Please click on each title for description or simply scroll down for 2007 Courses.
____________________CERAMICS & POTTERY___________________
Mata Ortiz Pottery
Nicolas Quezada
July 9-14
Course # NAOP ØØ
One–week session (includes Saturday a.m. 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: $545
Lab fee: $50
Enrollment limited to 15 students
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San Ildefonso Pottery
Dora Tse Pe
July 2–7
Course # NAIP Ø1
One–week session (includes Saturday a.m. firing)
Master potter Dora Tse Pe will teach the traditional method of creating San Ildefonso pottery, as well as the innovations she has developed. Students will learn the techniques used to produce both the well-known black pottery with black matte or carved designs, and the glossy red pottery. They will learn to mix Tewa clay and paints, and will shape, carve, sand, slip,and stone burnish their own pots. On Saturday morning, students will fire the pots in a manure-smothered oxygen reduction firing for black pots and/or a cedar and manure firing for the red finish. In addition, Dora will demonstrate her signature post-firing techniques so that students may continue their work at home if they wish.
The natural clays and paints are provided by the artist and are gathered from special places on the reservation in New Mexico. These materials are considered to be sacred and the clay sources may some day run dry. 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 San Ildefonso pottery making and the cultural foundation from which the art is inspired.
Tuition: $545
Lab Fee: $45
Enrollment is limited to 12 students.
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Ceramics Workshop
Erick Kao
Greg Kennedy
July 9–20
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 fifteen potter’s wheels, both kick and electric, a 36” Brent slab roller, 2 clay extruders, Soldner clay mixer, 12, 18, 24 and 30 cubic foot gas kilns, two 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: $545 per week
Lab fee: $25 per week
(Covers clay-150 lbs. of clay per student- and firing costs.)
Enrollment limited to 10 students per week
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_________________________
PAINTING________________________
Painting’s Edge
June 23-July 6 , 2007
Please go to the Painting's Edge section of our website for the complete description.
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Watercolor - Painting the Essence of Nature
Barbara Nechis
July 7–9
Course # AAWW ØØ
Three–day session
The workshop begins with a daily demonstration lasting about an hour. Each day a different subject, method or concept is stressed. Students get individualized assistance while they are painting, and short spot demos are given as needed throughout the workshop. Each day concludes with a complete critique lasting about an hour.
This course stresses a flexible approach to design. You may choose to paint from the natural environment, your imagination or explore abstract forms. You may gather information by sketching or photographing outdoors, but I will demonstrate in the studio. There will be several new lessons for returning students but this course is suitable for students of all levels.
Materials: A complete materials list will be sent upon registration.
Tuition: $350
Enrollment limited to 20 students.
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Color Theory For Painters
Marie Thibeault
July 9–13
Course # AAPD Ø1
One–week session
This crash course in color is like no other and will leave you seeing the world as a different place. Modeled after her popular Color Theory course at CSULB, Marie Thibeault will guide you through an intensive workshop of hands-on experiments and processes that will insure a deeper understanding of the workings of color as it pertains to painters. You will study distinct color properties and see how these forces combine together to support artistic intention and expression.
This exciting course combines discussion, demonstration and workshop in such a way that the student will create many small-scale collage and painted studies. Toward the end of the week, these topics are synthesized and integrated into beautiful full-range compositions. This valuable class offers great insight as to how color functions in painting to create space, focus, light, and meaning. The experience of this class will without a doubt increase your ability to work with color on every level by both extending your vocabulary and making your eye more sensitized and discerning. This will provide you the inspiration and the means for more deliberate and expressive color use in your paintings. All levels are welcome, however, some painting experience is helpful.
Materials: A complete materials list will be sent upon registration.
Tuition: $545
Enrollment limited to 14 students
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___________________________
FIBERS_________________________
Pomo & Miwok Basketry
Julia Parker and Lucy Parker
July 2-6
Course # NAPB ØØ
One-week session
Renowned Yosemite basketmaker Julia Parker and her daughter Lucy will teach two styles of basketry in this workshop. Students will spend the first day making a simple Miwok Tule basket, used to gather berries and nuts. After this exercise to “loosen” the fingers, students will spend the rest of the week weaving a small Pomo coiled gift basket made of Sedge Roots with a Willow foundation and California Redbud for design. Beads may be incorporated into the design as well.
Students will also have the rare experience of working with four generations of basketweavers – Lucy’s daughter Ursula Jones and her daughter Naomi will assist. The family will share their culture, stories, and games throughout the week.
Materials: a small knife (sharp); long container (wallpaper tray); scissors or pruners; towel; awl (a small size – instructors will have some available for sale); bucket or water container; nail clippers; spray bottle. Any basketweavers should bring their basic tool kit. Optional: small beads, at least size 6.
Tuition: $545
Lab Fee: $75 (includes gathered, prepared and seasoned Tule, Willow, Sedge and split Redbud plants for weaving)
Enrollment limited to 15 students
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Navajo Weaving I & II
Beginning & Intermediate
Barbara Teller Ornelas
Lynda Teller Pete
July 2–6
Course # NANW ØØ
July 9–13
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: $545 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). $65 for pre-warped loom. (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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Cahuilla Basketry
Donna Largo
July 9 –13
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: $545
Lab fee: $35 (Includes materials, field trip transportation and use of tools in the class)
Enrollment limited to 10 students.
Enrollment limited to 10 students.
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______________________ JEWELRY_____________________
Glass Beadmaking
Carl & Deanna Severance
June 30–July 1
Course # AAGB ØØ-A
July 7–8
Course # AAGB ØØ-B
Both sessions Course # AAGB ØØ
Two 2–day sessions
Glass has been with us for thousands of years. It is an amazing material that is magical and fluid. In this class, students will be working with soft glass from Italy, and will learn how to manipulate glass rods in a flame, creating glass beads of various shapes and surface design.
During the first day, we will discuss safety, annealing of beads, gases, ventilation and creating a safe work environment. Then students will form beads in the flame, focusing at first on making simple round beads. In the afternoon we will introduce decorative techniques, including making and using stringer, applying dots and lines, and surface raking.
On the second day we continue practice with decorative techniques, and introduce the use of dichroic glass and millefiori. Students will also learn to encase beads using clear and filigrana rod. In the afternoon, students will have a choice of continuing beadmaking using the techniques learned in class, or learning basic silver wire-wrapping, using one of their own beads to make a piece of jewelry.
Former students are encouraged to enroll in the July 7–8 session. Students in June 30–July 1 session may continue in session II to learn additional techniques.
Please Note: Tools and equipment used in class will be available for sale at discounted prices at the conclusion of the class.
Students are asked to wear cotton clothes to class, closed-toe shoes, no long sleeves or shorts please, and if you have long hair, it must be tied back.
Tuition: $225 per session
$425 for both sessions
Lab Fee: $95 per session
(Covers glass, silver, dichroic, use of all equipment, safety glasses, tools and bottles of gas.)
Enrollment limited to 8 students per session.
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Hopi Jewelry
Michael Kabotie (Lomawywesa)
Lawrence Saufkie
July 2–6
Course # NAHS ØØ
One-week session
Students in this workshop will learn the Hopi overlay technique of silversmithing. Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering a new technique. 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: 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: $545
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 9–13
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: $545
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 14–15
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. It comes in three forms: clay, 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. The result is a fine silver piece (99.99%silver) that is about 10% smaller than the unfired original. After firing, the silver metal clay piece can be filed, sawed, sanded, polished, or soldered. It can also be re-fired multiple times if additions to the original piece are desired.
Although the working process is readily accessible, it is possible to create sophisticated work with this material. In this session, students will make a “Stepping Stone Bracelet” of a number of panels joined together with jump rings. The panels--or stepping stones--may be linked thematically and/or visually. We will explore a variety of construction and decorative techniques as we build the panels. These will include ways to pattern the metal clay, to determine sizes for the panels and for the toggle clasp that will close the bracelet, to create structurally sound filigree using the syringe, to place and make holes for the jump rings, and to fire and finish the pieces. Approaches to decoration will include stone-setting, applique, pearl-setting, patination and keum-boo (the application of 24k gold foil to fine silver). Instruction will be given for students at all skill levels.
Materials: A complete materials list will be sent upon registration.
Tuition: $225
Lab Fee: $10 (for use of kiln and consumable accessories. Silver metal clay will be available for purchase in class.)
Enrollment limited to 14 students.
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Textile Techniques In Metal
Arline Fisch
July 9-13
Course # AAJW Ø1
One-week session
Renowned artist and teacher Arline Fisch leads this intensive workshop covering a broad range of textile structures which can be used in metal, including weaving, braiding, knitting, crochet and basketry. Slides and demonstrations will be followed by the making of small samples in thin sheet metal and small gauge wire as an introduction to various processes. Each sample will be a complete unit with edges and surfaces finished in a manner appropriate to the specific technique. Materials used will include copper, brass, aluminum and silver. No prior fiber or metalworking experience is required.
Techniques covered will include:
WEAVING
1. Flat patterns in two colors
__A. single sheet warp, single element weft
__B. pattern weave with assembled warp
__C. shaped warp and weft
__D. small woven box
2. Textured weaves in sheet and wire
__A. single sheet warp, continuous wire weft
__B. shaped sheet warp, curved or radial
PLAITING
3. Flat braids in narrow metal strips
__A. six or eight strand flat braid
__B. zigzag braid
__C. fishtail braid
4. Dimensional braids in strips
__A. two strand braid
__B. four strand square and spiral braid
5. Plaited basket forms using strips
__A. four sided plaited basket over a block
__B. free form basket
6. Braided structures in wire
__A. flat braid using multiple strands
__B. dimensional spiral braids
KNITTING
7. Spool knitting
CROCHET
8. Basic stitches
__A. linear and circular patterns
__B. three dimensional assembled forms
9. Hairpin lace
BASKETRY
10. Twining
11. Coiling
Materials: A complete materials list will be sent upon registration.
Tuition: $595
Lab Fee: $65
Enrollment limited to 20 students.
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Forging Techniques
Deborah E. Love Jemmott
July 14–15
Course # AAJF Ø1
Two-day session
This session will cover the traditional technique of cold forging non-ferrous metals. Forging is one of the earliest metalworking processes. It is the moving of metal through carefully placed hammer blows while working on a metal base. Forging results in graceful transitions from plane to plane and subtle relationships between thickness and thinness. You will learn to manipulate the metal and take advantage of its plastic qualities. Copper, silver and high karat golds are all suitable metals for forming and forging since they are among the most malleable. All kinds of shapes in a variety of sizes can be created using the techniques you will learn in this session.
The focus on this class will be on learning the techniques of forging and successfully completing samples of the techniques. You will also learn how to modify and polish the forging hammer. Instruction will be given for all levels of students.
Materials: A complete recommended supply and tool list will be sent upon registration.
Tuition: $225
Lab fee: $25 (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.)
Enrollment is limited to 12 students.
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Chasing and Repousse
Deborah E. Love Jemmott
July 16–20
Course # AAJR Ø2
One-week session
Chasing and Repousse are separate but related techniques often used together to create relief in sheet metal. Repousse is one of the oldest metalworking techniques in the world. It has been practiced by almost every culture that has a metalworking tradition. This class will reveal the techniques needed to give form to flat sheets of metal. You will learn to manipulate the metal and take advantage of its plastic qualities.
You will use Chasing and Repousse to create volumetric forms by pushing the metal with small steel punches while working on a semi-resilient surface. The process of learning Chasing and Repousse allows you to explore in depth the way metal moves and how to control it. The malleability of nonferrous metals make them ideal for creating three-dimensional forms. Copper, silver and high karat golds are all suitable metals for Chasing and Repousse since they are among the most malleable.
The focus in this class will be on learning the techniques of Chasing and Repousse and successfully completing samples of the technique. In addition, tool making and modification will be covered. Instruction will be given for all levels of students.
Materials: A complete recommended supply and tool list will be sent upon registration.
Tuition: $545
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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___________________________MUSIC______________________________
Chamber Music in Idyllwild
July 25–August 3, 2007
Please go to the Chamber Music section of our website for the complete Chamber Music Festival description.
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Idyllwild Music Festival
August 13-19, 2007
Please go to the Music Festival section of our website for the complete Idyllwild Music Festival description
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______________________SCULPTURE_________________________
Oaxacan Woodcarving & Painting
Jacobo Angeles Ojeda
July 9–13 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: $545
Lab Fee: $70 (Includes copalillo wood, paints and prepared carving)
Enrollment is limited to 10 students.
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Native American Flute Making I & II
Marvin and Jonette Yazzie
Ernest H. Siva
July 12–15
Course # NANF Ø1-A
Intermediate: 4-day session (Thurs.-Sun.)
July 13–15
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 13) will use Willow, new this year, for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A).
Intermediate students (4-day session begins July 12) will work alongside beginners, but will create a flute, assorted woods to choose from and will be tipping their flutes with other colors of wood. Keys F# to B. 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: $350 (Beginning, 3-day session)
$455 (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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Welded Steel Sculpture
Gerald Clarke
July 9–13
Course # AAWS Ø1
One–week session
In this workshop with dynamic instructor Gerald Clarke, students will learn the various methods of creating welded steel sculpture. Welding processes to be covered will include MIG, Arc, Oxy-Acetylene and plasma cutting. Each student will produce a moderately sized sculpture (under 8 foot). Finishing methods will be discussed and safety practices will be stressed. This workshop is somewhat physically demanding and students should be able to lift at least 30 pounds and use hand and power tools. This workshop is open to beginning and intermediate students.
Materials: Students should bring leather work boots and leather gloves; a long sleeve denim shirt (thick); Tool box with basic hand tools; sketchbook; ear plugs/muffs. Optional equipment includes a 4 1/2 inch angle grinder.
Tuition: $545
Lab Fee: $95
Enrollment limited to 6 students.
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___________________________
OTHER_________________________
Native American Arts Festival
July 8 -July 13, 2007
Please go to the Native American section of our website for the complete description.
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Native Plants of California
Medicinal Uses & Preservation
Barbara Drake
Lorene Sisquoc
July 14 –15
Course # NANP Ø1
Two-day session, Sat. 9–4 p.m.,
& 6–9 p.m Sunday 9–4 p.m.
This annual workshop is dedicated to exploring the many ways that indigenous people of Southern California adapted to their local environment.
Class will focus on the preparation of healing plants into salves, tinctures, teas and soaps, as well as methods for preserving plants for off-season use. Returning students welcome, as new material will be introduced.
Students will have an opportunity to process acorns and mesquite beans into an edible product. Sunday will offer an on-campus ethnobotanic walk as well as a tasting of wild foods.
Special highlights of the weekend include a talk by honored elder Katherine Siva Saubel who will explain the uses of native plants for food and medicine; an evening visit to local rock art sites guided by Daniel McCarthy, Tribal Relations Program Manager for the U.S. Forrest Service; and storytelling and Birdsongs by Kim Marcus, Serrano/Cahuilla educator.
Tuition: $225
Lab fee: $15
Enrollment limited to 20 students
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Native American Cooking
Nephi Craig
July 7–8
Course # NANC ØØ
Two-day session
Day 1, “Tastes of the Reservation,” will be an introduction to traditional foods, delving into the history and philosophy of this method of approaching the subject of Native American cuisine. The day will include slide lectures, discussions and there will be samples of food to enjoy. Foods to taste will include items such as Western Apache Acorn Stew, Navajo Steamed Corn Stew and Frybread, White Tail Venison, and the Three Sisters (corn, beans, rice).
On Day 2, “A Modern Taste of Native America,” participants will see demonstrations and assist in the preparation of multiple courses, sampling the dishes as they go. Examples of foods to be prepared are: Fresh Salmon, Bison, Venison, paired with dishes using fresh summer fruit and vegetables. Recipes on both days will include such “staples” as Tohono O’Odham tepary beans, cholla buds, acorn flour, Navajo blue and white corn, Apache salts from the Salt River in Arizona, and Indian tea. Along the way, students will see the potential and importance of Native American Cuisine and the food contributions made to the world by Native People.
Tuition: $295
Lab Fee: $50
Enrollment limited to 16 students.
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________________________MIXED MEDIA_______________________
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Assemblage I, II, III
Michael de Meng
July 16 - Course # AAAS Ø2-A
July 17 & 18 - Course # AAAS Ø2-B
July 19 & 20 - Course # AAAS Ø2-C
July 16–20 - Course # AAAS Ø2
One, Two or Five–day session
Session I July 16 - Holy Rolling Hot Wheels
Remember Hot Wheels? Those speedy little cars that zoomed across the room, traveling on florescent orange tracks? In this class you’ll take those tiny vehicles and modify them with found objects and doodads, thus transforming them into souped-up little shrines. Using techniques such as assemblage, collage and painting, you will create icons from pop icons. But wait, these are not just cute little wall hangings--you will also be able to race them! In fact, at the end of class, we will do just that...I’ll have some tracks set up and we’ll have the Indy 500 of the Art world! The fastest shrine wins a deMeng Holy Roller. (By the way, you don’t have to be a guy to play with toy cars.)
Session II July 17 & 18 - Trash to Treasure: Assemblage Alchemy
Artist’s are renowned for using whatever is readily available in their surroundings to create art. You’re not going to see many coconut carvings in Alaska. In many ways, this is why the process of assemblage has become so popular; after all, junk and discarded things abound. Perfect pickings for those with the desire for junking and dumpster diving.
In this class we’re going to take anything and everything and transform it into something of value. We are taking trash and turning it into something seemingly sacred. Sound ironic? Actually I view it similar to the alchemical process of transforming base metals into gold. This will be done using various assemblage, collage, and painting techniques.
Session III July 19 & 20 - Mad Hatter’s Tea Party
Did you know that the reason they often called hat makers mad hatters was because the process of felting involved the use of mercury, which literally drove them bonkers. Well, don’t worry, we won’t be using mercury to make these found object hats (unless you find an old thermometer to throw into the mix), but if you wear them around you might seem a bit out of whack. In this class we’ll take a hat form and incorporating various thingies we’ll create strange wearable, assemblage headdresses. If people think you’re weird, not to worry, because: “we’re all mad here.”
Materials: Students should bring: Scissors and cutting tools; Basic tools such as pliers and the like; Brushes (acrylic) - smaller and detail; Acrylic Matte Medium – or any adhesive for collage; Paint (acrylic- small tubes): Black, White, Quinacridone Gold, Pthalo Green, Dioxazine Purple, Quinacridone Crimson, and other basic colors; A few different kinds of glues–clear:(E 6000 or Liquid Nails Clear) and Liquid Nails original formula (red tab on label); Small do dads, found objects, collage items and photos; A sturdy hat–the more solid the better (Mad Hatter project); a couple of Hot Wheels cars (Holy Roller project) Bring various items that you would like to use on your hat–this could be anything!–(jewelry, fake flowers, price tags, watch parts, shoelaces, fake eyelashes etc.), or Hot Wheels or Session II piece. As I said, anything. Big items are fine, but heavy items might cause some structural issues, so stay away from anvils. We’ll have a communal pile of do-dads that students are willing to share with others in the class...so, looks like it’s time to clean out those dresser drawers and the garage. Optional items or suggestions to enhance the class project: Basic tools, such as pliers, screwdrivers, etc.; Heatgun; Dremel tool (cordless if you have it); Palette Paper or pallete.
Tuition: $125 session I
$250 session II or III
$595 all three sessions (I, II, and III)
Lab fee: $40 session I
$50 for session II or III
$110 for sessions I, II, and III
Enrollment is limited to 20 students
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Fabrications - Surface Design & Fabric Collage
Lesley Riley
July 6–8
Course # AAFC ØØ
Three–day session
Long to play with different materials? Confused about how to do certain techniques?
Want to turn a ho-hum fabric stash into treasured textiles? In this 3-day class with mixed-media artist, Lesley Riley, you will learn how to create one-of-a-kind fabrics and incorporate them into fiber and mixed media collage. While we will be working with fabric, most of the techniques are applicable to paper, canvas and other surfaces as well.
This class welcomes artists from different backgrounds who want to learn how to use fabric in their art, as well as quilters who want to expand their vision. Surface design techniques that will be covered include: fusion, monoprints, discharge, rubbings, masking, stamps, foils, stencils, overdyeing, painting, crackled surfaces and image transfer. You will be able to experiment with a variety of materials and create a fabric sample book of techniques.
Drawing form your new creations, you will incorporate your fabric into small stand-alone works of art, or components of more complex pieces. Individual attention will be given to each student with an emphasis on composition and design. Sewing experience not required.
Materials: A complete materials list will be sent upon registration.
Tuition: $375
Lab fee: $15
Enrollment limited to 25 students.
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Collage Unleashed
Traci Bautista
July 14 - Course # AACU Ø1-A
July 15 - Course # AACU Ø2-B
July 16 - Course # AACU Ø2-C
July 14–16 - Course # AACU Ø1
One, Two or Three–day session
Students may select to enroll in one, two or all three workshops. All levels of experience welcome.
Day I. Colorful Layers. Doodles. Monoprints
Unleash your creative spirit in this technique-based workshop. Create colorful layers with handmade printing plates made from cardboard, textured papers, garden kneeling pads, cardstock, fun foam and more. Make prints from hand cut stencils, sequins and found materials. Explore painting, dyeing and printmaking techniques including color scraping, washing, monoprints, eyedropper doodles, gesso textures, dyed cloth stamping & stenciling and glazing. Also learn a few of Traci’s funky lettering and doodling techniques. View samples:
http://kollaj.typepad.com/photos/doodlescolorplay/
Day II. The Graffiti Wall
Creating with no fear, an edgy style and many layers, this fast-paced workshop will free your art spirit. Combining “fusion dyed” collage, painting & staining paper, monoprints, freestyle lettering and doodling, you will create large visual journal canvas paintings layered with black and white images, expressive sumi marks, drips of sprayed paint, ink splotches, freestyle letterforms, symbols and written words. Inspired by the juxtaposition of colorful urban graffiti walls and freestyle calligraphy you will unleash your creative ideas as you work big and write large to create multiple layered collages with extreme, vibrant color, texture and raw edges. View samples: http://kollaj.typepad.com/photos/the_graffiti_wall/
Day III: FUSION: fabric macramé journal
Create a unique, beautiful art journal that incorporates papers and collages created in the previous two workshops. Explore “FUSION fabric” techniques to create textured collage covers layered with stained and deconstructed images and papers. You will spend the day creating an art journal with signatures full of random sized hand painted and dyed pages. The book is bound with fusion dyed collage covers and a free-form beaded macramé binding. NOTE: If you take this workshop without the previous two courses, you will have to bring your own papers to bind into the journal. View sample: http://kollaj.typepad.com/photos/funky_macrame_fdc_journal/
Materials: A complete materials list will be sent upon registration.
Tuition: $125 one day
$250 two days
$350 all three days
Lab Fee: $90 for all 3 days (Includes Collage Unleashed aRt! kits/inspiration guide)
$40 per day (includes Collage Unleashed aRt! kit/inspiration guide)
Enrollment is limited to 25 students.
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Monotype
The Basics and Beyond
Ron Pokrasso
July 16–20
Course # AABM Ø2
One–week session
Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop.
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 begins 1 P.M. Monday, July 16.
Materials: A complete materials list will be sent upon registration.
Tuition: $595
Lab fee: $75
Enrollment limited to 12 students.
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Screenwriting Camp
Barri Evins
Joe Forte
Meg LeFauve
Pamela Pierce
Amy Salko Robertson
July 1–4 - Course # AASW ØØ-A
July 5–7 - Course # AASW ØØ-B
July 1–7 - Course # AASW 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 2007 participant testimonials.
Session I: Crafting Your Scripts
July 1–4 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:
• A submission of one work-in-progress, as well as a summary biographical and writing experience and projects before camp begins for mentors to read
• Small-group peer diagnosis
• Unparalleled mentor commentary on your own individual use of structure, character, plot, flow, and tone as you show new work each day
• Large-group meetings for orientation, feedback, and story-telling
• One-on-one meetings with your mentor and other scheduled discussions with the other professionals
• An individualized outline of prospective revisions ready to work on upon return home
Benefits for Participants:
• A raising of the level of your skills in writing effective screenplays
• Honing the ability to personalize your scripts, including discovering your own voice and the heart of your work
• A hands-on tackling of all issues for writing your projects, including multiple approaches to solving craft and structural problems
• Personal relationship-building time with both the mentors and fellow writers.
Session II: Development - Marketing Your Ideas and Projects
July 5–7 Three–day Session
(Limited to 20 participants)
The power of your concepts is front and center in Session II. It’s an insider’s probe into the development of your screen story ideas (and finished screenplays) into marketable touchstone projects to which producers, agents, creatives and financiers can commit their energy, passion and money. As George Lucas says: “A movie is a success or failure from the minute you solidify the concept.”
The unique focus of Session II is on how your own project can pass through the rigors of the film development process. There is high emphasis on the reality-based practice pitching of your own scripts and ideas. As in Session I, the specific course of work will be designed around the specific needs of the group.
Development/Marketing will include:
• Submission of story/script ideas and your script loglines for determination & development as worthy marketable projects
• Nurturing and developing the values of your in-progress story ideas for best marketing success
• Building effective pitches that will touch and involve your targets
• Gaining invaluable insight into producing structures and relationships
• Behind-the-scenes producers’ process discussions- what goes on after you’ve left the pitch meeting
Benefits for Participants:
• New and industry-realistic ways for writers to evaluate their own craft and projects, and determining what stories and ideas on which to focus your energies
• Finding the heart of the story as you practice/pitch it
• An understanding of the industry viewpoint of your project’s quality and the work needed to create financing/producing/representation interest
• Clarification of your steps on both individual projects and general strategies in the next weeks, months, years
• Valuable information from practicing professionals in the film/TV industries
General Information
Participants in Session I: Orientation dinner, Saturday, June 30, 5:00 p.m. Film clips, mentors introduced. Transition/culmination dinner, Wednesday, July 4, 5:00 p.m.
Participants in Session II: Orientation dinner and reception, Wednesday, July 4, 5:00 p.m. (combined with Session I culmination).
Final dinner and screening/event, Saturday, July 7, 4:00 p.m.
The Screenwriting Camp is designed and produced in cooperation with CineStory, a national non profit educational organization for screenwriters. www.cinestory.com
Tuition: Session I $735
Session II $550
Both Sessions $1050
Lab Fee: $15 per session
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Fiction & Nonfiction Workshop
How to Turn Life Into Story in a Thousand Words or Less
Steve Heller
July 2–6 Course # AAWR ØØ
One–week session
This workshop is designed for writers at all levels, those who have extensive experience with short fiction or nonfiction, and those who have never written a story before.
The workshop will meet for four hours each morning, leaving your afternoons and evenings free for writing, reading, revision, and other activities. In class we will explore how to take an incident from one’s actual life and transform it into a short-short story—either fiction or nonfiction, your choice. In the early part of the workshop we will examine the nature of narrative, where stories come from, and the differences between fiction and nonfiction. We’ll also talk about what distinguishes a story from a series of related events. We’ll discuss not only how to write fiction and nonfiction stories, but how to read and critique them. In all cases, workshop discussion will be constructive in both tone and substance.
To prepare for the workshop, you should think of an incident or situation from your own life that you would like to write about in short-short form (no more than 1,000 words—about four typed double-spaced pages). The incident you choose may be something you have never written about before (although perhaps you’ve wanted to). Or it might be something that you have previously written about in another form (for example, a poem, a journal entry, or a character sketch). In class we will discuss strategies for transforming your memories into story. We will also read a few examples of short-short fiction and nonfiction that may serve as models and/or inspiration. These models will be provided for you. For example, I will share with you a narrative depicting the same incident, one written as creative nonfiction, the other as fiction.
On the first day, we’ll establish a schedule by which your stories will be drafted, read, and discussed by the workshop. Ideally, once you have completed a draft, you will have the opportunity to duplicate your story for the other members of the workshop. If for any reason this doesn’t work out, you or someone else may read your story aloud. In workshop, we will begin by recognizing and celebrating your story’s strengths, what the current draft best accomplishes. We will then identify what appear to be the story’s major intentions (the effects it seems designed to achieve), based on what is on the page. Finally, we will identify and discuss what the story could do better, and make suggestions for revision. The course will be designed so that revisions may also be shared with the group. By the end of our final session, you should have a good idea of how to shape your story into its best possible form.
Tuition: $545
Lab fee: $10 (covers copyright permissions)
Enrollment limited to 10 students.
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Summer Poetry in Idyllwild
July 15 - 21, 2007
One-week session or Two three-day sessions
Intensive Poetry Writing Workshop - The intimate Chapbook and you Workshop
Please visit the Summer Poetry section of our website for a complete description.
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The Writer’s Process - A Multi-Genre Generative Workshop for Creative Writers
Cecilia Woloch
July 9–13, Course # AAWR Ø1
One-week session
The Writer’s Process: 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: $545
Enrollment limited to 10 students.
