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Pacific NorthWest Art School
15 NW Birch St
Coupeville, WA 98239
Uber
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Abstract Photography on Whidbey Island with Jack Graham
Friday November 11 at 9:00am to Saturday November 12, 2016 at 4:00pm. Whidbey Island is known for its quaint town, picturesque ocean views and pristine beaches. We will take this to a new level and explore the other side of Whidbey. Finding and learning to see abstracts or what could be called photo art is an interesting and provocative experience. Many of the techniques used are those we rely on every day, however we'll explore new techniques and learn to see a bit differently. We will cover long exposure photography, using shutter speeds and zoom lenses to create interesting effect on commonly photographed subjects as well as the use of special techniques to create the abstract. We will spend time in the field in locations from beaches to junk yards learning to see the abstract in photography. We will also spend time on our classroom discussing the results and using software to take our work to the next level. This will be a time to let our imaginations go and create. Please join us for this 2 day journey into abstract photography. Organization: Pacific Northwest Arts School; Address: 15 NW Birch Street; City: Coupeville; State: WA; Code: 98239; Country: United States
Connect, Create, Collaborate with Wendy Lee Lynds
Saturday November 12 at 9:00am to Sunday November 13, 2016 at 4:00pm. Women want to connect. Is that how we are hard-wired from birth, or does our fast paced lives dictate that we slow down and enjoy each other, and open ourselves up to the possibility of a more creative life? Does this sound like you? In this two day workshop (that will be more like a "PlayShop!"), we will connect with like-minded women – use all sorts of art media, journaling and personal growth exercises. We will explore the world of connecting, creating and collaborating – with not only the women in the class, but with ourselves. With a heart that wants every woman to be open to be all they can be and with the sensibilities of a creativity/life coach, Wendy provides a safe haven. No stress, no fear, don't-have-to-be-an artist environment, learn how you can be more creative and more connected. All are sincerely welcome. Bring your curiosity and your sense of adventure! Organization: Pacific Northwest Arts School; Address: 15 NW Birch Street; City: Coupeville; State: WA; Code: 98239; Country: United States
Fiber Arts Workshops
Adeymo, Gasali – Traditional Yoruba Batik, Adire and Tie-dye with Indigo (October 2-6, 2017)
Traditional Yoruba Batik, Adire and Tie-dye with Indigo Gasali Adeymo, Instructor October 2-6, 2017 (9am-4pm). Batik is the process of creating designs using wax. The name that we call batik in the Yoruba tribe is adire alabela, which means wax resist. The wax can be applied to the fabric using wood stamps, stencils, or foam rubber. In my culture we primarily use foam rubber to apply the design to the fabric free hand. I believe that batik is the way of creating so many beautiful colors. When I teach I always tell my students when you first start your batik process and you want many colors you should make sure you leave some space for the next color to be applied. Traditionally in Nigeria the dye used for batik fabrics is a dye called Jaman dye or Prosion dye, which are both colored dyes. However, indigo is currently the common dye used. After the fabric has been dyed, the wax must be removed. When removing the wax from a piece that has been dyed the fabric should be almost dry so that the color has time to set. To remove the wax, the fabric must be put into a large pot of boiling water to which 3 or 4 tablespoons of a mild, bleach free detergent has been added. After the fabric gets immersed in the boiling water for a few minutes it then gets placed in a large pot of cold water and gently agitated to remove any remaining wax. The fabric is then hung out to dry. Adire Eleko is the process of creating designs using cassava paste (also called yucca), a small broom, and a chicken feather. I teach the students how to prepare the paste, so they can do it themselves when they are home. There are two techniques in Adire, the first is to use a stencil, and the second is to create the patterns by hand. I show the students both methods. After the designs are created I then show the students how to prepare indigo and use it to dye their work. Finally, I show them the process to remove the cassava from their work. Tie-Dye is the process of using raffia to tie fabric and then dying the fabric. There are a few different tie-dye techniques; the first is called stitch resist where the design is made using a needle to stitch the raffia into the fabric. The other method is done by hand using raffia to create designs. I teach the students both Tie-Dye techniques as well as how to dye the fabric and remove the raffia. The primary dye I use in my workshops is Indigo. Indigo has been used as a dye in Africa for at least 2000 years. The Yoruba name for indigo is "elu". Since the olden days indigo has been used for medicine as well as a dye; it cures an upset stomach. Indigo is also used to ward off viruses; houses are painted with indigo to prevent the sickness from entering. Indigo is an organic substance, it comes from the indigo plant which grows wild in Nigeria. During the beginning of the rainy season the leaves are harvested and then dried. After they have dried they are formed into little balls which are then used to prepare the dye.
- Tuition $625.00
- Material Fee $25.00
Arvilommi, Karoliina & Welch, Roderick – The Art of Wet Felt Making (August 28- September 1, 2017)
The Art of Wet Felt Making: Making Large and Decorative Wall Hangings Karoliina Arvilommi and Roderick Welch, Instructors August 28 – September 1, 2017 (9am-4pm). Workshop description: We will make highly decorative, thick, durable felt with turned edges, of any shape or form using traditional "Wet-felting" methods. Built up using Finnwool batt, wet-out and felted to completion using a combination of hand and rolling techniques. A fusion of fibre blending and "painting" are used to translate the participant's design into felt. Learn a high degree of control of colour, design and form, without any supplementary cutting, sewing, or needle felting. The emphasis is on quality and control. This method and technique can be applied to many other ways of feltmaking. "…from here you can go anywhere…" We ask all participants to have some kind of design idea prepared before the workshop begins. A rough sketch and basic colour plan is enough.
- Tuition $650.00
- Materials Fee: TBD
Carlile-Kovacs, Flora – 3D Texture and Surface Design on Felt (May 30-June 1, 2017)
3D Texture and Surface Design on Felt Flora Carlile-Kovacs, Instructor May 30 – June 1, 2017 (9am-4pm). In this three-day experimental workshop there will be several 3D surface manipulations taught, with the goal to gain full control over the process. On the first day we`ll make samples with stitching, creasing, tie-ing the felt. On day two we'll learn more 3D felting techniques, ruffling, layering, sculpting. On the third day you can unleash your creativity making a wearable art piece using any or all of the techniques discovered on the first day. Previous felting experience is helpful but not necessary. What to bring to the class: notebook, pen/pencil for notes; 2 hand towels; Non-skid rug liner or open-weave foam shelf liner, 2`x4` (Home Depot, Walmart etc); a roll of strong thread/yarn, rubber bands; needles (matching to your thread); glass marbles, buttons of different sizes, or small rocks; sprinkler if you have one, to wet the felt; 1 olive oil soap bar in a container; sharp and pointy scissors; tape measure; (waterproof) apron if needed; comfortable shoes; camera
- Tuition $395.00
- Material Fee (Covers all Fine Hand-dyed Merino Wool Used During the Class) $30.00
Carlile-Kovacs, Flora – Felted Flowers (April 4, 2017)
Flora Carlile-Kovacs, Instructor April 4, 2017 (9am-4pm). Through the shapes of flowers we`ll discover several sculptural felting techniques in this class. Both with and without using resists, flowers are gonna be born in your hands! We'll explore how the fiber's staple direction influences the shrinkage and how can we take advantages of this quality. I'll show you how to blend smoothly colors in tiny objects. There will be big emphasis on finishing, shaping and adding the final touch to each piece. This felting workshop is no burden on the body, we can work easily, seated all day long. A handful of flowers will be finished during the day, but these techniques can be applied on many other felted projects, including jewelry, wearable art, home décor etc. For all skill levels. What to bring to the class: notebook, pen/pencil for notes, your sketches about different types of flowers, non-skid rug liner or open-weave foam shelf liner 1'x2' (Home Depot, Walmart etc.), 1 hand towel, sprinkler if you have one, to wet the felt, 1 olive oil soap bar in a container (Kiss My Face or any other brand), (waterproof) apron if needed, camera
- Tuition $145.00
- Material Fee (covers all fine hand-dyed merino wool used during the class) $12.00
Carlile-Kovacs, Flora – Felted Jewelry (April 5-6, 2017)
Felted Jewelry Flora Carlile-Kovacs, Instructor April 5-6, 2017 (9am-4pm). In this class I will guide you to create complex wearable-art shapes inspired by nature. You will learn how to attach fancy fabrics or yarns to the wool, how to felt beads in different shapes of settings, make the cord of a necklace and attach the segments by building and felting pieces together. We'll discuss after-felting embellishment possibilities, such as bead-work or embroidery that can be added at home. Previous felting experience is helpful but not necessary.
- Tuition $270.00
- Material Fee $15.00
Carlile-Kovacs, Flora – Marble Surface Design on Felt (September 27-29, 2017)
Marble Surface Design on Felt / Nunofelt Seamless Garment Flora Carlile-Kovacs, Instructor September 27-29, 2017 (9am-4pm). Learn the instructor's latest technique inspired by amazing surfaces of marbles in nature. Class starts with discussion on the power of the natural patterns and how it can be incorporated in our wearable art pieces. Learn the layering technique to mimic nature's perfect designs. After understanding the concept by making a sample, a seamless vest or tunic will be finished by the end of the class. Wet felting experience is preferred.
- Tuition $395.00
- Material Fee (covers all fine hand-dyed merino wool used during the day) $80.00
Chung, Ji Young – Joomchi (April 8-9, 2017)
Joomchi Jiyoung Chung, Instructor. April 8-9, 2017 (9am-4pm).Joomchi is a unique Korean traditional way of making textured handmade paper by using water, and eager hands. This workshop offers participants the opportunity to become acquainted with its history, practice and role in Korean society, as well as the hands-on techniques and reinterpreted adaptations into contemporary art form. Joomchi creates strong, textural and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). Its usages are diverse and it can be incorporated into surface design, collage, new way of drawing, wearable, unconventional body ornament or sculptural object: 2-D & 3D either functional or fine art oriented.
- Tuition $270.00
- Materials Fee $30.00
Dulman, Irit – Fusion of Botanical Print & Natural Dyes (July 10-14, 2017)
Fusion of Botanical Print and Natural Dyeing Irit Dulman, Instructor July 10-14, 2017 (9am-4pm). "In this workshop the focus will be on the fusion between natural dyeing and botanical prints. Students will learn the subject of mordant for different fibers as well as different dyes that create a wide palette of colors such as: logwood, cochineal, weld, indigo and how to combine them as background and as different effects with botanical print. Through trial and error with different plants the students will be able to recognize the interesting results and then they will develop the results to high quality designed fabrics. In this technique, there is always unpredictable results, but we will learn how to get more and more control of the outcome."
- Tuition $850.00
- Material Fee $70.00
Dulman, Irit – Fusion of Botanical Print & Natural Dyes (July 16-20, 2017)
Fusion of Botanical Print and Natural Dyeing Irit Dulman, Instructor July 16-20, 2017 (9am-4pm). "In this workshop the focus will be on the fusion between natural dyeing and botanical prints. Students will learn the subject of mordant for different fibers as well as different dyes that create a wide palette of colors such as: logwood, cochineal, weld, indigo and how to combine them as background and as different effects with botanical print. Through trial and error with different plants the students will be able to recognize the interesting results and then they will develop the results to high quality designed fabrics. In this technique, there is always unpredictable results, but we will learn how to get more and more control of the outcome."
- Tuition $850.00
- Material Fee $70.00
Dunnewold, Jane – Dyeing to Print (June 5-9, 2017)
Dyeing to Print! Jane Dunnewold, Instructor June 5-9, 2017 (9am-4pm). MX dyes are versatile – taking artists from the bucket to the print table in the course of one afternoon. The emphasis in this workshop is on thickened dye and the many exciting ways the dye can be applied. Brush, stamp, stencil and also experiment with Jane's special "multi-colored printing" technique – employing interfacing stencils to print two colors simultaneously. Huge fun, and a great intro into the wide world of printed dye. We'll also talk chemistry and safety to make the week complete.
- Tuition $795.00
- Material Fee $30.00
Duthie, Fiona – Fibre + Paper + Ink (June 10-12, 2017)
Fiber + Paper + Ink Fiona Duthie, Instructor June 10-12, 2017 (9am-4pm). Fibre + Paper + Ink explores in depth the layering and design opportunities of these three wonderful mediums. Paper and Ink incorporated with more traditional felting fibers opens up new possibilities in material options and surfaces. Paper adds unique sculptural and tactile qualities to our felt, which we can further enhance with striking line work in greys and blacks with sumi-e ink. We study sumi-e or charcoal ink and applications for its use on fibers like silk, cottons, nuno prefelts and finished felts. By creating a variety of display samples and a shawl, or larger wall hanging, we'll look at how these mediums can be applied to garments, accessories and sculptural work. For intermediate feltmakers. Knowledge of basic feltmaking and a curiosity in exploring new materials is essential. Proposed Timetable: Day 1: Fibre + Ink: Study of sumi-e or charcoal ink and applications for its use on fibers, like silk, cottons, nuno prefelts and finished felts. Sources creating washes and beautiful shades of greys. Fixing for wash fastness. We make a series of fabric and prefelt samples for use in future projects plus a finished scarf. Day 2: Fibre + Paper: Adding ink to our scarf project from Day 1. Study in types of paper that can be used in feltmaking. Similarities in papermaking/feltmaking. Felting methods best used when felting with paper. We'll make a small sample plus a small wall hanging. Day 3: Fibre + Paper + Ink: Adding ink to our project from Day 2. Combining all three elements. We make a small wall hanging with dimensional properties, incorporating some of our fibre samples from Day 1. Discussion on applications for these materials, shaping possibilities and final finishing.
- Tuition $395.00
- Material Fee $80.00
Duthie, Fiona – Shadow Felting (June 13-15, 2017)
Shadow Felting + Surface Design + Garment Construction. Fiona Duthie, Instructor. June 13-15, 2017 (9am-4pm). Shadow Felting: Working in layers of silk gauze and small amounts of fine merino wools, we'll create highly refined, drapable textiles of the lightest weight possible. This strata effect adds depth and interest to the felt surface, building up shading and shadows in both neutral compositions and those highly colored. Garment design will be covered encompassing color, form and fit, plus seamless garment construction for feltmaking. Participants can make either a dress, vest, skirt or small jacket. Proposed Timetable: Day 1: Surface and Shape: Overview of shadow felting techniques, color theory discussion, construction for fit, measuring and resist construction for garments, beginning layout. Day 2: Felt and Form: Completion of felt layout, surface design, beginning felting. Day 3: Reveal and Refine: Final felting, techniques for final fitting and refining the felt surfaces, review of techniques. Learning Outcomes: Surface fabric manipulation and layering of wool fiber and textiles to create the lightest weight fabrics. Aesthetic composition. Tints, shades and tones in color theory. Seamless felt making, creating custom resists. Tools and techniques to get the best fit in a simple garment. Refined felt making to achieve exacting end results.
- Tuition $395.00
- Material Fee
Duthie, Fiona – Tactile Metaphors (June 16-18, 2017)
Tactile Metaphors Fiona Duthie, Instructor June 16-18, 2017 (9am-4pm). Storytelling in Felt, Surface Design and Composition…a beautiful trinity for adding dimension and depth to your felt making, whatever your style. This class is about approaching your felt in a new way; developing your own creative voice in your work. While we cover many techniques, it is a class about creative process, ideas and inspiration. We cover a broad range of strong surface design techniques and discuss using these as metaphors, adding our own narratives to our felt. We then look at how to use these elements in combination to create aesthetically pleasing compositions using design theory; focal point, line, balance, form and scale. Because these ideas can be brought to every type of felt making, the class has an open choice of project, as a canvas for participants to explore these techniques further while refining their design and felting process. Past participants have made small garments, felt bags, wall hangings, and vessels. Guidance will be given to each participant in the construction of their project as well as the development of their individual narrative in felt. Proposed Timetable: Day 1: Discussion and demonstration in Surface Design and Composition: fabric manipulation; resist forms; spikes and complex cords; nuno inclusions; carvings and lace; raised prefelts; focal point, line, balance form, emphasis, contrast and scale. What to include and what to remove and in what combination to create an aesthetically pleasing design. Project planning, developing narrative, selected metaphors, physical construction and individual consultation. Day 2 and 3: Open project. The emphasis of this project is for the student to bring these new techniques into their own felt making process, whether they make garments, accessories, sculptures, wall art or interior design pieces. Continuing discussion on the use of metaphor, surface design and composition, as well as refinements to the felting process. Final review of techniques. Full instructional online teaching materials are provided for each participant. Experience Level: Intermediate and Advanced Felt Makers will experience new techniques and ways to approach their own felt making practice.
- Tuition $395.00
- Material Fee
Gauger, Jean – Nuno Butterfly Scarflette (September 23-24, 2017)
Nuno Butterfly Scarflette Jean Gauger, Instructor September 23-24, 2017 (9am-4pm). In this beginner friendly class you will learn how to make a beautiful nuno collage scarf. Learn the fundamentals of nuno felting along with some of the unique techniques even the top felt makers use! You will be making a sandwich of silk/wool/silk with very little wool so you will have a masterpiece even after one class. I will take all the mystery out of nuno felting and you will go home with your very own treasure. You will learn how to make nuno dreadlocks, ruffles, eyes and edges.
- Tuition $270.00
- Material Fee $25.00
Gauger, Jean – Nuno Wooly Locks Jacket (September 18-22, 2017)
Nuno Collage Wooly Locks Jacket With a Detachable Wool Locks Collar Jean Gauger, Instructor September 18-22, 2017 (9am-4pm). In this 5day intensive class you will be designing your very own double-sided Nuno Seamless jacket with wool locks. By saying double sided I mean a sandwich of silk/wool/silk, to make it even more of an awesome experience. I will show you how to add wool locks in the collar, cuffs and body to add wonderful 3D texture! This design is very flattering and comfortable to wear. The wonderful difference in this jacket is learning how to add texture using a combination of wool locks, giving this jacket the look of that mohair jacket from the past and giving it a new textured light twist. You will also learn how to add a detachable wool locks collar. I will show you a new way to figure your pattern and shrinkage rate using an Ipad and/ or Iphone. I will have mine available for those who don't have one. Then we will get super busy laying out our design! You may do a nuno collage on the top or keep it simple and elegant. I will assist you as much as I can during the whole process giving you felting tips as we go. When we get close to the end I will help fit your jacket to you to get you a work of art you will never want to take off! Trust me when I say this because that is just one of my students said to me and she wore it for two weeks straight! Nuno and seamless garment experience necessary.
- Tuition $625.00
- Material Fee $25.00
Goodman, Sara – Natural Dye Master Class (October 23-27, 2017)
Natural Dye Master Class Sara Goodman, Instructor October 23-27, 2017 (9am – 4pm). Experience Level: Intermediate; especially for experienced chemical dyers who want to explore natural dyes. Course Description: This 5 day class will cover the basics of using natural dyes including: Proper scouring of cellulose and protein substrates; How to use three mordants: alum; iron; and Symplocos (a natural aluminum bio-accumulator plant that grows in the rain forests of Indonesia); How to get a range of colors by combining alum and iron mordants in different proportions; Using iron as a color changer, as a mordant and in the dye bath, to obtain a range of beautifulblacks, We will use these mordants in both hot and cold preparations for total immersion and thickened surface applications; Discharging mordants using citric acid or lemon juice; Setting mordants with chalk and wheat bran; Dyeing: (immersion dyeing using concentrated dye extracts, dry and fresh materials; making thickened stock solutions for painting, printing, silk screening etc; making and maintaining a natural fermentation indigo vat; over-dyeing for complex colors; Light fastness and setting dyes using curing and steaming). Students will leave the class with: a notebook containing instructions and recipes for all the mordant and dye procedures from the class; a specific set of samples that illustrate each of the procedures we did linked to the notebook; a cloth color chart illustrating all the mordants crossed with all the dyes; samples of your own, on your own cloth, that utilize what you've learned to make this new knowledge your own. Most importantly, this week is meant to address students' specific needs so bring your own interests and questions
- Tuition $850.00
- Material Fee $50.00
King, Janet – Eco Printing with Acid Dyes (June 26-30, 2017)
Felt Garment Making, Eco Printing and Acid Dyes Janet King, Instructor June 26-30, 2017 (9am-4pm). Janet King, an award winning fiber artist, has been hand-making felt since 2009. She has won numerous awards and recognition for her unique approaches to fiber including Best of Show at the Coupeville Arts and Crafts Juried Show in 2015. The first ever fiber artist to win this coveted award. Join Janet, professional educator and artist, for a week of advanced feltmaking and dye work. First, learn to draft a pattern and then create a custom garment (dress or coat or top & skirt) for yourself out of lightweight felt you make from natural, renewable, luscious silks and extra soft merino. Next, learn to eco print using plants from around Whidbey while practicing on silk scarves. Find out how to use elements naturally contained in the plants and permanent, professional grade dyes to create sophisticated designs. Finally, choose your favorite leaf prints and color palette and dye your felted garment! Prior experience using a flat resist necessary in order to complete garment. *Supply Fee: $130: To insure that all students have the exact items needed for this process I will buy in bulk for all students. This will ensure you success with your project and save everyone some money. I will provide: Pattern Paper and Resist Materials ; Duct Tape, Needles and Upholstery Thread; Dyes; Yards of Undyed Silk ; Silk Scarves; A Pound of Undyed Fine Merino; A Pound of Undyed Fine Merino; Tubes and Rods; Plastic Wrap and Very Thick Construction Plastic; Painters Plastic – 4 rolls each 9-ft by 12-ft; Tyvek Markers, Permanent Markers and Pins; Ziplock bags; Paper Towels; Polyester Fabric to make strips; 1/2 -inch and 1-inch all-purpose brushes. You Should Bring: Olive oil soap grated ahead of time on fine grate of cheese grater or buy a bar from Janet $2.00 each; 3 or 4 old but clean bath towels; Pool Noodle – full length (some are available at school to borrow if you are flying in to take class); 2 to 4 wood dowels at least 1-inch diameter (the rest of your wood closet pole) cut 10-inches long; Old wood rod from a closet or PVC pipe 3-ft long (Let Janet know if you are flying and need her to provide this for you to borrow); Patterned and solid dyed silks in 1 to 2-foot squares for trim – coordinate them with your yarns; Natural fiber yarns for adding to trim design; Small baggies of matching merino for trim; Personal sized disposable drinking water bottle (x3) empty or your favorite tool for applying water solution to dry fiber; 6 old nylon socks or strips of pantyhose cut about 15 inches long and 2 inches wide. If you prefer you can substitute old cotton sheets cut into strips; Scissors to cut plastic; Scissors to cut fabric; Kitchen rubber gloves; Comfortable shoes. Optional: Special buttons or favorite clasp to design around; Silk roving. Eco Printing with Acid Dyes (also known as Medium Print) is an emerging method which combines classical textile dying techniques (Professional synthetic dyes) with eco printing (contact printing with plants). This technique was developed by Olga Kazanskaya and Dina Ronina of Germany and Russia.
- Tuition $625.00
- Material Fee* $130.00
Klakulak, Lisa – Felt Fusion through Substrates (August 10-13, 2017)
Felt Fusion Through Substrates: Texturing, Edging and Object Inclusion Lisa Klakulak, Instructor August 10-13, 2017 (9am-4pm). Fusion (also known as nuno, laminate and hybrid) is the term I use to refer to the coercing of wool fibers through other pre-structured fabrics. Participants will explore the variables in this process to better direct their results and discover new possibilities through a series of studies and samples. The workshop focuses on experimenting with the inclusion of various substrate materials (not only silks!) for the purposes of creating light weight and draping felt fabrics, developing extraordinary fabric textures including the use of partial felts as a type of texture resist and incorporating durable materials/objects. Simultaneously, a variety of ways to finish the edges of the fabric inclusion will be sampled (folded edge, partial felt edge, and partial felt patterned edge). $40 Material Fee includes: 3oz (85 g) merino wool fiber in a variety of colors, Moroccan Olive Oil Soap, a wire brush, a selection of fabric for studies and explorations, an agitation mat. Disclaimer: Images are exemplary of the techniques to be learned and are not examples of projects to be completed during the course.
- Tuition $500.00
- Material Fee $40.00
Klakulak, Lisa – Sculpting Hollow Form (August 5-8, 2017)
Sculpting Hollow Form: Application of Partial Felt Density Lisa Klakulak, Instructor. August 5-8, 2017 (9am-4pm). Wool fiber is typically wrapped around either a pre-existing form such as a ball or balloon or a 2-D flat resist made of materials impenetrable by the fibers in order to felt hollow forms. In addition to the shape of the resist, how the felt is cut to remove the resist and the direction of fulling, understand how varying the density of wool in a given area effects shrinkage rates and can provide more control to sculpt desired forms and forms previously unimaginable. Participants will make partially felted sheets of wool fiber in varying thicknesses and states of structural integrity to apply as distinct shapes in their fiber layout to control shrinkage of specific areas through circumferential fulling. Proper fulling and the thickness of the vessel's wall in relationship to its volume will determine the forms integrity. Hand stitched structural ribbing, steam blocking and shellac stiffening can then be applied to refine the forms posture and presence. $40 Material Fee includes: 6oz (170 g) merino wool fiber in a variety of colors; Moroccan Olive Oil Soap; an agitation mat; resist material; shellac; wire brushes. Disclaimer: Images are exemplary of the techniques to be learned and are not examples of projects to be completed during the course.
- Tuition $500.00
- Material Fee $40.00
MacGregor, Pam – Felting Foundations for Three Dimensional Vessels (October 12-14, 2017)
Felting Foundations for Three Dimensional Vessels Pam MacGregor, Instructor. October 12-14, 2017 (9am-4pm). This workshop is designed for those interested in learning three-dimensional felting. It will cover basic layout, felting techniques and how to use a flat resist pattern to create a hollow form vessel. Instruction will also include many surface design elements, as well as how to refine and display your work. Each vessel will have its own unique and creative attitude.
- Tuition $395.00
- Material Fee $25.00
MacGregor, Pam – The Felted Form (October 9-11, 2017)
The Felted Form : Taking It To The Next Level Pamela A. MacGregor, Instructor. October 9-11, 2017 (9am-4pm). This workshop is designed for intermediate to advanced felters who want to push their skills and creativity to a new level of three-dimensional felting. Discussion will be held on vessels, sculptures and sculpted wall hangings as well as surface designs and final presentation of your work. Participants are encouraged to bring their ideas and sketches along with an open readiness to begin. A skilled wool layout around a resist is mandatory. Skill Level: Intermediate to Advanced
- Tuition $395.00
- Material Fee $60.00
Mayakis, Pavlos – Contemporary Abstract Mixed-Media Assemblages (July 27-31, 2017)
Contemporary Abstract Mixed-Media Assemblages: Screen Print, Stitch, & Paint Pavlos Mayakis, Instructor. July 27-31, 2017 (9am-4pm). In this mixed-media interdisciplinary workshop, we will be creating wall art by drawing upon techniques from both the textile and the fine art traditions. Pavlos will be sharing his signature mixed-media assemblage style while workshop participants will be learning and combining two thickened dye textural screen printing techniques using thickened dyes as well as a third more painterly screen printing technique. We will stitch found objects, fabric scraps, or recycled art before (or after) screen printing onto a canvas with a 3" profile creating drama using our screen printed marks as a template for our work. This workshop holds special interest for mixed media artists, soft sculpture makers, fiber artists (quilters and surface designers), screen printers, and painters. Day 1 and Day 2 preparing Deconstructed, Breakdown, and Polychromatic screens. Day 2 Screen Printing. Day 3 Stretching the raw silk onto the canvas and prepping for painting. Day 4 Design, painting, and stitching. Day 5 Painting. Skill level – All skill levels welcome
- Tuition $625.00
- Material Fee $75.00
Noble, Elin – Alternative Marbling (August 14-18, 2017)
Alternative Marbling: Building a Personal Language Elin Noble, Instructor. August 14-18, 2017 (9am – 4pm). Experience the "oh wow" moments when the paint attaches to the cloth, freezing exotic imagery that is reminiscent of microscopic views of cells, geological forms, and cosmic observations. This class offers a fresh approach to the age-old tradition of floating paint on water and transferring the image to cloth. We will use water (for Suminagashi), methyl cellulose and carrageenan (for Ebru) to pattern small scale cloth and yardage, with a variety of paints. Each day includes a series of demonstrations and critiques to push personal exploration. Emphasis is placed on working towards a visual vocabulary using sophisticated layering, color combinations, and personal imagery. You don't want to miss this engaging, fun, and satisfying experience. Bio: Elin Noble has spent more than 30 years investigating traditional and contemporary dye techniques, in particular Japanese itajime shibori (clamp-dye resist). She is the author of Dyes & Paints: A Hands-On Guide to Coloring Fabric. Elin has a BFA in Fiber from the University of Washington, and was the former Lab Manager at PRO Chemical & Dye. She has appeared on PBS and lectured and conducted workshops across North America and internationally, most recently Tilburg, Netherlands, Budapest, Hungary, and Tokyo and Osaka, Japan. She has been nominated for "Teacher of the Year" award by Professional Quilter Magazine.
- Tuition $695.00
- Material Fee $45.00
Soderlund, Carol – In the Thick of It (September 9-13, 2017)
In the Thick Of It: Working with Thickened Dyes and Discharge Carol Soderlund, Instructor. September 9-13, 2017 (9am-4pm). When fiber reactive dyes are thickened, they can be used in a very painterly way. Using your personal color inspiration, you will develop a palette of color in thickened dye from which to work. We will investigate textural mark making and personal imagery through the use of artist-made tools. Each day, you will create a new tool set with which to print, derived from your personal iconography. Tools will include carved rubber and foam stamps, as well as stencils and masks. Carol will discuss the use of creating stencils with craft cutters such as the Silhouette and the Brother as well as by hand. Thermofax screens and the use of Gelli plates with dye will round out the tool box. As well as layering color by printing, some students may choose to use a thickened discharge agent to remove color with some of the same tools. (Discharging will be done outdoors rather than in the classroom.) Very evocative effects can be achieved as the techniques are layered together. Carol will take the mystery out of these wonderful transforming effects. Safety and good studio practices will be emphasized. Some experience with Procion MX dyes is a plus.
- Tuition $625.00
- Material Fee $75.00
Van de Meer, Charity – Nuno Felted Design: Skirt, Dress, Coat (July 6-9, 2017)
Nuno Felted Design: Skirt, Dress, Coat Charity van de Meer, Instructor. July 6-9, 2017 (9am – 4pm). Charity studied Fashion and Knitwear Design at Nottingham University of Art and Design (UK) in 2002. She then moved to the Netherlands and employed her unique style and cultural flare to create a new fashion style.
Over the years, Charity developed a passion for creating garments using the felting technique. Felt has provided endless possibilities for Charity, and she is constantly researching new materials and new techniques using natural fabrics, raw materials and organic fibers. Her Sharit Ethical Fashion line attracted the attention of Li Edelkoort in Paris and is becoming a recognizable brand in the Netherlands. Charity has taught in Europe, New Zealand south America and the United States. For more about Charity, go to: www.sharit4.net. The focus will be on designing and making a one-piece Nuno-felted garment. Students will be working with a very simple, but effective pattern, that will help them develop their own fashion ideas. The emphasis will be on enlarging the pattern from a basic pattern to an enlarged felting template. We will focus on pleating, layering and adding godets to the design. Students will be allowed to freely use their imagination in their designs.
- Tuition $625.00
- Material Fee $115.00
Mixed Media Workshops
Annand, Yukimi – Text & Texture (September 14-17, 2017)
Text and Texture: Making Expressive Textures with Calligraphic Marks Yukimi Annand, Instructor. September 14-17, 2017 (9am – 4pm). Description: I have a passion for textures, especially textures found in nature. After years of learning a variety of Roman letters, I discovered the beauty of each stroke and the unique textures that result from writing strokes with rhythm. In this workshop, we will experience the usage of tools as extensions of our hand. We will start by creating marks with different writing tools and different objects. Then we will design alphabets with those new marks to write our chosen texts in various ways. We'll examine writing speed, pressure, the directions of strokes, and the relationship between letters. Study of layering, tones, basic design layout and composition, and use of line and space in Japanese calligraphy will be presented for making effective textures. All exercise sheets will be temporarily bound for further experiments. I am looking forward to sharing the moment each of us express our feeling affectively, deeply, strongly and evocatively into our creation by writing texts as textures on chosen spaces during the workshop. Ability Level: Some calligraphy and/or lettering experience recommended
- Tuition $550.00
- Materials Fee $20.00
Apter, Seth – A Library of Memories (June 8-11, 2017)
A Library of Memories Seth Apter, Instructor. June 8-11, 2017 (9am – 4pm). In this very special, 4-day art-making adventure, we will be creating a one-of-a-kind embellished container to hold a handmade book and a dimensional assemblage. This class will cover a wide variety of techniques related to painting, mixed media, bookbinding, assemblage, collage, and fun-having. In addition, we will be taking the workshop outside the classroom, visiting a number of destinations on the Island for both creative inspiration and supply gathering. Using cradled panels, you will start by making a hinged container that will be layered in paint and covered with objects and materials. Inside, we will work on filling one niche with an assemblage of objects while at the same time learning approaches to dimensional collage, attachment techniques, and more. A handbound book, made in the workshop and fully removable from the container, will fill the space in the other niche. Your "Library" can be themed or unthemed and will truly reflect your style, whether vintage, modern, bohemian, eclectic, or other. Student supply List: Book covers for your handmade book – matching front and back covers from a hard cover book, separated from the book block and spine, sized no larger than 6.5 x 9 inches. Choose a cover that you like as much of it will show on your completed book. Cardstock – 4 8.5 x 11 inch sheets in your choice of color for your book. Acrylic paint – Assorted colors, including a selection of metallics. Acrylic paint – Assorted colors, including a selection of metallics. Paint brushes – several detail brushes for painting and several large brushes (½ or 1 inch cheap bristle brushes are perfect) for painting and gluing. Adhesive: bring two types of your favorite – one for adhering paper (for example white glue, matte medium, PVA, glue sticks) and one for adhering metal and other heavier materials (my favorite non-toxic brand is Liquid Fusion and my favorite toxic brand is Loctite). Scissors and/or craft knife and cutting mat, Ruler, Bone Folder, Pen/pencil. Flotsam & Jetsam – embellishing your container and book is where you can stretch your creative muscles and let your inner artist out. Anything goes. Bring in your choice of paper (ephemera, magazine and book pages, hand painted paper, scrapbook paper, handmade paper, etc), photographs, fabric scraps and/or trim, loose book covers, decorative and/or masking tape, your own small drawings, bling, die cut frames, alphabet and design stickers/rub ons, favorite pens and markers, lightweight metal pieces (hardware, watch parts, gears, pocket watch-cases, brass stencils, jewelry pieces, commercial embellishments, metal findings, brads, etc), found objects, etc. See images of workshop sample for examples. Instructor will provide: cradled panels, hardware (hinges, clasps, screws), drill, heat gun, awls, tin snips, craft wire, needle and thread, double sided tape, book board, assorted ink pads, alphabet stamps, leafing pens, assorted mixed media materials, and all basic supplies on the list.
- Tuition $600.00
- Materials Fee $20.00
Barton, Serena – Transformations in Oil and Cold Wax (July 10-13, 2017)
Transformations in Oil and Cold Wax Serena Barton, Instructor. July 10-13, 2017 (9am – 4pm). Creating abstract art with oil paint and cold wax medium involves taking a journey into yourself and your world –without a map. The process is intuitive, bold and full of discovery. Your pieces will take on lives of their own through the many layers of oil and cold wax you apply, addition of mixed media elements, and the areas you choose to scrape away. There are many opportunities for happy accidents and unexpected joys. Each oil and cold wax piece is a result of a moment in time and space where elements converge in a one-time-only way. I'll show you lots of techniques for adding layers, textures, graphic touches and atmosphere to your work. I let you in on the qualities unique to oil and cold wax. I encourage you to mix and match techniques in your own way and to develop your own style. You'll learn several ways to prepare your wood supports, including using Venetian Plaster and oil ground, and we'll play with Arches oil paper, which needs no preparation before you dive in with paint and wax. You'll learn how to use ordinary household tools to incise and make marks, how to scrape back for a dramatic look, and how to unify your compositions. We'll also cover adding collage, sand, plaster, marble dust, and collage elements to your pieces. We'll explore the creative process and ways to get your creativity flowing. If you are an experienced painter, you'll love delving into painting with oil and cold wax. I'll help you achieve a loose, expressive attitude and style. If you are new to painting, working with oil and cold wax is a great way to begin. I love this medium, as there are no mistakes! You can change the look of your piece at any time by layering, scraping back, and using solvents. The watchword for this workshop is, "Experiment!" You'll build up many layers, incise, scribble, scrape back, and texture your work, allowing each piece to tell its own story. Serena Barton: Transformations in Oil and Cold Wax. Supply List: Large tubes of black and white oil paint; A set of about 12 colors of oil paint (inexpensive is okay) or your favorite oil paints; Catalyst wedge # 6 (available from dickblick.com); 16 oz. tin or jar of Cold Wax Medium; 2 medium sized palette (painting) knives; Two 12 x 16" pads of Arches Oil Paper (dickblick.com); Optional: Oil pastels and/or oil bars if you have them; Cradled panels if you prefer these to the flat ones I'll provide. Supply Fee: 55. This covers additional oil paints to share, additional cold wax to use if needed, flat birch panels for painting, Venetian Plaster, marble dust, sand, metal leaf, and collage elements to share, solvents to share, texturing tools to use, graphite crayons, stabile or ebony pencils, oil bars and oil pastels to share.
- Tuition $500.00
- Materials Fee $55.00
Berry, Jill – Story Pages (Sept 19-21, 2017)
Story Pages Jill Berry, Instructor. September 19-21, 2017 (9am – 4pm).
- Tuition $395.00
- Materials Fee: TBD
Berry, Jill – The Resilient Heart (Sept 25-29, 2017)
The Resilient Heart Jill Berry, Instructor. September 25-29, 2017 (9am – 4pm).
- Tuition $625.00
- Materials Fee: TBD
Chung, Ji Young – Joomchi (April 8-9, 2017)
Joomchi Jiyoung Chung, Instructor. April 8-9, 2017 (9am-4pm).Joomchi is a unique Korean traditional way of making textured handmade paper by using water, and eager hands. This workshop offers participants the opportunity to become acquainted with its history, practice and role in Korean society, as well as the hands-on techniques and reinterpreted adaptations into contemporary art form. Joomchi creates strong, textural and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). Its usages are diverse and it can be incorporated into surface design, collage, new way of drawing, wearable, unconventional body ornament or sculptural object: 2-D & 3D either functional or fine art oriented.
- Tuition $270.00
- Materials Fee $30.00
Cushman, Jen – Deep Dive Journal (August 13, 2017)
Deep Dive Journal; Collage, Color and Resin Casting Jen Cushman, Instructor. August 13, 2017 (9am – 4pm). In this process-oriented workshop, students will learn new resin techniques such as casting found objects and transforming them into tromp l'oeil artifacts; substrate surface design with texture, acrylic paint and water soluble crayons; and journal construction by deconstructing a hardback book. Three-dimensional objects shown in art sample are made from cast resin and are indicative of the types of pieces we will create and alter during the workshop. Techniques taught have many applications for mixed-media collage and assemblage work. Skill level: Beginner to Intermediate. Supply List: Old hardback book to repurpose; Old hardback book to repurpose; Awl; Scissors; Ball peen hammer; Steel bench block or small anvil; Matte Medium; Disposable paint brushes various sizes; Hardware handle and knob; Plastic netted produce bag to repurpose (what your fruit or vegetables come in); A couple of found objects that you wish to make molds and castings from. This can be old buttons, hardware, metal bits and bobs…items from your collection that you might be curious to use in this mold making and resin casting process. Please limit yourself to a couple of choices, as we have a lot to cover. Instructor will have some old locks and hardware to cast; Heat gun if you wish to reduce your wait time. Instructor will have some for class use. Kit includes: ICE Resin, Tints, Cold Enameling Supplies, Molding Putty, waxed linen tread, copper sheet, inclusions such as glass glitter and charms, texture paste, paint. Kit fee: $25.
- Tuition $145.00
- Materials Fee $25.00
Cushman, Jen – Explore, Create, and Resinate Jewelry (August 11-12, 2017)
Explore, Create, Resinate Jewelry Jen Cushman, Instructor. August 11 & 12, 2017 (9am-4pm). Join Mixed-Media Artist Jen Cushman for two days of resin exploration to learn the basics and beyond of working with ICE Resin®, a jeweler's grade two-part epoxy resin. We'll explore small collage techniques combining imagery, text and inclusions encapsulated in crystal clear resin. Each bezel will be as unique as the artist who makes it. On Day 2, we'll delve into wire, metal and fiber techniques to create a finished jewelry set (necklace and bracelet and/or necklace and earrings) combined with our cured resin components. Even if you have zero jewelry-making experience but have an interest to learn, you can enjoy this workshop and create wearable art. For those with intermediate jewelry making skills, instructor has cold connection samples that you can work toward. Skill level: Beginner to Intermediate. Supply List: Round Nose Jewelry Pliers; Chain Nose Jewelry Pliers; Flat Nose Jewelry Pliers; Wire Snips/Wire Cutters; Steel bench block or anvil; Ball Peen Hammer; Scissors; 2 pieces of extra fine steel wool; To personalize your pieces please bring a small Ziploc bag of mementos and objects from your stash. This can include broken jewelry bits, buttons, tiny shells, dried flower petals, favorite word or saying, rhinestone chain or rhinestone jewelry, bit of lace, etc. Kit includes: Bezels, ICE Resin, 16, 18 and 30 gauge bronze wire to use, silk sari ribbon, images and text, inclusions such as glass glitter and charms. Kit fee: $35.
- Tuition $270.00
- Materials Fee $35.00
Dijkers, Ingrid – Mandala Journal (July 8, 2017)
Mandala Journal Ingrid Dijkers, Instructor. July 8, 2017 (9am – 4pm). Well suited for all levels. There is no prep work required for this workshop. "The Mandala Journal". Workshop Description- The psychoanalyst Carl Jung saw the mandala as "a representation of the unconscious self," and believed his paintings of mandalas enabled him to identify emotional disorders and work towards wholeness in personality. In common use, mandala has become a generic term for any plan, chart or geometric pattern that represents the cosmos metaphysically or symbolically. Intrigued and inspired by the meaning and history of Mandalas, this journal was created and loosely based on this concept. Singular unbound round pages can have mandalas on one side and have journaling on the back and are neatly housed inside the Mandala Journal Box. Pages can be removed, flipped over or rearranged at will – a format that makes working on pages and reading them a real pleasure. Focus of this workshop is on personalizing the provided Mandala Journal box and preparing it for your journaling needs. We'll discuss different methods of making pages and techniques with provided samples. It is well suited for all levels. Materials list- Scissors, Elmer's glue, 1" natural bristle utility brush, Bone folder, Pencil, Off white paint, Gesso or white house hold primer, A few journaling supplies (craft paints, pens, markers, etc). Optional items – If you have or we can share: Heat gun, ¼" natural bristle chisel blender brush, Cuticle scissors, Watercolor pencils, Any thing you'd like to include in your journal, Bristol or paper for tracing templates for later use.
- Tuition $145.00
- Materials Fee: TBD
Dijkers, Ingrid – Over the Edge (July 6-7, 2017)
Over the Edge Ingrid Dijkers, Instructor. July 6-7, 2016 (9am-4pm). After numerous requests, the classic "Over the Edge" journal of page shapes and edges is making a come back, only this time it's "Fun Size"! This luscious little journal (4 1/2″ X 6 1/4″) is a power packed version of the original. We'll work on getting those pages to "pop" (no one likes dull flat pages) and make the edges of those pages sizzle (gilding on steroids). This class will help us break away from the traditional rectangular shaped page. We'll explore ways of developing and making other shapes for pages giving our books more dimension and interest. The importance of the often neglected edges of pages will be emphasized. Ingrid's original book "An Instructional Guide for Going Over the Edge" will also be available for viewing many examples which displays a plethora of possibilities. You need only bring a few sheets of paper and a few simple supplies that you probably already have on hand and the rest will be supplied! Student Supply List – Small container of Gesso, white household primer or off white, paint, Elmer's Glue, Inexpensive 1″ natural bristle brush (as found at home improvement centers), Scissors (and cuticle scissors if you have), Ruler, Bone Folder, Pencil and white eraser, A couple of sheets of softly patterned paper (scrap booking or your own geli prints (on light weight paper), etc), 20 – 25 buttons (without a shank). If you have the following or we can share- Heat gun, Hole puncher- 1/16th" hole, ¼" hole puncher, Your usual journaling supplies such as – Markers, Gel Pens, watercolor pencils, Various paint colors (craft paint jars are fine), Kit fee – $20 -Includes prepped ring binder, box board pages, imagery and use of additional supplies
- Tuition $270.00
- Materials Fee: TBD
Gorman, Geoffrey – Finding the Soul of Forgotten Materials (Sept 25-29, 2017)
Finding the Soul of Forgotten Materials Geoffrey Gorman, Instructor. September 25-29, 2017 (9am – 4pm). Class Description: This one week workshop encourages students to experiment with innovative and intuitive ways of creating a variety of structures and forms using organic, found and recycled materials. Students are invited to think about shapes and forms that hold particular interest and bring these ideas to the workshop. Using unusual techniques developed by Gorman to overcome construction challenges, each student will complete a variety of forms, something they want to create. Students will be asked to bring some of their own favorite cast off materials. This class is perfect for beginners seeking an introduction to creating curious objects as well as intermediate and advanced students wishing to reach the next level and break out of their comfort zone. Students need to be familiar with using hand and power tools like drills, band saws, and sanders. If possible, we will plan a field trip to an old dump or interesting area looking for material to harvest Weeks before the workshop I would like to correspond with each participant to see what they are interested in making while we are all together. There will also be an assignment for them before the class starts. and incorporate in our sculptures. Day 1 - Introduction to found object art in the 20th century. We will look at each student's individual motivation for making art, finding his or her own unique voice, and the particular soul or voice of the materials selected. Demonstration - How to use large power tools safely. Use of the foam block will be demonstrated, including transferring drawings, cartoons of artwork onto surface. Cutting and shaping of form. Day 2 - We will look at why we work with alternative materials and what they mean to each of us and how they speak to the viewer. Demonstration - Cutting and gluing canvas to form. Thinking ahead to any appendage that needs added strength in foam, etc. learning use of rasp, coping saw. Designing and constructing added appendages to foam, such as arms, legs, etc. Adding wire to canvas and tacking it down. Adding eyes, ears, other details to complete sculpture. Day 3 - Discussion of inspirations and influences in the artistic process. Demonstration - Pedestals and stands. Patinating tin to add age and color. We will discuss and look at different ways to present and show sculptures. I will construct a pedestal made from a wood base. Then I will cover it with metal and complete it. Day 4 - Taking the artist's voice outside the studio-defining a clear vision. Demonstration - Using alternative materials such as bike tires, inner tubes and lead to cover forms and bases. How to attach them, and what to use to adhere them to forms. How to stain and rust completed project with a simple solution. Day 5 - The big picture, what we learned and where to go from here. All work will be completed and each student will be asked to make a short presentation of what they have learned and what they have created in the class. Specific attention will be given to articulating the voice of material. Demonstration - Working with bundles of sticks to make body forms, aritures, limbs, etc. How to bandsaw out details like heads and extremities. How to construct legs, wings, etc. How to spray the finish on completed piece for protection from deterioration. Supply List - Each student is asked to bring a box of construction material and found objects that they are attracted to. Be prepared to share some your materials with the class. Also bring a notebook with drawings, photographs and inspirations that will help in fabricating your work. Here is a list of supplies and tools. (The links are to suggested sites that have good prices.); 7" coping saw; Power Drill w/battery; Variety of size drill bits; Set of 3 different size pliers; Tin snips; Golden Regular Gel Matte, 8-Ounce; krylon Clear Spray; Scissors; 24 gauge Wire; Gorilla glue; Canvas; Carving foam; Screws; Small hammer; Glue gun; Rasp; Heavy duty annealed fencing wire; Phillips head screwdriver; u tacks; Assortment of small nails; ¼" threaded rod with nuts and washers; Block of wood for pedestal; Old tin cans, etc.; Bike tire; Bike inner tube.
- Tuition $675.00
- Materials Fee $25.00
Hiebert, Helen – Light Sculpture or Illuminated Paper (October 5-8, 2017)
Light Sculpture, or, Paper Illuminated Helen Hiebert, Instructor. October 5-8, 2017 (9am – 4pm). Paper is an incredibly versatile lightweight sculptural material: you can bend it, fold it, tear it and enhance its luminosity by layering, folding and cutting. In this workshop, we will begin with tradition and then add our own twists. Learn to make Japanese chochin, a collapsible lantern form and shoji screen panels that can be connected with a cool Japanese hinge to form a folding screen or lantern. Discover ways to illuminate paper utilizing electric lamp parts and natural light. Explore ways to use reed, balsa wood and simple hand tools to create a series of light sculptures. Students need to bring: Helen will supply the papers you need, but feel free to bring additional papers for your individual projects that fold easily and look good when illuminated or held up to the light; 1/8" – ¼" children's or artist's paintbrush for gluing; bone folder; sharp penci; scissors; xacto knife that uses #11 blades + extra blades (or other type of x-acto that you are comfortable using); cutting mat (at least 12" x 18"); small notebook to take notes; ruler and/or triangle; Optional: Any other favorite bookbinding tools; Quart-size yogurt container or something like that (this will become the armature for a lantern form); If you have a hand drill and small hand saw and they are easy to transport, bring them along.
- Tuition $500.00
- Materials Fee $55.00
Kasstle, Brian & Arbuckle, John – An Odyssey in Art Journaling (August 1-3, 2017)
An Odyssey in Art Journaling – A Mixed-Media Adventure Brian Kasstle & John Arbuckle, Instructors. August 1-3, 2017 (9am – 4pm). Come along on an art journey as we meander through the world of mixed media with artists Brian Kasstle and John Arbuckle. In this workshop we will explore exciting mixed-media and collage techniques that will enhance your art experiences in refreshing and exciting ways. In just three days you will create an amazing stack journal using gesso, a variety of paints, ephemera, inks, recyclable materials, and much more. Everyone has a story to tell through art. You might already have a million ideas to express or perhaps you do not have a clue. Maybe you even have a fear of the blank white page. With Brian and John you are guaranteed to find and express your art story. Not only will you learn exciting techniques, but you will have an opportunity to help form a new mixed-media community of eager artists. Join us for this journey into creating. Materials fee: $25 to cover paper and several other mixed-media needs. Skill Level: Beginners to experienced artists
- Tuition $395.00
- Materials Fee $25.00
Lynds, Wendy Lee – Connect, Create, Collaborate (November 12-13, 2016)
Connect, Create & Collaborate! Wendy Lee Lynds, Instructor. November 12-13, 2016 (9am-4pm). Women want to connect. Is that how we are hard-wired from birth, or does our fast paced lives dictate that we slow down and enjoy each other, and open ourselves up to the possibility of a more creative life? Does this sound like you? In this two day workshop (that will be more like a "PlayShop!"), we will connect with like-minded women – use all sorts of art media, journaling and personal growth exercises. We will explore the world of connecting, creating and collaborating – with not only the women in the class, but with ourselves. With a heart that wants every woman to be open to be all they can be and with the sensibilities of a creativity/life coach, Wendy provides a safe haven. No stress, no fear, don't-have-to-be-an artist environment, learn how you can be more creative and more connected. All are sincerely welcome. Bring your curiosity and your sense of adventure!
- Tuition $270.00
- Materials Fee $10.00
Mayakis, Pavlos – Contemporary Abstract Mixed-Media Assemblages (July 27-31, 2017)
Contemporary Abstract Mixed-Media Assemblages: Screen Print, Stitch, & Paint Pavlos Mayakis, Instructor. July 27-31, 2017 (9am-4pm). In this mixed-media interdisciplinary workshop, we will be creating wall art by drawing upon techniques from both the textile and the fine art traditions. Pavlos will be sharing his signature mixed-media assemblage style while workshop participants will be learning and combining two thickened dye textural screen printing techniques using thickened dyes as well as a third more painterly screen printing technique. We will stitch found objects, fabric scraps, or recycled art before (or after) screen printing onto a canvas with a 3" profile creating drama using our screen printed marks as a template for our work. This workshop holds special interest for mixed media artists, soft sculpture makers, fiber artists (quilters and surface designers), screen printers, and painters. Day 1 and Day 2 preparing Deconstructed, Breakdown, and Polychromatic screens. Day 2 Screen Printing. Day 3 Stretching the raw silk onto the canvas and prepping for painting. Day 4 Design, painting, and stitching. Day 5 Painting. Skill level – All skill levels welcome
- Tuition $625.00
- Material Fee $75.00
Nelson, Carol – Experiments in Mixed Media, Part II (September 15-16, 2017)
Experiments in Mixed Media – Part II Carol Nelson, Instructor. September 15-16, 2017 (9am – 4pm). This workshop may be taken with, or separately, from Part I. Students can expect to complete one or more paintings per day. Carol's abstracted tree paintings are very popular and her step by step approach makes for a very high rate of student success. Emphasis will be placed on tonal relationships of dark on light, and light on dark. You will make fantastic foliage with course pumice gel and crackle paste, and you will use a variety of specialty papers to add texture, and create vibrant colorful landscapes. Carol's Effortless Abstracts are a unique approach to abstraction that takes your left brain out of the equation. The random aspect of this method makes for delightfully unexpected results. There will be a $15 materials fee due the first day of class. Supply list for students to bring: Paints: Golden Fluid Acrylics are best for this type of work. Carol's favorite colors are listed on her website under "miscellaneous"; 3-4 Hefty Heavy Duty foam plates (Hefty brand works best); Gel medium – Carol uses Golden "regular" or "soft" gel medium gloss; Unsuccessful watercolor paintings to cut up (optional); Brushes suitable for watercolor/acrylic. A 1 inch flat, a round #8, and a tiny brush (for painting small lines) is all you'll need; Small palette knife, spray water bottle, paper towels, scissors, palette, ball point pen, water container. Supports: 2 6×6 panels – Blick Studio Artists' Board works well; 1-2 wood panels – 8×8, 8×10, 10×10 or 9×12 only!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! NOTE: these supports may be cradled wood panels, gessobords, or MDF panels cut at Home Depot. All raw wood panels should be primed with gesso before class.
- Tuition $270.00
- Materials Fee $15.00
Pressman, Lisa – Layered Media (Cancelled – will return 2018)
Layered Media: Expanding Your Vocabulary with Cold Wax and Mixed Media Lisa Pressman, Instructor – Cancelled. Workshop will return in 2018! This workshop will focus on a painting approach using wax and other media to create layered, expressive, richly surfaced paintings. We will be experimenting with a wide range of materials including: R&F pigment sticks, oil paint, cold wax, graphite, ink, and pastels. There is a freedom of gesture, movement and process that occurs when painting with these materials. The techniques of using of cold wax along with the other materials will be the focus. A variety of tools and exercises are used to explore personal imagery – abstract as well as representational – and students will be encouraged to use alternatives to brushes for their mark making. Layering, excavating, edge, line, texture, mark making, color and the concept of "editing" will be addressed. Working on multiple panels helps to free the creative spirit so that a personal language and vision can develop into a new body of work. Individual attention is given to each student so the beginner as well as the professional will get the feedback needed to bring back to their studio. Power points, discussions of contemporary art, professional and career support are all offered. Skill Level: All Levels. Number of students: 12 max
Spier, Nadine – The Art of Coiling Baskets and Sculptural Forms (October 20-22, 2017)
The Art of Coiling Baskets and Sculptural Forms Nadine Spier, Instructor. October 20-22, 2017. This class offers the basics and advanced techniques of coiling to create baskets and sculptural forms. Students will all start their basket around a polished stone, then each student can go in their own desired direction. Whether you're a beginner or experienced coiler, you're certain to learn lots of exciting basketry skills. Nadine individualizes her instruction to each student's interest such as sculptural work, mastering shaping, fancy stitches, lids, weaving around anything with holes (walnut slices), teneriffe, use of wire for more design options, coiling around antlers, inserting beads between coils, and much more. Pine needles and Irish linen provided but other plant materials can later be used. All levels welcome! $52 material fee includes: large bundle washed/sorted pine needles; 1 large spool Irish waxed linen thread; 1 polished stone cabochon mounted on faux leather; darning sewing needle; 18 gauge wire; pipe cleaners; color handout
Nelson, Carol – Experiments in Mixed Media, Part 1 (Sept 10-14, 2017)
Experiments in Mixed Media, Part I Carol Nelson, Instructor. Sept 10-14, 2017 (9am – 4pm)
Nelson, Carol – Experiments in Mixed Media, Part 1 (Sept 10-14, 2017)
Experiments in Mixed Media, Part I Carol Nelson, Instructor. Sept 10-14, 2017 (9am – 4pm). Skill level: beginner, intermediate, advanced. This workshop will feature a series of projects in which we will explore different mixed media techniques Carol uses in her paintings. Students can expect to complete one or more paintings per day. Carol's approach for abstract works, using "sandwiches" of mixed media materials, takes the pain and agony out starting an abstract piece. You will learn about a variety of materials and techniques, such as preparation of Tyvek, painting on aluminum foil, embossed foils, combusted origami foil, rusted iron paint, making your own unique collage papers, making unique focal medallions using air dry clay and Plaster of Paris, inexpensive substitutes for pricey art materials, and much more. Carol will also discuss abstract composition and color theory, various kinds of supports, how to attach various collage elements, and presentation options for a finished piece. There will be a $15 materials fee due the first day of class.
- Tuition $625.00
- Material Fee $15.00
Supply List for Students to Bring
10 plastic foam plates – Hefty Super Weight brand foam plates works best; Aerosol can of men's shaving cream (not gel); Plastic sheet protectors – about 10 – available at Office Max, Walmart, etc.; Paints: Golden Fluid Acrylics are best. Tube acrylics OK,but fluid acrylics work better for this type of work. Carol's favorite colors are on her website under "miscellaneous"; Gel medium – Carol uses Golden "regular" of "soft" gel medium, gloss; Polymer medium gloss (Golden) OR Polymer Medium & Varnish (Liquitex); Liquitex Pouring Medium (polymer medium gloss may be substituted); Modeling paste OR a spackle compound found at most Home Depots in the paint department. The brands to look for are Custom Patch, Flex-n-Fill, Patch-n-Paint, etc.; White paintable tube caulk – buy the cheapest one at Home Depot. A 5.5 oz tube of DAP Alex Plus is good; Super heavy duty aluminum foil – restaurant grade if possible; YES paste adhesive (available at Michaels) OR Power Grab by Loctite (get the clear one), or Liquid Nails at Home Depot; Tulip "PUFFY" Dimensional Fabric paint in black or white (available at Michaels); Spray water bottle, brushes, hair dryer, scissors, palette, small palette knife, paper towels. About brushes: fluid acrylics behave a lot like watercolor. Don't bring stiff bristle brushes, which are more suitable for heavy body acrylics or oils. Synthetic brushes with a nice snap to them are best.
Supports
Small supports: 2 MDF (Medium Density Fiberboard) OR wood panels OR canvas boards in sizes 6×6, 6×8, 8×8 inches. Medium supports: 2-4 cradled wood panels, OR MDF (Medium Density Fiberboard – Home Depot will cut it for you) wood panels OR canvas boards in sizes 8×10, 6×12 or 9×12 Solid wood surfaces work best for this type of work. Please prime your boards before class with gesso. Please observe size limitation for supports you bring
Shaw, Mary Beth & Carricker, Pam – The Pam & Mary Beth Art Journal Road Show (July 15-17, 2017)
The Pam & Mary Beth Art Journal Road Show Mary Beth Shaw & Pam Carricker, Instructors. July 15-17, 2017 (9am – 4pm)
Shaw, Mary Beth & Carricker, Pam – The Pam & Mary Beth Art Journal Road Show (July 15-17, 2017)
The Pam & Mary Beth Art Journal Road Show Mary Beth Shaw & Pam Carricker, Instructors. July 15-17,2017 (9am – 4pm). In this three day workshop, Pam Carriker and Mary Beth Shaw spill the tricks of the Art Journal by offering processes that range from beginner to advanced. Starting with backgrounds to making collage parts to color management and composition and even interactive pages, the sky is the limit! On day one, Mary Beth and Pam volley back and forth comparing and contrasting a variety of techniques. On day two, you will spend half of the day with Pam learning the ins and outs of adding a mixed media self -portrait to your journal page and the other half, Mary Beth will teach Collagraphic printing techniques. On day three you will pull all the techniques together to create the ultimate in journal pages. You will delight in how Mary Beth & Pam bounce ideas off each other and exploit all the potential of their chosen supplies. Join them for the quintessential Art Journal experience!
- Tuition $450.00
- Material Fee $20.00
You will receive in-depth instruction from both Pam & Mary Beth regarding:
Various background techniques for creating uber-layered journal pages; Color Management using several types of paint – Pam Carriker paint and inks and Golden Fluid Acrylic paints (psssst, this has been described as "life changing" by many students). You will never make mud again; Artistic page spreads with new tools and supplies, using the elements of design as your guide; How to insure that your pages aren't "sticky"; Positive and negative space to help your pages pop; Making your own stash of collage items using sanded paper, paint tape, Gelli plate, kraft paper, stickers and more. Learn to personalize your supplies; Using cutouts or portals to add depth and detail; Mark making with Liquid Pencil, nibs and Paint pens; Composition and more composition, using stencils and the Golden Mean-Integration of collage into backgrounds with glazing and resist techniques; Half Day with Pam exploring Mixed Media; Selfie Portraits; Half Day with Mary Beth discovering the wonders of Collagraph printing
Kit Fee of $20 includes:
Custom stencil to keep; Fantastix; Stabilo pencil; Sanding block; Sponge applicatiors; All paints, mediums, inks, Liquid Pencil inks, markers, pencils, Gelli plates, stamps & stencils to use in class; A special kit of collage and paper supplies the teachers have selected for use in class; Paper for journal cover; Class handouts
Students should bring:
Canson Mixed Media XL journal 7×10 size 5×7 or size to fit journal page; black and white copy of a front facing selfie type photograph-this is just a reference photo to work from; 6B (soft lead) pencil; Bone folder tool (for burnishing); Colour Shaper tool, firm 1" or larger; Staz On (or other permanent) stamp pad; black or gray brushes for painting and gluing; baby wipes; paper towels; water container; small spray bottle for water; palette; soft rubber brayer; scissors; metal ruler; Gelatin Printing Plate (optional). Can bring additional collage materials, stamps and stencils if desired
Photography Workshops
Abell, Sam – Photography Intensive (May 20-25, 2017)
Photography Intensive – A Master Class Sam Abell, Instructor. May 20-25, 2017 (9am-4pm). Join renowned photographer and teacher Sam Abell for a concentrated one-week workshop on beautiful Whidbey Island. Open to a select number of photographers serious about their work, this workshop will emphasize documentary photography of the life and landscape of Puget Sound. The workshop will also concentrate on the editing of work and the creation of photographic projects. Each day participants will engage with Sam in the field making new photographs and in the classroom editing existing work. With strong individual attention from Sam, participants will leave with a refreshed, more refined way of seeing and a distinct, more compelling body of work. This workshop is limited to 12 students. The talented Keron Psillas will once again offer her expertise as Sam's assistant for this workshop.
- Tuition $1,000.00
Cobb, David – On Location: Mt. Rainier National Park (August 3-6, 2017)
On Location: Mount Rainier National Park David Cobb, Instructor. August 3-6, 2017. You'll photograph picturesque Mount Rainier National Park and the surrounding forests, alpine lakes, waterfalls, and meadows at the peak of wildflower season. Students will have plenty of time to practice on grand landscapes, alpine flower photography, and macro images. This workshop is based in Ashford, Washington where there will be in-class critiques and instructional sessions.
- Tuition $600.00
Divine, Karen – Creative iPhoneography (July 31- August 4, 2017)
Creative Iphoneography Karen Divine, Instructor. July 31 – August 4, 2017 (9am-4pm). In this workshop, we step outside the role of photographer and into that of an artist. We will push the limits of how we see by isolating textures, forms, and shapes and approach our new work by learning to let our intuition be our guide. We work in a spontaneous and playful way, creating work that surprises and excites us. And, we'll do this using the iPhone and iPad. Whidbey Island is a compelling place for photographers and a perfect location for our exploration. The richness of the light, colors, and textures provides inspiration. Through lectures and daily assignments, you will learn to create compelling multi-layered imagery and begin discovering the work that inspires you. We learn to create beautiful single imagery and go in depth with a multi-layering app, much easier than Photoshop and all on your iPhone. Our mornings are spent in critique, reviewing the work of artists who are unencumbered by the world of expectations, who create solely for themselves. Most of all, we learn to be playful, letting intuition take over and allowing our images to evolve.
- Tuition $1,000.00
Graham, Jack – Abstract Photography on Whidbey Island (November 3-4, 2017)
Abstract Photography on Whidbey Island Jack Graham, Instructor. November 3-4, 2017 (9am-4pm). A comprehensive seminar covering the important aspects of abstract photography. Whidbey Island is known for its quaint town, picturesque ocean views and pristine beaches. We will take this to a new level and explore the other side of Whidbey. Finding and learning to see abstracts or what could be called photo art is an interesting and provocative experience. Many of the techniques used are those we rely on every day, however we'll explore new techniques and learn to see a bit differently. We will cover long exposure photography, using shutter speeds and zoom lenses to create interesting effect on commonly photographed subjects as well as the use of special techniques to create the abstract. We will spend time in the field in locations from beaches to junk yards learning to see the abstract in photography. We will also spend time on our classroom discussing the results and using software to take our work to the next level. This will be a time to let our imaginations go and create. Please join us for this 2 day journey into abstract photography.
- Tuition $270.00
Graham, Jack – Closeup Photography "Boot Camp" (March 31 – April 1, 2017)
Closeup Photography "Boot Camp" on Whidbey Island Jack Graham, Instructor. March 31 – April 1, 2017 (9am-4pm). Yes, Whidbey Island is known for its quaint town, picturesque ocean views and pristine beaches and beautiful landscapes. However, we'll leave this all behind and explore the intimate world all around us and concentrate on close up photography. Some call it "macro" but I like to call it close up photography. Finding and learning to see the small world around is always an interesting and provocative experience. We will have two full days of learning to see and create top notch close up images. You will be surprised how many lenses can be used at high focal lengths to create great images. If you have a macro lens by all means bring it, but you can make great images with other lenses as well. Many of the techniques used are those we commonly rely on in landscape photography, however we'll explore some new techniques and learn to see the small world around us just a bit differently. We will cover the use of proper apertures, shutter speeds and lens choices to create interesting close up images. We will stress how to see these images that are all around us. We will spend time in the field in locations from beaches to junk yards learning to see the intimate world right in front of us. We will also spend time in the classroom discussing techniques, tips and general theories concerning close-up photography. We'll examine your results and discuss how processing your images can take your work to the next level. Please join us for this 2 day journey into the intimate world of close up imagery.
- Tuition $270.00
Graham, Jack – Finding, Seeing and Creating (January 20-21, 2017)
Finding, Seeing and Creating: Becoming a Thinking Artist Jack Graham, Instructor. January 20-21, 2017 (9am-4pm). From finding and seeing a subject photographically, using the elements of design to the proper choice of equipment will serve as a basis to furnish a complete and informative seminar. We will discuss how injecting your personal emotion, sense of place and experience serves as a basis for creating art. Developing an eye for seeing images using concepts and visualization combined with developing your personal vision is stressed during this two day seminar. We'll learn how we can use these principles to become an artist, not just a photographer. Curriculum - (PART 1: Bringing out your inner emotions and sense of place into your vision; Finding Inspiration; Learning to See. PART 2: Learning to Slow Down, Simplify and Create; Developing your Vision. PART 3: Developing a Concept; Learning to Visualize the your desires for your images. PART 4: Elements of Design; Defining Subjects; Learning to Simplify; The Importance of Understanding Color; The Power of Monochrome; Creating strong images. PART 5: Equipment; Choosing the right Lens, shutter speeds, filters; Americana; Abstract and Photo Art. PART 6: Q & A). Be prepared to spend some time in the field. Depending on weather conditions and light, we will spend part of our time photographing in the field. However, this will be primarily a 2 day classroom event. We will bring you up to date on weather conditions etc. starting 2 weeks before our event.
- Tuition $270.00
Graham, Jack – From Concept to Print (June 22-25, 2017)
From Concept to Print: The Process of Making Quality Fine Art Images Jack Graham, Instructor. June 22-25, 2017 (9am-4pm). The process of making an image that stands the test of time includes proper field technique, creativity and processing technique. Failing to perform one of these aspects will prevent the production of a fine art photograph and print. We will spend time in the field exploring some of the beautiful State Parks located on the island as well as the numerous rocky beaches, period farms, tidal marshes, lighthouses, Americana of the quaint coastal communities and rolling farmland of Whidbey Island. The island is truly a "photographer's" paradise. Sunrises and sunsets are amazing this time of year and we'll be out to capture them. Our classroom is well equipped with a projector and visual aids. Presentations concerning all aspect of photography will take place. Special time is set aside for image reviews and processing techniques. While good equipment, field technique and subject matter all play important roles in the success of an image, good processing technique is an integral part of image production. Jack will cover image production methods both in the field and in the studio as well as processing and preparing files for printing that Jack has developed over years of experience. This is a hand-on, in-depth learning and growing experience for all nature photographers who have gained a familiarity with their gear and are looking to extend their creative processing techniques. The class covers everything from seeing images in the field to applying up to date processing applications including Adobe Photoshop, Lightroom as well as the use of the NIK Software collection of programs. You will receive, as part of your participation Jack's 80+ Field Guide Workshop Syllabus. We have no doubt you'll come away with lots of new information and photographic tips which will improve your photography as well as some wonderful images of this amazing location. If you are a serious photographer, this is one location you'll not want to miss. Our curriculum will consist of 6 parts: (PART 1: Bringing out your inner emotions and sense of place into your vision; Finding Inspiration; Learning to See. PART 2: Learning to Slow Down, Simplify and Create; Developing your Vision. PART 3: Developing a concept; Learning to Visualize your desires for your images. PART 4: Elements of Design; Defining Subjects; Learning to Simplify; The Importance of Understanding Color; The Power of Monochrome; Creating strong images. PART 5: Equipment; Choosing the right Lens, shutter speeds, filters; Americana; Abstract and Photo Art. PART 6: Q & A)
- Tuition $500.00
Graham, Jack – Gardens of Portland (August 26-27, 2017)
Gardens of Portland Jack Graham, Instructor. August 26-27, 2017 (9am-4pm). We will have a short "Meet and Greet" on the evening of August 25 at our hotel in Portland. We will meet at 6PM. Further details upon registration. Our workshop will end at 4pm on Sunday afternoon, August 2th. Field locations: Swan Island Dahlias & Portland Japanese Garden. These two locations, though drastically different offer some of the best possible experience for both landscape and close up photography. This is certainly not the Grand Canyon, or Death Valley National Park, where the expanse is the order of the day. Here we will learn to take our time, look, see and take in the beauty all around us, and "work the subject" to come way with nothing less than amazing, almost surreal images. We will be out early in the morning on Saturday at the Swan Island Dahlia Farm. After Lunch, we'll drive to the Portland Japanese Garden and spend the balance of the day in the garden. Saturday night will consist of about 2 hours of image reviews. Sunday morning we'll return to the Dahlia farm to apply what we learned and make a few more images. Sunday afternoon will consist of more image reviews and photographic presentations. Our workshop will end at 4PM. Deposit, registration and lodging information. Please contact the Pacific Northwest Art School to register for this workshop 866-678-3396. Hotel info: We will be staying close to the Portland Airport. HOTEL TBD. Further information upon registration. Location information - About 40 minutes south of the airport in Portland Oregon,( and 20 from the hotel in Tigard) in the heart of the Willamette Valley is Swan Island Dahlias. Covering over 40 acres of more than 350 specie, this is the largest Dahlia field in the United States. Every year over 30,000 seedlings are planted. Upon arriving at the Swan Island Dahlia Farm, you will be amazed to witness the over 40+acres of dahlias, all in symmetric rows, in every color imaginable. Photogrephic experience - Though many landscape images are available here, this type of landscape photography is very different from typical landscape imagery. The same goes for the close up images that are at every turn. Endless possibilities of both landscape and close up photography are available. You'll be able to meander throughout the rows looking for patterns of color and texture of the patterns dahlia plants. It is important to not be overwhelmed and want to quickly capture every flower within sight. Slowing down and studying the subject will make for better images. Paying close attention to your backgrounds will also enhance the final images you capture. If you own a macro lens, certainly bring it. However, great close up images are available with all lenses available. Great images can be made with telephoto lenses. I strongly suggest using a tripod. I will work with of you in all aspects of this kind of photography both in the field and in our classroom pre, during and post workshop sessions. A review or critique of our work will occur during and after out workshop in order to see our results and understand what might have to be done differently to come away with some great shots. I guarantee you'll remember this workshop. Nowhere else is this type of photography so accessible. Japanese gardens / Portland Oregon - The Garden is located in the west hills of Portland, Oregon, directly above the Rose Gardens in Washington Park. The garden was designed by Professor Takuma Tono beginning in 1963, though the garden opened to the public in 1967. In a study conducted by the Journal of Japanese Gardening, it was ranked first out of 300 public Japanese gardens outside of Japan and considered to be one of the most authentic. This is notable because a traditional Japanese garden normally takes hundreds of years to evolve and mature, but the Portland Japanese Garden evolved much more quickly—a fusion of hurried western style and stately eastern expression. The 5.5 acre Japanese Garden is composed of six distinct garden styles. When we enter a Japanese garden, the desired effect is to realize a sense of peace, harmony, and tranquility and to experience the feeling of being a part of nature, in a deep sense. The Japanese garden is a living reflection of the long history and traditional culture of Japan. Influenced by Shinto, Buddhist, and Taoist philosophies, there is always "something more" in these compositions of stone, water, and plants than meets the eye. Three of the essential elements used to create a Japanese garden are stone, the "bones" of the landscape; water, the life-giving force; and plants, the tapestry of the four seasons. Japanese garden designers feel that good stone composition is one of the most important elements in creating a well-designed garden. Secondary elements include pagodas, stone lanterns, water basins, arbors, and bridges. Japanese gardens are asymmetrical in design and reflect nature in idealized form. Traditionally, human scale is maintained throughout so that one always feels part of the environment, not overpowered by it. Photographic experience: We will take our time, and look for the inner beauty to capture in our photography. We'll use the combination of water and the amazing plants to create some wonderful images. Patterns and foregrounds are the order of the say. We will stress simplicity and use all aspects, including Depth of Field, proper exposure and more to improve your overall photography as well as come away with some wonderful images in this word class garden. Travel information - Hotel information furnished upon registration. By air: Fly into Portland (PDX). Get a good night's rest on Friday evening. We'll be leaving the hotel early on the 26t. (5:15AM). Though we'll be travelling together, I will provide driving instructions to each location. Food/dining - As in any city, there are many good restaurants. Portland boasts some of the best. The downtown area is about 15-20 minutes from the Airport. However, we are here to photograph and often the best light is at breakfast and dinner. Please know this in advance
- Tuition $350.00
Hummel, John – Vision It! Capture It! Finish It! (August 3-6, 2017)
Vision It! Capture it! Finish It! John Hummel, Instructor. August 3-6, 2017 (9am-4pm). Level: Advanced Beginner to Intermediate. Instructor Biography - In this workshop we will explore the three phases of artful image creation. There will be daily location shooting, where John will work with you to achieve the images that spark your inner artist and tell your story. The field shooting sessions will be followed by midday critique sessions to hone in on effective ways to improve your images. During the afternoon sessions you will learn powerful post-processing techniques create images that will capture the viewer's imagination. In the first phase, Vision it!, you will learn five steps to observing a scene and then connecting with the story to be communicated and finally seeing that image in your mind. You will address key questions like: "What story do I want to tell?"; "What elements of this scene will add to my ability to tell that story?"; "What elements should I leave out to make my image more effective?"; "What is the most powerful point of view to tell my story?"; "How can simplification make my images more powerful?" In the second phase "Capture It!", you will learn seven tools to flesh out your vision successfully. Compositional elements, exposure, depth-of-field and perspective will be covered in a step by step process to achieve masterful images that tell your story and begin to define your style. The final phase is "Finish It". Here you will be shown ways to take your raw images and finesse them to clearly communicate the vision and feeling that you had as you stood at the scene. We will work with Adobe Photoshop's powerful tools to create a workflow that will bring depth and dimension to your images and create a final piece of art that clearly tell your story. Join us for a week of exploration into the powerful storytelling ability of photographs in the beautiful setting of Whidbey Island. You are expected to have a working knowledge of how to produce properly exposed images from your camera. You are welcome to work in color or black and white. Any camera format will work but DSLRs would be most appropriate. You will also need a laptop computer with image editing software (Photoshop, Photoshop Elements, Lightroom or others) in order to work on your captured images. Plugs-ins like Nik Effects filters (available free at Google.com) or any other plug-ins will be very useful during the workshop. After registration you will receive a workshop overview and a text book which will be provided for use with the class. Supplies List - We will photograph during the morning hours and there may be some optional evening shooting sessions based on weather conditions and opportunity. Bring clothing to range from 50 to 80 degrees. It is slightly possible that we could shoot in light rain, and the ground could be wet, so it is advisable to bring waterproof shoes and rain gear (pants and jacket). Bring snacks and water for the field, as we could be out for a while depending on the light. Bring lenses ranging from wide angle to telephoto, for example 20mm to 300mm or more, and a tripod. A polarizer is suggested and a set of graduated and fixed neutral density filters would be helpful but not required. Your laptop computer with image processing software (such as Photoshop, Photoshop Elements, or Lightroom, etc.) A flash drive, or small hard drive to transfer images taken during the workshop for viewing. Please bring a selection of images you would like to work on in the unlikely possibility that the weather forces us to stay indoors. Above all else bring your excitement about your photography and lots of curiosity about what is possible to learn and most importantly a desire to have fun and celebrate the world around us.
- Tuition $500.00
Meyerson, Arthur – The Color of Light (June 5-9, 2017)
The Color of Light Arthur Meyerson, Instructor. June 5-9, 2017 (9am-4pm). This renowned workshop is designed for both amateur and professional photographers who wish to strengthen their ability to see and work in color. Through daily shooting assignments, critiques and discussions, participants acquire techniques to become more sensitive to light and its effects on color, composition, texture, pattern, and design. While covering the use and quality of natural light, the main focus is on investigating color from a personal point of view. Arthur guides and inspires participants to help refine an individual style for creative fulfillment. The workshop begins with an intensive review of each participant's images and a discussion of personal and career goals. In addition to addressing the aesthetics of color photography, Arthur leads group critiques and spends individual time with each participant addressing their photography. Daily assignments put classroom techniques into practice and take advantage of the stunning light and color of Coupeville. Participants leave at the end of the week with a greater awareness of their strengths and an enhanced sensitivity to light and color. This workshop is limited to 12 students. The talented Keron Psillas will once again offer her expertise as Arthur's assistant for this workshop.
- Tuition $1,000.00
Psillas, Keron – Bookmaking! (June 11-13, 2017)
Bookmaking! Tips and Tools for Creating and Refining Projects Keron Psillas, Instructor. June 11-13, 2017 (9am-4pm). Join Keron Psillas for an intensive three days of book-making. Keron is an award-winning, internationally published author, photographer and designer, as well as a mentor to a growing body of students. This course will delve into the workflow to create a Blurb book, using Blurb software and Lightroom, as well as overall discussion about printing and publishing options. Bring your project for editing help, along with books you admire. We'll share these with the class. Keron will share insights, tips, and critical thinking about layout and design that stem from her 20 years in the printing and publishing industry before she became a professional photographer. Keron will spend time individually with participants working on projects, and there will be time for you to shoot the lovely environment of Whidbey Island. This popular course is designed to give you the skills you will need to create and complete your book project.
- Tuition $450.00
Psillas, Keron – Photography of Intent (May 15-19, 2017)
Photography of Intent Keron Psillas, Instructor. May 15-19, 2017 (9am-4pm). Join veteran instructor and long-time assistant to Sam Abell and Arthur Meyerson for an expansive week of photography! Through tips, techniques and critical thinking about your photography, Keron will help you deepen the joy and purpose in your photography. Creating intent and building strength in communicating that intent are key ideas in the course. Getting your work seen, publishing photo books, experimenting with layers and compositing, and examining short and long term photo projects are some of the other topics explored during this dynamic week. There is time each day for photographing and daily critiques of work along with one-on-one sessions to support your unique voice. Come join us and expand the possibilities for your photography.
- Tuition $750.00
Psillas, Keron – Techniques in Lightroom and Photoshop (January 21-22, 2017)
Techniques in Lightroom and Photoshop Keron Psillas, Instructor January 21-22 , 2017 (9am-4pm). Wondering how to improve your photography during the short, gray, rainy days of winter? If you can't be out with your camera, brush up your Lightroom skills and Photoshop layering techniques with Keron Psillas. Keron will offer a mini-workshop on January 21 and 22 for students interested in deepening their understanding of the power of Lightroom, and broadening their abilities in Photoshop by working with texture layers, adjustment layers and masks. Keron will offer easy to understand concepts that apply to all of your work. It will be an intense course, but filled with fun and laughter. Bring two images that you will want to see optimized as examples for the class. You will also need a laptop (with Lightroom and Photoshop installed) and a group of 5 other images that you can optimize with Keron individually. Two days, 9 – 5 with a lunch break each day. $150 Don't hesitate to contact us with any questions. Class enrollment is limited to 12.
- Tuition $150.00
Smithson, Aline – Taking the Next Step in Fine Art Photography (September 22-24, 2017)
Taking the Next Step in Fine Art Photography Aline Smithson, Instructor. September 22-24, 2017 (9am-4pm). Stay tuned for more information!
- Tuition $500.00
Soloway, Eddie – Eyes Wide Open (September 20-24, 2017)
Eyes Wide Open Eddie Soloway, Instructor. September 20-24, 2017 (9am-4pm). Eyes Wide Open is a workshop designed to develop your seeing from what is right in front of your eyes into the world of abstractions, reflections, layers, movement, and then deeper into the realm of concepts and imagination. This workshop can be based in the city or the natural world. Visual presentations, hands-on exercises, and photographic assignments create a very full and experience-based workshop. The workshop is open to anyone with a camera. To participate in the image reviews, you need to have a working knowledge of your camera and the digital workflow necessary to edit your images.
- Tuition $1,000.00
Stahl, Robert – The Art of Seeing (September 15-17, 2017)
Black & White Photography: The Art of Seeing Robert Stahl, Instructor. September 15-17, 2017 (9am-4pm). This workshop in Black & White photography will emphasize the cultivation of a poetic eye. Accordingly, an interpretive style will be advocated. And to reinforce this approach a thorough grounding in the fundamentals of composition and design will be provided as we consider the role of line, shape, texture, and depth along with light and time. Field excursions with the instructor will be conducted in Coupeville & vicinity. These field sessions will provide an opportunity for classroom evaluation. As well, one on one sessions with instructor Robert Stahl will be available to review material brought to the workshop (digital files and/or prints). Come join us for this stimulating workshop on the art of seeing deeply in Black and White. Required Text: 'The Tao of Photography' by Philippe Gross and S. Shapiro. Robert Stahl is an award-winning photographer who in addition to teaching at the Pacific Northwest Art School also teaches photography and literature classes at Seattle-area colleges (North Seattle College, The Creative Retirement Institute sponsored by Edmonds Community College, and Highline College). He has led photo trips to Alaska, Afghanistan, Pakistan, Nepal, Iceland, France, Peru, Antarctica, Patagonia, India, the Desert SW , and Pacific NW. Robert has lived and taught in Japan and his work has been widely published and is represented by Getty Images and has appeared in National Geographic publications.
- Tuition $400.00
Ulvestad, Karen – Digital Photography Boot Camp: Getting the Most From Your Digital Camera & Darkroom (February 18th, 2017)
Digital Photography Boot Camp: Getting the Most From Your Digital Camera & Darkroom Karen Ulvestad, Instructor (9am-4pm) February 18th, 2017. Get ready for the workshop season or simply expand your photography knowledge with this incredible one day class. We start with camera basics, move into exposure and composition, finishing the day with the digital darkroom. Learn the differences between file types and why, auto vs manual, flash control, composition tips, and final processing of your images to share with others or print. Bring your questions, camera equipment, and computer (optional).
- Tuition $145.00
Wells, David – Wooden Boat Festival Photo-Essay Class (September 6-11, 2017)
Wooden Boat Festival Photo-Essay Class David Wells, Instructor. September 6 (6 pm) to September 11 (noon). Making exceptional travel photographs requires skills in many different types of photography, from street to still-life work to portraits. In a typical day of travel, a photographer may shoot busy festivals, quiet buildings, open landscapes, or close-up nature. The best travel photographers are versatile in their skills and fluid in their process, using minimal gear to achieve a maximum of results. This workshop covers the following topics: the traveling photographer's camera and bag; being in the right place at the right time; varying the time of day and understanding light; portraying people; composition; stopping action vs. showing motion; framing and scaling; tripods; using the appropriate lens; flash basics. Prerequisite: Photo I or portfolio review. Note: Be prepared for a couple of early morning and sunset/twilight/evening photography shoots. We have selected the nationally recognized Wooden Boat Festival held in the neighboring town of Port Townsend as our photographic venue. The annual Wooden Boat Festival in Port Townsend, Washington, is a maritime celebration with antique and modern wooden vessels. The three-day engagement takes place by land and sea and features over 300 boats, 100+ nautical presentations and exhibitors from across the country displaying the latest in boating equipment as well as craft beer, wine and bite-sized eats from area chefs and set in the historic Victoria seaside town of Port Townsend. Students will be responsible for purchasing their daily pass to attend the actual wooden boat festival. The actual Wooden Boat Festival is FRI to SUN 9/8 to 9/10 so I thought 9/6 to 9/11 would be best for a class with a couple days before and a day after. September 6 at 6:00 p.m. ends at noon on September 11th. Dates 9/6-9/11
- Tuition $1,000.00
Painting Workshops
Albala, Mitch – Beyond Mud: Techniques of Working Wet-into-Wet with Oil (October 28-29, 2017)
Beyond Mud: Techniques of Working Wet-into-Wet with Oil Mitch Albala, Instructor. October 28-29, 2017. Every oil painter, at one time or another, has experienced the frustration of working in oil. We love its buttery consistency and blend-ability, but those are the same qualities that can lead to overworking and "mud." Keeping yours colors fresh and clear is not something that happens by accident — it's a practice that involves a series of technical maneuvers that you must learn to apply with every stroke until it become a habit. This workshop covers everything you need to start improving your wet-into-wet practice: layering order and the principle of "thin … thicker … thickest", paint consistency, transparency and opacity, pressure and touch, and the right kinds of brushes to use. The Saturday session is devoted to several practice exercises that introduce the techniques (including a segment on palette knife best practices). Then, in the the Sunday session, you'll do paintings of your own choosing, where you'll practice the wet-into-wet technique under Mitchell's guidance. Supply fee of $10 to cover paint brush supplied by instructor.
- Tuition $300.00
- Supplies Fee $10.00
Albala, Mitch – Exploring Composition through Shape and Notan (March 25-26, 2017)
Exploring Composition through Shape and Notan Mitch Albala, Instructor. March 25-26, 2017 (9am-4pm). Every composition is fundamentally an arrangement of abstract shapes. To truly "compose" and take command of those shapes, we must first be able to identify them. The notan is a unique type of study that allows us to identify the underlying energies of a composition through the arrangement of dark and light patterns. "Notan" is a Japanese word that means "light-dark harmony." The notan study uses an extremely limited set of tones — in its most strict form, black and white; and in its more liberal form, black white, and a mid-tone. This flat and and abstract design notation is uniquely suited for expressing a composition in its irreducible shape terms. Working first from masterworks, then photographs, in both painting, drawing collage, and abstract exercises, you'll learn to "think in notan" and begin to see the underlying structure of your compositions. You'll learn to make better choices in the formative stages of your work and bring greater order and power to your compositions.
- Tuition $300.00
Camilleri, Christine – Composition Can Be Fun! (Jun 14-15, 2017)
Composition Can Be Fun! Christine Camilleri, Instructor. June 14-15, 2017. Good composition makes your paintings stand out. Whether a painting is a still life, a landscape, wildlife, people, or an abstract — the underlying structure holds the painting together. Knowing compositional design tools can make you more creative, not less! You'll also spend more time painting and less on fixing! Together we will identify the compositional and design tools at your disposal and put you in the designer seat. You'll be able to focus on telling your story and use the best tools to make that story speak for itself! Among many things we will learn how to make Notans and thumbnails using photo references. You'll find out how to use line, shape, values, colours, textures and so much more to help your creative story take shape. You'll learn by doing and work on your own paintings to strengthen your compositional skills. Lastly, composition is easily acquired…it just takes some know – how and practice!
- Tuition $300.00
Camilleri, Christine – Let's Boss Around Color (Pastel, Acrylic, Oil, Watercolor) (Jun 12-13, 2017)
Let's Boss Around Colour! Christine Camilleri, Instructor. June 12-13, 2017. Many artists are afraid to turn up the colour volume in their paintings. Most artists become stuck painting only the colours they see and are missing out on taking their work to the next level — and to making artistic statements. This session will help you bring more creative interest to your work no matter what subject matter you enjoy painting. During our time together we will also touch on these foundational topics as they relate to colour: harmony, values, underpainting and the power of greys. There will be many exercises designed to ground your learning by doing! There will also be time to work on your own paintings with plenty of support as you gain insight into a new way of looking at and bossing around colour.
- Tuition $300.00
Davis, Brian – The Essence of Light Oil Painting (September 25-29, 2017)
The Essence of Light Oil Painting Brian Davis, Instructor. September 25-29 (9am-4pm). Brian Davis will demonstrate the approach to painting in oils that has made his floral paintings renowned. He will talk about choosing a subject, composition, the use of a value painting, and the techniques of oil painting that contribute to the look of his works. You will watch Brian as he goes through the process of bringing a painting to life. You will also work on your piece. Brian will be there to answer questions and assist you with the creation of your class painting. For those who are interested, he will answer questions dealing with the art business. Although magnificent flowers and landscapes are the main choice for his compositions, Brian Davis explains, "The actual job of making an arresting piece of art has nothing to do with what the thing is." Brian transforms exquisite blossoms like roses, calla lilies, and dahlias into romantic, compelling images with sharpness, color, movement, edge and light.
- Tuition $725.00
Edwards, Sterling – Watercolors from A to Z (August 21-25, 2017)
"Watercolors from A to Z" Sterling Edwards, Instructor. August 21-25, 2017 (9am-4pm). This will be a watercolor workshop for all skill levels. There will be a wide variety of watercolor techniques that will be discussed and demonstrated including positive and negative painting, composition, using creative colors, glazing, charging color, and many more. We will begin each day with a demonstration painting that will be finished before lunch. The daily demonstration will be different each day so that you will see a wide variety of subject matter and styles including landscapes, floral, stylized, and abstract. My preferred method of painting is to use large brushes for most of the painting and complete the painting will a small amount of detail towards the end using smaller brushes. The end result is a watercolor painting that is loose and fresh with expressive brushwork. Following lunch each student will have the afternoon to work on their own painting with assistance when needed. There are no requirements as to what the student paints or what size they prefer to paint. One of the main objectives that I have as a teacher is to go beyond merely teaching watercolor technique. I make every effort to encourage the student to be creative with design and color in their painting. All of the techniques that I teach work equally well with either transparent or opaque watercolor. It's what the student does with the techniques that will truly distinguish the artist. The workshop will have a laid back and sometimes humorous atmosphere where everyone feels comfortable to ask questions or request assistance with their painting. Sometimes in the afternoon when everyone is ready for a break I will do a small demonstration of a specific subject such as how to paint clouds, trees, shadows on snow etc. The afternoon demos are always very popular at my workshops because they allow the student to focus on one or two specific subjects. It will be a fun, educational, and inspiring workshop.
- Tuition $895.00
Evenhus, Jennifer – The Beauty of Imperfection – Reveal the Magic (September 15-17, 2017)
The Beauty of Imperfection – Reveal the Magic Jen Evenhus, Instructor September 15-17, 2017 (9am-4pm)I dare you to be brave while exploring your inner voice, letting go of perfection and playing with a variety of materials to create bold expressive works of art as we step fearlessly into the unknown. Using timed exercises to loosen up and reveal your innate intuition forces us to use bold strokes with wild abandon, creating happy little accidents that 'Reveal the Magic.' Students will work from landscape photos provided by instructor, with their own photo reference, with still life objects and florals, and weather permitting, do some plein air sketching. Along with a good variety of soft and hard pastels, and good sanded pastel paper, other materials like ink, markers, brushes and graphite will be used. We will use a contemporary impressionist and abstract style as we explore shapes, composition, positive and negative space, bold vs neutral color and color. There will be plenty of challenging exercises that will 'Reveal the Magic' of the landscape, still life, or floral we strive to portray in our own style. There will be instructor demos, one-on-one coaching, critiques, discussions, and painting throughout this intense fun 3-day workshop with PSA Master Pastelist Jen Evenhus. Come with an open mind and ready to do things a bit different than you normally do!
- Tuition $395.00
Franz, Ming – Splash Color Workshop (October 24-27, 2016)
Splash Color Workshop Ming Franz, Instructor. October 24-27, 2016 (9am-4pm). Join Ming Franz (International Artist magazine's recent Grand Prize winner) for a four-day Splash Color workshop, starting from ancient Black and White splash to Traditional splash, to marbling splash to crinkling splash to abstract splash and finish touches, splash on mulberry paper, masa paper and watercolor paper using liquid watercolor, acrylic and Asian ink. Viewing a splash color painting by artist Ming Franz is the visual equivalent of finding oneself in the middle of an ancient Chinese poem or fairy tale with a modern twist. Her contemporary artwork serves as an ethereal bridge between East and West, past and present, tradition and freedom. The foundation of this painting process is based on principles originating in Tang Dynasty China with a technique known as Po Mo. Essentially the artist freely "splashes" liquid color onto stacks of dampened sheets of mulberry paper. After the wet sheets are left to dry for several hours, they are separated so the real magic can begin: discovering if the resulting dried sheets are abstracts able to stand on their own, or if they can be enhanced with more paint, whatever the imagination sees in the heart of the work!
- Tuition $600.00
- Material Fee $35.00
Hicks, Joyce – Watercolor Workshop (July 24-28, 2017)
Watercolor Workshop Joyce Hicks, Instructor. July 24-28, 2017 (9am to 4pm). Artist Statement - My wish is to connect with the landscape in an intimate and personal way. My purpose is to celebrate my vision with brush and paint in hope that the joy I feel will also be felt by those who view my work.
- Tuition $625.00
Kessler, David – Bigger, Faster, Fresher, Looser Abstract Painting (September 11-14, 2017)
Bigger, Faster, Fresher, Looser Abstract Painting Workshop David Kessler, Instructor. September 11-14, 2017 (9am-4pm). Workshop Description: Have you ever wondered how to Loosen-Up your painting style? Paint with more Freedom? Be more Spontaneous? Be more Expressive? If the answer to any of these questions is yes, then my Bigger, Faster, Fresher, Looser Abstract Painting Workshop is for you! I will teach you how to do each of these realizing there should also be a firm foundation of structure for your paintings using shape, value, color, edges and center of interest. This workshop is not only about painting abstract compositions, but also about learning to loosen-up and paint more freely. All who attend will be able to apply the lessons learned to their own style of painting in their studios. This workshop is non media specific. All who utilize watercolor, acrylic, pastel and oil are welcome.
- Tuition $500.00
Sitts, Jan – Color, Texture, Feeling (August 7-10, 2017)
Texture – Color – Feeling Jan Sitts, Instructor. August 7-10, 2017 (9am-4pm). By combining aggressive textures and unusual mediums with various "raw" materials the end result in abstract acrylic painting is the creative accomplishment. This method presents the magnetism that is the abstraction to mixed media. Many techniques, materials, compositions and, above all, emotion play off of each other when creating the piece. There is adventure in not knowing where you are going with it until you get there! You will become enlightened as you journey through this process. You must be able to let go of all painting habits to gain the knowledge of layering textures, color and feelings. Executing shapes by utilizing positive and negative space will be discussed. This is the cultivation that nurtures our souls.
- Tuition $500.00
Toye, Jo – Abstract Explorations in Acrylic Painting (Jul 17-20, 2017)
Abstract Explorations in Acrylic Painting Jo Toye, Instructor. July 17-20, 2017 (9am-4pm). If you approach your art with a playful attitude, the more art you'll make and the better it will be. Students will create small pieces, which allows more freedom to enjoy the process, learn techniques and move away from your usual way of working. Jo's embracing style of teaching will ignite your passion for possibility and rekindle your joy in the painting process. If the word "experimentation" causes your artistic juices to start flowing, then this is the workshop for you. Jo bases her fun filled workshop on the belief that if you approach your art with a playful attitude, you will be more apt to keep making art, and the more art you make, the better your art will be. To facilitate this attitude of experimentation and exploration, you will be creating small "practice samples" that are no larger than 10" x 10". By working in this small manner, you will have more freedom to enjoy the process, learn the technique, and move away from your usual way of working. Once you return to your own studio, each sample will serve as an invaluable reference for incorporating these exciting new techniques into your own style of painting. During the workshop, Jo will open up her toolbox of exciting painting tools and materials; she will introduce you to the Resist Pen, Fineline Applicator Bottles, the mouth atomizer, pipettes, Clear Tar Gel, Acrylic Glazing Medium, and even stencils made from hot glue. You will work on a variety of surfaces including watercolor paper and Yupo that has been coated with white and black Gesso. Jo also offers encouragement and direction to take these techniques and materials and incorporate them into each individual's style of painting. Experimental painting by its nature involves "failure" on some level as we push the boundaries of what we already know. With this in mind, Jo will share a few simple tricks that she uses in her studio to enhance the chances of success with each new painting. Jo's embracing style of teaching will ignite your passion for "possibility" and rekindle your joy in the painting process. Jo takes great delight in sharing her process and considers it an honor and privilege to be invited into, and share a small part of, another person's artistic journey. You can see her work and read about her unusual techniques in her book, Abstract Explorations in Acrylic Painting.
- Tuition $500.00
Warren, Soon – Vibrant Watercolor Painting (October 9-12, 2017)
Vibrant Watercolor Painting Soon Warren, Instructor. October 9-12, 2017 (9am-4pm). Primary goal is understanding of watercolor of how to control water to paint in watercolor. Then understanding process and learning technique to achieve the result you want in final painting. The hands on experience in every step, starts with demonstration of each step, and will allow artists to experience the limitless possibilities for creating watercolor medium of beauty and joy. For a 4 day workshop, artists will learn the process of how to break down complicated subject matter by simple step by step, such as a cut crystal. Hands on to experience of beginning from to finish 2 projects. This workshop is appropriate for all levels, a beginner to intermediate. There will be handouts of drawing, step by step images and text for every level, even very beginners to keep own pace.
- Tuition $500.00
White, Mira – Stunning Abstracts with Soft Pastels (August 14-17, 2017)
Stunning Abstracts with Soft Pastels and Mixed Media Mira White, Instructor. August 14-17, 2017 (9am – 4pm). We are going to have a great time working with soft pastels in a variety of experimental ways: under-paintings with acrylics, watercolors or pastel diluted with rubbing alcohol. ( No petroleum-based solvents in this workshop.) We will be layering both dry and wet processes. Lots of exuberant mark making on several surfaces! Open to continuing artists of all levels and media and adventurous beginners who want to explore the versatility of this vibrant medium!
- Tuition $600.00
Zhen, Lian – New and Exciting Techniques in Watercolor (July 18-20, 2017)
New & Exciting Watercolor Techniques Lian Zhen, Instructor. July 18-20, 2017 (9am-4pm). Each day, Lian begins the workshop with teaching basic techniques, such as composition and coloring. He then demonstrates his techniques, including 'Color Pouring and Blending'. He stops at different stages so students can practice and retain the painting process. In addition, there will be daily critiques and individual assistance, with lots of time to paint.
- Tuition $395.00
Special Sessions
Lynds, Wendy Lee – Mixed Media Wednesdays (Nov 9, 2016 – Apr 26, 2017)
Mixed Media Wednesdays Wendy Lee Lynds, Facilitator. Wednesdays, November 9, 2016 through April 26, 2017 (10am – 4pm). Bring your current creative project, lunch and your spirit of fun to the table at the "Open Studio Mondays". Count on being encouraged exactly where you are in your process, and being an encouragement to others! To add a bit of spice, Whidbey Island artist ,Wendy Lee Lynds, will start out our time together with "no-pain-flex-your-creative-muscle" exercises. Don't miss the chance to connect with other kindred spirits…..and to start out your week in a creative way! These are pay-as-you-go, drop-in sessions. Come to one, come to all!
- Fee (per session) $12.00
Psillas, Keron – Techniques in Lightroom and Photoshop (January 21-22, 2017)
Techniques in Lightroom and Photoshop Keron Psillas, Instructor January 21-22 , 2017 (9am-4pm). Wondering how to improve your photography during the short, gray, rainy days of winter? If you can't be out with your camera, brush up your Lightroom skills and Photoshop layering techniques with Keron Psillas. Keron will offer a mini-workshop on January 21 and 22 for students interested in deepening their understanding of the power of Lightroom, and broadening their abilities in Photoshop by working with texture layers, adjustment layers and masks. Keron will offer easy to understand concepts that apply to all of your work. It will be an intense course, but filled with fun and laughter. Bring two images that you will want to see optimized as examples for the class. You will also need a laptop (with Lightroom and Photoshop installed) and a group of 5 other images that you can optimize with Keron individually. Two days, 9 – 5 with a lunch break each day. $150 Don't hesitate to contact us with any questions. Class enrollment is limited to 12.
- Tuition $150.00
Ulvestad, Karen – Digital Photography Boot Camp: Getting the Most From Your Digital Camera & Darkroom (February 18th, 2017)
Digital Photography Boot Camp: Getting the Most From Your Digital Camera & Darkroom Karen Ulvestad, Instructor (9am-4pm) February 18th, 2017. Get ready for the workshop season or simply expand your photography knowledge with this incredible one day class. We start with camera basics, move into exposure and composition, finishing the day with the digital darkroom. Learn the differences between file types and why, auto vs manual, flash control, composition tips, and final processing of your images to share with others or print. Bring your questions, camera equipment, and computer (optional).
- Tuition $145.00
Wilder, Jennifer – The Art of Designing Interiors (Thursdays Jan 19-Feb 16 2017)
The Art of Designing Interiors Jennifer Wilder, Instructor. January 19 through February 16, Thursdays 6pm-8pm. Class Description: Learn from a professional, the how , the why and the secrets of designing interiors. Express your taste. Accessorize with skill. Combine patterns with ease. Rearrange for the seasons. Change function as needs change. Select colors, styles, and lighting. Identify antiques. Understand hand knotted rugs. A family room, a stateroom or a conference room? A tiny loft or a huge bed and breakfast? An airplane, a private office? All the same principals apply. Gain the insight and knowledge to design them all. Have fun. Students ask for re-unions! Homework will include an opportunity to address a room of your choice to design with input from the instructor.
- Tuition $270.00
- Materials Fee: TBD
Instructor Bios
Abell, Sam
Website: http://samabell-thephotographiclife.com. Sam Abell, with a BA from the University of Kentucky, learned photography from his father. Collaborating with the National Geographic Society since 1970, he has published many books, including Seeing Gardens, Simon & Schuster, March, 2004, and Sam Abell: The Photographic Life, Rizzoli Publications, October, 2002. Eastman Kodak published a retrospective monograph of Sam's work and a concurrent exhibit of his photographs was shown at the International Center of Photography in New York City. Abell has published nine books with National Geographic. He collaborated with historian Stephen Ambrose on 'Lewis & Clark: Voyage of Discovery' (1998) and 'The Mississippi: River of History' (2002). A book of his best personal and professional work, 'Sam Abell: The Photographic Life', was published in 2002. Sam is a resident of Albemarle County, Virginia.
Albala, Mitch
Email: mitch@mitchalbala.com, website: www.mitchalbala.com. Mitchell Albala is the author of Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice (Watson-Guptill, 2009). A respected teaching artist for more than 25 years, he also teaches at Gage Academy of Art in Seattle, ArtEast, Winslow Art Center and in 2015 Arte Umbria in Italy. He has lectured at the Seattle Art Museum and written for International Artist and Artists & Illustrators magazines. He hosts an educational blog and is represented by Lisa Harris Gallery. See his work at mitchalbala.com. Link to Mitch's book: http://blog.mitchalbala.com/landscape-painting-the-book/, Link to Mitch's blog: http://blog.mitchalbala.com/blog/
Apter, Seth
Seth Apter is a mixed-media artist, author, and instructor from New York City. His work has been published in multiple books, national magazines, and independent magazines and exhibited throughout the United States. He is the voice behind The Pulse, a series of international, collaborative projects that are the basis of his book The Pulse of Mixed Media: Secrets and Passions of 100 Artists Revealed, released in March 2012 by North Light Books. He can also be found on two mixed media workshop DVDs, also released by North Light Books in June 2012. Blog: http://thealteredpage.blogspot.com
Arbuckle, John
John Nelson Arbuckle – Artist Statement: Visual art has always been part of my life whether I was appreciating others work or creating my own. There is something within me that drives me to take paint, paper and recycled materials to create something new. I am driven from within as if it is not a choice. Luckily I love that about myself. I love the satisfaction of ending up with a part of my imagination in a form that I can share with others but most of all something that develops out of my mind, hands, and heart for own appreciation and satisfaction. My art is an extension of myself, an expression. Inspiration can come from just about anywhere. I might be reading a book or looking through a magazine and all of a sudden an idea pops into my head driving me forward to my next piece of art. I wake up in the morning and a thought that has been circling inside my head over night pushes me forward to create. A song or a poem or a random overheard conversation may spark a lead into a new piece of art. I haunt garage sales and flea markets for 2D treasures that will either promote a new art lead or enhance one that I am already working on. Most of the time I do not I know where I am going with a collage or painting when I begin the process. I usually just start. Blank white paper does not cause worry. I always go with the first thought that comes into my head which may be to get a certain color or a texture down. It is as if my art has a life of its own, it leads me. My greatest happiness when creating comes from problem solving. I frequently work myself into a corner and have to figure out the next step. There is always a solution. That solution may take a bit of time to gel but it is always there somewhere. That is why I work on three, four, or five pieces of art at a time. I move back and forth between them as if doing a self-choreographed dance. Leaving a piece for a while allows for new perspectives to surface. It is like seeing something with a new set of eyes. I love trying new techniques. I thrive on pushing myself into directions that I have never been or using materials I have never used. That is the challenge; that is the soul of my process.
Avineri, Orly
Email: orlyavineri@gmail.com, website: http://oneartistjournal.com/. I truly believe that the need to be witnessed by the self and by others is a human-core-need to be fulfilled by the act of creating. Therefore, a compelling part of my journey is the teaching of art making and visual journaling. As a young adult in Israel, I had studied Fine Arts in an artists' village nestled at the foot of Mount Carmel overlooking the Mediterranean Sea, and later, in the Netherlands, Graphic Design at the University of Arts in the contemporary yet history-drenched city of Utrecht. Now living by the beach of Southern California with my family, I take in all the magnificence of the landscapes that shaped me and of the visual languages I have acquired along the way. I keep an online visual journal titled One Artist Journal that is derived from my actual physical journal pages. It is now available in a published book form, carrying the same title. I am passionate about finding meaning through the process of marrying multiple media to create a unique visual experience for both the eye and the spirit.
Aytes, Lew
Lew was born in Southern California in 1949, and currently resides on the Monterey Peninsula. He holds a B.A. in Music from California State University, Sacramento, where he studied music performance and conducting, and an M.B.A. in Finance from California Southern University. He completed a Post-Baccalaureate program in Visual and Public Art at California State University, Monterey Bay, and has received specialized training in sculpting at Monterey Peninsula College and Loveland Art Institute in Loveland, CO. In 2013, he was invited by Arte Studio Ginestrelle, Italy, to create a work for the International Exhibit at La Logge Gallery, Assisi, titled, "Shared Memories of Assisi". Lew is currently working on an installation, "Hunger to Hope," which will be completed at the Tyrone Guthrie Centre in County Monaghan, Ireland, and Leitrim Sculpture Centre in Manorhamilton, Ireland in 2015. Website: www.lewaytes.com
Cobb, David
Email: david@dmcobbphoto.com, website: http://www.dmcobbphoto.comDavid. Cobb is an award-winning photographer, whose work has been published in a variety of magazines, including Backpacker, Organic Gardening, American Gardener, and Oregon Coast. David's photos have also appeared in numerous calendars and advertisements. As a long-distance hiker, David sharpened his photographic perspective over the years on the Pacific Crest Trail, the Continental Divide, the Canadian Divide and most recently walking across Iceland. His goal is to capture the wonders he sees in nature for the enjoyment of all those with an eye for the extraordinary. David is a member of NANPA (North American Nature Photography Association) and GWA (Garden Writers Association).
Davies, Jane
Email: jane@janedaviesstudios.com, website: www.janedaviesstudios.com. Jane Davies is a full time artist working in collage, painting, and encaustics. She offers workshops at her studio and nationwide, focusing on helping people to find a personal and playful approach to creating. Beginning as a potter in the early nineties, Davies gradually transitioned into freelance art, using painting and collage as her medium. For the past several years she has put most of her efforts towards teaching, writing, and having fun making art. She is the author of three books on collage and mixed media, one on ceramics. Artist Statement: In my own art practice, focus on process is an essential component of developing work that feels authentic and personal. My process involves a back-and-forth play between spontaneous, intuitive mark-making, and careful deliberation and intention: I think of it as letting things happen, and making things happen. I make a move, and then the painting reveals something new to respond to. Each move changes the whole piece and sets up a new set of challenges. It takes practice and continued effort to stay present to this dialog and not get carried away by the desire for a quick result or an easy resolution. It requires trust in my own intuitive responses, and a willingness to not-know, to not have the route laid out like a road map. I leave my paintings open to interpretation by the viewer, so I hope you'll have fun looking at them!
Davis, Brian
BRIAN DAVIS is honored to be in the collections of seven museums, including the Huntington Library, the Los Angeles County Museum of Art, and the New York Botanical Garden. Currently, his art is carried by over thirty galleries world- wide. In 1971, he left Cal State University LA, in his senior year, to pursue a career as an illustrator. In 1979 he left illustration to open a fine art publishing firm, Davis-Blue Artwork, with his business partner Robert Blue. In the mid 90's he sold Davis-Blue to focus on his passion, creating fine art. He is primarily self-taught. He is published by Collectors Editions. collectorseditions.com. Visit Brian Davis' Web site: briandavisart.com. This is from Collectors Editions. Brian Davis Biography - Although magnificent flowers and landscapes are the main choice for his compositions, Brian Davis explains, "The actual job of making an arresting piece of art has nothing to do with what the thing is." Brian transforms exquisite blossoms like roses, calla lilies, and dahlias into romantic, compelling images with sharpness, color, movement, edge and light. Always the artist - Before he begins his artistic journey on canvas, Brian combs the fields and gardens near his Los Angeles home for a flower or scene that catches his eye. He carries a camera everywhere so he can shoot a subject at any moment. Since flowers wilt so quickly, and it can take weeks to complete a painting, he has found a way to create a floral image from a series of different shots for each flower. He may not do an exact botanical rendering and he changes colors and leaves at will. Brian believes that the depth in his art is derived from paying attention to the subtle shifts in value - relative dark and light. He is often asked if there is a light source behind his paintings. "The light is the real subject of my work. The flower is the state, the light is the dancer." Using two hanging mirrors to view the unfinished painting at all angles, Brian works daily in his studio surrounded by books, music, and historical videos. Communicating with emotion - Brian is a true artist with vast understanding and knowledge of art. "My art, like all art, is at its core a form of communication that is not easily translated into words - good art transcends words." It is his hope that viewers look at his works and respond, for then they are hearing his voice, understanding his concept of what is worth creating. His paintings are a fascinating group of images that allow the viewer to feel and recognize the nature of light - the essence of a Brian Davis painting.
Dunnewold, Jane
Email: dunnewoldj@complexcloth.com, website: www.complexcloth.com. Jane Dunnewold is the author of Complex Cloth (1996) Improvisational Screen Printing (2003), co-authored Finding Your Own Visual Language (2007) and is currently working on a new surface design volume for Interweave Press, to be released in the spring of 2010. She teaches and exhibits widely and was awarded the Quilt Japan Prize in the 2002 Visions exhibition, and the Gold Prize, at the Taegue International Textile Exhibition. Dunnewold maintains Art Cloth Studios, in San Antonio, Texas. Additional information and exhibition experience can be found at complexcloth.com. Visit her blog Daily Visuals, where a new image is posted every morning. Dailyvisuals.blogspot.com
Evenhus, Jennifer
Email: jennifer@evenhusfineart.com, website: www.evenhusfineart.com. Jennifer is a nationally recognized award-winning artist who works in small and large formats in both oils and pastels. A good portion of her work is derived from discovering designs in nature. Naturally drawn to patterns, shapes, and movement in earthscapes, landscapes and rockscapes, she translates those into dynamic works of art, striving to capture the essence of the object in impressionistic and abstract images. Jennifer has exhibited work in New York City, Denver, Sacramento, New Orleans, and Seattle just to name a few. Since 1986, she has established herself as an accomplished artist through professional associations, special studies and numerous international exhibitions and awards. She holds Master Pastelist status in the Pastel Society of America, Distinquished Pastelist status in the Northwest Pastel Society, and is a signature member of the Pastel Society of the West Coast, and Knickerbocker Artists USA.
Garrett, Terry
Terry is a collage artist working often with his own photographic images, along with found objects and ephemera. His collages are done both on paper and stretched canvas and in journals and often include imagery from the natural world. Terry also makes one-of-a-kind artist books, using his collages. His concern with the human impact on the natural environment is a frequent subject choice as is his exploration of the concept of home and story telling. Terry has exhibited his collage work across the country. His work has appeared in five books and several magazines, and is represented in private collections in the U.S. and abroad. Terry was an assistant professor in the visual arts department at Bemidji State University in Bemidji, Minnesota and previously he taught art in the public schools in the Minneapolis, Minnesota area. Terry has also taught collage and visual journaling classes at the Minnesota Center for the Book Arts in Minneapolis and at ArtFest, an annual art retreat in Port Townsend, Washington.
Gauger, Jean
I taught numerous nuno classes including the Butterfly Shawl. Most recently at the well-known Felters Fling held every two years at Snow Farm in Williamsburg, MA. My work is in the book 500 Felt Objects and I wrote a tutorial for the Australian magazine "Felt" which was published in June 2012. I have given demonstrations at the North East Weavers Guild showing Nuno Flowers. My Butterflies have also been shown in art galleries in the Northeast. Along with Nuno felting I also do upholstery Felt, sculptures and have become fascinated making needle, nuno and wet felted fairy figurines. I went to college to study Art Education and am still an avid painter.
Graham, Jack
For 17 years Jack has conducted workshops for Great American Photography Workshops, Strabo Tours and his own group and private workshops. Jack strives to make his workshops fun and informative. Jack's passion for sharing knowledge is never ending. Credits include Nature's Best Photography, Outdoor Photography, California Wild, Audubon, Nature Conservancy, Landscape Photographers Magazine, Sierra Club, calendar credits, prints and stock. Jack is sponsored by, Nik Software, Singh-Ray F-Stop Gear, Outdoor Photo Gear, Lensbabys, Really Right Stuff, Hunt's Photo & Video, Think Tank, Photograph America Newsletter.
Hettmansperger, Mary
Mary Hettmansperger is a fiber and jewelry artist who teaches internationally, including Australia, New Zealand, Ireland, and Singapore. She teaches across the US, including, Arrowmont, Penland, and Peters Valley art schools, Bead and Button, Wire masters, Convergence, National and Regional Fiber conferences, Art and Craft Schools, and private Guilds. Mary has authored and illustrated 4 books Fabulous Woven jewelry, Wrap, Stitch, Fold and Rivet, Mixed Metal Jewelry Workshop, and Heat, Color, Set and Fire all published by Lark/Sterling. Mary's work can also be found in numerous books, magazines and on television. Mary has had work exhibited at SOFA – through the Katie Gingrass Gallery. Website: www.maryhetts.com
Kasstle, Brian
Email: bkasstle@icloud.com, website: http://apaperbear.wordpress.com. I have always been collecting odd bits of paper from a very young age. I started studying art at the University of Montana and I have continued my art studies since moving to Southern California. I believe it is important to always be challenged and to learn and grow. It was not until I found art journaling that my art blossomed and I truly deeply felt I was an artist. Art journaling has changed my life. It has brought a deeper understanding of myself, brought me more in touch with my emotions and who I really am. Today I am a mixed media artist primarily focusing on art journaling and now canvas. My approach to art is through many layers that parallel the layers of our lives.
Kelly, Jill
Email: editor@aracnet.com, website: www.jillkellyeditor.com. Jill Kelly is a freelance editor, visual artist (soft pastels), writer, and creativity coach. She's been helping artists and writers create and polish their written materials for 18 years. She also offers workshops on intentional creativity, creativity and the chakras, and creativity and recovery. Her most recent book is Sober Play: Using Creativity for a More Joyful Recovery. She lives in Portland, Oregon, with her 3 cats, who do all the chores so she can be creative 24/7. (www.jillkellyeditor.com; editor@aracnet.com)
Kendrick, Katie
Katie Kendrick lives along the banks of the Tahuya River in western Washington, surrounded by the Tahuya State Forest. The peaceful beauty of the nature that surrounds her is a constant source of inspiration and nourishment for her creative spirit. She finds art making to be one of the most powerful ways to connect with her innermost essence, while at the same time discovering her authentic voice. She enjoys the experimental and intuitive layers of creating, where she can explore inner and outer worlds simultaneously. She has a passion for sharing her love of creating with others, and teaches mixed media workshops across the U.S. Her work has been featured twice in Cloth Paper Scissors magazine as well as several recently published books including True Vision; Authentic Art Journaling by L.K.Ludwig, Mixed-Media Self-Portraits by Cate Coulacos-Prato, 1000 Artist Journal Pages by Dawn Sokol, and Exhibition 36: Mixed Media Demonstrations + Explorations by Susan Tuttle. Her book, "Layered Impressions: A Mixed-Media Approach to Painting and Poetry" was released in 2012.
Kernan, Sean
Email: sean@seankernan.com, website: www.seankernan.com. Sean Kernan is a photographer, writer, and teacher who came to photography from theater. He is the author of two monographs, The Secret Books (with Jorge Luis Borges) and Among Trees. He has exhibited at galleries and museums accross the US and the world, including: Centre Regional de la Photographie, Duchy, France; Biblioteca Alexandrina, Egypt; Photosynkiria, Thessaloniki, Greece; William Benton Museum; Museo de la Ciudad, Queretaro, Mexico; Friends of Photography (San Francisco); Wesleyan University, Connecticut; Whitney Museum (New York), and has created media performance pieces at MASS MoCA, Guggenheim Projects in New York, and Poftland Performing Arts Festival. He is currently working on a theater/dance/multimedia piece, The Drowned Man. His photos have been published in the New York Times Magazine, Smithsonian, New York, Harpers, Bloomberg, Communication Arts, Graphis, Polyrama (Switzerland), Photo World (China), as well as magazines in Iran, Greece, Italy, and Switzerland, and has done a wide range of advertising work for clients such as AT&T, Amex, GE, Pratt & Whitney, Dow Jones, Harvard, and Knoll. He has taught and lectured at the New School/Parsons, Art Center (Pasadena), Yale Medical School, International Center for Photography, University of Texas, Wesleyan University, and has won numerous awards, most recently from the Center in Santa Fe for teaching, as well as a Doctorate (HC) from Art Center in Pasadena. He writes and lectures about creativity, the arts and commerce, with articles in Communication Arts, Graphis, and Lenswork, among others.
Lund, Liesel
Liesel Lund is an artist and teacher who creates colorful things in "The Emerald City" of Seattle. She believes we are all creative and that making art adds an invaluable richness to our lives. She studied fine art, design and scientific illustration at the Evergreen State College, the University of Washington and Gage Academy of Art. Over her career she has designed zoo exhibits, children's books, and fashion textiles. These days you can find her in her studio, spoiling her kitty and drinking large cups of tea. It is here that she works with watercolor, acrylic, oil, art journals, metal, beads, fiber and textiles to express her joy and love of color. She teaches both local and national workshops. Her artwork and interviews have been published in Creative Wildfire by LK Ludwig, and Drawing Lab for Mixed Media Artists by Carla Sonheim.
Lynds, Wendy Lee
Email: wendyleelynds@whidbey.com. WENDY LEE LYNDS believes that being creative is our birthright – having come out of her own creative paralysis, she knows how to encourage even the most timid to "just jump in!" For as long as she can remember, Wendy longed to be an artist but let fear keep her away diving into the creative pool. For a million reasons and one motorcycle man, she radically changed her life and is happily living on Whidbey Island, creating fine art collages, mixed media and art journals. Wendy assists in classes at the CAC and has been enthusiastically teaching for seven years. With an eye towards growth and the sensibilities of a life and creativity coach, Wendy encourages all to joyfully create.
Meyerson, Arthur
Email: arthur@arthurmeyerson.com, website: www.arthurmeyerson.com. ARTHUR MEYERSON is recognized as one of America's finest photographers. For over 30 years, professional assignments have taken him around the world and his fascination with light, color and the moment has culminated into an impressive body of work. The recipient of numerous awards, both personal and professional, Arthur has also been named to Nikon's prestigious "Legends Behind the Lens". His photographs have been collected and exhibited internationally and he and his work have been featured in many photography books and magazines. A photographer with a strong commitment to his profession, Arthur teaches photography workshops throughout the U.S. and abroad.
Nelson, Katherine
My drawings spring from the inspiration of living and traveling in some of the most spirit-embodied places in the world. I focus on the iconic American Palouse and mysterious Old World Europe, intent on depicting the delicate environmental balance of nature and its relationship to agricultural production and human consumption. I am fascinated by natural form, rhythm, texture, light, and shadow. Every location offers a unique landscape formed by geology, the elements, and human endeavor. My preferred medium is charcoal; with it I'm able to explore the interplay of light and shadow, softness and edge. In my "Palouse" series I use it to mark the furrowed earth and sinuous lines of Eastern Washington farmland. In "Nocturne," it lends a sense of film noir drama to scenes of Belgium's cities at night. I was born in 1964 in Hague, Holland and spent 15 years living abroad in Holland, Germany, Turkey, and most recently in Brussels, Belgium from 2007-2010. My expatriate assignments instilled in me an appreciation for art, inspirational travel, history, and cultural immersion that continues to influence my work today. I graduated with honors with a Bachelor of Science in Art Education from Skidmore College in 1985 and earned a Master of Arts in 1990 from SUNY Albany in Drawing. I've lived on both the East and West Coasts of the U.S. and exhibit my drawings in many solo, invitational, and juried exhibitions in the United States and Europe. I lived in WA state for ten years exploring and drawing the dramatic Palouse agricultural landscape. I currently live in the Washington, DC metro area and travel frequently to the Palouse to continue my drawing series on agriculture. I've had my work selected for various forms of print and film media, ranging from me playing the part of "the artist" for a Carolina's Healthcare System television commercial (and creating the drawings for the set) to appearing in a short artist feature film for the opening of my solo exhibition at the United States Embassy in Brussels. The design team for ABC's Extreme Home Makeover show selected my drawing "Surf Rock" for their episode Extreme Home Makeover: North Idaho. My work has been on the cover of the national poetry journal Willow Springs (issues 67, 68 and 69) and in 2010 and 2012, I was commissioned by singer/songwriter and public radio host, Kevin Brown, to design two brand identity CD covers. In 2014 I was one of 18 Western artists and 30 Egyptian artists invited to create a painted sculpture for the traveling international exhibition, "Amen: A Prayer for the World" produced by Caravan Arts. The sculptures were installed in The Cairo Opera House in Cairo, Egypt, The National Cathedral in Washington, DC and the Cathedral of St. John the Divine in NYC.
Noble, Elin
Email: elin@elinnoble.com, website: www.elinnoble.com. Elin Noble was born in Munich, Germany, grew up in the United States, the Far East and Europe, and now resides in New Bedford, Massachusetts. She studied art history in Florence, Italy and has traveled and studied in Japan, India, Turkey, Peru, South Africa, Europe, and Mexico. Elin is the author of Dyes & Paints: A Hands-On Guide to Coloring Fabric, winner of the 1999 Independent Publisher book award for the best "How-To Book". She has a BFA in Fiber from the University of Washington. As former Lab Manager at PRO Chemical & Dye, she has a vast experience and understanding of dyeing. She has appeared on PBS, lectured, and conducted dye and paint workshops across North America as well as internationally. Her work has been reviewed in Fiberarts, is on the cover of Fine Woodworking Design Book Six, and was included in the traveling exhibition, Fiberart International 2004. She was nominated for the teacher of the year award for 2005 by Professional Quilter magazine.
Pfortner, Ray
Email: pfortner@centurytel.net, website: www.raypfortner.com. RAY PFORTNER has worked in photography for over 20 years – as a stock agent, an editor, a consultant, a photographer, and an educator. He teaches and consults on the business of art and on photography across the US. Ray received Bellevue Community College's 2008 Margin of Excellence Award. He served as Director of Education for Seattle's Photographic Center Northwest for the 2007-8 academic year, where he taught the business of photography class. He also received the North American Nature Photography Association's 2006 Recognition Award for making a difference with his photography, its 2003 Russ Kinne Grant for sharing his expertise, and its 2003 Fellow Award for career contributions in nature photography. Ray's photography is widely published, and used to support habitat and environmental protection. His primary interest is in coaching new talent and in having art, especially photography seen and sold. Ray holds a Masters degree from Duke University.
Pressman, Lisa
Lisa Pressman creates paintings that draw from the place of "not knowing" and exploration. Her work reveals images that many people have lost sight of, images that communicate to a place deeper than words. The paintings invite a deep, visceral response that evolves over time; they have a life of their own. Currently her work is be included in Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic, The Hunderton Art Museum, Clinton, NJ (curated by Michael Giaquinto) . " Mapping a Place" ,a solo show, opens in September at Susan Eley Fine Arts, NY, NY. Lisa is newly represented by Causey Contemporary of New York City and has a solo show planned for November 2015. Last year her work was featured in a solo show "Inside Matters" at Rosenfeld Gallery Philadelphia ,Pa.. Her paintings were exhibited in Nocturnes, curated by Virginia Fabbri Butera, Ph.D. Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ; Shape Shifting, Susan Eley Fine Art, NYC, New York and Microcosms at Butters Gallery, Portland, Oregon. The work has been included in Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic, The Cape Cod Museum of Art, Dennis, MA (curated by Michael Giaquinto); a Group Show at Western Carolina State University Museum, Cullowhee, NC. and also Red at the A Gallery in Provincetown, MA. Lisa has a BA in Art from Douglass College, Rutgers University and an MFA from Bard College. Her work is exhibited extensively throughout the U.S. and abroad, and is included in many public and private collections. She lives and works in West Orange, NJ and currently is teaches painting locally and nationally.
Riley, Lesley
Lesley Riley wears many hats. She is an internationally known artist, art quilter, teacher, writer and Artist Success coach and mentor who turned her initial passion for photos, color and the written word into a dream occupassion. Her art and articles have appeared in too many places to keep count. As former Contributing Editor of Cloth Paper Scissors magazine, Lesley developed a passion for showcasing new talent in mixed media art. Her first book, Quilted Memories, brought new ideas and techniques to quilting and preserving memories. A second, Fabric Memory Books, combined fabric and innovative ideas with the art of bookmaking. Two more books, Fabulous Fabric Art with Lutradur and Create with Transfer Artist Paper, introduced versatile new materials to the quilt and mixed media art world. A fifth book Creative Image Transfer will debut late summer 2014. Her 2013 self-published, Amazon best seller, Quotes Illustrated, will be expanded and republished November 2014 by F&W Publications as Inspiring Quotes Illustrated. In an ongoing effort to find the best ways for quilters and mixed media artists to get permanent photos on fabric, Lesley introduced Transfer Artist Paper™, named the Craft & Hobby Association (CHA) 2011 Most Innovative new product, the state of the art technology for iron-on transfers. Lesley is the former host of BlogTalk Radio's Art & Soul show, recording over 75 podcasts on art and the creative process through in-depth interviews with contemporary artists. Her passion and desire to help every artist reach their creative dreams and potential has led to a growing specialty as an Artist Success coach and mentor where she draws from her own experience, insight, and a knack for seeing the potential in everyone to provide guidance and solutions for artists of all levels. Lesley creates her magic on an idyllic horse farm in Frederick, MD, where she lives with her high-school sweetheart husband and two of her six children. You'll find her in her studio from sunup to sundown unless, of course, any of her seven granddaughters come to visit. Lesley creates her magic on an idyllic horse farm in Frederick, MD, where she lives with her high-school sweetheart husband and two of her six children. You'll find her in her studio from sunup to sundown unless, of course, any of her seven granddaughters come to visit.
Rivers, Kate
Website: kateriversart.com. Kate Rivers is originally from Ohio. She earned a BFA degree from the Columbus College of Art and Design in Columbus Ohio and an MFA from University of South Carolina. Her work is exhibited throughout the United States and has been published in New American Paintings, Open Studio Press, THE Magazine and Southwest Art. Kate currently resides in Santa Fe, New Mexico and is represented by Mathews Gallery in Santa Fe.
Sitts, Jan
Email: jan@jansitts.com, website: www.jansitts.com. In Jan's more than thirty years as an art instructor and professional painter, she continues her exploring and experimentation with the mediums. Her accomplishments in the art arena are many, working in commercial art, teaching in public schools, and teaching international workshops. Her studies include the Kansas City Art Institute (Kansas City, Missouri), a B.A. degree at Western State College (Gunnison, Colorado), and ongoing workshops and seminars in the arts. Jan's focus is on layered and experimental art.
Soderlund, Carol
Email: carol@carolsoderlund.com, website: www.carolsoderlund.com. CAROL SODERLUND'S quilts have been exhibited nationally and internationally since 1985 in such venues as Visions and AQS shows, and have received numerous awards, including Best of Show at the 1989 International Quilt Festival, Best Use of Color at the Pennsylvania National Quilt Exhibition 2000, and Best Innovative at Quilts =Art = Quilts 2001. Carol is in demand as a teacher of color, fabric dyeing, and machine quilting techniques at guilds and conferences throughout the United States. She has taught her color mixing techniques at ProChemical & Dye in Massachusetts and Nancy Crow's Timber Frame Barn in Ohio and is writing a book about these ideas. She lives in Geneva, New York with her husband, two sons, three boats, and a fabric stash.
Soloway, Eddie
Email: eddie@eddiesoloway.com, website: www.eddiesoloway.com. Eddie Soloway's photographs are the expression of his passion and fascination with the natural world. His major work has been divided between representational presentations of wilderness moments and celebrations of the abstract. Additional works include photogravures celebrating a sense of place, and a whimsical series of images created "On the Road." His eye has developed during years of exploring the earth's wild places. He spent ten years working for the Institute for Earth Education, where he helped develop wilderness journeys and school curricula and conducted educational workshops in five countries. Eddie divides his time between making fine prints, teaching workshops at leading photographic schools around the world, and creating stock images for Getty Images. His book of images and essays, One Thousand Moons, was released in 2004. An impassioned teacher, Eddie brings experience in both nature and photography to his popular workshops and seminars.
Stahl, Robert (Bob)
Email: bobstahl@peak.org. Robert Stahl is an award-winning photographer who teaches photo classes at Seattle-area community colleges (Highline, Edmonds, Everett, & North. Seattle) as well as for the Pacific NW Art School at Coupeville on Whidbey Island. He has led photo trips to Nepal, Antarctica, Patagonia, Machu Picchu in Peru, Alaska, Afghanistan, Pakistan, Kenya, Iceland, France's Provence, India, the Desert SW, and Pacific NW. His work has appeared in Eastman Kodak and National Geographic publications and he has trekked over 1,000 miles in the Nepal Himalaya. Robert's teaching emphasizes developing one's 'Poetic Eye'.
Stats, Kathryn
Email: ksarts@ix.netcom.com, website: www.kathrynstats.com. Born in Idaho in the mid-1940s, Kathryn Stats has lived most of her life in Utah. Though her family moved a lot in her growing years, she spent her teenage summers in Kaysville, Utah with her grandmother, the sister-in-law of LeConte Stewart, the famous Utah landscape painter. Surrounded by the rural landscape outside and his wonderful paintings in the house, it isn't surprising that Kathryn would eventually start to paint. In her late twenties, living in Brazil with her husband and children, she began a career that has been both successful and gratifying. Her earliest lessons came from the books of such painters as Emil Gruppe and John F. Carlson and she later studied with Utah artists Ken Baxter and Frank Erickson. Her floral studies and the distinctive landscapes that have become the hallmark of her work are in private and public collections worldwide. She has also garnered numerous awards from the growing list of exhibitions in which she has shown her work. Her most recent awards include "People's Choice" and "Artist's Choice" in the Rising Stars Juried Invitational, Wickenburg, Arizona, 2002, "Best Oil, 2002"in the Maynard Dixon Country Invitational, Mt. Carmel, Utah, and "People's Choice Award" in the Merrill Johnson Gallery, Denver, Colorado, 2001. "I think a good painting is like a good musical composition." Kathryn states, "It has harmony and rhythm, contrast and theme, sometimes even soloists. Those elements rarely just occur in a natural landscape. I find that I emphasize with detail and color, omit some things, mute others, even rearrange elements to create a composition that conveys my visual experience, my joy, to the viewer. It is this challenge that keeps me painting." "The reason you keep doing it —painting every day — has to do with the viewer. You want the viewer to experience the same joy you feel—and nature sometimes makes it hard. So it's a process of adjusting, of emphasizing, softening, even omitting, to make what you paint convey the right message to the viewer. Sometimes it's a long process—other times the problems are easy to solve—but always—it's a joy.
Stinson, Henry
I paint both the humorous and serious. A lot of my paintings stem from images in my childhood geared around an accident I had where I was electrocuted and died behind the couch—literally! Plus, my entire family is now dead. Mom, dad, brother and sister. This definitely has had a dramatic impact on how I view life and look for meaning. I like to use symbols in my work that have mythological or spiritual connotations. I paint because I have to. It's one of my connections to a feeling of higher purpose. To me, my paintings always seem much better when I get out of the way and just let them happen. My paintings deal with the illusion that IS the physical world. The master illusionist. The grand illusion that we are separate and that physical life is all there is. Life is 98% intangible. Most of who we are as human beings is intangible. We cannot see, taste, touch or even hear a thought. The spirit or soul of being human is intangible. It is most of who we are. When we die, this spirit leaves the body behind. Who we are is gone, and life is viewed as a fleeting dream. Yet we are led to believe that the material world is real and the ethereal world is somehow less than real—or perhaps imagination. My work deals with the wake-up call we all receive at some point in life—some not until death—that life is mostly nonphysical. That we cannot get anything or keep anything in life. All we take with us is what we give. I want to give hope. Hope that there is something so much more than all we've been taught to grasp for—ie: Money. Beauty. Physical gratification in the form of food and luxury. The typical symbols of status. The seven deadly "sins" funny enough. I love the physical act of painting because of the challenge I have working to create the vision in my head—to manifest emotions and feelings through the use of color and iconic/symbolic images on the canvas. Life is symbolic. The symbols of life mean something different to each viewer. No two people view a canvas in exactly the same way. My vision is to try to capture my unique view—in all of its fleeting glory and message—and convey it in as direct and beautiful a manner as possible.
Stout, Roxanne
Email: evanlee@charter.net. Roxanne Evans Stout is a mixed media artist who lives the Pacific Northwest. She loves collage and book arts and is inspired by the natural history of the mountains and the river lands that surround her home in Southern Oregon. She has had her art work shown and accepted in several juried art shows throughout the United States and locally at Illahe Gallery in Ashland, Paschal Winery in Talent and Sage Place in Bandon, Oregon. Roxanne has been published in several art zines and nationally in Cloth Paper Scissors and was one of the featured artists in the "The Pulse of Mixed Media," by Seth Apter. Roxanne is also one of the featured artists in Tracy Verdugo's soon to be published new book. Besides creating her own art, teaching and designing workshops is also a huge love of Roxanne's!
Taylor, Cathy
Mixed media artist and workshop instructor. Cathy Taylor is an award winning mixed media artist and popular workshop instructor. Her mixed media artwork is a celebration of the patterns, textures, and color found in the natural environment. Cathy is known for her ability to interpret a subject in a variety of styles. From her colorful detailed alphabetical designs including the Florida "Shell-A-Bet," to her whimsical collages and multi-dimensional abstracts, Cathy's work is represented in museums, nature centers and private collections throughout the U.S. and abroad. Cathy's collages were juried into the National Collage Society's annual exhibition in 2005, 2007, 2011 and 2012. Her articles, "Anthologies," "The Nature of Art," "Rethink Alcohol Ink," and "Creative Spirits" were featured in Cloth, Paper, Scissors art magazine. Cathy is a featured artist on artacademylive.com and has created two DVD's; Watercolor Collage and Mixed Media Collage. She is a member of The High Country Watermedia Society ( Past Pres.) SIGNATURE member of the International Society of Experimental Artists (award winner), and a SIGNATURE member of the National Collage Society (award winner).
Webb, Frank
Email: frankwebbaws@aol.com, website: www.frankwebb.com. Frank Webb has been self-employed as an artist since 1958. He has taught hundreds of painting seminars, in all 50 states and worldwide. A dolphin fellow of the American Watercolor Society, Webb is a vice president and chairman of membership. He has served numerous times on the juries of selection and awards. North Light has published three of his books, Watercolor Energies, Webb on Watercolor, and Strengthen Your Paintings with Dynamic Composition. He has won more than 110 major awards and has juried more than 90 national exhibitions. Webb's works are in many collections, including: the Butler Institute of American Art, the Taiwan Art Education Institute, the Palmer Museum of Penn State University, the Southern Alleghenies Art Museum, and the Tweed Art Museum of the University of Minnesota. Webb is represented by Harbor Square Gallery (Rockland, ME). He is included in American Artist magazine's "20 Great Watercolor Teachers."
Wells, David H
Email: david@davidhwells.com, website: www.davidhwells.com. David H. Wells a free-lance photographer affiliated with Aurora Photos and photo educator in Providence, Rhode Island. He specializes in intercultural communications and the use of light and shadow to enhance visual narratives. His work has been featured in one-person exhibits at Brown University, U.C. Berkeley and Harvard University. His work has been part of group exhibitions at the Houston FotoFest and the Visa pour l'Image Festival in Perpignan, France. He has been an Artist in residence at the Visual Studies Workshop and the Light Works Photography Center. He has taught classes at the University of Pennsylvania and workshops at the International Center for Photography in NYC and Maine Media Workshops. Recently he was featured in Photo District News as one of "The Best Workshop Instructors." His photo-essays have been funded by fellowships from Nikon/NPPA, the Pennsylvania Council on the Arts, the MacArthur Foundation's Program of Research and Writing on International Peace and Cooperation, the Alicia Patterson Foundation and the Fulbright Foundation. His project on the pesticide poisoning of California farm workers was nominated for a Pulitzer Prize by the Philadelphia Inquirer. As an Olympus Visionary, Wells has been contracted by the camera company to produce images and provide feedback on new product lines.
Wester, Nita
Email: nwester@olympus.net. Nita started helping students dye scarves to raise funds for the art program at the alternative school where she taught. Soon she was offering workshops for their parents and assisting for nationally and internationally known fiber artists who were teaching at the Pacific Northwest Art School. Nita who is also a seamstress, quilter and forever art student, has now retired from her alternative school teaching position so that she has more time to play in her fiber art studio, volunteer at PNWA School, garden and spend time with her family.
Save the date: November 5, 2016
Save the date and join us November 5th from 6- 9 p.m. for our Pearls and Prosecco event at the school
To celebrate 30 years of offering exceptional visual arts education! Join us as we pull out some of the wonderful "pearls" from our collection closet and offer them to you for purchase. We have all price ranges as well as some really special pearls
Jan Hoy contemporary sculpture
Seahawks tickets for the December 24th 1:30 p.m. home game
All items will be silent auction items
Food provided by the Oystercatcher and the Prosecco by bayleaf. This promises to be an incredible evening and a great way to celebrate 30 years as a not for profit art school!
Info
Come escape the ordinary by taking a workshop on the mystic isle of Whidbey.
We have been offering exceptional visual art workshops in painting, fiber arts, mixed media and photography for 29 years. Come inspire your inner artist with an experience you will not soon forget taught by distinguished and nationally known faculty members such as Sam Abell, Elin Noble, Jan Sitts, Arthur Meyerson, David Wells, Orly Avineri, Sterling Edwards, Tracy Verdugo and many, many more!
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General Info
Hours
Monday:
9:00am - 4:00pm
Tuesday:
9:00am - 4:00pm
Wednesday:
9:00am - 4:00pm
Thursday:
9:00am - 4:00pm
Friday:
9:00am - 4:00pm
Saturday:
-
Sunday:
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About Us
The Pacific NorthWest Art School offers visual arts education taught by professional artists for artists aspiring to hone their skills. We offer workshops in the mediums of photography, painting and fiber arts.