right on Route 74 to Mountain Center. Left on Route

From all directions, please note:

243, 4 miles, left on Tollgate Road one mile

The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn

to campus.

right at the crosswalk (Cahuilla Drive) & proceed uphill to Bowman Arts Center for registration. Village of Idyllwild

MAPS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

All applications must be accompanied by the completed registration form, the $25 application fee, and a non-refundable $225 deposit for each course chosen to ensure class placement. The $225 is applied toward tuition. You may also register by phone using your VISA, MasterCard, American Express or Discover Card: 951-659-2171 x2365. The balance of all tuition, room and board fees will be due in full at least 30 days before class begins. A late registration fee of $50 will be added to all accounts which are past due. All past due accounts will be turned over to a collection agency after September 30, 2011. Please make every effort to register as early as possible so you will receive your registration packet in time to complete and return any necessary forms. For late registrants, class placement cannot be guaranteed until payment in full is received by Idyllwild Arts. Enrollment is automatically confirmed upon full payment of fees. Your cancelled check or credit card bill is your receipt. Upon receipt of the registration form and fee, a packet of registration materials will be mailed to you.

Refunds The Summer Program’s planning, hiring, purchasing and related expenses are directly determined by the number of enrollments received in the early Spring. Therefore, no refunds are made for early withdrawals, student cancellations or no-shows (regardless of accident, illness, or change of plans) except as follows. 1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is scheduled to begin.

2011 Summer ADULT Program Registration Form

R E G I S T R A T I ON

Registration and Fee Payment

Page 1 of 2

Questions? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 summer@idyllwildarts.org

IdyllwildARTS S u m m e r

P r o g ra m

STUDENT INFORMATION Student Name

Please type or print in ink all information. One form per student. (Photocopy additional forms if needed)

Last _______________________________________________________ First ______________________________________

SUMMER OFFICE USE

Mailing Address

Street and Number____________________________________________________________________________________

Rec’d _ ________________

City _ ____________________________________________________ State _

Cust. # ________________

E-mail Address _ _____________________________________________________________________________________

Phone

Day

(

)_______________________________________________________

Evening

________________ Zip _________________

Packet Sent ________________

)__________________________________ Sch. App. Sent _ ____________

(

Mat’ls List Sent _ ___________

Date of Birth (optional)_ ________________ Sex______________

CLASSES DESIRED $225 Deposit required for each class Course Title__________________________________________Course Code___________________ Dates________________________ A

Housing & Meal Plans (see below for description)

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ A

Housing & Meal Plans (see below for description)

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ A

Housing & Meal Plans (see below for description)

Cost_________________

Cost_________________ Sub-Total:_ ______________

ADULT HOUSING AND MEAL Plans (See page 3 for information)

Double Room (includes meals)

(A) $520 per week

(B) $310 per three days

Roommate Request Name (Adult Students Only)__________________________________________________________________________________

Private Room (includes meals)

D) $450 per three days

Meals Only

(E) $90 per week - Dinner Sunday thru Breakfast Saturday

TRANSPORTATION (See page 2 for information)

A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($125 each way).

One way

Transportation Needed:

Both ways

Amount:_ ______________ Non-refundable Application Fee:

Please do not apply any discounts to the total. Discounts will be reflected in your bill.

$25

TOTAL:_ ______________

I have enclosed the non-refundable $25 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges)

Method Of Payment

I have enclosed a check. Check #_________________________

VISA

MasterCard

Am. Ex.

Discover

Please charge my credit card. Amount to be charged $______________________ Card #_ __________________________________________ Expiration Date_____________

Name as it appears on card_ ________________________________________________Signature______________________________________________________

PLEASE Complete the back of this form and MAIL WITH YOUR DEPOSIT TO: Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038

2) If a student withdraws more than 30 days prior to a scheduled class, all minus the $25 application fee and $225 deposit will be refunded upon written request. No refunds of any kind will be made less than 30 days before a class is scheduled to begin. 3) If Idyllwild Arts cancels a class, all fees are refundable in full. Idyllwild Arts is not able to apply non-refundable payments to a future summer program. There are no exceptions to this policy.

sum m er @ id y llwi l dart s . o r g

APPLICATION/REGISTRATION/REFUNDS

IdyllwildARTS S u m m e r

2011 Summer ADULT Program Registration Form Page 2 of 2

P r o g ra m

PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED

Student Name

Last _______________________________________________________ First ______________________________________

In signing this application, I acknowledge that I have read the policies of Idyllwild Arts as noted in the catalog including the sections relating to payment of fees and refunds, and agree to abide by them. I understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campusapproved publicity. ____________________________________________________________ _ ___________________________________________________ _ _______________________________

Signature of Student

Signature of Parent/Guardian if student under 18 years of age

Date

Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog.

_________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.)

DISCOUNT PROGRAMS Please complete the following to be assured the correct discount is credited to you. (See this page for information.)

Early Payment of Fees: (Fees must be received in full in order for discount to apply)

Family Discount: Other Family Members Attending

March 15–10% discount

April 15–5% discount

____________________________________________________________ _ ___________________________________________________ _ _______________________________

Name

Program

Dates

School/Teacher Discount: School/Teacher Name_____________________________________________________________________ List other Teachers attending:

____________________________________________________________ _ ___________________________________________________ _ _______________________________

Name

Program

Dates

Bring a Friend:

a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application. Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b).

____________________________________________________________ _ ___________________________________________________ _ _______________________________

Name

Program

Dates

b) Name of student who referred me to the Summer Program--one name only. Must be completed to insure credit to referring student. ____________________________________________________________ _ ___________________________________________________ _ _______________________________ Name

Program

Dates

5 2 5 0 0 T e m e c u l a R o a d • P. O . B o x 3 8 • I d y l l w i l d , C A 9 2 5 4 9 • ( 9 5 1 ) 6 5 9 - 2 1 7 1 • F a x ( 9 5 1 ) 6 5 9 - 4 5 5 2 • i d y l l w i l d a r t s . o r g

Discounts/Credits Idyllwild Arts offers students the following options to reduce the cost of attending the Summer Program. They are applied to the total cost of a program: tuition, housing, meals, lab fees, and transportation. They cannot be applied to room deposits or key deposits. Early Payment Discount 10% off the total cost of a program if payment in full is received by March 15, 2011. 5% off the total cost of a program if payment in full is received by April 15, 2011. 1) Any changes or additions to enrollment made after the Early Payment deadline are subject to the full price. 2) Students choosing the Early Payment option are not eligible for scholarships. Family Discount Two or more members of the same immediate family qualify for a reduction of $50 per person per week. 1) Family members are not required to attend at the same time. 2) Not available to students choosing the School/ Teacher Discount. 3) Not available to weekend registrants. Bring a Friend Receive credit of $50 per new student—one who has not attended the Summer Program previously—you bring to the Summer Program, up to half the total cost of your stay at Idyllwild Arts. 1) Students who attended during the summers 19852010 are eligible. 2) A new student can be claimed by only one returning student. 3) Does not apply to immediate family members of returning students. (see Family Discount) 4) Not available to weekend registrants. Teacher and Student Discount If there is space available in a workshop 30 days before it begins, teachers (K–12, currently employed, full time) and current college/ university students (full time) may enroll at 50% off of tuition. 1) Available only to weeklong workshop registrants. 2) Fees for the workshop must be paid at the time of registration. 3) Available on a limited basis.

APPLICATION/DISCOUNTS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

YOUTH PROGRAMS

IdyllwildARTS

For detailed information about the children and teenage summer programs, please visit us online or contact us to request a Youth Catalog. website: www.idyllwildarts.org phone: 951-659-2171, ext. 2365

FAMILY CAMP (all ages)

The Idyllwild Arts Academy is one of the finest boarding

Children’s Center

arts high schools in the country for the pre-professional study

Multiarts Day Program (ages 5–8)

of creative writing, dance, filmmaking, interdisciplinary arts,

Specialized Programs (ages 9–12) DANCE Jazz & Contemporary Dance

music, theatre and visual arts in conjunction with a rigorous academic program.

FILM Collaborative Filmmaking MUSIC Piano Workshop THEATRE Intro to Theatre: Beyond the Mask Mini-Musical Theatre Theatre of Myth and Magic VISUAL ARTS Art From Many Cultures Drawing What You See/3D Explosion Making Modern Art/Nature Arts WRITING From Page to Stage

Graduates of the Academy are sought by the

Junior artist’s Center (ages 11–13)

most prestigious colleges, universities, and

THEATRE Mini-Musical Theatre Musical Theatre Shakespeare’s World Theatre Adventures

conservatories in the nation. Small classes, a caring faculty and individualized attention provide an education that is unique and stimulating. The 205-acre campus, located in the

VISUAL ARTS Adventures in Art Ceramics Workshop Comics Computer Animation Jewelry Workshop Magic of Art Painting & Drawing Photography Workshop-Digital Textiles & Fibers in Design

beautiful San Jacinto mountains includes modern dormitories, lecture halls, classrooms, science labs, concert hall, art studios, gallery, dance studios and three theaters. The Academy seeks enthusiastic, dedicated and talented young people who have a strong desire to pursue an arts education.

WRITING Young Writer’s Workshop

Youth Arts Center (ages 13–18)

For Academy information

COMPUTER ARTS Computer Animation

Academy Admission, P.O. Box 38, Idyllwild, CA 92549

DANCE Dance Workshop Song and Dance

email: admission@idyllwildarts.org

phone: 951-659-2171 x2223 • fax: 951-659-3168 website: www.idyllwildarts.org

FILM Acting for the Camera Directing for the Camera Filmmaking MUSIC Symphonic Band HS Symphony Orchestra HS Wind Ensemble HS Chamberfest Festival Choir Harp Workshop Jazz Workshop Piano Workshop Song and Dance THEATRE Acting for the Camera The Actor Prepares Directing for the Camera Sketch Comedy Song and Dance Summer Theatre Festival VISUAL ARTS Art Exploration Ceramics: Clay Works Drawing & Painting Drawing & Painting Master’s Class Jewelry Workshop Photography: Black & White Photo Explorations WRITING A Fiction Workshop Poetry Workshop

sum m er @ id y llwi l dart s . o r g

For Summer Program information Summer Registrar, P.O. Box 38, Idyllwild, CA 92549 phone: 951-659-2171 x2365 • fax: 951-659-4552 email: summer@idyllwildarts.org website: www.idyllwildarts.org

I D Y L LW I L D A R T S F O U N D AT I O N The IAF is a non-profit corporation, founded (in 1946 as a summer center in the arts) on the premise that the arts provide a common language and that participation in the arts can not only enrich lives but can change lives. The Foundation now operates two programs: the Summer Program – in its 62nd year of providing classes in the arts for all ages and abilities, and the Academy – an independent boarding high school established in 1986 for students talented in the arts. Summer Program

Academy

Idyllwild Arts welcomes your support

• Eight-week season

• Co-educational, 270 students (33% international), grades 9–12 and postgraduate

Our Summer and Academy programs (and financial aid awards for eligible students) are made possible with the help of gifts from friends like you.

• 1600 students ages 5 to adult • Over 100 intensive hands-on workshops in creative writing, dance, music, theatre, visual arts, Native American arts • Family Camp • Adult Theme Weeks: Hot Clay, Metals Week, Native American Arts Festival • Professional artist-teachers • 30% of participants attending a Summer Program workshop received financial aid in 2010– totaling nearly $650.000

• Pre-professional training in creative writing, dance, filmmaking, interdisciplinary arts, music, theatre and visual arts • Students selected by audition or portfolio evaluation • Comprehensive college preparatory academic curriculum • Academy graduates are sought by the finest colleges, conservatories and universities in the country • Over 64% of students receive some amount of financial aid – totaling over $4,600,000

To make a gift, or for further information regarding gifts, contact: Idyllwild Arts Foundation Advancement Office P.O. Box 38 Idyllwild CA 92549-0038 951-659-2171 ext. 2330 advancement@idyllwildarts.org www.idyllwildarts.org

YOUTH INFORMATION/ARTS ACADEMY/IAF FOUNDATION

IDYLLWILD ARTS FOUNDATION

2011 WORKSHOPS FOR ADULT STUDENTS CERAMICS

JEWELRY

Non-Profit Organization U.S. Postage

P.O. Box 38 Idyllwild, CA 92549

Clay Works Hot Clay The Figure Soda & Salt Firing Surface Decoration Colored Clay Perfecting Porcelain

PAID

Idyllwild Arts Foundation

Creative Clasps in Metal Clay Form, Fold, Shape & Solder Junk Drawer Metalsmithing Metals Week Drawing/Painting in Enamel Hinges & Articulations Metal & Non-Acid Etching The Rings Class The Art of Setting Sm. Gems Surface Embellishment

MIXED-MEDIA Art Quilts: Surface Techniques Assemblage Creative Exploration Gourd Art: Vine to Design Green Art Journaling Handbook of Elements Marbling on Paper & Fabric Wet Felting Wood Collage Totems NATIVE ARTS

Cahuilla Style Pottery Hopi Jewelry Native Arts Festival Beadwork Cahuilla Basketry Hopi-Tewa Pottery Native American Cuisine Native American Flutes Native Plants Navajo Inlay Jewelry Navajo Weaving Santa Clara Pueblo Pottery

PAINTING/ DRAWING

Abstract Painting-Landscape Calligraphy Drawing As Meditation Drawing Intensive Encaustic Painting Exploring Color in Painting The Figure & Still Life Pastels & Natural Light Plein Air Painting Travel Painting & Journaling Watercolor Unleashed

PRINTMAkING Alternative Book Structures BOOk ARTS Beyond Monotype SCULPTURE

kinetic Sculpture Metal Casting Paperplaster Sculpture

WRITING

Graphic Novel Hecht, Plath: Craft of Poetry Memoir, Creative Nonfiction Poetry Writng Intensive The Reality of Fiction

Idyllwild Arts

Wo rk s h o p s f o r A d u l t s

One to Six Day Intensive Workshops for Adults Including the Native American Arts Festival, Hot Clay. and Metals Week (Children & Youth Course Catalog published separately-see information on page two for details) MasterCard, VISA, Discover, & American Express accepted Visit our website: w w w . i d y l l w i l d a r t s . o r g