writers week - Idyllwild Arts Academy

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1 Idyllwild Arts Summer Program
7/11-7/15
WKND
7/4-7/8
WKND
6/27-7/1
WKND
2016 COURSE SCHEDULE
6/19–6/24
TABLE OF CONTENTS
CERAMICS
Ceramics: Form, Surface, Fire!

Ceramic Sculpture: Anything is Possible!

Hot Clay

Form, Function and Fresh Alternative Construction Techniques for Handbuilt Pots

From the Wheel to the Table: Working with Porcelain

Considering the Abstract Portrait, Moving Away from Realism

The Well Rounded Pot: Handbuilt Foms and Color Investigations

Mold Making and Slip Casting: Natural Transformations

Mining Ceramics History for New Ideas: Throwing, Altering, and China Painting

JEWLERY/METALS
Metal Clay Intensive: Earrings

Roughing It: Creative Textures for Metals

Metals Week

From the Smithy to the Jewelers Bench: Blacksmithing Techniques for Jewelers

Melt It...Cast It...Wear It!

Powder Coating for Jewelry - Kitchen Style

High Relief Eastern Repoussé and Chasing

Soldering Big and Little

The Stories We Tell: The Jewelry We Make

MIXED MEDIA/BOOK ARTS
Assemblage I: Apocalypto Shrines

Assemblage II: Punk Fiction: Embossa Nova Books

Assemblage III: Punk Fiction: Dream Journal

Mixed Media I: Transparental Guidance

Mixed Media II: Art de Refusés

The Creative Edge
NATIVE AMERICAN ARTS
Chiles to Chocolate: Modern Interpretations of Ancient Central American Foods

Tohono O'odham Basketry and Beyond

Native American Flute Making


Hopi Jewelry: Overlay & Tufa Casting

Micaceous Pottery

Native American Arts Festival

Native Plants: Gathering, Processing & Feasting

Cahuilla Basketry

Navajo Weaving I & II

Navajo Inlay Jewelry

Hopi-Tewa Pottery

Traditional Northwest Coast Paddle Making

Dig and Make Clay for Pottery

PAINTING/DRAWING
Painting Luminosity

Composition for Artists

Encaustic Painting: Transparent Layering and Mixed Media Techniques

One-Minute Drawing

Spontaneous Watercolor

Travel Drawing & Painting

Gouache Painting: Color, Light, and Landscape

Expressive Painting: Intention Over Direction

Watermedia for All: Watercolor & Acrylic

Oil Painting
PHOTOGRAPHY
iPhoneography: It's Not Just Luck

PRINTMAKING
Monotype: Layers and Plates

Adventures in Woodcut Printmaking

SCULPTURE
Glass Blowing

Small Scale Bronze Casting

3-D Encaustic Exploration & Mold Making

TEXTILES/FASHION
Beginning Shoemaking: Open-Back Slip on Shoes

WRITING
Visual Storytelling: Lessons from the Simpsons

Writers Week
Personal Essay & Memoir

Fiction: Finding the Heart of the Story

Poetry
Year-Long Manuscript Critique
Adult Student Life
Schedule of Events
Regsitration Form
General Information
Changing lives through the
transformative power of art.
Adult Arts Center Student Show
ADULT STUDENT LIFE
THE SUMMER PROGRAM
The summer tradition that began in 1950
to bring the best artists to teach under the
pines continues today. Intensive handson workshops in music, dance, theater,
visual arts, writing, filmmaking and Native
American 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. In addition to the Adult
Arts Center programs featured in this catalog,
workshops are offered in:
• Children’s Center (ages 5–12)
• Junior Artist’s Center (ages 11–13)
• Youth Arts Center (ages 13–18)
• Family Week: Arts for the whole family
For information about workshops not
included in this catalog, visit
idyllwildarts.org/summer or contact the office
to request a print catalog.
STUDENT LIFE
Workshops
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 and abilities.
Daily Schedule
Workshops run from 9 a.m. to 4 p.m. each
day, with a break for lunch in the campus
dining hall (included in tuition). Writing
workshops have shorter in-class hours
allowing time each afternoon for writing,
craft talks, individual conferences, readings
and other activities. Evening events take place
throughout the week.
On-Campus Activities for Adults
See the Summer Events Calendar on page 35
for evening activities, including lectures,
readings, recitals and performances.
The weekly schedule includes:
Monday
Parks Exhibition Center reception
Faculty Art Show
Artist demonstrations/presentations
Tuesday
Faculty artist demonstrations, lectures,
readings or concerts
Wednesday
Look for a new iteration of the traditional
Potluck and Barbecue for all students, faculty
and Idyllwild Arts community members.
Friday
Workshop culmination art show
Additional events take place each week,
including lunchtime lectures during the
Native American Arts Festival.
The campus offers 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-inresidence as well as a selection of fine Native
American art and jewelry.
Campus Facilities and Services
The campus features large dormitories,
residence halls, dining hall and a snack bar.
Services include the health center, bookstore
and laundry facilities.
The new Margaret Cargill Commons, located
at the heart of campus between Lowman
Concert Hall and the IAF Theatre, offers areas
to relax, converse, and mingle.
Indoor and outdoor art studios and
exhibition areas include the Parks Exhibition
Center and the Eymann Sculpture Garden.
Performance venues include the new
Lowman Concert Hall, IAF Theatre, Stephens
Recital Hall, Holmes Amphitheatre, and the
Junior Players Theatre.
The Krone Library houses resource areas,
classrooms and a museum.
Dance studios, rehearsal halls, film studio and
practice rooms are located across the campus.
HOUSING & MEALS
On-Campus Housing
Residence Halls
Modest dormitory rooms with twin or
bunk beds accommodate one or two adults.
Each dorm room has its own bathroom.
Rates include meals from Sunday, 4 p.m. to
Saturday, 10 a.m. Linens and towels, which
are changed weekly, are included.
Two persons per room, meals included
$535 per person per week
$325 per person for three days
Idyllwild Arts Summer Program 2
Adult Student Life
Private room, meals included
(limited availability)
$745 per week
$465 for three days
Check-out time is 10 a.m. on Saturday.
On-campus accommodations are not
available for weekend workshop participants.
Off-Campus Housing information is included
below.
Quiet hours are 10 p.m.–8 a.m. Smoking is
prohibited in all campus facilities. Pets are
not allowed, with the exception of service
animals, such as Seeing Eye dogs. Official
documentation of service status must be
submitted to the registrar at least 30 days
prior to arriving on campus.
Off-Campus Housing
Idyllwild offers many lodging options, from
luxury to rustic, including motels, bed and
breakfast inns, cabins and lodges. There are
also public and private campgrounds. For
information about Idyllwild lodging visit
idyllwildarts.org/IdyllwildInfo
Meals
Lunch is included for all registered students.
Meals are served cafeteria-style. There are
vegetarian options at every meal including
a hot entree at lunch and dinner. Our
extensive salad bar features fresh fruits
and vegetables at lunch and dinner. We are
unable to accommodate special diets. You
may purchase additional meals by the week
for yourself or family members. A one-week
meal pass (20 meals) is $90.
LOCATION & TRANSPORTATION
Location
The campus is located at 5,377-feet elevation
in the Strawberry Valley on the western slope
of the San Jacinto Mountains. The 205-acre
campus is a naturally beautiful setting with
clean air, alpine forests, mountains and
meadows. This tranquil site, remote from
urban distractions, affords students a unique
learning environment. The Idyllwild Arts
campus is situated two miles from the center
of the village of Idyllwild and 2.5 hours from
Los Angeles and San Diego by car.
Transportation
There is no public transportation to or
within Idyllwild. Transportation is available
from the Palm Springs and Ontario airports
at $150 each way. To take advantage of
the airport shuttle service, you must make
arrangements with the Summer Program
registrar at least two weeks before you plan
to arrive on campus.
ABOUT IDYLLWILD
Things to do in Idyllwild
Idyllwild is listed as one of the “100 Best
Small Art Towns in America” and features
more than 15 galleries representing the
work of more than 200 artists. Idyllwild is
filled with unique gift shops, galleries, a
movie theater, and restaurants. There are
hundreds of miles of hiking trails from gentle
to strenuous leading to the meadows and
peaks that tower above the town. Idyllwild is
also known for rock climbing and bicycling.
Horseback riding and fishing are available
within 20 minutes from campus. Bring the
whole family!
Weather
Summer temperatures range from the high
70s to low 90s during the day and drop to the
50s and 60s in the evenings.
Dining
Area restaurants feature a variety of cuisine
from gourmet to classic fare, and most offer
vegetarian and gluten-free options.
For information about Idyllwild lodging,
restaurants, weather, and more visit
idyllwildarts.org/IdyllwildInfo
SUMMER REGISTRAR-IDYLLWILD ARTS CAMPUS
phone: (951) 468-7265
fax: (951) 659-4552
email: summer@idyllwildarts.org
website: www.idyllwildarts.org
Idyllwild Arts Summer Program
P.O. Box 38, 52500 Temecula Rd.
Idyllwild, California 92549-0038
FOLLOW US ON:
Twitter/FaceBook/Tumblr/Instagram
* At the time this catalog was printed, every
effort was made to assure its accuracy.
In keeping with our commitment 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 the most current information, visit
idyllwildarts.org/summer
Hot Clay lecture
HOT CLAY
JUNE 19–JULY 2
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 Christa Assad, Tom Bartel,
Margaret Bohls, Lisa Clague, Sunshine
Cobb, Cynthia Consentino, Michael Corney,
Patrick Crabb, Debra Fritts, Arthur Gonzalez,
Silvie Granatelli, Martha Grover, Ingrid
Lilligren, Joe Molinaro, Jeff Oestreich, Esther
Shimazu, Neil Tetkowski, James Tisdale, Patti
Warashina, Lana Wilson, Kensuke Yamada
and more.
HOT CLAY EVENTS Open to the Public
WEEK I
Week I
Form, Function and Fresh
Alternative Construction Techniques for
Handbuilt Pots
Chris Pickett
Monday, June 20
7 p.m. Lecture: Chris Pickett
8 p.m. Artists Reception
Hot Clay & Visiting Faculty Show
Parks Center
Tuesday, June 21
7 p.m. Lecture: Tip Toland
Thursday, June 23
7 p.m. Lecture: Doug Peltzman
OVERVIEW
Week II
Coordinator: Richard Burkett
Studio Manager: Terry Rothrock
Sunday, June 26
7 p.m. Lecture: Sam Chung
Each Week Features:
• Hands-on Workshops (select one per
week)
• Open Studios
• Demonstrations and lectures presented
by all faculty
• Critiques and feedback
• Exhibit of faculty work – Artists
Receptions each Monday
• Small class size for maximum
interaction with instructors and fellow
participants
• Participant exhibit and culmination
reception each Friday
Monday, June 27
8 p.m. Artists Reception
Parks Center
Each week begins on Sunday at 9 a.m. and
ends Saturday morning after the kilns are
unloaded.
Wednesday, June 29
7 p.m. Lecture: Birdie Boone
Thursday, June 30
7 p.m. Lecture: Mikyoung Kim
June 19–25 Course # AACR ØØA1
Six-day session
Challenge yourself with this class, designed
for beginner and advanced students alike.
Expand your vocabulary of form and surface
through alternative hand building methods.
You will design, construct and use molds
and low relief stencils to create pots with
generous playful volumes with crisp low relief
surface design. Chris will share his building
techniques that use the different stages of clay
from soft to leather hard, as well as discuss his
philosophies of making and studio practice.
Learn about the relationship of form and
surface, considering function versus utility
and generating interest through contrast.
Discover new information and techniques you
can take back to your own studio.
Skill Level: Open to all levels
Materials: List will be sent upon registration
Tuition: $725
Lab fee: $45, includes clay, glazes, shared
supplies, firing costs
Enrollment limited to 10 students
Chris Pickett earned his BFA from the
University of Tennessee and his MFA from
the University of Florida. He has exhibited
nationally and internationally, been published
Hot Clay
Sam Chung, Cloudscape
Doug Peltzman, Stacked Bowls
Mikyoung Kim, Hawaiian Bowls
in numerous books and periodicals and has
taught at universities and art centers across
the nation. Chris is currently the Rittenberg
Fellow at the Clay Art Center and ceramics
faculty at Marymount Manhattan College in
New York. www.chrispickettceramics.com
From the Wheel to the Table
Working with Porcelain
Doug Peltzman
Six-day session
Focus on designing, making, and finishing
high-fire porcelain tableware in an electric
kiln. Bring source material for surface
treatment as well as high-fire bisqueware
so you can begin to think about glazing
and compositional strategies from day
one. You will explore the relationship
between form and surface through practice,
demonstration and discussion. Doug will
share his techniques on incising and inlaying
into leather hard clay along with his ideas
about engineering pots specifically for
runny translucent glazes. Learn tools and
techniques to explore texture, line, and color
as a way to blend your ideas and concepts
with tactile discovery.
Skill Level: Intermediate to advanced level
throwing
Tuition: $725
Lab fee: $60, includes porcelain, glazes,
shared supplies, firing costs
Doug Peltzman is a full-time studio potter
in Dover Plains, NY. He earned his BFA in
ceramics at SUNY New Paltz, and his MFA
from Penn State. He has taught workshops
across the country, including at Arrowmont,
Peters Valley, Goggleworks, Augusta Heritage
Center, The Clay Art Center, UNT, SUNY
New Paltz, Edinboro University, The Clay
Studio and The Art School at Old Church.
Doug is a founding member of Objective
Clay. His pottery has been featured in many
publications and can be found in homes and
kitchens across the country.
www.dougpeltzman.com
Considering the Abstract Portrait
Moving Away from Realism
Tip Toland
Six-day session
Abstraction often can tell a deeper truth
than realism can. Using a subjective point
of view as a departure point, you will learn
to approach creating a life-size portrait
based on your relationship to what the
model is expressing rather than trying to
capture a realistic likeness. Tip will use a
variety of visual examples to discuss and will
demonstrate all the ways of developing a
life-size portrait in solid clay on an armature.
On the final day, at the leather-hard state, you
may choose to cut off the face of the sculpture
and take it home as a mask, or hollow out
the bust and fire after class. You will explore
possibilities for finishing your sculpture, and
Tip will demonstrate various techniques.
Skill Level: Some familiarity with building
a head in clay (see Building the Head in Clay
free on YouTube)
Tuition: $725
Lab fee: $85, includes clay, armature materials,
model fees, shared supplies, firing costs
Tip Toland lives in Vaughn, WA, where
she is a full-time studio artist and a parttime instructor in Seattle. She conducts
workshops across the US, Europe and the
Middle East. She earned her MFA from
Montana State University. Her work is in
public and private collections, including the
Yellowstone Art Museum, Renwick Gallery
of the Smithsonian, Nelson Atkins Museum,
Museum of Art and Design, Crocker
Museum, St. Petersburg Museum of Art,
and Metropolitan Museum of Art. She is
currently represented by the Traver Gallery in
Seattle. www.tiptoland.com
WEEK II
The Well-Rounded Pot
Handbuilt Forms and Color Investigations
Birdie Boone
June 26–July 2 Course # AACR ØØB2
Six-day session
Go beyond addressing utility, discover how
to include subtle metaphoric or allegoric
cues that are paramount to making ‘wellrounded’ pots that beg to be used. You will
investigate the ways ceramic materials and
processes can be used to initiate sensory
experiences. Work with soft to leather-hard
slab construction techniques and investigate
surface possibilities via glaze color testing as a
means to create minimal yet expressive forms
using handbuilding processes. Concentrate
on simplicity of form, the care of your touch,
and formal (technical and aesthetic) decisions
that serve your intentions. Demonstrations
and discussions will include paper pattern
development, making simple greenware and
bisqueware drape and press molds with mica
clay, glaze color development, and problemsolving toward creating and revealing
meaning through ceramic materials and
processes. You can expect to leave with new
templates, clay drape and press molds, fired
glaze tests, bisque-fired pots that inform your
current work or lead to new directions, and a
few glaze-fired pieces.
Skill Level: Handbuilding experience
recommended, basic knowledge of raw
ceramic materials helpful, but not required
Tuition: $725
Lab fee: $65, includes clay, mica, glazes,
shared supplies, firing costs
Birdie Boone holds an MFA in artisanry/
ceramics from UMass-Dartmouth and is a
full-time studio potter in rural southwestern
Virginia. She has taught ceramics at the
college level and at ceramics facilities across
the country and her work is shown and sold
by Northern Clay Center, Schaller Gallery,
and Studio Kotokoto. Influenced by the
Hot Clay
Birdie Boone, Mama Bears
Japanese mingei idea of ‘beauty in use,’ her
ceramic tableware celebrates the importance
of domestic care in everyday life through the
beauty of minimal forms and surfaces.
www.birdiebooneceramics.com
Mold Making and Slip Casting
Natural Transformations
Mikyoung Kim
Six-day session
Find and use natural objects in the Idyllwild
environment to make plaster molds for slip
casting. You will learn amazing professional
techniques to make unique high-quality
molds that will transform your ceramic
experience. Mold-making is a skill useful to
all ceramists, and even if you don’t usually use
slip-casting, molds can be used to press-mold
parts for your handbuilt or wheel-thrown
pots. The workshop will focus on moldmaking, with a goal of transforming objects
from nature into functional porcelain pottery.
Expect to complete two or more multiple-part
molds and use them to slip-cast functional
objects. Mikyoung Kim is a renowned South
Korean ceramist and expert mold-maker who
has worked in industry and taught ceramics
for many years. Her mold-making skills are
exquisitely simple but powerful.
Skill Level: Advanced beginner/intermediate
level or higher. Some experience with handbuilding required
Tuition: $725
Lab fee: $45, includes clay, plaster, slips,
glazes, shared supplies, firing costs
Mikyoung Kim is a professor at Ewha
Womans University, School of Fine Arts, in
Seoul, South Korea, and is the director of
Sokang Ceramic Research Institute in Ichon.
She is an award-winning artist and has had
16 solo exhibits around the world including
Tokyo, Japan; Seoul and Ichon, South Korea;
and in New York and Hawaii, among many
others. She earned a BFA and MA in ceramics
at Ewha Womans University, and an MA in
studio art at New York University.
Mining Ceramics History for New Ideas
Throwing, Altering, and China Painting
Sam Chung
Six-day session
Draw inspiration from historical ceramics
as a starting point for generating new forms
and ideas. Investigate historical works and
discuss functional, aesthetic and formal
concerns to extract those elements that
resonate most with you. Using images as your
starting point, you will develop your own
chosen form over the course of the week.
Demonstrations will include throwing
techniques including stacking forms, cutting
and assembling thrown forms using slabs,
and building thrown forms off axis. You will
also examine the design elements of various
functional pouring forms and there will
be demonstrations on adding components
(both slab-constructed and wheel-thrown)
such as handles, spouts and lids. Learn
about finishing possibilities including slip
Tip Toland, Teenager with Albanism
inlay and China painting. If China painting
interests you, you should bring one or two
fully finished pieces glazed in white or clear
glaze.
Skill Level: Basic wheel-throwing skills
required
Materials: List will be sent upon
registration
Tuition: $725
Lab fee: $70, includes clay, China paints,
glazes, shared supplies, firing costs
Sam Chung earned his MFA from Arizona
State University and his BA from St. Olaf
College. He taught at Northern Michigan
University and since 2007 has taught at
Arizona State University, where he is an
associate professor of ceramics. He has
exhibited at galleries both nationally and
internationally and is included in the
collections of the Crocker Art Museum
(CA), Incheon World Ceramic Center
(Korea), Guldagergaard (Denmark) and San
Angelo Museum (TX).
www.samchungceramics.com
Hot Clay
David Delgado, Saucer and Cup
Chris Pickett, Teapot
Lee Puffer, Kali
Sam Lopez, Whiskey 1
CERAMICS
Ceramics: Form, Surface, Fire!
David Delgado and Sam Lopez
July 4-15
Course # AACR Ø1-Ø2
Two-week session
If you are a beginner, build your working
and personal vocabulary, or if you’re more
experienced, push your structural and
aesthetic boundaries in this workshop
designed for all levels. Use the pottery
wheel to explore traditional forms and what
makes them structurally sound. Experiment
with altering methods and hand-building
techniques to discover where you can push
beyond tradition. Play with various pre- and
post-bisque fire decorating techniques,
including mishima and newsprint transfers,
to create a personal surface that can then
be applied to thrown or hand-built pieces.
Bring your own meaningful materials such as
magazines, books, music, and photographs
to incorporate into your work. You will leave
with finished works in high temperature
reduction firings, mid-temperature oxidation,
high temperature soda, and possibly a rakufired piece.
Working in a spacious, well-lighted studio,
you will have access to electric wheels, slab
rollers, extruders, spray booth, glaze room,
a variety of kilns (gas, electric, raku, soda),
and outdoor workspace. You’ll also have the
chance to observe demos and mingle with
participants in the new figurative sculpture
workshop in the adjacent Hicks Studio.
Skill Level: All levels are welcome
Tuition: $725 per week
Lab fee: $55 per week, includes 150 lbs.
clay, glazes, firings, use of shared tools and
supplies. All basic studio tools are available
to use, but you are encouraged to bring your
own favorite tools.
David Delgado earned his BFA at California
College of the Arts and studied at Chaffey
College. Interested in creating a more
personal language around utilitarian
pottery, he plays with integrating internal
experience with an interest in discovery
through walking, cities, meteors, music, and
abstraction. His work is shown throughout
the San Francisco area, at the American
Museum of Ceramic Arts, Pomona, and is
in private collections around the world. He
worked with Greg Kennedy and Eric Kao
at Idyllwild Arts. David lives and works in
Berkeley, CA.
Sam Lopez, currently pursuing an MFA in
ceramics at San Diego State University, is a
potter who works primarily in porcelain and
focuses on throwing and altering forms that
reflect his experiences with the natural world.
He shares these experiences through his
pottery, one kitchen cupboard at a time. This
will be Sam’s fourth summer working with
the Idyllwild Arts Summer Program.
Ceramic Sculpture: Anything is Possible!
Lee Puffer
July 4-15
Course # AACR Ø1-Ø2A
Two-week session
Beginner or expert, you will enjoy this
intensive exploration of myriad possibilities
for self-expression available through ceramic
sculpture, from the figurative sculpture to
abstract. Start with basic hand-forming
techniques to create a variety of original
sculpture. Experiment with figurative
sculpture while working from a live
model, creating observational gesture and
anatomical studies of heads and hands before
moving on to a full figure sculpture. Develop
your hand-building skills to create pieces
that reflect your interests and ideas. Play
with color and surface design techniques
to bring your sculptures to life. You will
learn carving, slip-trailing, mono-printing,
sgrafitto, underglazes, layering color, and the
use of a variety of glazes. Expect to complete
many colorful sculptures in mid-temperature
oxidation firing.
Working in a well-lighted studio, you will
have access to slab rollers, extruders, spray
booth, glaze room, a variety of kilns, and
outdoor workspace. You’ll also have the
chance to observe demos and mingle with
students in the wheel-throwing workshop in
the adjacent Steere Studio.
Skill Level: Open to all levels. No prior
experience required
Lab fee: $55 per week, includes 150 lbs. clay,
slips and underglazes, firings, kit provided by
instructor, model fees. All basic studio tools
are available to use, but you are encouraged
to bring any of your own favorite tools.
Enrollment limited to 10 students per week
Lee Puffer earned her MFA at San
Diego State University, and her BFA at
Massachusetts College of Art, Studio for
Interrelated Media, working with Tony
Oursler and others. She creates life-sized
figurative and kinetic sculpture in ceramic
and mixed media as well as installation
works. Lee has exhibited at the Institute
of Contemporary Art Boston, American
Museum of Ceramic Art, and Women’s
Museum of California, among others. She
teaches at Palomar College in San Marcos,
CA. www.leepuffer.com
* HOT CLAY and CERAMICS STUDENTS
you may also be interested in:
Hopi-Tewa Pottery see page 21,
Micaceous Pottery see page 21,
Dig and Make Clay for Pottery see page 22.
METALS WEEK
OVERVIEW
Coordinator: Deborah Jemmott
Spend a week in intensive metals studies with
a master metalsmith instructor. Maximize
your creative artistic experience through
workshops, lectures and demonstrations
delivered by a team of six experts.
JUNE 19–23
You will work with one master instructor in
an environment that encourages learning
new techniques and creating work as well
as networking with fellow jewelers and
metalsmiths. Learn new skills, improve your
techniques, and challenge yourself to grow
as an artist working in metal. Lectures and
demonstrations give you access to a variety of
experts with different perspectives on metal
and jewelry work. Small class size allows
maximum interaction with your instructor.
Your week will also include:
• Opening night faculty slide show
• Faculty exhibit and reception
• Two afternoon cross-over demo sessions
with other Metals Week instructors
• Potluck dinner
• Art Auction
• Culmination exhibit of participant work
From the Smithy to the Jeweler’s Bench
Blacksmithing Techniques for Jewelers
Tom McCarthy
June 19–23 Course # AAJW ØØA
One-week session
For centuries, blacksmiths have used
specialized techniques to stretch, twist, split
and manipulate metal. In this class, you
will learn how to apply these techniques
on a smaller scale to non-ferrous metals.
Experiment with forging skills including
directional stretching with hammers,
splitting, drifting, twisting and using mortiseand-tenon joints as you manipulate silver
and copper. Try your hand at the rolling mill
as an adjunct to the hammer and learn how
the various parts of an anvil can expand the
range of your creative expression. Use your
newfound or developing skills to add detail
and distinction to your work. Learn to think
like a blacksmith to open up new problemsolving opportunities, and make your work
more dimensional, gestural and interesting.
Explore, have fun, work out your aggressions
with hammers.
Skill level: All metals students welcomed, but
basic metal fabrication skills are helpful
Tuition: $725
Lab fee: $70, includes silver, copper and
bronze rods; use of tools, equipment, and
consumables such as solder and compounds.
You are encouraged to bring your own clearly
marked metal and tools.
Tom McCarthy has been making jewelry for
more than 30 years. He earned an MFA from
Southern Illinois University-Carbondale.
His work may be found in private and public
collections including the Mint Museum of
Craft and Design in Charlotte, NC. Tom
teaches workshops throughout the country
and has contributed a chapter to The Penland
Book of Jewelry (Lark Books). In 2006, he
received a Fellowship in the Arts from the
State of Florida.
www.tommccarthyjewelry.com
Melt it…Cast it…Wear it!
Elise Preiss
June 19–23 Course # AAJW ØØB
One-week session
Do you have leftover pieces of silver or
abandoned projects? Bring them back to
life using exciting and straightforward
casting techniques. Learn how direct
casting – pouring molten metal directly
into or onto a material to create decorative
forms – can transform your materials. Delve
into a variety of processes to safely cast
dimensional forms in metal to create pieces
that stand alone or become components for
larger projects. Best of all, techniques are
simple and require minimal equipment, so
it’s a perfect way to integrate casting into
your jewelry studio.
You will learn torch-handling and safety
procedures for a variety of casting
techniques, including direct casting into
water, allowing for unexpected and organic
shapes; carving charcoal or cuttlebone and
casting, revealing unique form and texture;
and Delft Clay Casting, which produces
intricate three-dimensional forms from
found objects. Additionally, you will review
basic mold-making as well as finishing and
fabrication methods. Expect to take home at
least two finished pieces and the confidence
Metals Week
Rachel Shimpock, Long Burger
Elise Preiss, Cloud pendant
Victoria Lansford, Embody, necklace
to bring casting into your work at home. Let
the melting begin!
Skill level: All metals students welcomed,
but basic metal fabrication skills are helpful
Tuition: $725
Lab fee: $70, includes charcoal block,
cuttlebones, petrobond, use of basic
and specialized tools, equipment, and
Elise Preiss earned her MFA with an
emphasis in metal from CSU Long Beach,
and a BFA in product design from Otis
College of Arts and Design. She has received
many awards, and her work has been
exhibited at the Metal Museum in Memphis,
Arrowmont School of Arts and Crafts, and
The Carnegie in Covington, KY. In addition
to making jewelry, she teaches at Otis and is
a freelance design consultant for corporate
clients. www.elisepreiss.com
Powder Coating for Jewelry
Kitchen Style
Rachel Shimpock
June 19–23 Course # AAJW ØØC
One-week session
Color can be so seductive. Want a quick and
inexpensive way to add color to your work?
Have you considered powder coating? Learn
how you can use powdered plastic that fuses
in a home toaster oven to create the durable
finishes you see on industrial items. The color
range is extensive and the possibilities for
manipulation are endless.
Explore how to apply powder coat to your
metal, wood, glass, ceramic and other objects
(provided they can tolerate 400 degrees in
your home toaster oven). Rachel will demystify the process and show you masking
and sgraffito techniques that can be applied
to flat as well as dimensional forms. You
will also learn how to shoot color with the
powder-coating gun. Bring your heat tolerant
objects (no larger than 4” in any direction) to
be transformed with color. Use this exciting
new tool in the jewelry world to enhance
your toolbox of skills.
Skill Level: All metals students welcomed,
but basic metal fabrication skills are helpful
Tuition: $725
Lab fee: $55, includes Basic Powder
Coating Kit, use of vast selection of colors,
instructional booklet, use of general
and specialized tools, equipment, and
Rachel Kassia Shimpock is an adjunct
instructor of metals and jewelry at CSU Long
Beach and an instructor and lab technician
at Long Beach City College. She earned her
MFA in jewelry and metals at San Diego
State University and her BFA from CSU Long
Beach. Her work has been shown extensively,
is part of the collection in Oregon Museum of
Contemporary Craft and published in Humor
in Craft by Brigitte Martin.
www.rachelshimpock.com
High-Relief Eastern Repoussé and Chasing
Victoria Lansford
June 19–23 Course # AAJW ØØD
One-week session
Learn the secret of texturally sculpting metal
into any shape or design of high or low
relief with the technique of Eastern repoussé
and chasing, used by the ancient Egyptian,
Greek, and Scythian metalsmiths. You will
make up to three pendants and one finger
ring while learning how to achieve exquisite
detail, unsurpassed depth, and multiple
levels of relief that are exclusive to this type
of repoussé. The techniques you learn will be
applicable to any type of design, regardless
of scale or whether pieces are wearable,
functional, or sculptural. Through the ring
project you will learn Victoria’s method of
creating cuff bracelets in a fraction of the
time. Explore how to use repoussé with
alternative materials, such as mokume gane
and bi-metal. You will leave with written
instructions and information on tool-making.
Skill level: Basic jewelry making experience
and familiarity with metalsmithing and silver
soldering terminology
Tuition: $725
Lab fee: $10, includes use of equipment, and
marked metal and tools. Use of Swissmachine replicated sets of the instructor’s
tools, with option to buy for $195 at end of
class.
Victoria Lansford has generated an
international revival of nearly lost, old
world metalsmithing techniques through
her artwork, publications, workshops, and
passion for creating. Her award-winning
artwork has been featured in many exhibits
and publications, including Metalsmith,
Jewelry Artist, Lark 500 series, and Chasing
& Repoussé, and in her internationally
acclaimed video and book series, Metal
Techniques of Bronze Age Masters.
www.victorialansford.com
Soldering Big and Little
Joanna Gollberg
June 19–23 Course # AAJW ØØE
One-week session
Learn all about soldering with a torch using
two gasses (either oxy/acetylene or oxy/
propane) and essential information on
safe torch set-up and operation. Explore
specialized techniques you can apply with
confidence to big and little metal objects.
Expect to complete at least two projects: one
large (over 3”) sheet metal project and one
tiny wire (under 1”) project.
Start thinking now so you will come prepared
with ideas. Dream up something big and
something little to solder. You will discuss
hollow forms, appliqués, simple wire filigree,
Metals Week
Joanna Gollberg, Charm necklace
and building the prong setting—all within the
context of successful soldering techniques.
Tuition: $725
Lab fee: $10, includes the use of tools,
equipment, and consumables such as solder
and compounds. You are encouraged to bring
your own clearly marked metal and tools.
Special soldering block will be available for
an additional $5.
Joanna Gollberg is a studio jeweler in
Asheville, NC. She exhibits and sells
her jewelry nationally, and she teaches
jewelry making at craft schools and for
metalsmithing groups. Joanna is the author
of The Jeweler’s Guide, Making Metal Jewelry,
Creative Metal Crafts, and The Art and Craft
of Making Jewelry. www.joannagollberg.com
The Stories We Tell
The Jewelry We Make
Sarah Doremus
June 19–23 Course # AAJW ØØF
One-week session
Art is about storytelling. And everyone has
a story. Explore myriad techniques that
encourage the expression of your story. You
will begin with a few keepsakes that you want
to make into a wearable piece. Consider such
things as your grandfather’s army buttons, a
cherished family watch, your child’s tooth, or
a rock from a favorite vacation. Transform
that special treasure into something
wonderful by integrating it into a piece of
jewelry to tell a story. Using non-traditional
techniques and the flotsam and jetsam of
your life, you will turn everyday objects into
narrative or concept-based art. Plan to bring
a collection of “stuff ” meaningful to your
life, along with some extra bits to trade or
share. You will work with copper, brass and
silver, as well as employ cold connections
including rivets, tabs, prongs, screws and
resin. Experiment with galvanic etching
to transfer words and images to metal and
diamond drills to integrate stone and glass.
Use your peers to develop ideas and get
advice. Finished pieces may not be confined
to jewelry, but you will strive to create a
formal composition that tells a story in
wearable form.
Tuition: $725
Lab fee: $40, includes PnP paper, chemicals
for etching, rivets , spring wire, screws, nuts,
washers, mini-wrench, basic and diamond
drill bits, tap and die, spiral saw blades,
plexiglass, epoxy resin, pigment, use of tools,
and compounds. You are encouraged to bring
your own clearly marked metal and tools.
Sarah Doremus lives and works in Deer Isle,
ME. She has taught workshops for children
and adults throughout the country, including
Haystack Mountain School of Craft, Peters
Valley, and Metalwerx. She earned her BS in
art history from Northeastern University and
a BFA from the Massachussets College of Art.
Sarah is an active sculptor and metalsmith,
and her work has been shown in many
publications and galleries throughout the
United States. www.sarahdoremus.com
JEWELRY
Metal Clay Intensive: Earrings
Jonna Faulkner
July 9-11 Course # AAJM Ø1
Three-day session
Create dramatic, dimensional earrings using
a variety of techniques, including conemaking, using cork clay armatures to create
hollow forms, employing frames to create
emphasis, riveting mixed metals together,
and layering appliqué pieces. You will learn
to apply 24k gold foil using the keum-boo
process, pearl- and stone-setting, and
soldering earring posts. These techniques
also may apply to constructing pendants,
bracelets, and rings. Discover how to use
silver metal clay, a malleable material that
works like clay but, after firing in a kiln, is
composed solely of pure silver. Expect to
make at least seven pairs of earrings.
Skill level: All levels are welcome
registration
Tuition: $495
Lab Fee: $35, includes the use of tools,
Jonna Faulkner, Earrings
equipment, and kiln, some supplies and
handouts
Jonna Faulkner 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 calendars by Holly Gage
for the years 2009 to 2013, and 1000 Beads.
Jonna has taught workshops in France, New
Mexico, California and Arizona, and at her
home studio in Escondido, CA.
www.jonnafaulkner.com
Roughing It:
Creative Textures for Metal
Deborah Jemmott
July 11–15 Course # AAJT Ø2
One-week session
Texture can add visual interest and express
individuality in jewelry. It enriches surface
and complements forms. Distinctive
textures create contrast, pattern sheet and
wire, enhance dimension, and embellish
forms with stunning results. Explore
myriad options including hammer texture,
stamping, roller printing, file texture, burr
and grinding textures, heat texture and
transfer textures. Learn to make your own
texture plates for roller printing, create a
texture hammer, and modify simple punches
and chisels to create custom texturing tools.
These plates, hammers and other tools are
unique and give your work an individual
voice. After experiencing the “how-to,”
you will investigate aesthetics: When is it
Jewelry
Deb Jemmott, Pendant
Tom McCarthy, Dance of Life
Sarah Doremus, Pin
too much? How do you combine textures?
How can texture be used to make a more
powerful statement? Your workshop will
include necessary technical information
to use textures to their fullest advantage,
including soldering, finishing, patinas, and
keum-boo. Expect to finish several pieces of
jewelry in addition to making many samples
for future use.
Tuition: $725
Lab fee: $60, includes texture tool blanks, use
of basic and specialized tools, equipment, and
Deb Jemmott has shared her love for metal
by teaching classes since 1978, teaching
through the San Diego Community College
District in addition to many workshops.
Deb’s belief that everyone has artistic
creativity combined with her mastery of
jewelry making techniques is key. She
nurtures creativity in each student and helps
with technical issues so students achieve their
ideas in metal. Deb’s work has been featured
in many periodicals and books, and she
exhibits and creates custom work.
www.debjemmott.com
* METALS WEEK & JEWELRY
STUDENTS you may also be interested in:
Hopi Jewelry see page 20,
Navajo Inlay Jewelry see page 20.
Rachel Shimpock, Disc bracelet
Jewelry
Sarah Doremus, Pin 2
Deb Jemmott, Exchange Piece 2
Tom McCarthy, Resting Pair
Michael deMeng, Apocalypto Shrine
MIXED MEDIA/BOOK ARTS
Assemblage I
Apocalypto Shrines
a.k.a. Beyond Thunder Duomo
Michael deMeng
June 19-20 Course # AAAS ØØ
Two–day session
“Perhaps I have too much time on my
hands,” says instructor Michael deMeng,
“but one of the things I like to ponder is
strange alternative realities. Recently I was
considering the universal desire/need that
humans have to create shrines, and because
I recently watched the new Mad Max film
I wondered what shrines might look like in
a post-apocalyptic society. Most certainly
they would exist, but I surmised they would
exist using the debris, dust and rust that
might accompany such a world. And voilà,
Apocalypto Shrines.”
Join Michael and create your own shrine
from the discarded. “You will create shrines
that are crusty, dusty and, most important,
rusty,” he promises. “Using a variety of
techniques, you will thoroughly oxidize and
verdigris your creations until they look like
they’ve been to the end of the world and
back again. It’s the end of the world, as we
know it and I feel shrine.”
registration
Tuition: $350
Lab Fee: $35, includes VerDay Paint &
Patina, Golden Acrylic Paint, Aves Apoxie
Clay, E6000 Craft Adhesive, textures
Michael deMeng, see bio under Punk
Fiction.
to share, metal sheets, use of Dremel and
attachments, paint, adhesives. Also covers
Assemblage III lab fee.
Assemblage II
Punk Fiction: Embossa Nova Books
Michael deMeng
Michael deMeng, see bio under Punk
Fiction: Dream Journal
June 21 Course # AAAS ØØA
One-day session
Assemblage III
Punk Fiction: Dream Journal
Michael deMeng
“One of my favorite things when I visit
Mexico is the little embossed-metal shriney
things,” says workshop leader Michael
deMeng. “Usually they’re filled with little
saints and surrounding them are decorative
metal homes.” In this class, Michael will
guide your exploration of metal embossing
combined with the art of assemblage. You
will reshape, reform and refine malleable
metal from its underside. Known as repoussé
and chasing, the process creates “very nice
raised decorative effects.”
In this workshop, you will modify one or
more existing books. “Could be a sketchbook
or a novel by your favorite author,” he
suggests, “and you will customize it using
embossing and paints. I will show you a
variety of techniques with this process and
most importantly how you can combine it
with other mediums, such as sculpture and
paint to create a little antiqued book. Don’t
be afraid…no one is the emboss of you.”
Tuition: $175
Lab Fee: $40, includes metal-embossing tools
June 22 Course # AAAS ØØB
One–day session
Wouldn’t it be nice if the cover of the book
was as fascinating and enchanting as the
interior? Time to take bookmaking to a
whole new bizarre level. Transform books or
journals into “strange and unusual bookssemblages.”
Taking an existing hardback book, you
will modify it using clay and a variety of
assemblage and painting techniques. Perhaps
you’d like to transform the cover of your
Edgar Allen Poe anthology into something
goth-ish, or maybe you want a steampunk
journal, then again it might be a living
breathing beasty that your cover requires. Set
your imagination free, explore well beyond
the traditional, and create books that are as
fascinating to look at as they are to read.
Tuition: $175
Lab Fee: $40, includes Golden Acrylic Paint,
molding paste, E6000 Craft Adhesive, Kroma
Mixed Media/Book Arts
Michael deMeng, Punk Fiction Embossa Nova book (detail)
Michael deMeng, Punk Fiction Dream journal
Crackle, Aves Apoxie Clay. No lab fee if you
are also enrolled in Assemblage 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 Canada. As an
artist, he has participated in many exhibits
that promote awareness of AIDS, breast
cancer, the environment and other social
issues. Michael 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 books,
Secrets of Rusty Things and Dusty Diablos:
Folklore, Iconography, Assemblage, Ole!, as
well as Art Abandonment, co-authored
with wife Andrea Matus, and his new book,
Grimmericks. As an educator, he leads mixedmedia workshops throughout the country and
over the years has been involved with VSA
Montana. Through his work, Michael fosters
community awareness and offers creative
methods to explore the human experience.
www.michaeldemeng.com
Mixed Media I
Transparental Guidance
Andrea Matus deMeng
June 23-24 Course # AAMM ØØA
Two-day session
“I love working with multiple layers,” says
instructor Andrea Matus deMeng, “the end
result is so rich and mysterious, almost as
if you can see glimpses of what has passed
before permeating through the surface. “
Created as an extension of her Collaging
the Translucent class, this workshop will
challenge you to incorporate new techniques
using transfers, resins, and acrylic sheets.
You will develop these innovative techniques
to create effects that mimic the look of
printed glass, stained glass, glass etchings
and encaustics. You will learn to combine
transparencies, acrylic sheets, photos,
textured papers, ephemera, textiles and found
objects to create multi-tiered compositions
of richly layered collages, with jewel-like
depth and vibrancy. Explore and push the
boundaries of these techniques with lots
of experimentation and then assimilate the
best into your project. Using a cradled board
substrate as your base, you will combine layer
after layer of transparent and semi-visible
design, focusing on light, reflection and depth
to create mesmerizing art.
Skill Level: All levels are welcome, including
returning students
Tuition: $350
Lab Fee: $25, includes cradled board
substrate, acrylic sheet, matte board,
hardware, acetate, Aves Epoxy Clay,
adhesives, resin, pouring medium, and
shared tools, collage materials, pastels and
other marking tools
Andrea Matus deMeng, see bio under Art de
Refusés.
Mixed Media II
Art de Refusés
Andrea Matus deMeng
June 25 Course # AAMM ØØB
One-day session
“I always found it fascinating that the Salon
des Refusés had tremendously successful
shows from the artworks of renowned artists
that had been rejected by the established art
world,” says Andrea Matus deMeng. Playing
with this concept, Andrea will challenge you
to take your own abandoned or unfinished
artworks and give them a second chance
to shine. No old art you’d like to alter? No
problem, you can also create your expressive
mixed-media artworks from the ground up.
You just might find an old photograph or
doodle you’d like to incorporate.
Prepare to do transformative magic as you
take everyday images and change them into
mixed-media masterpieces, whether they
be landscapes, abstracts or something in
between. Bring your assortment of imagery
and that box of ephemera that you’ve
been collecting forever, then incorporate
it all into your canvas. Elevate them from
the ordinary to the extraordinary as you
explore sophisticated techniques for creating
multilayered collage. Focus on the interplay
between paint, collage, and mark-making
to bring fun and spontaneity back into your
process. Working intuitively, you’ll play with
color and composition without obsessing
about a specific outcome, allowing the
freedom to leave your inner critic behind.
Andrea Matus deMeng, Transparental Guidance
Tuition: $175
Andrea Matus deMeng is a Vancouver-based
artist who travels the world teaching and
creating visual art. She shows and exhibits
her unique combinations of painting, collage
and sculpture throughout North America.
Not one to be afraid of color, Andrea’s
work, projects and workshops all revolve
around the fusion of pattern and design
with vivid colors. Recently, she co-authored
Art Abandonment with her talented artisthusband Michael deMeng.
www.andreamatus.com
The Creative Edge
Sas Colby
July 11-15 Course # AAMC Ø2
One-week session
“Creativity is a matter of getting lost and
dealing with the consequences.” Enjoy a
series of creative encounters with ideas
and materials, based on the premise that
working with the unknown can lead to
breakthroughs in art-making. Experiment
with new materials and ways of working, try
many approaches, and open the door to your
authentic voice and artistic sources.
You will use gesso, newsprint, stones, found
objects, string, shellac, paint and more to
express yourself in energizing perception
exercises, designed to stimulate an artful
response. Although this is a process-
Mixed Media/Book Arts
Andrea Matus deMeng, Art de Refusés (detail)
Sas Colby, Blue Garden (detail)
oriented class, you will create many new
works each day, including drawings, books
and small sculptures. Slides, mixed-media
demonstrations and group projects will
emphasize art as an integrative experience,
and introduce free association and
experimentation with off-beat art forms.
Art experience is helpful but not necessary.
Come with a willingness to experiment and
be unattached to a specific outcome. The
instructor’s manual is a book made expressly
for the class. The workshop is designed to
stretch the boundaries of your thinking and
creating, and will be beneficial for artists,
teachers, writers and creative souls from any
discipline.
Skill level: All levels, all disciplines are
welcome
Tuition: $725
Lab Fee: $15, includes shared materials such
as matte medium, brushes, heavy gel, gesso,
22” x 30” paper, resource material
Sas Colby, Bunnies on Ice
Sas Colby has more than 40 years of
experience making, exhibiting and teaching art.
Her interdisciplinary art combines textiles,
photography, drawing and painting, and she
is a pioneer in the genre of artists books. Her
artwork has been collected and exhibited
nationally and internationally, most recently
in “Sisters of Invention” at the San Francisco
Center for the Book. Sas has been a visiting
artist in Australian universities and at schools
throughout this country.
www.sascolby.com
*
MIXED MEDIA & BOOK ARTS
STUDENTS you may also be interested in:
3D Encaustic Exploration and MoldMaking, see page 29,
Adventures in Woodcut Printmaking,
see page 29,
Glass Blowing, see page 28,
iPhoneography, see page 27,
Monotype, see page 28,
Small Scale Bronze Casting, see page 29.
Git Hayetsk Dancers, 2014
NATIVE AMERICAN
ARTS
OVERVIEW
Featuring two dynamic components:
WORKSHOPS, June 27 - July 10: Engaging,
hands-on learning opportunities are designed
for adults of all levels of experience and
knowledge. Working closely with master
artists and cultural specialists, you will have
the rare opportunity to learn traditional and
contemporary Native American art forms and
gain insight into the rich cultural foundation
that inspires and motivates each artist.
FESTIVAL, July 3-8: Distinguished artists,
scholars and cultural specialists will present
exhibits, performances, demonstrations,
films and the Michael Kabotie Lecture
Series. Daily Native American food tastings
mean there will be something to stimulate
all your senses. The spirit of this annual
event is to bring the scientific, intuitive
and trickster voices together for a balanced
and provocative learning experience. It is
designed to enhance and add depth to the
hands-on workshop experience.
All Festival events are open to the public.
2016 Festival Theme: ARTifical Borders
Consultants: Joe Baker (Delaware), director,
Palos Verdes Art Center; and Gerald Clarke,
Jr. (Cahuilla), artist, chair, Idyllwild Arts
Academy Visual Art Department.
Schedule and Guests: See
www.idyllwildarts.org/nativearts
Previous Festival Guests Include:
Dr. Lowell Bean
Bert Benally
Dr. Janet Berlo
Dr. Tara Browner
Dustinn Craig
Dr. Patricia Crown
Dancing Earth/
Rulan Tangen
Brent Michael Davids
Chris Eyre
Gary Farmer
Yatika Fields
Git Hayetsk Dancers
Teri Greeves
Dr. Jonathan Haas
Sterlin Harjo
Dr. Ann Lane Hedlund
Michael Kabotie James Luna
Patricia Michaels
Mt. Cahuilla Birdsingers
Loretta Oden
Alex Seotewa
Sean Sherman
Jock Soto
Spiderwoman Theater
Arigon Starr
Dr. Rina Swentzell
David Treuer
W. Richard West
Manuelito Wheeler
Nathan Youngblood
…and many more!
FESTIVAL WEEK EVENTS Open to the Public
JULY 3-9
Each day, visiting guests will explore a wide
range of topics.
Sunday, July 3
6:30 p.m. Opening Presentation
Monday, July 4
7 p.m. Gallery Talk
8 p.m. Invitational Exhibition,
Opening/Reception
Tuesday, July 5
12–1 p.m. Kabotie Lecture Series
Wednesday, July 6
Thursday, July 7
7 p.m. Film Night
Friday, July 8
7 p.m. Native American Performance
Saturday, July 9
8 a.m. Hopi-Tewa Pottery Firing
WORKSHOPS
Native Plants
Gathering, Processing and Feasting
Barbara Drake, Craig Torres, Daniel
McCarthy, Abe Sanchez
July 9-10 Course # NANP Ø1
Two-day session
Learn to preserve and use native plants
from seasoned experts. Stroll through the
campus meadow, next to ancient Cahuilla
bedrock mortars, and learn about the
plants surrounding you in an ethnobotany
talk. Discover the secret lives of plants and
seeds you usually look right past, including
mesquite beans, prickly pear cactus, yucca,
elderberry, stinging nettle, chia and acorns.
Learn to use what you find to do everything
from treat ailments to help the environment.
Discover traditional and modern gathering
practices, as well as how to prepare and
cook these culturally valuable plants. You
will get to make your own elderberry tube
to store teas, medicine or offerings. Visit
Cahuilla rock art sites in Idyllwild to learn
Native American Arts
Native Plants
Freddie Bitsoie
their meaning and the importance of their
preservation. Your workshop will conclude
with a feast prepared together in class, and
you will get a book of recipes to take home.
This workshop is dedicated to the instructors’
teacher, Katherine Siva Saubel, with deep
gratitude.
Tuition: $250
Lab Fee: $30, includes materials, food, and
field trip
Craig Torres (Tongva) is a member of the
Traditional Council of Pimu and involved
with the Ti’at Society, an organization focused
on the revival of the traditional maritime
culture of the Southern California coastal
region and Southern Channel Islands. He is
an artist, educator and consultant who works
with schools, cultural and nature centers,
museums, and government agencies. He has
helped create cooking demonstrations and
classes using native California plants for
Preserving Our Heritage and Chia Café.
Barbara Drake (Tongva) is a tribal elder
and culture keeper. Her program, Preserving
Our Heritage, is a bank of native foods
collected, preserved and processed for tribal
elders. She is a member of the Mother Earth
Clan, a group of Southern California Native
American women educators who have
taught extensively in museums, schools and
tribal institutions.
Daniel McCarthy earned his BS and MS in
anthropology from UC Riverside. For the
past 40 years, he has worked at Anza-Borrego
Desert State Park, Joshua Tree National
Park and throughout Southern California
compiling photographic inventories of rock
art sites. He has worked with elders and
traditional practitioners for more than 35
years and served as the Tribal Relations
Program manager for the San Bernardino
National Forest for 17 years. He is currently
director, CRM Department, San Manuel
Band of Mission Indians.
Abe Sanchez is active in the revival and
preservation of indigenous arts and foods,
with specialties in Southern California
Native American basketry and California
and Southwest native foods. He has worked
with traditional Native American gatherers to
learn methods and practices. Abe believes that
teaching people about ancient natural foods
and preparations, he can help them make a
difference in their health and the environment.
Chiles to Chocolate: Modern
Interpretations of Ancient Central
American Foods
Freddie Bitsoie
July 2-3 Course # NANC ØØ
Two-day session
Discover a new world of culinary wonders
as you learn to prepare native foods from
Central America’s Corn Belt. Explore the
many unique flavors and learn how they have
evolved over the years, from Pre-Iberian and
historic to colonization and current times.
Learn how the ingredients and their uses have
evolved over time and how contemporary
chefs are incorporating them today to
create exciting new fusion cuisines. As you
learn new recipes, you will see how you can
incorporate ancient techniques and readily
available ingredients such as chocolate,
chilies and corn. Drawing on inspiration
from ancient and living tribes including
the Mayans, Zapotecs, Mixtecs, Aztecs and
Pipil, create your own delicious dishes, from
tamales to spicy hot chocolate. Come eager
and hungry for two days filled with hands-on
cooking lessons and food tastings.
Skill level: Beginner, aspiring, and seasoned
chefs are welcome
Tuition: $250
Lab Fee: $75, includes ingredients and
recipe booklet. Native American producers
and cooperatives will supply many of the
ingredients.
Freddie Bitsoie (Diné), Native American
chef, owns of FJBits Concepts, a firm that
specializes in Native American foodways. He
travels widely, presenting for organizations
including Kraft Foods, College of Holy Cross,
Yale University, and Heard Museum. Freddie
hosts the public TV show Rezervations
Not Required, and has appeared in and
contributes to many publications. He won the
Native Chef Competition at the Smithsonian’s
National Museum of the American Indian.
Freddie studied cultural anthropology and
art history at ASU before attending culinary
school. www.freddiebitsoie.com
Tamales, photo by Lois Ellen Frank
Cahuilla Basketry
Rose Ann Hamilton
July 4-8 Course # NACB Ø1
One-week session
The Indian tribes of California produced
baskets of great diversity and beauty, and
the exquisite work of the Cahuilla is highly
regarded. In recent years, the Cahuilla have
experienced a revival in the art of basketmaking. Learn how to create your own
Cahuilla-style coiled basket using yucca,
sumac, juncus and deer grass. On a field trip
to the nearby Cahuilla Reservation, you will
learn how to identify and prepare plants used
in basketmaking.
Tuition: $725
Lab fee: $45, includes materials, field trip and
use of tools
Rose Ann Hamilton (Cahuilla, Apapatkiktem
clan) learned from renowned Cahuilla basket
weaver Donna Largo at Idyllwild Arts 22
years ago. She has taught Cahuilla basket
classes and presented at Cahuilla, Santa Rosa,
Ramona and Agua Caliente reservations, as
well as the Riverside Metropolitan Museum,
Autry Museum, Agua Caliente Museum,
and San Manuel conferences at CSUSB and
Crafton Hills College. She has participated in
gatherings at Los Coyotes, Santa Ysabel, and
Soboba reservations. She is the granddaughter
of Rosanda Apapas Hopkins Tortez Lugo and
the great-granddaughter of Antonia Casero,
Cahuilla master weavers.
Tohono O’odham closed-stitch basket
Navajo Weaving workshop
Tohono O’odham Basketry and Beyond
Form Over Function
Terrol Dew Johnson
June 27–July 1 Course # NAOB ØØ
One-week session
Join master basket-weaver Terrol Dew
Johnson to learn the techniques used to
create both traditional and contemporary
Tohono O’odham (Papago) baskets. Learn
the two primary traditional coil techniques:
closed-stitch, in which the sturdy inner
coil is covered by hundreds of tight stitches
that are woven directly next to one another;
and split-stitch, in which the inner coil is
exposed by spacing stitches farther apart,
alternating stitches and blank space to create
mesmerizing designs and patterns. You will
use native plants of the Sonoran Desert
in southern Arizona, and the traditional
technique of relying solely on the natural
colors of desert plants including white yucca,
green bear grass, and black devil’s claw. Learn
about sustainable growing, collecting and
preparing of the natural fibers. If you wish to
explore the techniques Terrol uses to create
non-traditional baskets, he will hold extra
sessions and you will collect local materials
to use.
Tuition: $725
Lab Fee: $60, includes all gathered and
processed fibers and materials to complete
one small traditional basket, and the use of
awls and other tools. Awls will be available
for purchase at the end of class.
Terrol Dew Johnson (Tohono O’odham),
community leader and artist, co-founded
Tohono O’odham Community Action,
dedicated to creating positive programs based
in the Desert People’s Way. He has won top
honors at Santa Fe Indian Market, O’odham
Tash, Heard Museum Fair, and more. His
work is in the permanent collections of
the Smithsonian’s National Museum of the
American Indian and the Heard Museum.
He was honored for his community work
with the Ford Foundation’s Leadership for a
Changing World Award.
Navajo Weaving
Beginning & Intermediate
Barbara Ornelas and Lynda Pete
June 27–July 1 Course # NANW ØØ
July 4-8 Course # NANW Ø1
One or Two-week session
Learn the art of weaving from master
Navajo weavers Barbara Teller Ornelas and
Lynda Teller Pete, originally from Two Grey
Hills and Newcomb, New Mexico. While
instructing and demonstrating, sisters
Barbara and Lynda will share their family’s
personal weaving stories and experiences,
giving you a view into the world of Navajo
weaving. According to Navajo oral tradition
two holy people, Spider Woman and Spider
Man, introduced weaving to the Navajo.
Spider Man constructed the first loom,
which was composed of sunshine, lightning,
and rain; and Spider Woman taught the
people how to weave on it. Spider Woman
was discovered by the Holy Twins, the
culture heroes of the Navajo Creation Story,
in a small opening in the earth surrounded
by an array of beautiful weavings. Entering
her dwelling, the Holy Twins descended
a ladder made of yarn, whereupon Spider
Woman offered them knowledge of the
world of weaving.
Beginners: Learn the traditional method
of Navajo weaving and begin weaving with
a pre-warped, upright Navajo loom. The
majority of the week will be spent designing
and learning how to weave a 12” x 16” rug.
There will be a lesson on warping a loom later
in the week. Beginning weavers may enroll
for the full two weeks or only the first week.
Intermediate: If you have previously taken
the course or have had basic Navajo weaving
training on an upright loom, you will explore
more advanced weaving techniques and
patterns, and your rug may be any size. You
may bring rugs from previous summers
to complete, or may begin a new rug.
Intermediate students must bring their own
looms, and they must be set up for weaving
before class begins. Alternately, they may
order a pre-warped loom at registration.
Intermediate students may enroll for the full
two weeks or only the second week.
Materials: You may wish to bring a seat
cushion and small clamp or desk lamp
Lab fee: $80 beginners, includes the use of
a pre-warped loom and all tools in class,
four skeins of wool. Looms, additional wool,
battens and combs will be available for
Cahuilla Basket ‘start’
purchase. Intermediate students: no lab fee;
wool and warp will be available for purchase.
If you wish to order a pre-warped loom for
$45, you must do so when you register.
Enrollment limited to 10 students per week
Barbara Teller Ornelas is best known for
her Navajo tapestry weavings (95–120 weft
threads per inch). She has set several records
with her weavings: she has won Best of Show
at the Santa Fe Indian Market twice; she set
a new record in 1987 by selling a weaving for
$60,000 that she and her sister Rosann Lee
made; and she wove the largest tapestry-style
Navajo weaving on record. Barbara is a fifthgeneration 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 many books. She has won dozens of
awards, and has demonstrated and lectured
at many museums and institutions around
the world. She recently participated in a
cultural exchange with Peruvian weavers
at the request of the US State Department.
Barbara and Lynda have taught their popular
workshop at Idyllwild Arts for 18 summers.
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
many awards for her weaving, including Best
of Classification for Textiles at the prestigious
Santa Fe Indian Market. Lynda collaborates
with museums, schools and art venues in
Colorado and around the country to teach
about Navajo weaving. She is also known as
Hopi Jewelry workshop, Tufa Casting process
an accomplished beadwork artist and has
won many awards for this work.
www.navajorugweavers.com
Hopi Jewelry
Overlay and Tufa Casting
Roy Talahaftewa
June 27-July 1 Course # NAJH ØØ
One-week session
Explore the classic Hopi overlay technique of
metalsmithing, as well as tufa casting. Tufa is a
soft porous stone used for direct casting oneof-a-kind designs. Learn to combine tufa cast
pieces with overlay designs (multiple layers
of sheet silver with cut-out designs, textured
and oxidized recessed surfaces), or create
separate overlay and tufa works. Roy also will
demonstrate techniques for making stamping
tools. Close instruction means this workshop
is well-suited for all levels of students.
Beginners: Learn the fundamental materials,
processes, and techniques of silversmithing.
Intermediate/Advanced: If you have some
experience, you will be able to fine-tune
your skills while mastering new techniques.
You also may choose to learn the shadow
box technique.
Tuition: $725
Lab fee: $65, includes use of all tools,
equipment and consumables such as solder
and compounds. Bring your own silver and
hand tools, if you have them, but be sure
they are clearly marked. Tufa stone and some
silver sheet will be available for purchase.
Roy Talahaftewa (Hopi, Water Clan) is from
Shungopovi Village in Arizona. He works
in silver and gold, and uses Hopi overlay
and tufa casting in his designs. Roy received
the first major award for his work in 1981,
and has earned Best of Show at the Heard
Museum, among many others. Working
with the nonprofit Hopi Pu’tavi Project, Roy
teaches Hopi youth the art of metalsmithing,
and he is an advocate and promoter of Hopi
artists on the reservation.
Navajo Inlay Jewelry
Richard Tsosie
July 4–8 Course # NAJN Ø1
One-week session
The Navajo adopted the art of jewelry
making from the Spanish, 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 that 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,
you might find lapis lazuli, purple lavulite,
diamonds, pearls, malachite, jet stone, jade,
melon shell and other stones, shells and
gems. In this workshop, you will work closely
with Richard, a leading contemporary Navajo
jeweler. You will design patterns and cut,
grind and prepare stones to set into basic
silver forms such as rings, bracelets, earrings
Joel McHorse, Oxygen Reduction Micaceous Pot
and belt buckles which you will create. If you
have no prior experience in silversmithing,
you will learn the basic techniques and
concepts for shaping silver.
Skill Level: All levels are welcome, but
some basic experience working with silver is
helpful
Tuition: $725
Lab fee: $45, includes the use of all tools,
and compounds. Additional charges will
accrue for all silver and stones used. A small
selection of turquoise and other stones
will be available for purchase, but you are
encouraged to bring your own stones that
match your preferences. You may bring your
own silver, tools, stones, and work lamp, but
they must be clearly marked.
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, AZ. His
work has been featured in American Indian
Art Magazine, Arizona Highways, 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.
Native American Flute Making
Marvin and Jonette Yazzie, Ernest Siva
June 30–July 3 Course # NANF ØØA
Intermediate: 4-day session (Thurs.-Sun.)
July 1–3 Course # NANF ØØB
Beginners: 3-day session (Fri.-Sun.)
Construct and decorate your own six-hole
flute under the guidance of an experienced
Navajo flute maker. Learn the history of flutes
as well as how to handle and care for your
newly created instrument. During the course,
ethnomusicologist Ernest Siva will teach the
basics of flute playing and you will receive a
music booklet.
Beginners: Learn to use Utah blue spruce for
the flute body, then carve, shape, oil, tune and
decorate your flute. Flutes will be tuned using
the Pentatonic scale, and you will choose the
key, from F to A.
Intermediate: If you previously have taken
class from the Yazzies, you will hand carve
a flute from bass wood. You will make a
“grandfather” flute using body measurements
like Native flutes of old times.
Tuition: $490, Beginner, 3-day session
$590, Intermediate, 4-day session
Lab fee: $40, Beginner
$60, Intermediate
Includes wood, totems, materials and the use of tools and equipment
Richard Tsosie, Navajo Inlay
Mark Tahbo, 3 Generations Jar
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 flutemaking, 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 used Yazzie flutes on his
CDs Sacred Dreams and New Fire. 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 played flutes in
the play Anasazi at the Ramona Bowl in 2011
and played preshow for the Ramona Pageant.
www.yazzieflutes.com
Ernest Siva, musician and teacher, is the
cultural advisor and tribal historian for the
Morongo Band of Mission Indians. Ernest
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 former trustees. In 2004,
Ushkana Press published his book, Voices of
the Flute. He is president and founder of the
Dorothy Ramon Learning Center.
Traditional Northwest Coast
Paddle Making
Mike Dangeli
July 4–8 Course # NANC Ø1
One week session
In Sm’algyax, the language spoken by
the Nisga’a, Tsimshian and Gitxsan, the
word for paddle is “hawaay.” This word
is found in many songs, both old and
new, to articulate travel both physical and
metaphorical. Paddles play a central role
in many Northwest Coast tribes – they are
used for the practical purpose of rowing a
dugout canoe, but also in ceremonial dance
and symbolic acts such as entering another
peoples’ territory. In this workshop, you will
learn to carve, sand, paint and oil a paddle
using yellow cedar. Paddles will range from
3-6 feet. Mike will include a session on basic
Northwest Coast First Nations design and
painting techniques, and you will embellish
your paddles, mining your own interests and
culture to develop your designs.
Skill Level: All levels welcomed, but ability to
safely use a knife for carving wood is required
Tuition: $725
Lab Fee: $85, includes wood, paints, brushes,
shared drawing supplies and tools
Mike Dangeli (Nisga’a, Tlingit, Tsetsaut, and
Tsimshian) grew up in his people’s traditional
territory in Southeast Alaska and Northern
British Columbia. Mike is a renowned
Northwest Coast Paddle Making
artist and carver. His work is collected and
exhibited throughout North America and
Europe. He is a singer, songwriter, and
dancer. Mike and wife Mique’l lead the
Git Hayetsk Dancers, an internationally
renowned First Nations dance group based in
Vancouver, BC. He has carved more than 50
masks used in performances by their group.
Hopi-Tewa Pottery
Mark Tahbo
July 4-9 Course # NAPH Ø1
One-week session-includes Saturday a.m. firing
Learn the traditional Hopi method of
creating polychrome pottery, including
coil building, stone burnishing, painting
with natural pigments, and firing. Process
and prepare raw clay for pottery making
and prepare beeweed plant for black paint.
Experiment with the Hopi-Tewa gray clay, as
well as the yellow ochre clay that Nampeyo
often used. See demonstrations of slipping
techniques using white kaolin and yellow
ochre, and learn separate firing techniques
for gray and yellow ochre pots.
Mark will provide natural clays and paints
from the Hopi Reservation in Arizona. You
will make up to three small pieces of pottery
in this careful examination of the delicate
process of Hopi pottery making and the
cultural foundation from which the art is
inspired.
Tuition: $725
Lab Fee: $55, includes clays, natural paint
pigments, and firing materials
Mark Tahbo (Hopi-Tewa) 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 three
consecutive years. Mark has been profiled in
various publications including Native Peoples
Magazine, and is included in many books and
articles on Pueblo pottery.
Micaceous Pottery
Joel McHorse
June 27-July 1 Course # NAPMØØ
One-week session
Learn how to build micaceous pottery
vessels. Create bowls using a puki and
freeform sculptural pieces using commercial
micaceous clay, which is similar to the
micaceous clay used by the Pueblo and
Apache Indians, Hispanic people, and Anglo
potters. The thermal conductivity properties
of micaceous vessels allow for their use as
cooking pots.
You will learn to produce vessels using the
coil method, including each step of the
Tony Soares, Cahuilla style student pots
process from drying and sanding to using
a slurry to slip, burnishing to smooth and
create a hardened surface. You will kiln-fire
your ceramic pieces for the natural tan finish,
with some pieces blackened using an outdoor
oxygen reduction process in a separate
firing. Joel will explain traditional firing
techniques as well. (Because the process
requires extensive air-drying time, you will
use a pre-dried vessel prepared by Joel to
learn the finishing and firing techniques.
The pots shaped in class may be taken home
and fired.) Joel will also lead you through
the clay-making process so you can process
your own clays using natural sources. You
also will explore finishing techniques such as
waterproofing with pine pitch, using sgraffito
to decorate, and attaching sterling silver work
to a clay vessel.
Tuition: $725
Lab Fee: $65, includes clay, shared supplies,
tools, materials, one dried vessel to complete
Joel McHorse learned to make pottery from
his mother, renowned potter, Christine
McHorse, and silversmithing skills from his
father. He has synthesized the two disciplines
to create a homogenous art using both
mediums. Joel is ½ Navajo, ¼ Taos Pueblo,
and ¼ Scottish. His family collects micaceous
clay from the mountains above Taos, and
cleans and processes it by hand. He is also a
New Mexico-accredited architect. His pottery
has been featured in books and publications,
and is widely collected. His work is shown at
King Galleries of Scottsdale, AZ.
Dig and Make Clay for Pottery
Tony Soares
July 2-3 Course #NAPNØØ
Two-day session
Pottery has been made for more than a 1,000
years in Southern California, primarily for
cooking and seed storage. Dig in to this
ancient art form in this workshop, which
includes a field trip to two clay sites, where
you will learn how to carefully extract the
clay before processing it for pottery making.
Make small pinch pots and coil pots using
this clay, and experiment with other natural
clay samples provided by Tony. He also will
discuss different methods of building pots,
making natural paints, and various firing
techniques. In addition, learn how to make
and use a simple urban brick and charcoal
briquette kiln to fire your pots at home.
Tuition: $250
Lab Fee: $30, includes materials, field trip,
and shared items such as screens and metates
Tony Soares learned the fundamentals of
pottery from his grandmother at age 7,
starting a more than 30-year journey to
revive the fading art of olla making. Though
not of Cahuilla descent, he has helped revive
the art of Cahuilla pottery making through
his experimentation with local clays and
indigenous handbuilding techniques. His
Yazzie flutes
pottery is displayed in art galleries and
museums including the Tahquitz Canyon
Museum. Tony shares his knowledge to
ensure that Native American pottery-making
is never lost. He has taught at many venues
including the Agua Caliente Band of the
Desert Cahuilla of Palm Springs and the
Yuman tribes of the Colorado River, AZ.
Special thanks to our generous sponsors:
Anonymous Foundation, San Manuel
Band of Serrano Mission Indians, National
Endowment for the Arts, Agua Caliente
Band of Cahuilla Indians, Tribal Alliance
of Sovereign Indian Nations, Twenty-Nine
Palms Band of Mission Indians, San Pasqual
Band of Mission Indians, Chickasaw Nation,
Morongo Band of Mission Indians.
John Brosio, Fatigue (detail)
PAINTING/DRAWING
Painting Luminosity
Marie Thibeault
June 20–24 Course # AAPL ØØ
One-week session
Increase your understanding and use of
color as it applies to painting in oil in this
intensive workshop. Combining the best of
her popular color and painting courses at
CSULB, Marie will focus on mixing a widely
expansive vocabulary of color to create light
and luminosity. Enhance your understanding
of color expression and expand your ability
to mix, control and use color and paint
application with greater clarity and success.
You will explore key color concepts while
in the process of painting, and gain an
understanding of how color and paint
application create light, meaning, focus,
mood and much more. Marie will discuss
the most essential aspects of color and help
you explore personal approaches to pictorial
composition. You will be guided through
a process of building small collages that
illuminate essential color contrasts, with an
emphasis on light, saturation, and proportion
of color relationships. Your collages will
serve as sources for painting three canvasses.
Marie also will discuss painting techniques
and approaches such as direct and indirect
painting, under painting and glazing. This
study of color will be contextualized within
the history of painting, and you will learn
how to employ color to strengthen your work.
Skill Level: Some painting experience
necessary
Tuition: $725
Lab fee: $15, includes shared class materials
such as various oil painting mediums to explore
Marie Thibeault, professor of art at
California State University, Long Beach,
received her BFA at Rhode Island School
of Design, and her MFA at UC Berkeley.
Her large abstract paintings are arenas of
action, informed by the contemporary
landscape in transition and use symbolic
color as an expressive force. She has an
extensive exhibition record, and has received
numerous awards. Recent exhibitions include
Engineering at George Gallery Lawson
Gallery, San Francisco, and Reference to
Geometry at Jose Druis-Biada Art Gallery,
Mount St. Mary’s University, Los Angeles.
Composition for Artists
Crash Course
Marshall Vandruff
Marshall will use hundreds of great masters’
compositions to help you learn their
techniques for instilling feeling into their
work. Explore the shared principles behind
all artistic forms that great masters use to
create in varying styles. In addition, he will
touch on:
• Abstracting Elements
• Consonance
• Balance
• Dominance
• Massing
• Contrast
• Continuity
• Rhythm and Pattern
• Transition and Counterchange
• Metaphor and Emotion
Each lecture includes time for analytical
drawings from masterpieces to open your
eyes to their structure. The sessions are
creatively invigorating, so be ready — you
will learn!
June 21-23 Course # AAPC ØØ
Three-day session
Tuition: $490
Pictures are little worlds that reflect your
tastes and sensibilities. They require many
decisions — whether to make something
lighter or darker, bigger or smaller,
brighter or duller. These are the problems
of composition, problems that did not
bother you when you were a child — a child
composes instinctively. Great artists also
compose instinctively, but with grown-up
wisdom and classic skills that you will study
in this course.
Marshall Vandruff has worked as an artist
and educator in Southern California for
more than 30 years. His clients include MAD
Magazine, Hanna-Barbera, Dark Horse
Comics, Blizzard Entertainment, Disney
Studios, Gnomon Workshop, and more
than 40 advertising agencies. He has taught
more than 200 courses and workshops in art
schools and colleges, including CSUF, Laguna
College of Art and Design, LAAFA, Concept
Painting/Drawing
Robert Regis Dvorak, Badger Pass (detail)
Marie Thibeault, Engineering (detail)
Lisa Kairos, Soundings #3 (detail)
Design Academy, and Fullerton College.
www.marshallart.com
Encaustic Painting
Transparent Layering and
Mixed Media Techniques
Lisa Kairos
June 27–July 1 Course # AAPE ØØ
One-week session
Encaustic is an ancient painting medium
currently used in exciting, contemporary
ways. Explore how you can combine
encaustic with other mediums such as
graphite, thread, paper, ink, fabric, oil
paint, water media and crayons, copier
transfers, and metallic materials. Discuss
the possibilities and technical limitations of
combining encaustic with other materials so
that you can safely create rich mixed media
works. Learn precision techniques such as
intarsia (wax inlay), how to use templates
and stencils, and the trick to developing
atmospheric layers of crisp imagery in clear
encaustic medium.
Lisa will present new techniques and ideas,
and will encourage you to experiment and
refine your own pieces. You will begin by
making practice sample boards, then start
on larger pieces. Learn surface treatments
and trouble-shoot your work. Discuss
contemporary encaustic mixed media work,
and develop and refine your own work.
You will leave with technique sample boards
to use in your own studio, several finished
pieces, and a deeper understanding of the
medium and its possibilities.
Skill Level: Some basic encaustic experience
preferred
Tuition: $725
Lab Fee: $85, includes encaustic medium,
encaustic paints, six prepared hardboard
panels for technique practice and four
prepared cradled panels, use of oil paint
sticks, various handmade and found papers,
inks, water crayons, metal leaf and metallic
heat transfer film, stencil making materials
to draw and enjoy it. Learn to express your
creativity by drawing using fun and enjoyable
drawing exercises. Explore techniques to:
• draw from your imagination
• lead drawing games for parties
• drawing fun for you, your friends and
your children
Tuition: $175
Lab Fee: $30, includes 9” x 12” drawing pad,
the book Experiential Drawing, water soluble
ink pen
Lisa Kairos lives and works in the San
Francisco area and has been painting and
drawing for 25 years. She has used encaustic
materials since 2001, and teaches encaustic
technique workshops with an emphasis
on transparency, precision, and layering.
She exhibits her work nationally and is
represented by Hang Art in San Francisco
and Mixx Projects in Telluride.
www.lisakairos.com, @lkairos
This day of hands-on exercises is designed for
your success. No matter what your skill or
background, this class will have you drawing
and loving it.
Robert Regis Dvorák, see bio in Travel
Drawing and Painting
Spontaneous Watercolor
Robert Regis Dvorák
One-Minute Drawing
June 25-26 Course # AAPW ØØ
Two-day session
June 24 Course # AAPD ØØ
One-day session
Yes, you can learn watercolor painting, even
if you:
• Have no previous watercolor painting
instruction
• Have tried watercolor painting and got
discouraged
• Think that you don’t have any talent
• Haven’t painted for years and would like
to get started again
Would you like to be able to draw? Do you
think you don’t have drawing talent? Has it
been years since you tried to draw, but you’d
like to start again? Then this workshop is
for you.
Drawing is easy when you discover one
amazing secret. Learn a sequence of oneminute exercises that will teach you how
Robert Regis Dvorák, Student Drawings: Before and After
will delight and challenge you for years
to come. Capitalizing on the spontaneous
characteristic of watercolor you will learn
skills needed to confidently continue on
your own.
• Learn the secrets of spontaneous
watercolor painting
• Have fun painting creative and
spontaneous watercolors
• Paint abstract watercolors for gifts or
greeting cards
• Learn brush techniques for painting
people, skies, and landscape subjects
• Lay a foundation of skills so that you
can continue to paint with pleasure.
These hands-on exercises are designed
for fun. No matter what your skill or
background, you will quickly learn to love
painting watercolors.
Tuition: $350
Lab Fee: $35, includes watercolor paper
block, Chinese watercolor brush, Hake Brush,
portable travel palette of watercolors, and
additional materials
Robert Regis Dvorák, see bio in Travel
Drawing and Painting
Learn easy exercises designed to help you
advance quickly. Spontaneous watercolor
Painting/Drawing
Jesse Reno, Icarus Returns (detail)
Marshall Vandruff, Composition class exercise using Death of Moses by Cabanel, 1851
Travel Drawing and Painting
June 27 Course # AAPT ØØ
One-day session
Want to make your next trip the most
rewarding of all? Take a sketchbook with you
and rather than point and click your camera,
take a few minutes to make some fine, quick
sketches and color them with watercolor.
Drawing and painting is fun and will increase
your perception and enjoyment. Traveling
with a sketch book can also open doors to
interesting adventures and new friendships,
and you will return home with priceless
memories. This class will show you how to:
• quickly draw people, architecture, water,
trees, and landscape
• simplify your material—capture essence
• choose, prepare, and pack the right
materials
• be comfortable and relaxed sketching
and painting in public
• draw and paint in cafés, restaurants, on
the street, on a cruise, on airplanes and
boats
• draw and paint in public with or without
discovery
Practice simple techniques for drawing
and painting in class using projected color
travel images and other methods. Make
your future travel experiences satisfying and
unforgettable!
Tuition: $175
Lab Fee: $25, includes drawing materials,
handouts, a travel sketch pad, and The Pocket
Drawing Book. A travel watercolor set will be
available for $16.
Robert Regis Dvorák has been making
drawing and painting easy to learn for
the young and old for 35 years. A popular
speaker on all subjects of creativity for
educators and business people, his books
include Drawing Without Fear, Experiential
Drawing, The Magic of Drawing, The Practice
of Drawing as Meditation, Travel Drawing
and Painting, and The Pocket Drawing Book.
He has been an architectural designer, and a
professor of architecture at the University of
Oregon and UC Berkeley.
Gouache Painting
Color, Light, Landscape
D.J. Hall
June 27-July 1 Course #AAPG ØØ
One-week session
Learn to create a visual memoir using
gouache. Known for her oil painting
technique, use of color, and capturing light,
D.J. has found gouache to be a magnificent
medium, an artist’s workhorse that can be
used like oil paint, watercolor, or quick color
notation. With gouache, water, and some
brushes, you can have a painting studio
anywhere and anytime. Capture the moment
wherever you are. For several years, D.J. has
maintained visual diaries, painting small,
jewel-like windows into her hiking, traveling,
and home-life. She will explain how she
creates engaging little paintings and books,
with an emphasis on:
• building an efficient gouache kit
• best ways to capture a scene
• building strong composition
• simple lay-in like underpainting
• use of color
• capturing light
• exquisite details
• narrative sequence
Although these stunning paintings stand
on their own, they can become an excellent
foundation for developing larger paintings.
Finish the workshop by working larger, using
black illustration board for dusk or night
landscapes or botanicals, adding to your
artist’s toolbox.
Skill Level: Drawing and painting experience
preferred
Tuition: $725
Lab Fee: $75, includes Moleskin storyboard
notebook, Utrecht brushes, palette, Winsor
Newton basic gouache colors, black
illustration boards, and shared supplies
D.J. Hall earned her BFA at USC. She has
had solo exhibitions in New York (O.K.
Harris) and Los Angeles (Tortue, Koplin
del Rio, Craig Krull), and her work has
been included in more than 80 museum
and gallery exhibitions throughout the US,
Europe, and Japan and featured in many
publications. She has worked on extramural
projects for film (Spanglish), theater
Jesse Reno in studio
(Ahmanson) and the Los Angeles Airport.
D.J. has taught at many colleges, including
Otis and Loyola Marymount. Her papers
are archived in Charles E. Young Research
Library, UCLA.
www.djhallartist.com
Expressive Painting
Intention Over Direction
Jesse Reno
July 4–8 Course # AAPE Ø1
One-week session
In this mixed media painting class you will
learn how paintings can emerge from a base
of color, composition, size elements, and
variation. Discover how you can let your
paintings emerge on their own without
you dictating what they will be. Through a
series of painting exercises, you will explore
and express your ideas rather than confine
them to predetermined outcomes. Discover
how you can observe interactions on the
canvas and how these interactions might
shift composition, form, and meaning. Build
layers of paint, creating variation in color,
size elements and varied markings, then
experiment with subtracting and rebuilding
to create details and complexity - essentially
painting in reverse. Discover how to follow
your instincts, take risks and have fun. Jesse
will demonstrate how to use simple and
unexpected techniques and materials that
free you from tools and plans. Engage and
experience your work fully by learning new
ideas, techniques and ways of approaching
art-making.
Painting/Drawing
Robert Regis Dvorák, Mont San Michel (detail)
D.J. Hall, The Conjurer
Tuition: $725
Lab Fee: $25, includes a kit with non-toxic
acrylic paints, assorted oil pastels, colored
pencil, five sheets 18” x 24” Bristol paper
focus on your favorite water medium. You will
explore color theory and new perspectives
as key elements of art creation. Margaret’s
passion for making art is palpable. Learn to
tap into your own energy and employ new
tools to take your work to new places.
Tuition: $725
Lab Fee: $75, includes watercolor, acrylics,
and paper
Jesse Reno is a self-taught mixed media
painter. He has been drawing since he could
hold a pencil, and exhibiting his works
since 2000. Jesse has amassed more than
3,000 paintings in the last 12 years, and has
exhibited his work extensively across the
US, France and Mexico. Jesse’s work has
been covered in various art publications
including Juxtapoz, Artnews, Artension, and
Somerset Studio. One of his largest works can
be seen in Winnipeg, Canada where he was
commissioned by the Province of Manitoba
to create a 25’ x 40’ mural as a reminder
of the cultural importance of the Native
American people in the region.
www.jessereno.com
Watermedia for All: Watercolor and Acrylic
Margaret Scanlan
July 4–8 Course # AAPW Ø1
One-week session
Experience a week of delicious, intense
watermedia painting. Explore acrylic and
watercolor separately and combined. Practice
with no-failure exercises and experiments,
play with regular and iridescent paints, and
experiment with combining watercolor and
acrylic on the same paper. You will be free to
Margaret Scanlan is a full-time studio
artist in 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 many private, corporate, and
public collections in the US and Europe,
including the Huntsville Museum of Art,
Springfield Art Museum (MO), SloanKettering Hospital (NY), and L’Abbeye de la
Roe (France). She also plays keyboards in a
Celtic band, Red-Haired Mary.
Oil Painting
John Brosio
July 11-15 Course # AAPO Ø2
One-week session
Your course will begin with a start-to-finish
oil painting demonstration that will inspire
you to pursue and engage your own personal
inquiry. Discover new ways to sneak up
on the process through demonstrations of
thumbnail drawing, composition, small color
studies, and limited palette paintings. Learn
techniques of glazing and scumbling and how
to apply them to longer track oil painting.
You will receive personal instruction and be
encouraged to work on your own sketchbook.
Paint abstractly or representationally with the
use of still life, live models and the abundant
landscape!
As you develop your own paintings, you
will be encouraged to explore and employ
ideas and techniques from masters including
Wayne Thiebaud, John Singer Sargent,
Velazquez, Richard Diebenkorn, Frank
Auerbach, Edward Hopper, Luc Tuymans,
and more. Slide presentations on pictorial
space, discussions of John’s work, and afterclass interactions will inspire you to think
about your own work.
Students desiring to bring work that is
already in progress are encouraged to do so.
Skill Level: Drawing and painting experience
preferred
Tuition: $725
Margaret Scanlan, Ascending Cow
Lab Fee: $50, includes a model for two days
and other group supplies
John Brosio earned a BFA 1991, UC Davis,
with further studies at the Art Center
College of Design in Pasadena as well as the
George Lucas Industrial Light and Magic
facility in California. John has exhibited his
paintings nationally in both solo and group
shows. He teaches at the Laguna College of
Art and Design and exhibits with Arcadia
Contemporary in Los Angeles.
www.johnbrosio.com
* PAINTING & DRAWING STUDENTS
you may also be interested in:
3D Encaustic Exploration and Moldmaking, see page 29,
Visual Storytelling: Lessons from the
Simpsons, see page 33,
The Creative Edge, see page 15.
Meri Walker, The Newborn
PHOTOGRAPHY
iPhoneography
It’s Not Just Luck
Meri Walker
July 4-8 Course # AAOI Ø1
One-week session
That expensive phone isn’t just for texting,
did you know you can use it to create
art? Explore the possibilities as you delve
into the skilled thinking and technical
processing required to make serious
photographs and mobile art with an iPhone
and iPad. Meri, aka iPhoneArtGirl, will
guide you through the ins and outs of
camera replacement apps, app-stacking
processes that won’t degrade image quality,
and using social media to build fruitful
professional and learning relationships and
a strong reputation. Through this class, you
will have access to a private group blog that
you can continue using after the class ends
to share inspiration, answer questions, and
build your learning community with fellow
students. The hands-on approach will push
you to use the techniques you learn. You
will find inspiration for making powerful
smartphone images and practice using
apps to make intricately crafted images that
you’re proud to display, publish or sell.
Skill Level: Basic phone camera
photography skills and knowledge of how
to use the app store, basic familiarity with
photography terms and processes, and
comfort accessing and using iTunes. The
class will not cover fundamentals of iTunes
use or basic photography principles.
registration. Students must bring a late
model iPhone or iPad device.
Tuition: $725
Lab Fee: $25, includes 5-7 sheets Epson
printing paper, printer inks
Meri Aaron Walker, aka iPhoneArtGirl,
taught art photography and photojournalism
while exhibiting and publishing for more
than four decades. For the last six years, she
has worked solely with mobile image-making
technologies while teaching and coaching
other artists seeking quality results using
mobile tools. Her work is featured weekly
on the top mobile photography websites. In
2015, Meri juried two international mobile
photography exhibitions, taught Idyllwild
Art’s first mobile art workshop and presented
at the Palo Alto MDAC Summit and the
Creative Photo Academy in LA.
www.iphoneartgirl.com
www.flickr.com/photos/iphoneartgirl
www.instagram.com/iphoneartgirl
* PHOTOGRAPHY STUDENTS you may
also be interested in:
Punk Fiction: Dream Journal, see page 14.
Ron Pokrasso, Said the Word
PRINTMAKING
Monotype
Layers and Plates
Ron Pokrasso
June 20-24 Course # AAOM ØØ
One-week session
Using monotype as the primary technique,
you will learn how to use many plates and
collage elements to create your own richly
layered compositions. Learn how to think in
layers, where many options become available
in one or more impressions. While you
have a monotype plate in progress, you may
decide to incorporate a background plate
and perhaps a collage element or even an
intaglio plate. With so many surfaces, your
options will become endless and the mixing
and matching of imagery has the potential to
move you into exciting new directions. Ron
will use Akua water-based non-toxic inks and
modifiers to demonstrate various techniques,
which he will intersperse with art-making
philosophies. This workshop is intensive,
enriching and eco-friendly.
Register and pay in full by May 1 to receive a
Ron Pokrasso 6” x 6” monotype!
Tuition: $755
Lab Fee: $75, includes inks, solvents, use of
tools and equipment
Ron Pokrasso earned his MFA from
Pratt Institute in 1975 and has had more
than 40 solo exhibitions and 150 group
Sean Star Wars, Robot (detail)
shows. His work is in public, private, and
corporate collections throughout the
US and abroad and is featured in several
books. He originated 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
Adventures in Woodcut Printmaking
Sean Star Wars
June 27-July 1 Course# AAOP ØØ
One-week session
Sean Star Wars lives in Laurel, MS. He earned
an MFA in printmaking from Louisiana
State University, and has been making bright,
colorful woodcuts for more than 20 years.
Sean is a member of the legendary Outlaw
Printmakers, a handful of printmakers
who have reshaped the visual landscape of
printmaking across academia. His work is
in many public and private collections, and
may be seen on book covers, album covers,
magazines, television programs, commercials
and film. He makes about a dozen visiting
artist appearances a year at many of the
nation's leading art programs.
www.seanstarwars.com
Execute and create a limited edition of your
own 15” x 20” multi-block color woodcut.
As you conceptualize an image, develop a
color sketch, cut the woodblocks and print
them, you will explore ways to incorporate
color into the printmaking process. Sean will
also discuss tool and equipment safety, and
give an overview of printmaking history and
contemporary printmakers. You may also
choose to print your woodblocks directly
onto T-shirts and other fabric.
Skill Level: Beginner through advanced
printmakers welcomed
Tuition: $725
Lab Fee: $50, includes inks, Baltic birch
plywood, five sheets 15” x 12” Rives BFK, use
of tools and equipment
Glass Blowing
SCULPTURE
Glass Blowing
Ramson Lomatewama
June 27–July 1 Course # AASG ØØ
One-week session
Learn the fundamentals of working with
hot glass by working with the equipment
and tools used to create glass art. You will
create your own work, beginning with solid
pieces such as flowers, mushrooms, and
paperweights, and then blowing simple
vessels. Using colored glass, you will explore
the process of gathering and shaping hot glass
into various forms. Although the goal is to
blow glass, advancement will depend on how
quickly you develop your own proficiency
at working the glass. If you are a returning
student, you can explore more advanced
techniques. The small class size allows for
maximum time working with glass and
hands-on, close instruction. At times, the
temperature in a hot shop environment can
easily exceed 120⁰F. Drink plenty of water!
Skill Level: No prior glass blowing
experience is necessary
Tuition: $965
Lab fee: $75, includes frit/colored glass, clear
glass, use of all tools and supplies in class,
propane
Ramson Lomatewama is a glass artist,
kachina doll carver, poet and jeweler from
Hotevilla, AZ, on the Hopi Reservation. He
earned his BA from Goddard College in
Plainfield, VT. Ramson has taught a wide
range of workshops and courses in the US
and Japan, and served as adjunct professor
of sociology at North Central College in
Naperville, IL. Although Hopi ceremonies
and cultural activities play a major role in
his life, Ramson continues to dedicate time
to schools, universities, and museums as a
visiting scholar and artist.
Small Scale Bronze Casting
Holly Wilson
July 4–8 Course # AASC Ø1
One-week session
If you aspire to work with bronze, then this
workshop is for you, particularly if you are
an artist without foundry access. You will
learn the “lost wax” casting process, and
bronze finishing techniques through the final
patina process. You will also discover how to
build a small-scale foundry furnace in your
own studio, as well as an introduction to the
materials and safety measures of casting. New
this year, you also can learn electric tabletop
scale-casting and a silicone mold-making
process. If you previously have taken the
class, Holly will work with you on more
advanced projects. You will leave the course
with one small 4-lb. bronze work of your own
creation.
Skill Level: All levels are welcome, but
you must attend all required instructional
sessions in order to understand and follow all
safety guidelines
Tuition: $725
Lab Fee: $130, includes 6 lbs. bronze,
microcrystalline wax, investment R&R
Ultravest, 3’ x 20” sheet metal flashing,
duct tape, sprue wax, use of patinas and
sealing wax, silicon mold material, use of the
equipment and kilns in the class. Additional
metal will be available for purchase.
Holly Wilson see bio in 3D Encaustic
Exploration and Mold-making.
3D Encaustic Exploration and
Mold Making
Holly Wilson
July 11–15 Course # AASM Ø2
One-week session
Dip, paint and wire wood, cardboard,
metals, clay, plaster, fiber, paper and many
objects from nature in this 3D exploration
employing encaustic techniques. You will
begin with making your own encaustic
medium and pigment application. Then try
your hand at fusing, transparency, glazes,
layering, building up texture, line techniques,
carving, image transfer, encaustic safety,
and Holly's favorite, mold application.
Create molds using brushable silicon and
learn to cast materials ranging from wax
to a fast-setting bright white low viscosity
liquid plastic. Create structures that leave the
two-dimensional plane. You will finish up
to two pieces during the week. Encaustic is a
wax-based paint composed of beeswax, resin
and pigment, which is kept molten on a heated
palette and applied to absorbent surfaces and
then reheated in order to fuse the paint.
Sculpture
Ramson Lomatewama, Paperweight
Holly Wilson, metal pour
Tuition: $725
Lab Fee: $120, includes encaustic wax,
pigments, two 12” x 16” wood panels,
propane, Rebound 25 Brushable, liquid
plastic, use of wood-burning tools, griddles,
shared materials, alcohol lamp, two metal
tools
Holly Wilson is an Oklahoma-based
sculptor. She earned her BFA in ceramics
from the Kansas City Art Institute and her
MA in ceramics and MFA in sculpture
from Stephen F. Austin State University in
Nacogdoches, TX. Holly is a 2015 Eiteljorg
Fellowship Artist. She has exhibited her
intimate bronze sculptures and her mixedmedia encaustic relief sculptures nationally.
Holly’s figures draw from real life and legends
of her Delaware and Cherokee background.
www.hollywilson.com
Holly Wilson, The Rider (detail)
* SCULPTURE STUDENTS you may also
be interested in:
Ceramics: Form, Surface, Fire!, see page 8,
Ceramics Sculpture: Anything is
Possible!, see page 8,
Considering the Abstract Portrait:
Moving Away from Realism, see page 5,
Mold Making and Slip Casting: Natural
Transformations, see page 6,
Native American Flute Making, see page 20,
Tohono O’odham Basketry and Beyond,
see page 19,
Traditional Northwest Coast Paddle
Making, see page 21,
Apocalypto Shrines, see page 14,
Punk Fiction: Embossa Nova Books,
see page 14,
Punk Fiction: Dream Journal, see page 14,
Transparental Guidance, see page 15,
Art de Refusés, see page 15,
The Creative Edge, see page 15.
Holly Wilson, Only That Which You Can Bear (detail)
Debra Hovel, Shoemaking
FASHION & TEXTILES
Beginning Shoemaking
Open Back Slip-on Shoes
Debra Hovel
July 13-15 Course # AATS Ø2
Three-day session
Learn how to measure feet, tape a last (the
form on which a shoe is made), develop
a pattern, cut and sew an upper and sole,
and finish a simple slip-on shoe. No prior
shoemaking experience needed for this
introductory course, but sewing skills are
a big help. As you complete each step, you
will learn a bit of shoemaking history. You
will make the same basic slip-on shoe style
as your fellow participants, but you will have
the freedom to trim, dye, paint or stamp the
leather to make your shoes unique. Debra
will share the many embellishing techniques
for which she is so well-known. Walk out of
class in style, wearing your own hand-made
creation.
Skill Level: Basic manual skills for tracing
and cutting of parts and machine sewing
skills are helpful
Tuition: $490
Lab Fee: $95, includes shoemaking tacks,
tape, top line reinforcements, thread, doublesided shoemaking tape, bonding lining, spray
adhesive, contact cement, rubber cement,
gluing station, leather for soles, lasts and
hand tools for use in the class
Debra Hovel is a designer and shoemaker
living and working in Palm Springs, with
a fabrication studio in Pinyon Flats, CA,
called Makerville. The Architecture and
Design Museum in Palm Springs is currently
featuring her shoes in the exhibition
Illuminated Objects. She recently presented
a lecture on shoemaking at the Palm Springs
Art Museum that featured a design studio
tour. Debra is an active member of the
Honorable Cordwainer Company and the
Footwear Symposium and an enthusiastic
believer in the philosophy of making.
debrahovelfootwear.com
instagram.com/debrahovelfootwear
twitter.com/trendchick
* FASHION AND TEXTILE STUDENTS
you may also be interested in
Navajo Weaving, see page 19,
Cahuilla Basketry, see page 18,
Tohono O’odham Basketry, see page 19,
Adventures in Woodcut Printmaking,
see page 28.
Ed Skoog
WRITERS WEEK
JULY 11-15
receiving feedback from Amy and your
fellow students.
OVERVIEW
FACULTY
Coordinators: Samantha Dunn, Amy
Friedman, Ed Skoog
Victoria Chang
Poetry
Natalie Diaz
Poetry
Samantha Dunn Fiction
Amy Friedman
Personal Essay & Memoir
Ed Skoog
Poetry
Your group will meet four hours on
Monday, Wednesday and Friday; Tuesday
and Thursday mornings will be set aside
for personal coaching and small group
workshops. Afternoons and evenings will be
devoted to Writers Week craft talks, readings
and other events.
SPECIAL GUESTS
Tuition: $755
For decades Idyllwild Arts has been a
gathering place for some of the world’s
finest poets and writers—among them Ray
Bradbury, Norman Corwin, Lucille Clifton,
Sharon Olds, Maxine Kumin, Billy Collins,
Ted Kooser, Philip Levine, Luis J. Rodriguez,
David St. John and Natasha Trethewey. That
fine tradition continues with our second
annual Writers Week, a gathering of talented
writers from Idyllwild Arts and beyond.
Learn from, listen to and hang out with some
of the country’s premier literary artists. In
addition to poetry, fiction and nonfiction
workshops, the week will feature special
guests and events including:
• Daily craft talks
• Public readings
• Opportunities to meet and schmooze
• Six Merit Fellowships opportunities
(sponsored by current and previous
writing program participants, including
four Bentley-Buckman Writer
Fellowships)
idyllwildarts.submittable.com/submit
• Option to continue working throughout
the year with a faculty member
• Farewell dinner with musical guest stars
and readings
Bruce Bauman
Tonaya Craft
Meri Nana-Ama Danquah
Ben Loory
Shana Mahin
David L. Ulin
Personal Essay and Memoir
Amy Friedman
July 11-15 Course # AAWE Ø2
One-week session
This is designed for beginners as well as
those whose work is well under way (or
stalled), for those who are writing memoir,
personal essay or any work that falls under
the category creative nonfiction. Amy will
guide you in developing and crafting your
stories. Study elements that help to create a
powerful narrative as well as when, where
and how to employ reflection in your
work. Excerpts from published work will
help serve as inspiration, and you will use
prompts and other exercises for in-class
writing. Portions of the workshop will be
devoted to reading your work aloud and
Fiction
Finding the Heart of the Story
Samantha Dunn
July 11–15 Course # AAWF Ø2
One-week session
“Never let the truth get in the way of a good
story,” Mark Twain supposedly said. This
workshop will explore the art and craft of
fiction, using a multitude of exercises to
tap and enhance your own deep sources of
creativity. Whether you are a beginner or
are a prolific writer, you will gain a better
understanding of the structural elements
that underpin all great stories. You will also
be armed with new techniques for creating
characters that come to life on the page,
creating vivid worlds with your words, and
generating story ideas. All levels of writer
will be able to apply the lessons. While
writing fiction is often about finding the
truth of the story, come prepared to ask the
question “What if?” and deeply imagine
Writers Week
Marshall Vandruff, Visual Storytelling
Natalie Diaz
new possibilities. Be prepared to write-a
lot! Class time will be about practicing what
you learn—bring plenty of pens and blank
notebooks. By the end of the week, you will
have at least one well-honed piece of fiction
ready for public consumption.
Your group will meet four hours on
for personal coaching and small group
workshops. Afternoons and evenings will
be devoted to Writers Week craft talks,
readings and other events.
Each poetry workshop is limited to 10
participants. In advance of the session, you
will submit five poems you wish to discuss.
Your group will meet each morning on
for one-on-one meetings and small group
workshops. Afternoons and evenings will be
devoted to Writers Week craft talks, readings
and other events.
Tuition: $755
Amy Friedman
Poets will read up to eight pages for each
bimonthly virtual meeting; prose writers will
read up to 15 pages for each.
Tuition: $825
Enrollment limited
STORYTELLING
Enrollment limited to 30 students (10
students per workshop/teacher)
Visual Storytelling
Lessons from The Simpsons
Marshall Vandruff
SPECIAL “ADD ON” COURSE
June 25 Course #AAOV ØØ
One-day session
Poetry
Victoria Chang, Natalie Diaz, Ed Skoog
Year-long Manuscript Critique
Victoria Chang, Eduardo Santiago,
Ed Skoog
Tuition: $755
July 11–15 Course # AAWP Ø2
One-week session
These workshops are open to anyone with
an interest in writing poetry, following
the long-held Idyllwild Arts tradition of
building a diverse community of voices to
enrich the conversation, from enthusiastic
beginners to emerging and established
poets. Workshops, craft talks, readings, and
lively discussion under the pines will focus
on helping you refine your work, explore
new ideas and write new poems. Faculty
and guests will share their perspectives and
offer feedback during the daily morning
sessions.
Would you like to take the coaching and
inspiration with you when Writers Week
ends? You may continue to work throughout
the year with an instructor who will help
you develop your manuscript. This yearlong
mentorship will help you set clear goals,
write and revise with intention. You and your
mentor will set up your plan, goals, and a
schedule to suit your needs that will include:
• One-hour Skype meeting
• Six bimonthly email meetings
• Final in-person meeting during Writers
Week 2017 (or 30-minute private Skype
if unable to attend)
In this storytelling crash course, Marshall
will present a series of concentrated story
lessons from The Simpsons episodes “Bart the
Daredevil,” “The Telltale Head,” “Krusty Gets
Busted,” and “Bart Gets an F.”
These episodes from the first two seasons
offer some of the most tightly crafted stories
in television writing. Their setups and
payoffs, reversals, character development,
and justified climactic endings still hold
strong decades after their debut. From these
23-minute masterpieces, you will learn about
the elements of story, how professional
writers work, and practical lessons for storycrafters of all media. If you are working on
a children’s book, graphic novel, screenplay,
or adapting an existing story and wondering
how to boil it down to what is worth telling,
this course will help you by introducing
you to the technical language and skills of
storytelling.
Skill Level: All artists and writers welcome,
no experience required
Tuition: $175
Marshall Vandruff has worked as an artist
and educator in Southern California for
more than 30 years. His clients include MAD
Magazine, Hanna-Barbera, Dark Horse
Comics, Blizzard Entertainment, Disney
Studios, Gnomon Workshop, and more
than 40 advertising agencies. He has taught
more than 200 courses and workshops in
art schools and colleges, including CSUF,
Laguna College of Art and Design, LAAFA,
Concept Design Academy, and Fullerton
College. www.marshallart.com
Writers Week
FACULTY
SPECIAL GUESTS
Victoria Chang’s third book of poems, The
Boss, published by McSweeney’s in 2013,
won the PEN Center Literary Award and a
California Book Award. Her other books
are Salvinia Molesta and Circle. Her poems
have been published in Poetry, American
Poetry Review, Best American Poetry,
Kenyon Review, New Republic, and other
places. She also published a picture book
with Marla Frazee, the bestseller Is Mommy?
by Beach Lane/Simon & Schuster in 2015.
www.victoriachangpoet.com or
@VChangPoet
Bruce Bauman is an instructor in the
CalArts MFA Writing Program and the
senior editor of Black Clock literary magazine.
Library Journal called Bauman’s new novel,
Broken Sleep, “[A] plangent tour de force of
epic proportions…” and KPCC’s David Kipen
said “[it] is a funny novel, but it’s also an
incredibly serious emotional novel in a way
we don’t get nowadays so much.” Booklist
called Bauman’s first novel, And The Word
Was, “a magnificent debut, smart and intense,
but accessible and riveting.”
Natalie Diaz is Mojave and an enrolled
member of the Gila River Indian Tribe. Her
first collection, When My Brother Was an
Aztec, was published by Copper Canyon
Press in 2012. Among her many awards are
a Lannan Literary Fellowship, Narrative
Prize from Narrative Magazine, Native Arts
and Cultures Foundation Artist Fellowship,
Holmes National Poetry Prize, and United
Artists Ford Fellowship. She is on the
Institute of American Indian Arts Low
Residency MFA faculty. Natalie works with
the last remaining speakers at Fort Mojave to
teach and revitalize the Mojave language.
Samantha Dunn is the author of Failing
Paris, PEN West Fiction finalist; the
bestselling memoir, Not By Accident:
Reconstructing a Careless Life; and Faith in
Carlos Gomez: A Memoir of Salsa, Sex and
Salvation. Her work has been anthologized in
Women on the Edge: Writing from Los Angeles
and other outlets. Her work as a journalist is
regularly featured in O, the Oprah Magazine,
Los Angeles Times, and Ms. among others.
Samantha teaches in the UCLA Extension
Writers Program and is program advisor for
The Mark at PEN USA.
www.samanthadunn.net
Amy Friedman is a writer, editor and writing
teacher. Her most recent books include
Desperado’s Wife: A Memoir and, as co-author
with Anne Willan, One Soufflé at a Time: A
Memoir of Food and France. Amy has written
for many publications and has taught memoir
and personal essay in Los Angeles in private
workshops, at UCLA Extension and at the
Skirball Cultural Arts Center.
www.amyfriedman.net
Ed Skoog is author of Mister Skylight, a
collection of poems, and Rough Day
(Copper Canyon) winner of the 2014
Washington State Book Award for Poetry, as
well as many stories and poems in literary
magazines including The Paris Review, Poetry,
Ploughshares, The New Republic, American
Poetry Review, and Narrative. He has received
fellowships from the Bread Loaf Writers
Conference and The Lannan Foundation, has
been writer-in-residence at the Richard Hugo
House, George Washington University, and
University of Montana, and is a past chair of
creative writing at Idyllwild Arts Academy.
Tonaya Craft is the managing editor of
Copper Canyon Press. She received an MFA
in poetry from the Writing Seminars at
Bennington College in 2006. Previously a
senior editor at Tin House magazine, Craft
has worked with Olena Kalytiak Davis,
David Gates, Denis Johnson, Ted Kooser,
Dorianne Laux, W.S. Merwin, Lucia Perillo,
Antonya Nelson, and Kevin Young, among
others. She has enjoyed helping many new
voices find print, and lives in Portland, OR,
with her 6-year-old daughter and a unicorn
balloon hat.
Meri Nana-Ama Danquah, a native of
Ghana, is an author, editor, journalist,
ghostwriter, speechwriter, public speaker
and lecturer. She has written two memoirs,
Willow Weep for Me: A Black Woman’s
Journey Through Depression (W.W. Norton
& Co.), and Truer Than the Red, White and
Blue: An African Childhood, American Style
(2016). She is editor of three anthologies,
and her work is published widely in print
and broadcast media. She has written
Inaugural and State of the Nation addresses,
and her essays and poems have been heavily
anthologized and are used in high school and
university textbooks.
Ben Loory is the author of the collection
Stories for Nighttime and Some for the Day
(Penguin, 2011), and a picture book for
children, The Baseball Player and the Walrus
(Dial Books for Young Readers, 2015). His
fables and tales have appeared in The New
Yorker, Tin House, The Rattling Wall, and The
Antioch Review, and been heard on NPR’s
This American Life and Selected Shorts. He
lives in Los Angeles, where he is an instructor
for the UCLA Extension Writers’ Program.
Shanna Mahin is a high school dropout
with a fierce desire to disprove her 9th grade
English teacher’s prediction of “a lifetime of
wasted potential.” She mourns his passing
for a variety of reasons, including the
missed opportunity to point out her PEN
Center Emerging Voices Fellowship, her
MacDowell Colony and Norman Mailer
Colony Fellowships, among others, and the
publication of her first novel, Oh! You Pretty
Things (Dutton, 2015), which received a
great review in the New York Times. RIP, Mr.
Shriver.
David L. Ulin is the author of the novel
Ear to the Ground. His other books include
Sidewalking: Coming to Terms with Los
Angeles, The Lost Art of Reading: Why Books
Matter in a Distracted Time and the Library
of America’s Writing Los Angeles: A Literary
Anthology, which won a California Book
Award. A 2015 Guggenheim Fellow, he spent
10 years as book editor, and then book critic,
of the Los Angeles Times.
2016 SCHEDULE OF EVENTS
SUNDAY
Metals Week
Faculty Slide Show:
Sarah Doremus,
Joanna Gollberg,
Deborah Jemmott,
Victoria Lansford, Tom
McCarthy, Elise Preiss,
Rachel Shimpock
7 p.m. Krone Library
JUNE
MONDAY
Hot Clay Lecture:
Chris Pickett
TUESDAY
WEDNESDAYTHURSDAY
Hot Clay Lecture:
Tip Toland
Metals Week
Student Show
Patio
Parks Exhibition
Center Opening
Reception:
Hot Clay, Metals Week
& Faculty
8 p.m. Parks Center
FRIDAY
Adult Arts Center
Student Show &
Reception
4 p.m. Parks Center Patio
SATURDAY
Family Camp Begins
Visit idyllwildarts.org/familycamp for more details
Hot Clay Lecture:
Doug Peltzman,
192021222324
Hot Clay Lecture:
Sam Chung
Native American
Artist Demonstration
7 p.m. Parks Center
Studio Walk-Faculty
Artist Demos
7 p.m. Art Studios
Hot Clay Lecture:
Birdie Boone
Hot Clay Lecture:
Mikyoung Kim
Parks Exhibition
Center Opening
Reception:
Hot Clay & Faculty
8 p.m. Parks Center
Adult Arts Center
Student Show &
Reception
26272729301
JULY
Festival Week
Opening Presentation
Festival Week
Gallery Talk
7 p.m. Parks Center
Parks Exhibition
Center Opening
Reception
8:00 p.m.
Festival Week
Kabotie Lecture Series
& Native food tastings
Studio Walk-Faculty
Artist Demos
7 p.m. Art Studios
Festival Week
Festival Week
Film Night
25
Adult Arts Center
Student Show
& Reception
Native American
Arts Festival Week
Performance
7 p.m.
2
Native American Arts Pottery Firing
Mark Tahbo, Hopi-Tewa
8 a.m. Kennedy Kiln Yard
Youth Jazz Concert
10 a.m. & 2 p.m. IAF Theater
Youth Jazz Vocal Performance
TBA
Faculty Jazz Combo
Concert
8:30 p.m. IAF Theater
345678
Writers Week Reading:
Faculty and Guest
Writers
Parks Exhibition
Center Opening
Reception
8 p.m.
Studio Walk-Faculty
Artist Demos
6:30 p.m. Art Studios
Writers Week Reading
Writers Week Reading
9
Adult Arts Center
Student Show &
Reception
Youth Song & Dance
Performance
8 p.m. IAF Theater
Vocal Music Recital
8 p.m. Stephens
Faculty Jazz Combo
Concert
8:30 p.m. IAF Theater
101112131415
* See full events calendar at www.idyllwildarts.org/events
Gallery exhibits, Performances, Chamber Music Concerts,
and more continue through August 14.
16
2016 SUMMER ADULT PROGRAM REGISTRATION FORM
Page 1 of 2
QUESTIONS?
Contact our Registrar:
(951) 468-7265
fax (951) 659-4552
summer@idyllwildarts.org
STUDENT INFORMATION
Student Name
Last
Mailing Address
Please type or print in ink all information. One form per student. (Photocopy additional forms if needed)
_______________________________________________________ First _____________________________________
Street and Number
____________________________________________________________________________________
City _____________________________________________________ State
_________________ Zip ________________
E-mail Address _______________________________________________________________________________________
Phone
Day
(
) ________________________________________________________
Date of Birth
(Optional)
Evening
(
) __________________________________
SUMMER OFFICE USE
Rec’d _________________
Cust. # ________________
Packet Sent _______________
Sch. App. Sent _____________
Mat’ls List Sent _____________
______________________ Sex _____________
CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.)
Course Title __________________________________________Course Code ___________________ Dates________________________
A
E
Cost_________________
Cost_________________
Housing & Meal Plans (see below for description)
B
A
Cost_________________
Cost_________________
A
B
C
D
E
B
C
Cost_________________
C
D
D
E
Cost_________________
Sub-Total: ______________
ADULT HOUSING AND MEAL PLANS
Double Room (includes meals)
(A) $535 per week
(B) $325 per three days
Roommate Request Name (Adult Students Only) ____________________________________________________________________________________
Private Room (includes meals)
(C) $745 per week
D) $465 per three days
Meals Only
(E) $90 per week-Dinner Sunday thru Breakfast Saturday
TRANSPORTATION
A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($150 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.
$50
TOTAL: ______________
I have enclosed the non-refundable $50 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 SECOND PAGE OF THIS FORM AND MAIL WITH YOUR DEPOSIT TO:
Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038
SUM15_adregforms
2016 SUMMER ADULT PROGRAM REGISTRATION FORM
Page 2 of 2
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 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 campus-approved publicity.
____________________________________________________________
Signature of Student
___________________________________________________
Signature of Parent/Guardian if student under 18 years of age
_______________________________
Date
TO THE STUDENT Idyllwild Arts reserves the right to decline to accept any person as a member of a class, or to require any participant to withdraw from a class at any time
when such action is determined by the appropriate Idyllwild Arts staff representative to be in the best interests of the health, safety and general welfare of the campus population
or of the individual participant.
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.
DISCOUNT PROGRAMS
Please complete the following to be assured the correct discount is credited to you.
Early Payment of Fees: (Fees must be received in full in order for discount to apply)
March 15–10% discount
April 15–5% discount
Family Discount: Other Family Members Attending
____________________________________________________________
___________________________________________________
_______________________________
____________________________________________________________
___________________________________________________
_______________________________
Name
Name
Program
Program
Dates
Dates
Teacher Discount: Teacher Name ______________________________________________________________________________________
List other Teachers attending:
____________________________________________________________
___________________________________________________
_______________________________
____________________________________________________________
___________________________________________________
_______________________________
Name
Name
Program
Program
Dates
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
Name
Program
Program
Dates
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
52500
Te m e c u l a
Road
•
P. O .
Box
38
•
Idyllwild,
CA
___________________________________________________
Program
92549
•
(951)
659-2171
•
Fa x
(951)
_______________________________
659-4552
Dates
•
idyllwildarts.org
GENERAL INFORMATION
NOTICE OF NON-DISCRIMINATORY POLICY
The Idyllwild Arts Summer Program, a nonprofit educational program of the Idyllwild
Arts Foundation, does not discriminate
on the basis of race, color, sex, gender
identification, religion, or national and ethnic
origin in the administration of its educational
programs, admissions policies, employment
practices or financial aid procedures.
REGISTRATION
Enrollment Procedures
Applications must be accompanied by
the completed registration form, the $50
application fee, and a non-refundable $225
deposit for each selected course to ensure
class placement. The $225 deposit is applied
toward tuition.
Register online at idyllwildarts.org/summer,
or by phone at 951-468-7265. We accept
VISA, American Express, Discover or
MasterCard.
The balance of all tuition, room, and board
fees is due in full at least 30 days before class
begins. A late registration fee of $50 will
be added to all accounts that are past due.
Register as early as possible so that you will
receive your registration packet in time to
complete and return required forms. For
late registrants, class placement cannot be
guaranteed until payment in full is received.
Enrollment is automatically confirmed upon
full payment of fees. Your cancelled check is
your receipt. Upon receipt of the registration
form and fee, a packet of registration
materials will be mailed to you.
There are no provisions for those arriving
before or after registration hours.
Refunds
Idyllwild Arts offers students options to
reduce the total cost of programs: tuition,
housing, meals, lab fees, and transportation.
They cannot be applied to room deposits or
key deposits.
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 $50 application fee
are completely refundable up to 90 days
before a class is scheduled to begin.
2) If a student withdraws more than 30
days prior to a scheduled class, all minus
the $50 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.
4) If your attendance at Idyllwild Arts is
dependent upon receiving financial aid,
and we are unable to grant your request,
all fees minus the $50 application fee will
be refunded.
DISCOUNTS/CREDITS
Early Payment Discount: 10% off the
total cost of a program if payment in full
is received by March 20, 2016. 5% off the
total cost of a program if payment in full is
received by April 20, 2016.
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
Teacher Discount.
3) Not available to weekend registrants.
4) Not applied to Family Week.
There are no exceptions to this policy.
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.
ARRIVAL AND CHECK IN
1) A new student can be claimed by only
one student.
Idyllwild Arts is not able to apply nonrefundable payments to a future summer
program.
Students may check in from 3 to 5 p.m. on
the day before their workshop begins, or
between 8 and 8:30 a.m. the first day of class.
A Registration Packet will be sent to you with
check-in dates.
2) Does not apply to immediate family
members of returning students. (see
Family Discount)
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 week-long workshop
registrants.
2) Fees for the workshop must be paid at
the time of registration.
3) Available on a limited basis.
IDYLLWILD ARTS FOUNDATION
IAF is a nonprofit corporation, founded in
1946 as a summer center in the arts. Idyllwild
Arts founders believed that the arts provide
a common language and that participation
in the arts can not only enrich lives but can
change lives – a belief we still firmly uphold
today. IAF operates the Summer Program –
in its 67th year of providing classes in the
arts for all ages and abilities, and the Arts
Academy – an independent boarding high
school established in 1986 for students
talented in the arts.
We welcome your support!
Idyllwild Arts Summer and Academy
programs (and financial aid) are made
possible with the help of gifts from friends
like you.
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
3) Not available to weekend registrants.

writers week - Idyllwild Arts Academy

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