Please click on each title for description or simply scroll down for 2009 Courses.

Ceramics Workshop
Greg Kennedy
Reinventing the Wheel
July 13-24
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: $625 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 13-18
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: $625
Lab Fee: $45

Enrollment limited to 15 students

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Santa Clara Pottery
Susan Folwell

July 6–11 Course # NASP ØØ
One week session-includes Saturday am firing

This workshop will focus on the centuries old art of pottery making in the style of Pueblo people of the Southwest. Students will create the distinctive, high-polished black and red pottery with carved designs for which Santa Clara Pueblo is so well known. Emphasis will be on process rather than production with hands-on methods and demonstration.

Blending traditional as well as contemporary techniques the instructor will guide students through the following:

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Hot Clay: 6 workshops
June 28 - July 10, 2008
• Workshops
• Lectures
• Demos
• Tool Making Seminars
• Individual Critiques

Please go to the Hot Clay section of our website for the complete description. Courses are below.

Alternative Raku - Eduard Lazo
Figures in Clay - Cynthia Consentino
Throwing & Growing - Ingrid Lilligren & Terry Rothrock
China Paint - Paul Lewing
Handbuilding with Soft Slabs - Marc Digeros
Paperclay & You - Rosette Gault

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_____________________________ JEWELRY____________________________

Sew Charming
Fiber/Mixed Media Jewelry
Ruth Rae

July 4-5
Course # AAJFØØ
Two–day session

Create your own statement with fabric jewelry that isn’t your everyday necklace or bracelet
but something that is extra extraordinary with unexpected ribbons and materials. Fabric jewelry is profound in style yet virtually weightless in its construction. In this workshop we will explore fabric and sewing related jewelry projects combined with basic and unique wire jewelry construction. Blistered organza flowers, fabric pillows and hearts will be covered
as well as fabric altering such as dying and stamping, burning, and the secrets of embedding hidden elements in your jewelry and hand beadwork.

Discover an assortment of wire jewelry techniques including clasps & closures, knotted head pins, coiled jump rings, double-loop links, wire-orb links, beaded links and 3 bead dangles along with antiquing. In addition, we will focus on found objects, commercial and vintage chain, and discuss ways that they may be altered and incorporated into your jewelry. This class is suited to all levels. Basic jewelry skills are helpful but not necessary. You will leave this workshop with at least one completed piece of jewelry if not more.

Materials: Download Materials List

Tuition: $395

Enrollment limited to 25 students.

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Intermediate Glass Beadmaking
Heather Trimlett

June 28–July 2
Course # AAGB ØØ
One week session

This is a unique opportunity to work with Heather to discuss how you want to develop your style in glass beadmaking. You will learn to work smarter and more efficiently, gaining the maximum out of your precious torch time. We will take time to discuss and develop design ideas students can easily continue to expand in their own studios. Heather will take the mystery out of clear casing, stringer work and shaping a disc. She will show you her no-fail way to a successful hollow bead. You will learn the magic to making the perfect black & white twist then applying that twist and making the ends match! It’s time to fine tune your skills and take your work to the next level. As a bonus, we will have an introduction to Glass Button Making. Please join us for this exciting class.

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

Tuition: $625
Lab Fee: $75 (Includes gas and some tools.)

Enrollment limited to 14 students.

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Etching
Deborah E. Love Jemmott

July 20-24
Course # AAJE Ø2
One Week session

Traditionally, metal has been etched with very strong acids. This class will accomplish the same technique using “corrosive salts” – a much safer, yet effective etchant. Using ferric chloride for copper based alloys and ferric nitrate for silver, and a variety of grounds to mask areas, we will explore the technique of etching on metal. This class will take you stepby-step through the etching process. First, we will examine many different resists or grounds that can be used to mask areas of the metal. In addition to the traditional resists, we will work with PnP sheets, which allow any black and white image to be transferred to the metal, and then etched. This allows endless possibilities for personal designs.

The week will begin with a series of exercises using different grounds to learn the basics of etching. Once you have several etched sheets you want to work with, the class will cover soldering, making cold connections and forming techniques, as they would apply to working on etched metal. Whether you choose to make several simple finished pieces, or create a wide variety of samples and sheets of metal to use in the future, this class will enable you to feel comfortable with the etching process. Instruction will be given for all levels of students.

Materials: Download Supply and Tools List

Tuition: $625
Lab fee: $45 (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 limited to 12 students.

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Hopi Jewelry
Michael Kabotie (Lomawywesa)

July 6-10
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: $625
Lab fee: $35 (Includes the use of all tools, equipment and consumables such as solder and compounds. An additional charge will be made for all silver and stones used.)

Enrollment limited to 13 students.

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Navajo Inlay Jewelry
Richard Tsosie

July 13-17
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: $625
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 limited to 10 students.

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Silver Metal Clay: Hollow Forms
Jonna Faulkner

July 18-19
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. 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. This workshop will concentrate on making hollow forms that are so finely designed and constructed that they command attention when worn. Students will learn how to build hollow forms with and without armatures, how to decorate them using texture, appliqué, pearl-setting and keum-boo technique, and how to make clasps that echo the designs of their focal-piece hollow form. Instruction will be given for students at all skill levels.

Materials: Download Materials List

Tuition: $295
Lab Fee: $20 (For use of kiln, consumable materials and basic kit. Silver metal clay, pearls, fine silver wire, and 24k gold foil will be available for purchase in class.)

Enrollment limited to 12 students.

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Metals Week: 5 Workshops
• Workshops
• Lectures
• Demos
• Tool Making Seminars
• Individual Critiques

Please go to the Metals Week section of our website for the complete description of the following courses:

- Enriching Surfaces - Pauline Warg
- Exploring Enameling - Linda Darty
- Experimenting with Surface - Brigid O'Hanrahan
- The Mighty Mill - Deborah E. Love Jemmott
- Textile Techniques in Metal - Arline Fisch

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________________________________MIXED MEDIA_______________________________

Coptic Book: Rock, Paper, Wood
Daniel Essig

June 28 - July 2
Course # AACB ØØ
One-week session

Developed as early as the fourth century, this Ethiopian binding style has withstood the test of time. The elegant sewing structure, combined with the use of traditional wooden covers and alternative mica pages, opens a wide range of possibilities for both the beginner and the advanced bookbinder. After first creating a miniature structure using only paper and mica, we will move on to the wooden covered book. Using a variety of tools, both manual and power, you will drill, shape, and smooth your book covers. For the pages we will use a combination of paper and plate mica. The mica is a material designed for lamp shades, but also works well as an element in book arts and collage. Finishing includes sealing your wooden covers with milk paint and a coating of wax as well as adding a leather closure. As time allows, Daniel will share various features he includes in his own bindings and sculptural books. Students can expect to complete two books during the workshop.

Materials: Download Materials List

Tuition: $675
Lab Fee: $35 (includes wood covers, mica, text block [mini book], handmade papers, waxed linen thread, needles, sandpaper, steelwool, wax, milk paint, PVA glue, dust mask, other tools and materials needed to complete projects)

Enrollment limited to 15 students.

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3-D Paper Magic: Books, Boxes and Much More
Joan Michaels Paque

June 29-July 3
Course # AAPA ØØ
One–week session

An understanding of traditional methods of building and binding books leads to hands on exploration of dimensional and kinetic structures. A combination of art, architecture and engineering principles is presented. Techniques taught include sewn, woven, interlocking, pop-up and origami. Additionally boxes, slipcases, sleeves, pockets and scrolls will be demonstrated. The use of both conventional and unorthodox materials and finishes is discussed along with creative concepts, ideas and applications. Development of individual style and innovation is encouraged. Unique methods developed by this artist are shared including pleat, twist and map folds. Original schematics are provided to facilitate the learning and creative process. Embossing and de-embossing on paper and metal will also be taught.

Course content is suitable for the serious and the curious and for applications in the fine and graphic arts, sculpture and for teachers. This instructor strives to relate to individual needs and encourages experimentation. Returning students will be accommodated.

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

Tuition: $625
Lab Fee: $30

Enrollment limited to 25 students.

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Assemblage I and II
Michael deMeng

July 10 Course # AAAS ØØ-A
July 11-12 Course # AAAS ØØ-B
July 10-12 Course # AAAS ØØ

One, Two or Three–day sessions
Students may elect to enroll in one or both workshops.

Session I: Island of DeMented Toys
July 10

Remember the Island of Misfit Toys in the claymation epic Rudolph the Red Nosed Reindeer? Well that’s nothing compared to what we’re going to do in this class. You’re going to bring all sorts of parts and pieces from a variety of toys. You round up everything from Barbies, to Tonka trucks, to snow globes, to wind-up zeppelins, and reassemble them “into something rich and strange” (to quote Shakespeare’s, The Tempest). Don’t worry if your toys aren’t dismantled yet…we can take care of that…bwwwwahahahahahaha (evil laugh - in case you were wondering). Using various techniques of assemblage we will turn our classroom into a laboratory of the weird. Barbie and Ken will never be the same….as I said before ….bwwwwahahahaha.

Materials: Download Materials List

Enrollment limited to 20 students.

Session II: The Mad Alchemist's Cabinet
July 11-12

Back in the olden days, (you know, back when you’d take the kids to a drive-in movie in an ox cart) alchemy was all the rage. In a simplified nutshell, alchemists were scientist/mystics who had two main goals: to find the “elixir of life” (sort of the Fountain of Youth) and to transform everyday metals into gold. They remind me of the quintessential mad scientist, obsessed with the knowledge of the unknown, not matter the cost.

Now to be a proper mad scientist you need a few things:

1.Something to discover (lead to gold, fountain of youth, an explanation to the T.V. series Lost).

2. Some scientific instruments…I prefer power tools and paint.

3. A place to keep all your strange supplies like your jar of eye of newt (you can’t get this at Dick Blick).

The idea of this class is to create a nice little cubbyhole to keep your peculiar supplies. Now of course you don’t want your cabinet to be uninteresting; it should be something amazing and out of the ordinary to behold in itself. So in this class we are going to take a printer’s tray (tray with several different sized nooks) and transform it into an unusual cupboard using a multitude of found objects and variety of assemblage techniques. You have the option of working on adorning the structure alone, but you also can bring items to fill up the nooks and modify and embellish those as well. Get out your lab coat or sorcerers cap…time for some weird science. All levels welcome (beginner, intermediate, advanced).

Materials: Download Materials List

Tuition: $150 for Sesssion I
$300 for Session II
$450 for both Session I & II

Lab fee: $20 Session II only (for printer’s tray).

Enrollment limited to 20 students.

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The Ins & Outs of Altered Books
Carol Owen

July 13-17
Course # AAAB Ø1
One–week session

Turn an old throwaway book into a work of art. Learn to create pockets, pop-ups, windows, and niches in the book as well as a vast array of collage and interactive techniques that will entertain and engage the viewer. You will learn many ways to get color and pattern on the surface, and we will explore several ways to alter book covers.

When asked to describe altered books, Carol explains, “I start with an old, unloved book and transform it with paint, photos, and other embellishments. The end result is a book that has become a work of art, with pockets, niches, and secret compartments, enticing the viewer to keep turning pages.” She is well-versed in the many techniques that can be used to create these one-of-a-kind pieces, and she will be sharing her vast knowledge and experience throughout the week. This class is suitable for all levels.

Materials: Download Materials List

Tuition: $625
Lab Fee: $10 (includes books and an assortment of group supplies)

Enrollment limited to 20 students.

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Break your Art: Mosaics 101
Katherine England

July 20-22
Course # AAMA Ø2
Three-day session

Find yourself oddly attracted to BLINGBLING? Ever felt like smashing things? Ready to go beyond paper? If so, this is the workshop for you. At the end of this three-day workshop you will be well experienced and have a vast knowledge of the mosaic world and the techniques you need to make just about anything covered in brightly colored glass and tile. Our project will be a pattern of your design (instructor will also bring several patterns to choose from) cut from MDF board using a jigsaw. Power tools are sooooo much fun. Learn the best way to create gorgeous patterns and compositions using fabulous colored opaque glass. We will learn about the best products to create long lasting and beautiful mosaics both indoors and out. You will fall in love with the intensity of the medium and take great pride in creating something so permanent. The instructor promises you will find the class to be extremely cathartic and satisfying! Warning: Mosaicking can quickly become addictive and you may find yourself wanting to smash your favorite china set.

Tuition: $395
Lab Fee: $40 (includes supply kit with all the glass, tiles, backing, paints, grouts and pigments, adhesives, paper, wire and hardware needed for this project; and a convenient carrying envelope to get your piece home safely; as well as the use of all the necessary tools including jigsaw, nippers, running pliers, cutters, etc.) Instructor will bring a selection of her favorite tools for those that want to purchase their own for home use.

Enrollment limited to 15 students

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Mixed Media Art Buffet
Traci Bunkers

July 20–21
Course # AAMM Ø2-A

July 22–23
Course # AAMM Ø2-B

July 20–23
Course # AAMM Ø2

Two two-day sessions

Session I: Printable Matter and Über Surreal Painting
July 20-21

This workshop is two days of experimental printmaking and mixed-media gluttony. The first day you’ll create a Printable Matter artist’s book, constructed of prints from alternative printmaking methods and tools. The new skills and knowledge from the first day will carry over to the next, using your alternative prints and printing blocks in your mixed-media painting. You’ll go home with a “Printable Matter” mixed-media artist’s book, original printed collage material, a funky über painting, and handmade printing blocks to continue printing with at home. After this workshop you will look at the oddities from dollar stores, thrift stores and garage sales in a whole new light, and you will never be able to pass one up.

On the first day, you’ll discover the world of experimental printmaking using ordinary & not so ordinary tools. Learn to use various monoprinting methods, including building your own printing blocks to create multiple layered pages through repetition and patterning. After developing the book cover in the same experimental printmaking manner, you’ll alter the book to house your pages in a hinged format, making it a book like you’ve never seen. These techniques and tools can be used as backgrounds that are a springboard to take your artwork to the next level. When finished, your Printable Matter will be a unique printed book that is a work of art in itself, the groundwork for an artist book or visual journal, or a valuable reference book for future printmaking projects. This class will expand your artistic repertoire.

The second day will be focused on my personal and unique painting technique that I’ve taken one-step farther to create Surreal Über Paintings. Even if you have no painting or drawing skills, you can create a large mixed-media painting that has surreal, dream-like qualities and is completely original. Not only will I show you how to make this 16”x20” work of art, I’ll also show you the beauty in working big while using your own photographs to create from. We’ll paint, draw, collage and stamp on top of blown-up photo copies to create a piece of art that blurs the line between a photograph and a painting. The process is started in pieces and then joined together to be finished as a whole. It can be mounted in class on a stretched canvas or canvas board so it’s ready for framing. Or, you can mount or frame it when you get home. This project is also great for experimenting with different coloring materials or mark making techniques.

This class is for everyone. No art experience necessary.

Materials: Download Materials List

Tuition: $295
Lab Fee: $6 (Instructor will supply the wonderful and weird materials for the printing blocks, baby wipes, wax paper, and various color-making supplies for use in class.)

Enrollment limited to 20 students

Session II: Visual Journaling & Creativity: Preparing the Way for the Wanted You
July 22-23

Visual journaling is a creative tool that can be used not only as an artistic outlet, but also as a way to set forth the intention to create your desired life. In this inspiring workshop, you will transform an ordinary book into a visually rich, artistic journal that you will then work in, combining personalized abundance and gratitude exercises with visual journaling, opening up the channels to an abundant life. These exercises will help you get clear about what you want, and manifest more of it into your life.

Using the style of a glue book for a jumping off point, you will create visual and tactile layers with collage, painting and stamping, metamorphosing a book into a finished work of art in itself, or in this case, the basis for a visual journal to work in the next day. I’ll teach you techniques to meld collaged items to be part of the page and how to layer paints to get a rich, textural surface. I find this whole process very rejuvenating and exciting. Many people let their fear of the blank page keep them from journaling. By preparing the book in advance, it is ready whenever you want to journal, with the colorful pages inspiring you.

You will journal and do automatic writing exercises about your fears, personalized goals and life dreams that will be the foundation for your visual journaling. Using paint, markers, pens, rubber stamps, collage and personalized imagery, you will start a book that is dedicated to the abundant you, living the Law of Attraction, that you attract into your life what you think and believe. You will turn those thoughts and desires into artistic, visual expression that will be reminders of your desired life’s path. This workshop will lay the groundwork so that when you return home, you can continue working in your abundance book on your own.

The book you choose to work in for this workshop can be anything from a new sketchbook to an old book you have salvaged. Anything and any size is fine as long as it can hold up to painting the pages. Choose a book, old or new, big or small, that feels good to you and you really like. That will help you want to continue working in it when you go home.

This class is for everyone. No writing or art experience necessary.

Materials: Download Materials List

Tuition: $295
Both sessions: $550

Enrollment limited to 20 students.

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Art Quilts: Image+Text = Textile
Lesley Riley

July 24–26 Course # AAIT Ø2
Three-day session

Images and photographs, text as design, as line as poetry. They hook and reel us in, to art, to books, to life. This class is an exploration of image and text as it applies to surface design– primarily, but not limited to quilts and fabric collage. (All techniques covered can be used on paper and canvas). Over this three day class, you will have the opportunity to explore over 12 methods of direct application and transferring of both image and text to fabric. Techniques include: ink jet transfers, thermofax screening, resists, masking, scratching and bottle writing. We will explore the use of image and text as patterning, backgrounds, accents, focal points and story. Individual attention will be given to each student with an emphasis on combining techniques to create eye-catching design and stunning works of art.

In addition to image and text, you will work with fabric paints and dyes to add color to fabric in preparation or in combination with your work with text and image.

This class welcomes artists from different backgrounds who want to learn how to work with text and image in their work. No sewing/ quilting experience required. Some art or design background is helpful, but not required. Beginners are welcome and encouraged.

Materials: Download Materials List

Tuition: $425
Lab fee: $20

Enrollment limited to 15 students

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______________________Native American Arts________________________




Native Plants for Food, Medicine & Utilitarian Uses
Barbara Drake & Lorene Sisquoc

July 11-12
Course # NANPØØ
Two-day session plus evenings

This workshop is devoted to the gathering, preparation, and preservation of the native plants still used by our Southern California tribes. Students will have the opportunity to process cordage plants such as yucca, nettle, dogbane and wild iris which were used to strengthen shelters, make nets, lash a canoe, string beads to wear around the neck and more. On the final day, students will help prepare a native plant feast which will include processing acorns, mesquite beans, pinon nuts and chia into edible dishes. Many wild greens and medicinal teas will part of the menu.

Special highlights of the weekend will include: a presentation by Katherine Siva Saubel, honored elder and author of the Cahuilla tribe, who will have plant samples and discuss their uses as food and medicine; an evening outing to local rock art sites with Daniel McCarthy, tribal liaison and forest archaeologist, who will discuss the meaning, historical significance and importance of preservation of these sites. Each participant will receive a Native Plant Resource Guide and Cookbook.

Tuition: $195
Lab fee: $15

Enrollment limited to 20 students.

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Living off the Land: Cahuilla Survival Technology
Kim Marcus

July 18-19
Course # NACS Ø1
Two-day session

In this “hands on” course, students will be using various tools and techniques to create traditional objects and structures used by the the Cahuilla and Serrano people of Southern California. Students will learn how to gather and process the materials needed to create these traditional items.

Day one will focus on the making of a Southern California Indian arrow and quiver. Each participant will construct arrows using bamboo cane and arrowweed, learn ancient techniques of knapping obsidian into arrow points, make hardwood foreshaft arrow points, and process deer tendon (sinew) for attaching feathers and arrow points. 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.

On day two, students will work together to construct a traditional Cahuilla/Serrano 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 thatching the brush house with either tule, wild grass, or palm fronds. Students should expect moderate physical activity throughout the workshop.

Tuition: $195
Lab fee: $35

Enrollment limited to 12 students.

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Hopi Jewelry
Michael Kabotie (Lomawywesa)

July 6-10
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: $625
Lab fee: $35 (Includes the use of all tools, equipment and consumables such as solder and compounds. An additional charge will be made for all silver and stones used.)

Enrollment limited to 13 students.

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Native American Beadwork
Joe Baker

July 6-10
Course # NABW ØØ
One-week session

This rare opportunity to learn the art of beadworking with award-winning artist Joe Baker promises to be much more than a study of basic techniques. You will be introduced to the beadwork of generations of Native Americans, and to Joe’s own work and experience creating beautiful moccasins, bandolier bags, vests, beaded canvasses and more. His enthusiasm for the art form is contagious.

This workshop is designed to teach students basic beadworking techniques including the two-needle appliqué stitch and the peyote stitch. Students will be encouraged to explore these techniques in an informal learning environment that is both fun and relaxing. They will examine both historic and contemporary examples of the Delaware bandolier bag (an item worn by Delaware men with wide, fully beaded shoulder straps attached to a beaded bag).

Students may elect to create a beaded woodlands style vest or contemporary beaded landscape on canvas. The techniques learned may be applied to moccasins, belts and other decorative and utilitarian items as well. Because students will be working closely with the instructor, the workshop is well-suited for all levels of experience.

Materials: Download materials list here.

Tuition: $625
Lab fee:$25 (includes thread, needles, canvas)

Enrollment limited to 12 students.

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Santa Clara Pottery
Susan Folwell

July 6–11
Course # NASP ØØ
One week session-includes Saturday am firing

This workshop will focus on the centuries old art of pottery making in the style of Pueblo people of the Southwest. Students will create the distinctive, high-polished black and red
pottery with carved designs for which Santa Clara Pueblo is so well known. Emphasis will be on process rather than production with hands-on methods and demonstration.

Blending traditional as well as contemporary techniques the instructor will guide students through the following:

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Native American Arts Festival
July 6 - July 11, 2008

•Performances
•Lectures
•Exhibits

Please go to the Native American Arts section of our website for the complete description. Courses are below.

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Cahuilla Basketry
Rose Ann Hamilton

July 13-17
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: $625
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 13-18
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: $625
Lab Fee: $45

Enrollment limited to 15 students.

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Meso American Instruments: Creating Sounds of Nature
Ernesto Olmos-Hernandez

July 13-17
Course # NAMI Ø1
One-week session

Imagine being inspired as you form ceramic ocarinas and whistles with your own hands, discover new ways to play them and learn intriguing history of pre-Columbian instruments. Begin each day hearing ancient legends that honor the power of music. As the day progresses, your creativity will be stimulated and your hands will shape various instruments. The instructor is widely recognized as an innovative artist and for his vast knowledge of ancient Mesoamerican people, their celebrations and legends. He integrates his Maya, Aztec, Zapotec and Mixtec roots and traditions with music. Don’t miss this rare opportunity to work with him in creating your own unique version of these ancient instruments, and then learning to play them. In this workshop, students will:

Materials: Download Materials List
Tuition: $625
Lab Fee: $20 (includes clay and other materials)

Enrollment limited to 15 students.

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Native American Flute Making I & II
Marvin and Jonette Yazzie
Ernest H. Siva

July 16-19
Course # NANF Ø1-A
Intermediate: 4-day session (Thurs.-Sun.)

July 17-19
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 17) 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 16) will work alongside beginners, but will create a Grandfather flute, using body measurements and mostly hand tools. Wood will be local mountain wood from trees killed due to lack of water and the Bark beetles. Keys F 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: $425 (Beginning, 3-day session)
$525 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)
$55 (Intermediate, 4-day session)
(Includes wood, materials and the use of tools and equipment in class.)

Enrollment limited to 10 students.

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Navajo Weaving I & II
Beginning & Intermediate
Barbara Ornelas
Lynda Pete

July 6-10 Course # NANW ØØ
July 13-17 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: $625 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.

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Navajo Inlay Jewelry
Richard Tsosie

July 13-17
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: $625
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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__________________________ PAINTING & GRAPHICS _______________________

Plein Air Painting: Painting Landscape on Location
Ray Roberts

June 29 - July 1
Course # AAPP ØØ
Three-day session

This will be a plein air workshop, where a portable painting setup is required for out in the field. We will cover all aspects of outdoor oil painting. Beyond the painting setup is the approach. Important in making a painting is to have a plan and overview of all aspects in your painting. The concept, composition and drawing, seeing the big and simple shapes, and color/value relationships of those shapes all fit together like a puzzle. Juggling these components is the challenge to making a painting manageable.

We will be painting exercises that will help you learn to create thoughtfully composed oil paintings that have ‘light’ in them. This approach reinforces awareness of the different parts to a painting enabling each artist to create a solid painting and develop their own voice. There will be demonstrations often and as needed, and lots of one-on-one attention.

This oil painting landscape workshop is appropriate for all levels – beginners through professional. (Pastel and acrylic painters are also welcome, but must be well-versed in using their selected medium.)

Materials: Download Materials List
Tuition: $425

Enrollment limited to 15 students.

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Draw Without Fear: Stepping Into Color
Barbara Roth

July 3-5
Course # AADC ØØ
Three-day session

Have you ever wanted to quickly sketch something that inspired you, then add a dash of color and capture that memory, but felt it was too hard to learn to draw and paint? In this workshop, you will learn to do these things with ease and confidence.

The first day will focus on “Quick and E-Z No Stress Drawing Techniques”, to help students sketch images quickly and produce wonderful drawings full of character that can be used in sketchbooks, journals, and just about any project. Instruction will include a variety of drawing methods so students can discover which methods they prefer: semi-blind contou line drawings, gesture drawing, building on basic shapes to give structure to drawings and how to get correct proportion. Lots of tips will be given on how to make drawings look realistic using shading and aerial perspective and a picture plane. We will practice drawing objects from our surroundings, photos and other reference. Emphasis will be on feeling free to make lines on the paper, making mistakes and drawing over the mistakes rather than erasing. This approach combined with timed drawing sessions will help speed up the students’ ability to draw quickly with confidence. Learn easy techniques to draw people, buildings and landscapes, and learn about inexpensive drawing materials so you can discover which methods and materials work best for you.

The second day will be “Stepping Into Watercolor Painting”. Students will be introduced to using watercolor washes to make their ink drawings colorful and create mood and depth in their work. Simple color theory to make successful color mixes and avoid muddy colors will also be explained and practiced. Learn all kinds of watercolor techniques and secrets: rainbow washes, wet-into-wet, textures, color meeting color, gradation, softened edges, hard edges, fixing mistakes, avoiding color mistakes, fixing painting mistakes, glazing, plus much more. Each technique will be recorded on its own page in a fun way and then each page will be put into a notebook so students will leave class with their own personal watercolor painting guide book. The last hour of class will be devoted to students creating a small painting using some or all of the techniques explored in class. Students should leave class with lots of new techniques to capture their surroundings quickly and successfully.

On the final day, “How to Draw and Paint Anytime, Anywhere”, we will apply everything we have learned the previous two days plus add some instruction and practice on how to draw outside, how to capture what inspires you anywhere, how to draw from photographs using a grid and how to decide how much to record depending on the time you have to draw. We will also learn about what materials work well for travel sketching, painting and journaling, as well as how to find time to draw at home and how to discover your personal style of painting.

Materials: Download Materials List
Tuition: $375

Enrollment limited to 20 students.

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Reinventing Calligraphy: From Formal to Funky
Lisa Engelbrecht

July 6-8
Course # AACA ØØ
Three-day session

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

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

A discussion of our creativity will usher us to the next step of developing a personal style of lettering. Exercises and many exemplars including modern street influences will jump-start this process. We’ll break the rules of calligraphy and begin to trust our creative decisions. What we say is equally important as we develop text related to our artistic life.

New and handmade tools will be explored and created, leading to even more discoveries. Various media such as gouache, watercolors, acrylic inks, gold foil and metallics will inform these discoveries.

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

Materials: Download Materials List

Tuition: $425
Lab Fee: $10

Enrollment limited to 20 students.

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Contemporary Practices in Drawing & Painting from LA to NY
Tom Krumpak

July 6-10
Course # AAPD ØØ
One-week session

This is an original workshop that allows students of all levels to clarify their own artistic strengths and weaknesses. This is accomplished by presenting a diverse array of drawing and mixed media painting problems created by prominent and emerging artists from these two world-class cities. The stylistic approach, the working methodologies and the inherent expressiveness of chosen materials and techniques are seen as integrated parts of the content and purpose of the individual artwork.

Each project will be introduced by a brief slide lecture that discusses the contributing artists’ own accomplishments and explains the visual strategy of the new artwork to be undertaken by the class. The projects will be both based on direct observation of still life, photographic images (can be figurative), imagination or fantasy, architecture and archaeology, and abstraction (no single style will be used in the workshop). Paint used will be acrylic, preferably (because of fast drying time), but oil is fine as well. Students will use black and white and color, mixing wet and dry media (opaque and transparent), and will be working on more than one project at a time.

In addition, two fast-paced, comprehensive slide lectures survey the most exciting new contemporary artwork from Brooklyn. (“In the Time of the Story” and “New Origins of Abstraction: Place, Structure and the Influence of Architecture”)

Individual assistance, as well as informal group critique will mark our artistic progress. Although a visually dynamic result is always hoped for, the workshop emphasis will be on “the process” of making and about how process creates distinctive results. Some drawing and painting experience recommended, but adventurous beginners are welcome.

Materials: Download Materials List

Tuition: $625

Enrollment limited to 15 students.

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Watercolor Workshops
Robert Regis Dvorak

July 10 Course # AAP W ØØ-A
July 11 Course # AAP W ØØ-B
July 12 Course # AAP W Ø1
Three one-day sessions (Students are encouraged to enroll in all 3 days.)

Session I: The Magic of Watercolor
July 10

Anyone can paint watercolors when they know the magic of the medium! This class will teach you the secrets—everything from the foundation basics to more advanced techniques. You will learn how to:

In this hands-on class you will learn a variety of magic with this remarkable medium painting abstract, landscape, and still life subjects. You will paint lively watercolors to express your creativity and nourish your heart and soul. Whether you are traveling, vacationing, on a weekend outing, or painting in your home, you will easily be able to incorporate these skills. This class will prepare you for a lifetime of watercolor painting pleasure. This is a comprehensive watercolor class for beginners and more advanced students.

Materials: One quart water container, cotton rag, favorite brush if you have one.
Download Materials List

Tuition: $150
Lab Fee: $36 (includes block of watercolor paper, Chinese watercolor brush, folding travel palette, 12 tubes of watercolors, handout and other materials)

Enrollment limited to 20 students.

Session II: Creative Watercolor Methods & Techniques
July 11

This class is for people who like to paint watercolors or who would like to get back to painting. It is also a continuation of the Session I workshop. In this workshop, explore many ways to create beautiful watercolor paintings. You will learn:

You will watch step-by-step painting demonstrations, try them, and come away from the class with many new and easy techniques for painting in watercolor. If you have had some previous watercolor painting experience with Mr. Dvorak, on your own, or in some other class, you will find this workshop will open you up to many new and exciting ways to paint.

Materials: Bring your own watercolor paper, brushes, paint, palette, water container and rag. Students continuing from Session I should bring the supplies received in that class. Wear comfortable work clothes. Download Materials List

Tuition: $150
Lab Fee: $16 (includes handout and supplies that will be introduced in class)

Enrollment limited to 20 students.

Session III: Plein Air Painting in Watercolor
July 12

In this workshop, you will learn how to succeed every time painting plein air landscapes. Students may take this workshop only, or as a continuation of either or both of the prior sessions. In a relaxed and fun atmosphere you will learn how to:

You will watch demonstrations of the above techniques and then practice on your own, and will learn at least 40 tips that will make you a better watercolor painter. You may work with any size paper.

Materials: Download Materials List

Tuition: $150
Lab Fee: $12

Enrollment limited to 20 students.

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Color Theory for All Media
Margaret Scanlan

July 13–17
Course # AAPD Ø1
One-week session

This exciting class is designed for practicing artists and artisans in any media in which color plays an integral role, including, but not limited to, basketry, books and paper, clay, enameling, fiber arts, glass, painting, printmaking, and wood. Sharpen your instincts and expand your knowledge of color theory through specific, sequential painting exercises and experiments. Refine and define your color preferences more clearly.

Our goals for the week include understanding the basic structure of color as represented by the twelve-color wheel, being able to manipulate pigments with a goal of achieving harmonious combinations, being able to recognize and identify the value of any color, being able to reproduce to your own satisfaction any desired color, and knowing better those color combinations which please you and give you joy.

Mornings will be filled with a variety of sequential painting exercises, including construction of color, value, and intensity wheels, as outlined in Betty Edward’s book Color, as well as hands-on exercises for sharpening color and value discernment, discussion of the nature of pigment versus prism color, color attributes, color schemes, etc. Afternoons will continue the mornings’ schedule of technical painting exercises alternated with discussions about simple and more complex combinations of colors, including methods of deciding which colors to emphasize in personal work. We will discuss the color insights of Goethe, Munsell, Edwards and others.

Personal insights will emerge. The exercises and discussions will be highly satisfying and engaging. Individual consultation with the instructor will be available.

No painting experience is necessary. Open to all levels.

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

Tuition: $625
Lab Fee: $75

Enrollment limited to 20 students.

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Encaustic Painting
Nick Capaci

July 20-24
Course # AAPD Ø2
One-week session

This 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 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.

Tuition: $675
Lab Fee: $75

Enrollment limited to 10 students.

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_________________________ PRINTMAKING_____________________________

Beyond Monotype
Ron Pokrasso

July 13–17
Course # AABM Ø2
Five–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, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Some monotype and/or other printmaking experience is helpful, and intermediate through advanced students are welcome.

Materials: Download Materials List

Tuition: $675
Lab fee: $75

Enrollment limited to 12 students.

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___________________________SCULPTURE______________________________

 

Introduction to Kinetic Sculpture
Moto Ohtake

July 10–12
Course # AASK ØØ
Three-day session

In this workshop, students will explore the mechanics and structure of sculpture which moves. This will be an opportunity to experiment with various materials and methods to create small-scale kinetic sculptures made from wire, wood and paper. This project will include a step by step lesson which will explore the principles and elements of 3-D design, with a focus on kinetic movement. These principles can be applied to larger projects for future efforts.

The focus of the workshop will be an exploration of linear forms (lines) and the concepts of balance, connections and movement. Students will be introduced to these methods and materials: basic model making, utilizing hot glue, epoxy and soldering; metalworking including MIG welding, plasma cutting, pop riveting and the use of power and hand tools to bend, cut and attach parts of the kinetic sculpture as it is being constructed. This workshop is suitable for all levels, and beginners are welcome.

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

Tuition: $295
Lab Fee: $65 (includes steel sheet and rods, bailing wire, solder and pop rivets, as well as the use of tools and equipment in class)

Enrollment limited to 15 students.

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Introduction to Moldmaking Techniques
Gerald Clarke

July 20–24
Course # AASM Ø2
One-week session

Moldmaking techniques date back centuries and are still an important part of any artist’s repertoire. In this workshop, students will be instructed in the use of alginate, silicone and plaster to create molds from objects or from the live model. Through the course of the week, students will pull alginate molds from the human body, plaster “waste” molds from clay sculpture, and reusable silicone molds from found objects. These skills are great for hobbyists, art educators, professional sculptors and mixed media artists. They can be used to create original sculptures, or to incorporate into other art works. In addition, ceramic artists, bronze sculptors, installation artists and even animators can benefit from this timeless method of creating three dimensional forms.

Materials: Download Materials List
Tuition: $625
Lab Fee: $55 (includes alginate, silicone, shared class supplies)

Enrollment limited to 8 students.

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Native American Flute Making I & II
Marvin and Jonette Yazzie
Ernest H. Siva

July 16-19
Course # NANF Ø1-A
Intermediate: 4-day session (Thurs.-Sun.)

July 17-19
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 17) 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 16) will work alongside beginners, but will create a Grandfather flute, using body measurements and mostly hand tools. Wood will be local mountain wood from trees killed due to lack of water and the Bark beetles. Keys F 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: $425 (Beginning, 3-day session)
$525 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)
$55 (Intermediate, 4-day session)
(Includes wood, materials and the use of tools and equipment in class.)

Enrollment limited to 10 students

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__________________________WRITING / FILMMAKING___________________________

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Screenwriting Camp
Pamela Pierce
Barri Evins
Joe Forte
Meg LeFauve
Amy Salko Robertson

July 5–8 Course # AAS W ØØ-A
July 9–11 Course # AAS W ØØ-B
July 5–11 Course # AAS W ØØ

Three, four, or seven–day session

Finally. A unique immersion experience for screenwriters that allows you a safe, quiet place
to escape and explore your craft with nurturing Hollywood film & television professionals.

It’s a rare opportunity to work in an intimate and vigorously intensive one-on-one and small group setting, with a close-knit, focused band of industry writers and producers who guide you in depth through your own projects, as well as help you explore and develop your screen story ideas for real world industry presentation. Over the course of the week, you are not building just contacts, but relationships.

We heartily recommend attending both sessions in order to best take advantage of this complete investment toward your career in screenwriting, although each session may be taken separately.

NOTE: This camp is designed for committed advanced writers and serious novices who have completed at least two screenplays and wish to discover their own best and most realistic pathways to the professional level. See website for 2008 participant testimonials.

Session I: Script Craft - Building Your Fire

July 5–8
Four–day Session
(Limited to 16 participants)

This session offers the rare opportunity to work intensely on an on-going project in order to
prepare and spark your next draft and take you a step – or leap – forward; or, an outline
of a new script to be molded into an effective plan for a powerful first draft.

Crafting Your Scripts activities will include:

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The Writer's Process - A Multi-Genre Generative Workshop for Creative Writers
Amy Friedman

July 13–17
Course # AA WR Ø1
One-week session

An intensive “laboratory” for writers at all levels of development, from beginning to advanced, offering exercises to stimulate the creative process and help participants generate new writing, as well as close critique and guidance toward the transformation of raw material into fully-realized literary works in a number of genres–poetry, short story, memoir and personal essay. The objective of the workshop is to help participants increase their fluency with the writing process as well as their discipline and skill in regard to craft.

In the workshop, we’ll look at a wide variety of literary models for inspiration and to see what techniques their authors used, and how those techniques might be adapted to participants’ work. A series of assignments designed to jump-start the creative process will be completed both inside and outside of class. The writing assignments will help participants strike a balance between flow and structure, employing both “free-writing” and more formal strategies. They’ll also help participants tap into personal sources for creative work–memory, dream, family history, intuition–as well as stimulate imagination and invention. In a lively and supportive atmosphere, participants’ work will be read aloud and discussed in a manner that will help each writer revise and shape the work and move to the next level in his or her development.

The workshop will meet for 3 ¹/₂ hours each morning, with time in the afternoon for writing and reading assignments and individual conferences with the instructor. Participants will have access to the Idyllwild Arts computer lab and photocopying facilities for preparation of manuscripts to bring to class for close critique. Those who wish to bring their own laptop computers will be able to access the internet and printers via the library lab. Everyone should bring a blank notebook and their choice of writing instrument.

Tuition: $625

Enrollment limited to 10 students.

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The Intimate Chapbook & You: The Making of the Small Book
David St. John

July 13-17
Course # AA WC 01 JUST ADDED!

July 20–24
Course # AA WC Ø2 FULL

One-week sessions

This five-day intensive workshop will focus on assembling and refining a publishable chapbook-length collection of poems. Participants must bring to the workshop (and send in advance to the instructor and other participants) a manuscript of 20–25 poems they consider “finished” and ready for publication. (Poems may have been previously published in journals and magazines.) In the workshop, we will consider both the sequencing of the poems (poem by poem) and the collective shape they might make as a book. Returning participants welcome.

In addition, participants in the chapbook workshop will have opportunities to interact with Gail Wronsky and participants in her Poetry Intensive workshop, when the two groups come together during the week for afternoon discussion sessions (topics TBA at the beginning of the week) and evening readings by St. John and Wronsky, as well as an open mic for participants.

Tuition: $695
Lab Fee: $10 (includes copying manuscripts and the use of computers, copy machines and printers)

Enrollment limited to 10 students.

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Personal Essay, Memoir & Creative Nonfiction
Amy Friedman

July 20–24
Course # AAWE Ø2
One-week session

This workshop is for those just beginning and those whose work is well underway (and/or stalled), for those writing memoir, personal essay, a travel or cookbook, or any work creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme.

Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will help to jump-start your writing and will offer guidance for both your work in progress and future work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works.)

Our goal will be to complete a full essay and/or chapter by week’s end. We’ll meet for four hours each morning. Afternoons will be devoted to writing and reading time and toindividual conferences with the instructor.

Tuition: $625

Enrollment limited to12 students.

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Poetry Intensive: A Generative Writing Workshop
Gail Wronsky

July 20–24
Course # AA WR Ø2
One-week session

In the Idyllwild Arts tradition-which holds that the diversity of participants enriches the learning experience for all-this workshop is open to anyone with a serious interest in writing poetry, from beginners to published poets. The instructor is committed to creating a workshop environment that encourages creative risk-taking, discipline and attention to craft, and to building a community of writers-with the more experienced writers taking a leadership role, and the newer writers offering the freshness of their perspective on the creative process.

Workshop activities will focus on helping participants generate new work and explore a wide range of literary styles and techniques, but will also include close-critique of drafts and revisions. Class will meet from 9 am to 12:30 each day, with time for writing and conferences during the afternoons. Small class size will ensure that each participant receives individual attention and is able to work at his or her own level. In addition, afternoon and evening activities will be coordinated with David St. John’s workshop on creating the intimate chapbook. Participants of these two workshops will come together with the instructors for afternoon discussions on process, craft and publishing, and for evening readings by the instructors as well as an open mic reading by participants.

Tuition: $625
Lab Fee: $10 (includes use of computers and copy machines, as well as class handouts)

Enrollment limited to 10 participants.

___________________________________FILM____________________________________

Making the Short Film
Randy Redroad

June 28–29
Course # AAFM Ø2
Two-day session

Students will write, shoot, direct and edit a five to ten minute short film. This is a unique opportunity to work with a professional filmmaker to learn the skills necessary to create a film and to understand the entire process–all in a very short time period. The workshop will cover basic camera operation on mini-dv cameras, different kinds of shots/angles, camera movement, working with actors and editing on Final Cut Pro. Emphasis will be placed on developing story ideas from the personal lives of students and their environment. Exercises will be designed to encourage communication among collaborators and independent thinking with media literacy emphasis. Class will culminate in a screening of the workshop film. This workshop is designed for beginners as well as those with some filmmaking experience.

Tuition: $295
Lab fee: $25 (includes copy of film; use of film equipment and supplies.)

Enrollment limited to 10 students.

See also: Screenwriting Camp