Please click on each
title for description or simply scroll down for 2008 Courses.
_______________________CERAMICS & POTTERY________________________
Ceramics
Workshop
Greg
Kennedy
July 7–18
Course # AACR Ø1-Ø2
Two-week session
Students may take one
week of this workshop only by permission of the instructor.
This intensive course is designed for beginning and advanced
participants who would like to expand their experience
in clay. The philosophy of the studio is to encourage
interaction between fellow students of all skill levels.
Activities such as clay mixing, kiln loading, firing,
kiln unloading and glaze mixing are highly encouraged.
Beginning instruction in the use of the pottery wheel
is stressed and throwing on the potter’s wheel is
emphasized. The studio also has the facilities for the
hand builder, i.e. slabroller, extruder, and ample work
space. Students will complete artworks in cone 6 woodfire,
high temperature reduction firings, and low temperature
salt (saggar) and raku. Technical and aesthetic demonstrations
take place each day.
The spacious, well
lit studio is equipped with potter’s wheels, both
kick and electric, a Brent slab roller, clay extruders,
Soldner clay mixer, gas kilns, electric kilns, as well
as our Anagama and fast fire wood kiln. We have ample
work space, including a glaze room and separate facilities
for throwing and hand building; in addition we have several
outdoor work areas. Students may bring their own tools,
but studio tools are available. The studio is open weekdays,
9 a.m. to 4 p.m. Each student will complete an abundance
of pieces.
Tuition: $595 per week
Lab fee: $25 per week (Includes: 150 lbs. of clay per
student and firing costs.)
Enrollment limited
to 10 students per week.
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Hopi
Tewa Pottery
Mark
Tahbo
July 7–12
Course # NAHP Ø1
One-week session-includes Saturday am firing
Master potter Mark
Tahbo makes a special return visit to Idyllwild Arts to
teach his popular pottery workshop. Students in this workshop
will learn the traditional Hopi method of creating polychrome
pottery. Revived at the turn of the century by Hopi potter
Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery
is recognized and collected throughout the world. Students
will learn the Hopi techniques of coil building, stone
burnishing, painting with natural pigments, and firing.
The natural clays and
paints are provided by the artist, and are gathered from
special places on the Hopi Reservation in Arizona. These
materials are considered to be sacred and the clay sources
may some day run dry. There is enough clay for each to
student make 2 to 3 small pieces of pottery – all
that can be successfully completed in the week-long workshop.
This is not a production pottery course, but a careful
examination of the delicate process of Hopi pottery making
and the cultural foundation from which the art is inspired.
Tuition:
$595
Lab Fee: $45
Enrollment is limited
to 15 student
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_
Mata Ortiz Pottery
Nicolas Quezada
June 30-July 5 Course # NAOP ØØ
One-week session-includes Saturday am firing
Idyllwild Arts is pleased
and honored to welcome back Nicolas Quezada, who taught
here with his brother Juan Quezada during the 1980’s.
Inspired by the ancient Casas Grandes pottery of Chihuahua,
Mexico, Juan began making pottery in 1975 in his village
of Mata Ortiz. His success inspired others to begin making
this style of pottery–there are now hundreds of
potters working in Mata Ortiz. Today this new pottery
tradition is distinct from the ancient work of the region,
but its roots are still evident.
In this course, students
will learn to create both polychrome and black pots. They
will learn the design techniques used in this region as
well as Nicolas’ distinctive style. Participants
will build, polish, sand, paint and finally fire their
pots in an outdoor firing on Saturday morning. The natural
clay and paints are provided by the artist, and are gathered
from his home. There is enough clay for each student to
make 2 to 3 small pieces of pottery–all that can
be successfully completed in the week–long workshop.
This is not a production pottery course, but a careful
examination of the delicate process of Mata Ortiz pottery
making.
A special highlight
of the week will be a slide presentation on the history
of Mata Ortiz pottery by Walter Parks, author of The Miracle
of Mata Ortiz, and long-time friend of the Quezada family.
Tuition:
$595
Lab Fee: $50
Enrollment limited
to 15 students.
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Hot Clay: 6 workshops
June 22– July 5, 2008
Please go to the Hot
Clay section of our website for the complete description.
Courses are below.
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_____________________________ JEWELRY____________________________
Found
Object Jewelry
Deborah
E. Love Jemmott
July 14 - July 18
Course # AAJF Ø2
One-week session
A pebble from the driveway…
Shells from the beach….
That shaving brush from Grandpa…..
Grandma’s button collection….
A vintage spoon from Goodwill…..
What do all of these
things have in common? They are all “found objects”
that can be transformed into wearable art or art for the
home. Integrating found objects into metalworking–whether
they are truly found or purchased–can be a great
source of inspiration, a way to honor the ordinary, or
the springboard for a powerful narrative piece.
Most artists have a
large stash of odds and ends, bits and pieces, which have
been gathered over the years. Students are encouraged
to dig through their baskets of “treasures”
and bring those inspirational pieces to incorporate into
jewelry.
Found objects also
have their unique considerations. How can glass be attached
to the metal? How can a rock be drilled? Can this spoon
be soldered on? The technical as well as the aesthetic
issues of combining precious metals with found objects
will be covered in this class. A wide variety of fastening
devices will also be explored including cold connections
and rivets, jeweler’s silver soldering, soft silver
soldering, and gluing.
Instruction will be
given for all levels of students
Materials: A complete
recommended supply and tool list will be sent upon registration.
download
pdf
Tuition:
$595
Lab fee: $35 (Includes the use of all
tools, equipment, and consumables such as solder and compounds.
Students are encouraged to bring their own metal and tools
– but they must be clearly marked. Some metal will
be available for purchase in class.)
Enrollment is limited
to 12 students.
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Glass
Beadmaking
Margaret
Zinser
June 28–29
Course # AAGB ØØ
Two–day session
This workshop is for the intermediate beadmaker, specifically
addressing ways to improve shaping and encasing skills
to create elegantly shaped beads with rich color. I will
guide students through a logical progression of “classic”
bead shapes, providing tips for building a good base bead,
“troubleshooting” uneven beads, and maintaining
a good shape during surface decoration. Students will
also learn multiple strategies for encasing beads, as
well as how to deliberately distort base color with clear
glass to achieve a number of interesting effects. With
each new technique, I will teach a different application
for color. Possible color topics include: the use of frits;
silver leaf, foil, and wire; goldstone; enamels; “neato”
reactive colors in the soft glass pallete.
Materials:
Students should bring proper eyewear for torching, favorite
hand tools, marvering paddle, tweezers, masher, tungsten
pick, marvering pad. A list of additional recommended
items will be sent upon registration. download
pdf
Tuition:
$295
Lab Fee: $70 (Includes supply kit composed
of a class notebook, glass, frits, and enamels.)
Enrollment limited
to 8 students.
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Gold
Slip Fusion - Pendant & Cold Connections
Carl Stanley
July 12–13
Course # AAJG Ø1
Two-day session
Gold Slip Fusion is a new and wonderful metal technique
pioneered by Carl Stanley. 24K powdered gold (from electronics
industry) is mixed with a common binder to form a paintable
slip. This slip is painted onto fine silver sheet in a
pattern of your choice. After the slip is dried it can
be scratched through, revealing the underlying silver
and creating additional detail. The gold is then
fused to the silver with a simple torch. The finishing
touch is to patina the silver, making the gold pattern
jump out.
In this workshop students
will learn the Gold Slip Fusion technique and apply it
to the main elements of the pendant. Using a variety of
texturing, cold connections and fabrication methods, students
will use these elements to construct a layered pendant
with a complex pattern of gold on silver. The finished
piece is a wonderful and personal wearable art amulet.
Students are sure to come away with new skills and a cool
project. A variety of cold connection techniques will
also be demonstrated by Carl and practiced by students
throughout the two days of the workshop as a bonus element.
Materials: Students
should bring one gram or more 24K Gold Powder (supplied
by instructor for approx. $75 per gram depending on Gold
Market); 2” x 2” - 24ga Fine Silver sheet;
3” x 3”-24ga sterling sheet; 3 1/2”-14ga
round sterling wire; 2 1/2”-6ga 1/2 round sterling
wire; Easy Silver Solder; 8-00-90 1/4” Brass Micro
Screws w/ nut & 2 washers for each.
Optional/helpful tools to bring: Micro Screw Driver &
00-90 Hex Driver; Medium Rivet Hammer; Jewelers Saw Frame;
3/0 Saw Blades; Small Bench Vise; 3/32” Nail Set;
Small Curved Silversmith Shears; Medium to Fine Cut 1/2
Round Hand File; 4” x 4” Steel Pounding Block;
Black Knife Edge Silicone Polishing Wheel w/ Mandrill;
2.5mm Cup Bur; Ultra Fine 3M Sanding Sponge; Clamp-on
style bench pin; Work/clamp lamp, magnification. download
pdf
Tuition: $275
Lab fee: $15 (Includes brass and copper consumables.)
Enrollment is limited
to 16 students.
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Hopi Jewelry
Michael
Kabotie (Lomawywesa)
Lawrence
Saufkie
June 30–July
4
Course # NAHS ØØ
One-week session
Students in this workshop will learn the Hopi overlay
technique of silver-smithing. Beginning students will
be introduced to the fundamental materials, processes,
and techniques of silversmithing, and those with experience
will be able to fine-tune their skills while mastering
a new technique. The instructors will discuss their own
philosophies of learning and creating - philosophy deeply
rooted in Hopi heritage. Because students will be working
closely with the teachers, the workshop is well-suited
for students of all levels of experience. Returning students
will participate in one day of experimentation and creative
exploration with Michael Kabotie.
Materials: Students
should bring finished stones/cabachons (if planning to
set stones); Gold/gold solder (only if planning to supply
and use gold instead of sterling silver). Optional Items:
Work lamp with extension cord; seat cushion; Tools, silver,
stones are optional, but must be clearly marked.
Tuition:
$595
Lab fee: $35 (Includes the use of all
tools, equipment and consumables such as solder and compounds.
An additional charge will be made for all silver and stones
used.)
Enrollment is limited
to 13 students.
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Navajo
Inlay Jewelry
Richard
Tsosie
July 7–11
Course # NANJ Ø1
One-week session
The Navajo adopted
the art of jewelry making from the Spanish after contact,
taking the art to new heights and establishing a style
that is now considered to be the “traditional”
Navajo style. Today, there are many Navajo jewelers who
are moving beyond that style, designing contemporary pieces
of jewelry which reflect a new Native American reality.
Artists are creating colorful collages and patterns with
beautiful stones and shells set in gold and silver. In
addition to turquoise and coral, it is not unusual to
find lapis lazuli, purple lavulite, diamonds, pearls,
malakite, jet stone, jade, melon shell and other stones,
shells and gems in contemporary Native American jewelry.
Working closely with
one of the leading contemporary Navajo jewelers, students
will learn the techniques used to create such pieces.
They will design patterns, cut, grind and prepare stones,
and set the stones into basic silver forms (rings, bracelets,
earrings, bolos, etc.) which they have created. Participants
without prior experience in silversmithing will also be
introduced to the basic concepts of shaping silver.
Tuition:
$595
Lab fee: $35 (Includes the use of all
tools, equipment, and consumables such as solder and compounds.
An additional charge will be made for all silver and stones
used. A small selection of turquoise and other stones
will be available for purchase, but students are encouraged
to bring their own stones if they have preferences on
colors/stone types. Students may bring their own silver,
tools, stones, and a work lamp which must be clearly marked.)
Enrollment is limited
to 10 students.
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Techniques in Silver Metal
Clay
Jonna Faulkner
July 12–13
Course # AAJC Ø1
Two-day session
Metal clay is a relatively new material to the jewelry-making
world. It is made up of very small particles of fine silver,
water, and a non-toxic organic binder. Metal Clay comes
in three forms: a malleable solid, a liquid paste and
syringe-type that can be used both for construction and
decoration. Pieces are formed using simple hand tools,
dried and fired in a kiln. During firing, pieces shrink
about 8-10%; once out of the kiln, they are composed of
entirely fine silver, hallmarked at .999. After firing,
pieces can be filed, sawed, sanded, polished, drilled,
riveted or soldered. They can also be re-fired multiple
times if changes to the original piece are desired.
Although the working process
is readily accessible, it is possible to create sophisticated
work with metal clay. In this session, students will make
a three-part pendant that showcases a thematic “collection.”
The pendant will be unique because each will reflect the
interests of its maker. We will explore a variety of construction
techniques as we build the pendant. These will include
ways to build boxes, create hinges, link rings and to
fire and finish the pieces. Approaches to decoration will
include patterning the metal clay, stone setting, the
creation and use of molds, pearl setting, and patination.
Instruction will be given for students at all skill levels.
Please note: Class meets from
9 am.–5 pm.
Materials: A complete materials
list will be sent upon registration. download
pdf
Tuition: $275
Lab Fee: $15 (For use of kiln, consumable
materials and basic kit. Silver metal clay, pearls and
stones will be available for purchase in class.)
Enrollment limited to 12
students.
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Metals Week: 5 Workshops
June 21-July 4, 2008
Please go to the Metals
Week section of our website for the complete description
of the following courses:
- Embracing the Eclectic
- Earrings
- Soldering Skills
- Hydraulic Assist Die Forming
- Pin-Ups
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________________________________MIXED
MEDIA_______________________________
_
_
_
__
Assemblage I, II, III
Michael
de Meng
July 4
Course # AAAS ØØ-A
July 5
Course # AAAS ØØ-B
July 6
Course # AAAS ØØ-C
July 4–6
Course # AAAS ØØ
One, Two or Three–day session
Students may select
to enroll in one, two or all three workshops. All levels
of experience welcome.
Session I
July 4: Shadow Box Tarot Cards
Ever since I can remember,
I have been fascinated by Tarot cards. I think what is
most intriguing is the rich symbolic imagery in each card,
that and the potentiality of something magical hidden
in them. In this class you will choose a specific Tarot
card (or two) to transform into a three dimension shadow
box. Bring a mixture of random objects and personal items
to address the card’s symbolism in a 3-dimensional
manner. Through the use of collage, assemblage, painting,
as well as some metal embossing techniques you will create
found-object versions of these ancient tools of divination.
I see rusty things in your future.
Materials: Students
should bring the following: Exacto Knife; Matte Medium
Gel; Paints: Acrylic Golden brand preferably–Quinacridone
Nickel Azo Gold, TitaniumWhite, Carbon or Mars Black,
Pthalo Green blue shade, Dioxazine Purple, Quinacridone
Crimson, Payne’s Gray; Optional Paints for Metalic
effects; Interference colors (blue, green, violet); Iridescent
colors (i.e. silver, gold, bronze, copper, etc.); Micaceous
Iron Oxide Glues: Liquid Nails Clear or E6000, Dap Kwik
Seal Tub and Tile (White) or Red Devil Quick Paint (both
available at hardware stores),5 minute Epoxy Putty (not
liquid). Books, Magazine, and other paper ephemera; Various
small found objects: anything and everything, including
mesh, screen, wire and string; Brushes (small to medium,
includeing detail brushes); Palette paper or wax paper.
Optional items or suggestions to enhance the class project:
Tools like pliers, wire cutters, etc. Heat gun. Dremmel,
Metal embossing tools (ie Ten Second Studios brand); Power
Tools, wooden base for structure. Extra paint and glue.
A bunch of found objects and doodads. Metal embossing
tools and Aluminum, Shadow Box. download
pdf
Lab Fee: $10
Enrollment limited
to 20 students.
Session II
July 5: Transparency Collage-ssemblage
Remember those ads
in the back of comic books for X-ray glasses? I was always
fascinated by these; I never owned a pair, but I really
wanted to see what it would be like to have the powers
of Superman. What I think was intriguing wasn’t
the ability to see through something, but rather the ability
to experience a variety of visual layers simultaneously.
What an amazing experience that would be.
So here’s a class
for you if you have had similar thoughts or ambitions.
In this class we will be exploring the art of layered
imagery using transparencies as well as a combination
of painting, collage, and assemblage. Using mostly paint
and glue, I’ll show you some nifty little tricks
involving those see through images that will create some
ghostly effects. Students will create a strange layered
world that combines the visible and the semi-invisible….way
better than those X-ray glasses.
P.S. I wanted to title
this class “I Can See Clearly Now” with the
Johnny Nash song playing in the background. “Boom
ba, ba boom ba boom ba”. After all you’ll
see all obstacles in your way, AND I have no doubt that
“it will be a bright, bright sunshiny day”.
Materials: Students
should bring: Acrylic Paint (I prefer Golden products
but Liquitex will also work): Required paints: Titanium
White, Mars Black, Quinacridone Nickel Azo Gold, Quinacridone
Crimson, Dioxazine Purple, Pthalo Green (blue shade);
Optional Paints: (I’ll be going over some techniques
with some of these as well so if you want to have some
to play with bring them)-Paynes Gray, Permanent Violet,
Nickel Azo Yellow, Van Dyke Brown; Brushes: Cheap 1 inch-ish,
Good quality detail brushes; Glues-Liquid Nails Clear,
or E 6000; GOLDEN Semi Gloss Gel; Cutting tools-Scissors
or an exacto knife; Transparencies-You can print these
on a inkjet printer or a laser printer (the laser will
be less likely to run). You can also take your images
to Kinkos and have transparent photocopies made. Bring
a plethora of images…more is better. You’ll
never know what will come in handy. You could also use
stamps if you have them. You could stamp on Mica. Ephemera
and non-transparent collage items. Could be anything from
paper to fabric, to mesh to whatever. A variety of small
doodads….and when I say variety, I mean variety.
Anything that has an interesting shape, pattern or color
would be good. A small box, frame, cigar box, or block
of wood. This will be the base of your piece. I would
say nothing over 5” x 7” ( but really that
is up to you). Optional tools (don’t worry if you
don’t have this stuff…I’ll have some)
Soldering iron or a miniature butane torch; Heat gun.
download
pdf
Enrollment limited
to 20 students.
Session III
July 6: Morpheus Box:A Transformation Chamber
As a kid I loved magicians.
One of my most cherished memories was when I used to go
to magic shops with my grandfather. I was fascinated with
secret compartments, velvet curtains and trap doors. Finally,
after all these years I have found a way to apply some
of those childhood memories to the art-making process.
In this class we will
be creating an art chamber with rotating art….literally.
Using assemblage and collage the students will create
shadow box that has not one, not two, not three, but FOUR
options for the viewer. If you get bored with an image,
simply give it a spin and…Presto…a new image
appears….like magic.
Materials: Students
should bring: Acrylic Paint (I prefer Golden products
but Liquitex will also work): Required paints: Titanium
White; Mars Black, Quinacridone Nickel Azo Gold, Quinacridone
Crimson, Dioxazine Purple, Pthalo Green (blue shade);
Optional Paints: (I’ll be going over some techniques
with some of these as well so if you want to have some
to play with bring them)-Paynes Gray, Permanent Violet,Nickel
Azo Yellow, Van Dyke Brown, Iridescent Silver, Gold, or
other metallic Golden Paints, Interference Violet, Blue,
Green, Micaceous Iron Oxide; Brushes: Cheap 1 inch-ish,
Good quality detail brushes; Glues-Liquid Nails Clear,
or E 6000;Red Devil QuickPaint or Dap Kwik Seal Tub and
Tile (White) you can get these at the hardware store.
Cutting tools-Scissors or an exacto knife; Photographs,
photocopies, etc. Bring a plethora of images…more
is better. You’ll never know what will come in handy.
You could also use stamps if you have them. You could
stamp on Mica. Ephemera and collage items. Could be anything
from paper to fabric, to mesh to whatever. A variety of
small doodads….and when I say variety, I mean variety.
Anything that has an interesting shape, pattern or color
would be good. Optional tools (don’t worry if you
don’t have this stuff…I’ll have some)-Dremel
and Cut off wheels; Heat gun. download
pdf
Lab Fee: $15 (Includes spinning box device and
hardware)
Tuition: $150 for one day
$300 for two days
$425 for all three days
Enrollment limited to 20 students
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Book Arts: Structure &
Image
Sibyl Rubottom
July 7–11
Course # AABA Ø1
One–week session
Artists’ books are not books about art; they are
art expressed through book form. When the content and
form of a book are considered together and given equal
significance, the book becomes more than a simple container
for information. The goal of many book artists is to involve
the reader actively in the viewing process, not only to
see the words on the page but also to think about how
the words, pictures and physical form of the object all
contribute to their meaning.
This class will investigate
the three aspects of a book: structure, image, and text.
Students will learn several Eastern and Western book structures,
using adhesive and non-adhesive bindings: including stab
binding, one-page signature “painted books”,
accordian folds with covers and a simple flexagon structure,
among others. Transfer techniques for creating images
from photos or text and paste paper and tabletop silk-screening
techniques will be taught. We will explore text using
writing exercises inspired by Natalie Goldberg and Anne
Lamott, two extraordinary writing teachers.
You will learn the
fundamentals of making a book and how to incorporate your
own forms of expression into a variety of book formats.
Materials: A complete
materials list will be sent upon registration. download
pdf
Tuition: $595
Lab fee: $15
Enrollment limited to 15 students.
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_
_
Collage Unleashed
Traci Bautista
July 17, 18 Course # AACU Ø2-A
July 19, 20 Course # AACU Ø2-B
July 17–20 Course # AACU Ø2
Two or Four–day sessions
Students may elect to enroll in either or both Two-day
sessions.
Session I
July 17: la vie de boheme Art Quilts
Taking bits and pieces from painted papers, fabric swatches
and inkjet prints you will create patchwork collage art
quilts layered with black and white images and letterforms.
You will be lead through fast paced monotype printing
exercises to create beautiful painted backgrounds. Learn
“fusion dyed” collage, freestyle lettering
and doodling to unleash your creative ideas to create
multiple layered collages with vibrant color, texture
and raw edges.
July 18: Graffiti Baubles Journal/Necklace
Create an art book with a patchwork collage cover that
combines fusion-dyed painted papers layered with black
and white images and fabric remnants. The journal is embellished
with jewelry chained chunky vintage baubles and bead binding
that transforms into a wearable necklace. The journal
houses hand painted pages that flip and fold.
Lab fee includes Collage Unleashed aRt! kit of papers
& fabrics, Inspiration guide, collage images, watercolor
paints, glitter, gel pens/markers, Fabric Fusion Adhesive,
mark making/printing kit, unmounted stamps and stencils,
transparencies, chain, jewelry findings, headpins, colored
masking tape, markers/pens, glitter.
Session II
July 19: Flourished Layers: Painting on Fabric & Paper
Sprays of paint…drizzling color…painted swirls…flourishes…doodles…
create luscious colored fabrics and papers. Learn a variety
of painting techniques and make your mark accenting vibrant
backgrounds with handmade printing plates made from silk
flowers, fun foam stamps, chipboard, cardboard and found
objects...explore monoprinting, collagraphs, and creating
hand cut stencils. You will create a stack of glorious
fabrics to use in the art portfolio and journal workshops.
Learn techniques as described in my book Collage Unleashed!
July 20: Art Portfolio – Fabric Journal
Free-form. No rules. Put that pattern away and create
something that’s truly YOURS! Create a one-of-a-kind
artist portfolio to hold the graffiti journal or a collection
of canvas collages. The portfolio is made of FUSION fabric
collage embellished with bright and bold free-form crochet
flowers; pompoms, beads and baubles accented with stitched
medallions and fabric strips.
Lab fee includes Collage Unleashed aRt! kit of fabric/paper
collage images, iron-on transfers, transparencies, watercolor
paints, glitter, mark making tools, doodling tools, unmounted
stamps and stencils. Collage Unleashed inspiration guide,
printmaking plate kit, and metallic foil, Tulip Dimensional
paints, Color Sprays, pens & markers, acrylic paints.
Materials: A complete materials list will be sent upon
registration. Download materials list for session
I or session
II
Tuition: $300 two days. $550 all four
days.
Lab Fee: $40 per session. $70 for both
sessions.
Enrollment is limited to 25 students.
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______________________Native
American Arts________________________
Native American Cuisine
Nephi Craig
July 5–6
Course # NANC ØØ
Two-day session
This popular workshop will delve into the history and
culture of Native American people through a close look
at how various foods from Indian Country originated and
have evolved to their present form. Explore the strong
influence of Indigenous American food on present-day world
cuisine, as well as consider the impact of foreign foods
on the public health of indigenous peoples. Returning
students welcome-there will be new material and menus!
Day One will include
an introductory presentation on traditional foods, with
photographs, timelines, and graphs illustrating the influences
on and patterns in Native American cuisine of tribes from
across the country (Southwest, Northwest Coast, Southeast
and Northeast). For example, the notorious “Frybread”
was born out of the Reservation Era and today is common
throughout Indian Country. The day will also include hands-on
participation in preparing foods for the following day’s
activities.
Day Two will be devoted
entirely to the production of a feast of multiple courses
based on ideas and foods discussed during Day One. Participants
will assist in the preparation of several dishes and Chef
Craig will prepare other dishes in a cooking demonstration.
Students will be in for a treat as they taste and enjoy
the incredible feast. (Sample menus: Squash Blossoms,
Lump Crab, White Tepary Beans, Tomato Confit, Navajo White
Corn “Tempura”, Parsley and Apache Salt; Roasted
Breast of Squab, Wilted Greens, Corn, Sun chokes, Braised
Leg Meat Tortellini and Chanterelles, Saguaro Syrup and
Squab Jus; Seven Spice Venison, Celery Root Puree, Spinach,
Cholla Buds Blackberry Gastrique, White Apache Salt; Hominy
Stew with Charred Pork and Spiced Tomato, Fry bread.)
Sample
Menu
Tuition: $295
Lab Fee: $50
Enrollment limited to 16 students.
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Southern California Native Cultures
Kim Marcus
and Gerald Clarke
and Barbara
Drake
July 3–6
Course # NACC ØØ
Four-day session plus evenings
This workshop is dedicated to exploring the arts, crafts
and culture of the native peoples of Southern California.
Special highlights of the week will include lunch sessions
attended by tribal elders, evening presentations of bird
singing, dancing and storytelling.
In this “hands on” course, students will be
using various tools and techniques to create traditional
objects used by the indigenous people of the area. Students
will learn about the gathering of materials and processes
of creating various traditional crafts. In addition, students
will be instructed in the history and culture of the Cahuilla,
Luiseño and Serrano cultures of Southern California.
The workshop will culminate in an afternoon feast of traditional
foods cooked by all participants. Students should expect
moderate physical activity throughout the workshop.
Days 1 & 2: Survival Technology
Join Kim Marcus to learn the art of making a Southern
California Indian Arrow and Quiver. Each participant will
construct arrows using bamboo cane and arrowweed, ancient
techniques of knapping Obsidian into arrow points, making
hardwood foreshaft arrow points, and processing deer tendon
(Sinew) for attaching feathers and arrow points. Also,
participants will have the rare opportunity to construct
a Traditional Southern California Indian Quiver processed
from the yucca plant stalk. This process entails hollowing
the stalk, processing the yucca plant into fibers for
the strap, and decorating the Quiver.
Learn the Cahuilla/Serrano Indian ancient architecture
of constructing a traditional willow-framed dome brush
house. The day will include cutting long willow poles,
splicing willow bark and using yucca plant fiber for tying
the poles into a dome frame, and thatch the brush house
with either tule, wild grass, or palm fronds.
Day 3: Native Plants
Join Barbara Drake and Katherine Siva Saubel to learn
about native plants and how they have been used by California
Indians for medicine, foods and more. The day will also
include a botanical walk and plant collecting for preparing
foods on Sunday and a tour of local rock art sites with
Daniel McCarthy.
Day 4: Southern
California Native Foods
Prepare Native foods with Kim Marcus, Bill Madrigal, Barbara
Drake and Gerald Clarke. Participants will use a real
bedrock mortar to prepare acorns, and will help collect
plants and prepare all dishes. Experience preparing pinon
pine nuts and mesquite beans into healthy and edible food.
Learn to process manzanita berries into a tea, stinging
nettles into a soup, and acorn meal into muffins.
Then join the feast.
In the evening, join us for the premiere screening of
the new documentary, Sing Birds about Birdsinging groups
in this region.
Tuition: $475
Lab fee: $25
Enrollment limited to 20 students.
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Native
American Arts Festival
July 6 - July 11, 2008
Please go to the Native
American Arts section of our website for the complete
description. Courses are below.
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Cahuilla
Basketry
Donna Largo
July 7–11
Course # NACB Ø1
One-week session
The Indian tribes of
California produced baskets of great diversity and beauty.
The exquisite baskets of the Cahuilla, in particular,
are recognized among the highest form of the basket making
art, and in recent years the Cahuilla have experienced
a revival in the tradition.
Each student will learn
how to create a basket of his/her own during the workshop
using yucca, sumac, juncus and deer grass. On a field
trip to the nearby Cahuilla Reservation, students will
be taught identification of plants used in basket making
and will learn how to prepare the plants for use.
Tuition:
$595
Lab fee: $35 (Includes materials, field
trip transportation and use of tools in the class)
Enrollment limited
to 10 students.
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Hopi
Tewa Pottery
Mark
Tahbo
July 7–12
Course # NAHP Ø1
One-week session-includes Saturday am firing
Master potter Mark
Tahbo makes a special return visit to Idyllwild Arts to
teach his popular pottery workshop. Students in this workshop
will learn the traditional Hopi method of creating polychrome
pottery. Revived at the turn of the century by Hopi potter
Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery
is recognized and collected throughout the world. Students
will learn the Hopi techniques of coil building, stone
burnishing, painting with natural pigments, and firing.
The natural clays and
paints are provided by the artist, and are gathered from
special places on the Hopi Reservation in Arizona. These
materials are considered to be sacred and the clay sources
may some day run dry. There is enough clay for each to
student make 2 to 3 small pieces of pottery – all
that can be successfully completed in the week-long workshop.
This is not a production pottery course, but a careful
examination of the delicate process of Hopi pottery making
and the cultural foundation from which the art is inspired.
Tuition:
$595
Lab Fee: $45
Enrollment is limited
to 15 student
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Kichwa Pottery
Estela
Dagua
June 29–July 4
Course # AACR ØØB2
One-week session
Estela Dagua, a native Kichwa potter from the Amazonian
region of Ecuador, will demonstrate traditional pottery
making and painting techniques. Estela is one of the best
indigenous Ecuadorian potters, and is internationally
renowned for both her traditional pottery and for her
inventive clay figures which represent the mythology of
the Kichwa people. An excellent teacher, Estela will help
workshop participants to learn traditional pottery making
and the unique fine-line painting that enlivens Kichwa
pottery.
An additional guest, Pacha Vargas (Estela’s mentor),
will also be demonstrating working in clay. Joe Molinaro
will assist the two artists and provide translations for
non-Spanish speaking participants (Spanish is NOT required
to take this workshop! Estela is wonderful at communicating
her art.) All levels welcome.
Download
materials list.
Tuition: $595
Lab fee: $25
Enrollment limited
to 10 students per week.
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_
_
Native
American Flute Making I & II
Marvin
and Jonette Yazzie
Ernest
H. Siva
July 10–13
Course # NANF Ø1-A
Intermediate: 4-day session (Thurs.-Sun.)
July 11–13
Course # NANF Ø1-B
Beginners: 3-day session (Fri.-Sun.)
In this workshop, each student will construct and decorate
a six-hole flute under the guidance of an experienced
Navajo flute maker. They will also learn some history
of flutes as well as the care and handling of their newly
created instrument. During the course, ethnomusicologist
Ernest Siva will teach the basics of flute playing and
each student will receive a small booklet of flute music.
Beginning students (3-day session begins July 11) will
use Utah Spruce, new this year, for the body of the flute.
They will carve, shape, oil, tune and finally decorate
their flute. The Pentatonic scale will be used to tune
the flutes and students may choose the key (from F-A).
Intermediate students (4-day session begins July 10) will
work alongside beginners, but will create a flute of bass
wood and will be doing inlay on their flutes. Keys E to
A. The intermediate section is designed for those students
who have already completed a flute in this workshop in
prior years.
Materials: A complete materials list will be sent upon
registration.
Tuition: $395 (Beginning, 3-day session)
$495 (Intermediate, 4-day session)
Lab fee: $40 (Beginning, 3-day session)
$55 (Intermediate, 4-day session)
(Includes wood, materials and the use of tools and equipment
in class.)
Enrollment is limited to 10 students
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Navajo Weaving I & II
Beginning & Intermediate
Barbara
Teller Ornelas
Lynda
Teller Pete
June 30–July 4 Course # NANW ØØ
July 7–11 Course # NANW Ø1
One or Two-week session
Students will have
the rare opportunity to learn the art of weaving from
one of the Navajo Nation’s premier weavers, Barbara
Teller Ornelas from the Two Grey Hills region of the Navajo
Reservation. She will be assisted by her sister, Lynda
Teller Pete. While instructing and demonstrating, Barbara
and Lynda will share personal stories and experiences,
allowing participants the chance to gain fascinating insights
into the world of Navajo weaving.
Beginners: Students will learn the traditional method
of Navajo weaving and will begin by learning how to prepare
an upright Navajo-style loom for weaving. The majority
of the week will be spent designing and learning how to
weave a 16” x 24” rug. In order to complete
the rug and learn how to finish the piece, it is recommended
that students continue for the second week. Beginning
weavers may enroll for the full two weeks or in the first
week only. For beginners wanting to weave only, pre-warped
looms will be available (must preorder).
Intermediate: Students
will learn more advanced weaving techniques and more intricate
patterns, and the rug may be any size. Students who have
begun a rug in this workshop in previous summers may bring
their rugs to complete. Intermediate students (those who
have taken this course before or have had previous basic
training in Navajo weaving on an upright loom) may enroll
for the full two weeks or in the second week only. Intermediate
students must bring their own loom and it must be set
up for weaving before class begins. If you wish to warp
your loom, you must come the first session, even if you
are a returning student.
Materials:
Students may wish to bring a seat cushion and small lamp.
Tuition: $595 per week
Lab fee:
$45 beginners (Includes warp and weft materials and the
use of a loom and all tools in class. Looms, additional
wool [6 skeens provided], battens and combs will be available
for purchase). An additional $65 required if requesting
a pre-warped loom-must be preordered. (does not include
purchase of loom).
Intermediate students:
no lab fee (wool and warp will be available for purchase)
Enrollment limited
to 10 students per week.
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Navajo
Inlay Jewelry
Richard
Tsosie
July 7–11
Course # NANJ Ø1
One-week session
The Navajo adopted
the art of jewelry making from the Spanish after contact,
taking the art to new heights and establishing a style
that is now considered to be the “traditional”
Navajo style. Today, there are many Navajo jewelers who
are moving beyond that style, designing contemporary pieces
of jewelry which reflect a new Native American reality.
Artists are creating colorful collages and patterns with
beautiful stones and shells set in gold and silver. In
addition to turquoise and coral, it is not unusual to
find lapis lazuli, purple lavulite, diamonds, pearls,
malakite, jet stone, jade, melon shell and other stones,
shells and gems in contemporary Native American jewelry.
Working closely with
one of the leading contemporary Navajo jewelers, students
will learn the techniques used to create such pieces.
They will design patterns, cut, grind and prepare stones,
and set the stones into basic silver forms (rings, bracelets,
earrings, bolos, etc.) which they have created. Participants
without prior experience in silversmithing will also be
introduced to the basic concepts of shaping silver.
Tuition:
$595
Lab fee: $35 (Includes the use of all
tools, equipment, and consumables such as solder and compounds.
An additional charge will be made for all silver and stones
used. A small selection of turquoise and other stones
will be available for purchase, but students are encouraged
to bring their own stones if they have preferences on
colors/stone types. Students may bring their own silver,
tools, stones, and a work lamp which must be clearly marked.)
Enrollment is limited
to 10 students.
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Oaxacan
Woodcarving & Painting
Jacobo
Angeles Ojeda
July 7–11
Course # NAOC Ø1
One–week session
In this workshop, participants will carve and paint a
sculpture under the direction of one of the finest woodcarvers
from Oaxaca, Mexico. The unique Oaxacan painted carvings
of alebrijes (monsters), nahuals (animal/humans), and
animal figures are seen in collections around the world.
Students will use simple tools to carve their pieces using
seasoned wood from the copalillo tree (native to Oaxaca).
They will then paint their pieces using non-toxic, water-based
paints and natural colors made from ochre, cochineal,
etc. The instructor is known for his distinctive painting
style which results from using shading, blending of colors,
and fine detail work using brushes and maguey cactus thorns.
The instructor will bring copalillo wood from Oaxaca for
the students to carve. For those who wish to focus on
painting techniques, the instructor will furnish an animal
carving (one per student). A highlight of the workshop
will be in-class presentations on Oaxacan art, culture
and history by cultural specialist Nicolas Garcia of Oaxaca
City.
The workshop is suitable for beginning through intermediate/advanced
carvers/sculptors/ woodworkers.
Materials: A complete materials list will be sent upon
registration.
Tuition: $595
Lab Fee: $70 (Includes copalillo wood,
paints and prepared carving)
Enrollment is limited to 10 students.
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_______________________________
PAINTING______________________________
Encaustic Painting
Nick Capaci
July 14-18 Course # AAPD Ø2
One-week session
This Encaustic Painting
workshop is designed for experimentation and creative
discovery within one of the world’s oldest and versatile
art mediums. Egyptian Fayum mummy portraits (100-300 CE)
utilize the medium, displaying a prominent place in the
history of encaustic.
The process involves
painting with pigment, wax and heat. Encaustic paint is
made from pure pigment mixed with molten waxes and damar
resin. The mixture is applied hot with a variety of tools
to a surface. During cooling, tools can be used to shape,
scrape or incise. Heated tools are used to manipulate
the wax mixture during or after the cooling process. Surfaces
can be dimensional or smoothly polished. The molten nature
of the medium lends itself to collage surface embellishments,
and/or imbedding into layers of wax. Fused, textured,
layered, scraped, incised, combed, dipped and embossed
are techniques we will encounter on our encaustic journey.
We will experiment with bold and textural methods as well
as delicate and detailed applications.
This workshop is an
opportunity to explore techniques of direct painting application
and subtractive methods. Traditional to experimental oil
painting techniques will be demonstrated along with encaustic
monotype and xerography approaches. The workshop will
offer you an expanded visual language plus information
on supply sources and safe studio set-up methods for further
encaustic work.
Materials:
A complete materials list will be sent upon registration.
download
pdf
Tuition:
$645
Lab Fee: $75
Enrollment limited
to 10 students.
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Unleashing
Color
Marie
Thibeault
July 7–11
Course # AAPD Ø1
One–week session
Accelerate your ability
to discern and mix color, as well as experience new painting
processes in this intensive one-week painting workshop.
Designed to combine the best of her popular color and
painting courses at CSULB, Marie Thibeault will guide
students through a workshop that will insure a deeper
understanding of the workings of color as it pertains
to painters. This course is certain to expand your color
vocabulary and mixing abilities, since the most important
aspects of color are defined and explored in the process
of composition and painting.
Students will begin
by building collages, looking for and finding relationships
in imagery, light, and color patterns. Personalized compositions
will become the springboard for a series of paintings
to be done during the week. Working in various scales
from large to very small, each student will become more
sensitive to how color creates light, space, focal point
and meaning within a painted composition.
This exciting course
will contextualize the most potent aspects of color within
the history of painting, as well as the introduction of
new concepts of collage process, composition, image development
and the painterly processes. All levels are welcomed,
although some previous painting experience is desirable.
Oil paint recommended.
Materials:
A complete materials list will be sent upon registration.
download
pdf
Tuition: $595
Enrollment limited
to 14 students
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Watercolor - Sunlight,
Shade & Shadow
Linda Doll
July 5–7
Course # AAWW ØØ
Three–day session
The focus of this workshop
will be seeing, understanding, and capturing sunlight,
shade, and shadow. We will also explore the basic controls
of abstract design and the inventive use of color since
more paintings suffer from lack of design and color organization
than anything else.
We will learn to “create”
a painting using photographs rather than just copying
a photograph. The bulk of the class time will be spent
experimenting with hands-on-painting problems. Previous
sketches, old or new paintings, photos, memory or invention
can be the source of subject matter. Attention will be
given to the development of a personal painting style.
Linda Doll is a good
humored, energetic instructor who stresses the importance
of making personal design decisions at each stage of your
painting. She has developed a unique and effective teaching
style which stimulates optimism, enthusiasm, confidence
and creative excitement within her students.
This workshop is designed to inspire beginners and to
challenge advanced students with painting demonstrations,
lectures, slide presentations, personal instruction, and
individual critiques.
Materials:
A complete materials list will be sent upon registration.
download
pdf
Tuition: $395
Enrollment limited
to 20 students.
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Painting's Edge
June 21-July 4, 2008
Please go to the Painting's
Edge section of our website for the complete description
of this Intensive Painting Workshop.
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_________________________
PRINTMAKING_____________________________
Monotype
The Basics and Beyond
Ron Pokrasso
July 14–17
Course # AABM Ø2
Four–day session
Ron Pokrasso covers a wide range of techniques possible
in the monotype process and continues through the use
of collage, drawing, and multiple plate projects. Students
will be encouraged to pursue their artistic vision using
monotype as a mark making tool in combination with whatever
other techniques are efficient and available. The notion
of the “artist as an inventor” will be stressed
as mixed media techniques open the door to limitless opportunities.
The approach is energetic and open, as each student’s
individual style will dictate the direction of the workshop.
The program is totally non-toxic working with AKUA waterbased
intaglio inks. Modifying, layering, mixing inks, finding
color, use and abuse of mark-making tools, exploring the
limits of paper, collage, chine colle and built up surface
will all be discussed. Working with drawing materials,
integration of Solarplate, ImageOn, traditional intaglio
plates, other matrices, and finishing prints as resolved
and complete expressions, including solving issues after
printing, are aspects of the workshop. Some monotype and/or
other printmaking experience is helpful, and intermediate
through advanced students are welcome.
Please note: Workshop ends 4 p.m. Thursday, July 17.
Materials: A complete materials list will be sent upon
registration. download
pdf
Tuition: $595
Lab fee: $75
Enrollment limited to 12 students.
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___________________________SCULPTURE______________________________
Oaxacan
Woodcarving & Painting
Jacobo
Angeles Ojeda
July 7–11
Course # NAOC Ø1
One–week session
In this workshop, participants will carve and paint a
sculpture under the direction of one of the finest woodcarvers
from Oaxaca, Mexico. The unique Oaxacan painted carvings
of alebrijes (monsters), nahuals (animal/humans), and
animal figures are seen in collections around the world.
Students will use simple tools to carve their pieces using
seasoned wood from the copalillo tree (native to Oaxaca).
They will then paint their pieces using non-toxic, water-based
paints and natural colors made from ochre, cochineal,
etc. The instructor is known for his distinctive painting
style which results from using shading, blending of colors,
and fine detail work using brushes and maguey cactus thorns.
The instructor will bring copalillo wood from Oaxaca for
the students to carve. For those who wish to focus on
painting techniques, the instructor will furnish an animal
carving (one per student). A highlight of the workshop
will be in-class presentations on Oaxacan art, cu
