MAEA Fall Conference 2023:
Bridging Boundaries
Friday, September 22 to Sunday, September 24
Registration opens on June 1st at 7 a.m.*
Locations: Haystack Mountain School of Crafts or Monson Arts
Cost: $295 for MAEA members
Click HERE to Register! (On June 1st at 7 am)
The Maine Art Education Association’s annual Fall Conference provides limitless opportunities to bridge boundaries between different aspects of our personal and professional art realms. During the conference we participate as artists in exciting workshops and are immersed in every stage of creativity. It is also an opportunity to connect with fellow art teachers, meet with old friends, and make new acquaintances. When we depart, our time during the weekend invigorates the upcoming school year in our interactions with students, parents, school personnel and community.
Bridging Boundaries encourages us to reflect on how we can form connections and community during the process of art making while being surrounded by nature and other teaching artists. We hope it energizes us as we head into the new school year, and prepares us to help students and colleagues find creative bridges as they solve the challenges that lie ahead.
We are pleased to present the MAEA 2023 Fall Conference Workshops. We received many valuable suggestions after the 2022 conference and have taken them into consideration to help plan this year’s weekend. We are continuing our effort for all MAEA members to have equal opportunity to access the conference and are offering workshops at both Haystack and Monson. Please make note of where your workshop choices are offered and be sure you are prepared to attend at that location.
Every year the MAEA Silent Auction at the Fall Conference raises money for student and teacher scholarships. Last year was a great success thanks to YOU! Please take some time to ask in your local area for donations. Any and all art-related items are appreciated. Some of the most popular items are those made by MAEA members…!
Many members have volunteered countless hours of time to bring this conference together and to ensure its success. We heartily thank them and we look forward to seeing you at Haystack or Monson for another memorable experience.
Sincerely,
Lynn Bustard & Holly Houston
Haystack 2023 Co-Chairs
Bridging Boundaries encourages us to reflect on how we can form connections and community during the process of art making while being surrounded by nature and other teaching artists. We hope it energizes us as we head into the new school year, and prepares us to help students and colleagues find creative bridges as they solve the challenges that lie ahead.
We are pleased to present the MAEA 2023 Fall Conference Workshops. We received many valuable suggestions after the 2022 conference and have taken them into consideration to help plan this year’s weekend. We are continuing our effort for all MAEA members to have equal opportunity to access the conference and are offering workshops at both Haystack and Monson. Please make note of where your workshop choices are offered and be sure you are prepared to attend at that location.
Every year the MAEA Silent Auction at the Fall Conference raises money for student and teacher scholarships. Last year was a great success thanks to YOU! Please take some time to ask in your local area for donations. Any and all art-related items are appreciated. Some of the most popular items are those made by MAEA members…!
Many members have volunteered countless hours of time to bring this conference together and to ensure its success. We heartily thank them and we look forward to seeing you at Haystack or Monson for another memorable experience.
Sincerely,
Lynn Bustard & Holly Houston
Haystack 2023 Co-Chairs
Please read before registering:
Refund/Cancellation Policy, Membership, Conference fees, and CEU Credits
We recognize and understand that events come up that require a change in plans. Please understand that conferences are a symphony of coordinated events. This concurrent timing requires extensive pre-planning, financial, and facilitator responsibilities. The cancellation/refund policy below honors this commitment. Requests for cancellations and refunds must go through the registrar: Hope Lord - hlord73@gmail.com
Notification of Cancellation received by:
July 31st - Full conference rate refund;
August 15th - Full conference rate refund minus 5% service fee;
August 31st - 50% full conference rate refund;
After September 1st - no refund.
* Note that the $295 conference fee includes accommodations, meals, and approximately $20 of studio materials.
Accommodations:
On-Campus accommodations are available on a first-come, first-served basis. However, there is limited space on campus.
In the registration process, you will be given the following options:
MAEA membership ends May 31st, regardless of when you register. In order to register for the fall conference, you must be an active member for the 2023-2024 membership year. The opportunity to renew your membership (see fees below) and register for the conference will happen simultaneously.
Additional Fees:
Some workshops will require you to supply some of your own tools/materials.
Some workshops will require an additional studio fee to cover the cost of materials.
And, some will offer additional materials available for purchase through the presenter.
Please look carefully at the offerings and descriptions BEFORE registering.
CEU Credits and Contact hours are available. There is no additional fee for Contact Hours. There is a $20 fee for the CEUs from the CEU granting institution (UMaine) when you submit your paperwork.
Notification of Cancellation received by:
July 31st - Full conference rate refund;
August 15th - Full conference rate refund minus 5% service fee;
August 31st - 50% full conference rate refund;
After September 1st - no refund.
* Note that the $295 conference fee includes accommodations, meals, and approximately $20 of studio materials.
Accommodations:
On-Campus accommodations are available on a first-come, first-served basis. However, there is limited space on campus.
In the registration process, you will be given the following options:
- I prefer to find my own accommodations and attend at the discounted rate of $245.
- I would like on-campus accommodations, but am willing to find my own accommodations if my registration is received after all accommodations are booked.
- Please disregard my registration and refund my conference payment if on-campus accommodations are not an option for me.
MAEA membership ends May 31st, regardless of when you register. In order to register for the fall conference, you must be an active member for the 2023-2024 membership year. The opportunity to renew your membership (see fees below) and register for the conference will happen simultaneously.
- If you are renewing as an active member - add $35
- If you are renewing as a full-time student - add $5
- If you are renewing as a retired art educator - add $18
- If you are no longer teaching and want to renew with a retired lifetime membership - add $140
- If you are already a retired lifetime member - there is no additional cost.
Additional Fees:
Some workshops will require you to supply some of your own tools/materials.
Some workshops will require an additional studio fee to cover the cost of materials.
And, some will offer additional materials available for purchase through the presenter.
Please look carefully at the offerings and descriptions BEFORE registering.
CEU Credits and Contact hours are available. There is no additional fee for Contact Hours. There is a $20 fee for the CEUs from the CEU granting institution (UMaine) when you submit your paperwork.
Please note we will continue to register on a first come first served basis even after the conference fills.
A wait list will be generated once we are at capacity.
A wait list will be generated once we are at capacity.
Anticipated Schedule:
Below is our traditional conference schedule for Haystack. Please note that there may be slight changes and the Monson schedule may also look slightly different.
Friday
9:00-11:30 Registration & Art Vendor Exhibits
12:00-12:45 Lunch
12:45-1:15 Haystack orientation
1:15-5:00 Studio time
6:00-7:00 Dinner
7:00-8:30 Presentations, Address and Facilitator Slides
8:45-? Studio time
Saturday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-12:00 Studio time
12:00-12:45 Lunch
1:00-1:45 Annual MAEA meeting
2:00-5:00 Studio time
6:00-7:00 Dinner
7:00-8:00 Facilitator slides
8:00-9:00 Silent Auction
9:00-? Studio time
Sunday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-10:30 Critiques, closure, and clean-up
10:30-10:45 Set up workshop exhibits
10:45-11:15 Meander through exhibits
11:30 Lunch
12:00 Departure time
9:00-11:30 Registration & Art Vendor Exhibits
12:00-12:45 Lunch
12:45-1:15 Haystack orientation
1:15-5:00 Studio time
6:00-7:00 Dinner
7:00-8:30 Presentations, Address and Facilitator Slides
8:45-? Studio time
Saturday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-12:00 Studio time
12:00-12:45 Lunch
1:00-1:45 Annual MAEA meeting
2:00-5:00 Studio time
6:00-7:00 Dinner
7:00-8:00 Facilitator slides
8:00-9:00 Silent Auction
9:00-? Studio time
Sunday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-10:30 Critiques, closure, and clean-up
10:30-10:45 Set up workshop exhibits
10:45-11:15 Meander through exhibits
11:30 Lunch
12:00 Departure time
2023 Offerings/Facilitators/Locations
HaystackNeedle Felted Faces, Jennifer Field
Experimental Serial Printmaking, Judy Novey Enameling 101, Emily Schaffer Wheel Throwing Pot-Pourri, Marian Baker The Art of CNC Fabrication, James Rutter Mapping Sense of Place, Molly Brown Bookish, Sandy Weisman Window of Opportunity, Pam Wilcox |
MonsonArtist Books/Sketchbook Prompts, Raegan Russell
(Clay) Extruding Plus+, Jemma Gascoine |
Needle Felted Faces / Jennifer Field / Haystack
Workshop Description
In this fun and challenging needle felting workshop the focus is on faces. I will share my tricks and techniques for sculpting lifelike human faces with wool fleece. Students will learn about facial proportions, how to create realistic (or exaggerated) facial features, how to apply subtle flesh tones, how to create expressive lifelike eyes and various techniques for applying hair. Since time is limited, students will be creating a facial relief, but will receive instruction to develop into a full head or bust if desired, after class. Students can create a self portrait, a friend or child, a favorite artist or historical figure… Once students create the basic face in natural undyed wool, they can finish the portrait in black and white, natural flesh tones or fantasy colors.
Instructor
Jennifer Field is a mixed media artist living in Southwestern coastal Maine. Jennifer graduated from Philadelphia College of Art, now UArts, with a degree in Illustration in 1983. She has worked in advertising, as a toy and packaging designer and as a fabric and graphics designer for a fashion house in NYC. After her sons were born Jennifer pursued freelance work and began forging metal jewelry and lampworking glass beads. Jennifer ran a design studio and gallery with her late husband in NJ, before moving to Maine 18 years ago. In Maine Jennifer took her jewelry to another level, casting and enameling and then discovered sculpting with wool.The rest as they say, is history.
Materials List for Participants to Bring:
In this fun and challenging needle felting workshop the focus is on faces. I will share my tricks and techniques for sculpting lifelike human faces with wool fleece. Students will learn about facial proportions, how to create realistic (or exaggerated) facial features, how to apply subtle flesh tones, how to create expressive lifelike eyes and various techniques for applying hair. Since time is limited, students will be creating a facial relief, but will receive instruction to develop into a full head or bust if desired, after class. Students can create a self portrait, a friend or child, a favorite artist or historical figure… Once students create the basic face in natural undyed wool, they can finish the portrait in black and white, natural flesh tones or fantasy colors.
Instructor
Jennifer Field is a mixed media artist living in Southwestern coastal Maine. Jennifer graduated from Philadelphia College of Art, now UArts, with a degree in Illustration in 1983. She has worked in advertising, as a toy and packaging designer and as a fabric and graphics designer for a fashion house in NYC. After her sons were born Jennifer pursued freelance work and began forging metal jewelry and lampworking glass beads. Jennifer ran a design studio and gallery with her late husband in NJ, before moving to Maine 18 years ago. In Maine Jennifer took her jewelry to another level, casting and enameling and then discovered sculpting with wool.The rest as they say, is history.
Materials List for Participants to Bring:
- 3 needle Pink Clover needle pen (I will have Clover pens available for $14)
- Sketchbook and pen/pencil to take notes, I will provide helpful handouts.
- Bring magnifying glasses if needed. A small OTT light or similar is helpful to see details.
- Small sharp scissors and a small ruler.
- A small mirror if doing a self portrait is helpful.
- Bring LOTS of printed photos of subject: straight on, profile shots: the more, the better
Between the Planned and the Unpredictable: Experimental Serial Printmaking / Judy Novey / Haystack
Workshop Description
Using the printing press as well as gelatin plates we will be creating prints in quick and experimental ways where each image generates a “vocabulary” for the next. This method of working lends itself beautifully to creating series of related but varied prints. Participants may choose to work abstractly or to create representational stencils if they prefer. We will employ a great variety of textures, found objects, and stencils made out of a variety of materials (including hot-glue!) Another way to use your prints is to see them as raw material to be cut up and rearranged through the use of collage. This opens entirely new avenues for reimagined compositions that can tie a series together. If time permits, participants can make a simple book form that will house their series.
Instructor
Judy Novey has recently retired from a forty year career teaching Art in Pennsylvania and Maine. She spent the lion’s share of her teaching career in Maine, teaching in the 6-12 program at Waynflete School in Portland. For twenty years she was both Chair of the Art Department and Director of the Waynflete School Art Gallery. She has taught classes in foundations, drawing, painting, printmaking and interdisciplinary book-arts. Her formal education includes a BFA from the University of the Arts in Philadelphia and an MFA from Rutgers University. Her informal, but equally valuable, education has come from the unpredictable and generative interchange with her students.
Studio Fee: Additional $10
Materials List for Participants to Bring:
Using the printing press as well as gelatin plates we will be creating prints in quick and experimental ways where each image generates a “vocabulary” for the next. This method of working lends itself beautifully to creating series of related but varied prints. Participants may choose to work abstractly or to create representational stencils if they prefer. We will employ a great variety of textures, found objects, and stencils made out of a variety of materials (including hot-glue!) Another way to use your prints is to see them as raw material to be cut up and rearranged through the use of collage. This opens entirely new avenues for reimagined compositions that can tie a series together. If time permits, participants can make a simple book form that will house their series.
Instructor
Judy Novey has recently retired from a forty year career teaching Art in Pennsylvania and Maine. She spent the lion’s share of her teaching career in Maine, teaching in the 6-12 program at Waynflete School in Portland. For twenty years she was both Chair of the Art Department and Director of the Waynflete School Art Gallery. She has taught classes in foundations, drawing, painting, printmaking and interdisciplinary book-arts. Her formal education includes a BFA from the University of the Arts in Philadelphia and an MFA from Rutgers University. Her informal, but equally valuable, education has come from the unpredictable and generative interchange with her students.
Studio Fee: Additional $10
Materials List for Participants to Bring:
- Gloves
- Scissors
- Xacto blade
- Ruler &/or right triangle
- 6 x 6 Gelatin plate (if they have)
- Cutting mat/ or scrap cardboard to cut on
- Brayers of different sizes (if they have)
- Brushes-various sizes, shapes, stiffness
- Newsprint pad 12” x 18”
- Blending spatulas (if they have)
- A Glue-Gun (if they have)
Enameling 101 / Emily Shaffer / Haystack
Workshop Description
Explore new techniques for kiln-fired enameling with Emily Shaffer. This ancient art produces vibrant colors by fusing powdered glass with sheets of copper in a 1600-degree kiln. After learning the basic foundations of enameling through interactive demonstrations, students will experiment with several techniques, such as cloisonné, stenciling, graphite mark-making, and sgraffito. No previous experience is required.
Instructor
Emily Shaffer is a contemporary studio jeweler located in Maine. She resides in Lincolnville, a small coastal Maine town between Camden and Belfast. Emily made her way to Maine in 2014 after receiving B.F.A in Crafts concentrating in fine metals and enamel, and a B.S. in Art Education from Kutztown University of Pennsylvania. Upon arriving in Maine, she began a formative one-year internship with former jeweler and gallery owner Cara Romano. This experience began her jewelry career and relationship with the Maine Crafts Association (MCA). After and while working with the MCA, Emily grew her contemporary jewelry collection and brand, winning awards just as the prestigious Halstead Grant, and taught workshops at places like Haystack Mountain School of Crafts and Arrowmont School of Arts and Crafts.
Techniques
● Preparing/Cleaning metal for enamel
● Kiln Fired Enamel using powdered and liquid enamels
● Under-firing and over-firing
● Using firesale for exciting patterns
● Use of small tools for jewelry creation (saws, hammers, chasing tools)
● Enameling on a 3D Form
● Transparent Enamels
● Creating lines using sgraffito, P3, graphite, and fine-mesh sifting
● Jewelry findings if time allows
Materials List for Participants to Bring:
❏ Optional: Copper Tubes and pipes can be fun to experiment with
To note: Please wear closed-toe shoes in the studio and have your hair tied back.
Explore new techniques for kiln-fired enameling with Emily Shaffer. This ancient art produces vibrant colors by fusing powdered glass with sheets of copper in a 1600-degree kiln. After learning the basic foundations of enameling through interactive demonstrations, students will experiment with several techniques, such as cloisonné, stenciling, graphite mark-making, and sgraffito. No previous experience is required.
Instructor
Emily Shaffer is a contemporary studio jeweler located in Maine. She resides in Lincolnville, a small coastal Maine town between Camden and Belfast. Emily made her way to Maine in 2014 after receiving B.F.A in Crafts concentrating in fine metals and enamel, and a B.S. in Art Education from Kutztown University of Pennsylvania. Upon arriving in Maine, she began a formative one-year internship with former jeweler and gallery owner Cara Romano. This experience began her jewelry career and relationship with the Maine Crafts Association (MCA). After and while working with the MCA, Emily grew her contemporary jewelry collection and brand, winning awards just as the prestigious Halstead Grant, and taught workshops at places like Haystack Mountain School of Crafts and Arrowmont School of Arts and Crafts.
Techniques
● Preparing/Cleaning metal for enamel
● Kiln Fired Enamel using powdered and liquid enamels
● Under-firing and over-firing
● Using firesale for exciting patterns
● Use of small tools for jewelry creation (saws, hammers, chasing tools)
● Enameling on a 3D Form
● Transparent Enamels
● Creating lines using sgraffito, P3, graphite, and fine-mesh sifting
● Jewelry findings if time allows
Materials List for Participants to Bring:
- Scissors
- Plastic paint tray palette
- Small paint brushes
- Thick paper like cardstock for stencils
- Black Micron pens
- Rubber Cement
- Sharpie
- Graphite Pencils
- 3M Mask
- Scrap Paper
- Copper: I will supply copper sheets for test samples. However, for further exploration, I suggest you purchase extra copper. I recommend 20g or 22g Dead Soft 6 x 12 sheets.
❏ Optional: Copper Tubes and pipes can be fun to experiment with
To note: Please wear closed-toe shoes in the studio and have your hair tied back.
Wheel Throwing Pot-Pourri / Marian Baker / Haystack
Workshop Description
This workshop will cover a mixture of things you might want to know about throwing. Demonstrations will be given for beginners (tips on centering, pulling up walls, etc) as well as demos for more advanced workers (making handles, lids, plates). Using a smooth white cone 6 clay, emphasis will be on process and improving technique from where you start.
Prior to arriving at Haystack, each participant will submit a “wish list” of what they would like to know more about, 2 or 3 specific things, and after all submissions are looked over, the workshop will be designed to cover demonstration segments of at least one topic from each participant if possible. Wish list suggestions: improving centering, better cylinder forms, handles, lids, plates, better bowl forms, trimming a foot ring, pitchers, throwing taller, closed forms.
Due to the short time period, work will not be fired but you are welcome to take home what you make if you can fire it elsewhere. Please bring your own boxes and paper or foam to pack them in, as unfired pots are very fragile.
Instructor
Marian Baker makes pots in her studio in Yarmouth, Maine and has maintained a summer studio and gallery at Little Cranberry Island, Maine since 1989. She also taught ceramics part time at Maine College of Art in Portland for 35 years. Her background training includes a BFA from Ohio Wesleyan University, an MFA from the School for American Craft in Rochester, NY, plus working in various pottery studios in Wisconsin, San Francisco, New Jersey and New Zealand, before settling in Maine in the mid-80’s. Her work has been represented in many exhibitions, books, and publications over the years. Maine Craft Association awarded her the Maine Craft Artist Award for 2021.
Marian’s focus is on pots for daily use as well as celebration. She is inspired by some traditions of English and Japanese pottery, adding design and color ideas from nature and her surroundings. She believes that handmade pottery is like a bridge between art and daily life.
Studio Fee: Additional $10
Materials List for Participants to Bring:
This workshop will cover a mixture of things you might want to know about throwing. Demonstrations will be given for beginners (tips on centering, pulling up walls, etc) as well as demos for more advanced workers (making handles, lids, plates). Using a smooth white cone 6 clay, emphasis will be on process and improving technique from where you start.
Prior to arriving at Haystack, each participant will submit a “wish list” of what they would like to know more about, 2 or 3 specific things, and after all submissions are looked over, the workshop will be designed to cover demonstration segments of at least one topic from each participant if possible. Wish list suggestions: improving centering, better cylinder forms, handles, lids, plates, better bowl forms, trimming a foot ring, pitchers, throwing taller, closed forms.
Due to the short time period, work will not be fired but you are welcome to take home what you make if you can fire it elsewhere. Please bring your own boxes and paper or foam to pack them in, as unfired pots are very fragile.
Instructor
Marian Baker makes pots in her studio in Yarmouth, Maine and has maintained a summer studio and gallery at Little Cranberry Island, Maine since 1989. She also taught ceramics part time at Maine College of Art in Portland for 35 years. Her background training includes a BFA from Ohio Wesleyan University, an MFA from the School for American Craft in Rochester, NY, plus working in various pottery studios in Wisconsin, San Francisco, New Jersey and New Zealand, before settling in Maine in the mid-80’s. Her work has been represented in many exhibitions, books, and publications over the years. Maine Craft Association awarded her the Maine Craft Artist Award for 2021.
Marian’s focus is on pots for daily use as well as celebration. She is inspired by some traditions of English and Japanese pottery, adding design and color ideas from nature and her surroundings. She believes that handmade pottery is like a bridge between art and daily life.
Studio Fee: Additional $10
Materials List for Participants to Bring:
- Any clay tools you have, especially but not limited to throwing. (small sponge, needle tool, trimming tools, wooden knife tool, cut off wire, ribs if you like to use them, etc)
- Small hand towel and apron if you wish.
- Plastic container for water (a low bucket, or similar item, for use when on the wheel)
- Packing materials and boxes for any work you might want to bring home to fire later.
The Art of CNC Fabrication: Integrating Technology into your Art Practice / James Rutter / Haystack
Workshop Description
In this workshop, participants will explore various creative applications of digital fabrication technologies, including laser cutters, vinyl cutters, and other digital design software programs. The workshop is designed to be progressive in terms of difficulty, accommodating beginners with no background in digital fabrication and providing opportunities for more experienced students to engage with more complicated tools, processes, and projects. The workshop will be project-based, allowing participants to apply what they have learned to create unique and visually stunning artworks. Throughout the workshop, there will be conversations and discussions on foundational concepts and techniques to ensure that everyone is up to speed and able to create beautiful CNC fabricated artwork.
Topics covered in the workshop include introductory computer design workflows for the laser cutter, generative design patterns for laser engraving and cutting, laser cut topography and sliceforms, and pressfit construction (optional). Whether attendees are art educators looking to integrate digital fabrication into their curriculum or artists looking to expand their skillset, this workshop will provide them with the tools and knowledge to take their creations to the next level. The workshop is designed to be accessible to beginners while still being interesting for people with more experience. Attendees will learn several workflows to go from artwork to machine using software programs, allowing them to create stunning artworks that integrate technology and craft.
Instructor
James Rutter is the Technology Director at Haystack Mountain School of Crafts in Deer Isle, Maine. As an affiliate of the global MIT Fab Lab network, James has developed expertise in research, engineering, design, and fabrication. In the past, he served as a graduate research assistant at the Lab School for Advanced Manufacturing, focusing on integrating digital fabrication techniques into K-12 education. With more than 10 years of experience in design, fabrication, and education, James has successfully collaborated with schools, community organizations, and libraries to create and implement innovative projects. His work at the University of Virginia has earned support from prestigious institutions such as the National Science Foundation (NSF) and the US Department of Education. As a research consultant, James continues to have a significant impact on his field by working on grant-funded projects and using his extensive background to develop educational and community programs further.
Materials List for Participants to Bring:
In this workshop, participants will explore various creative applications of digital fabrication technologies, including laser cutters, vinyl cutters, and other digital design software programs. The workshop is designed to be progressive in terms of difficulty, accommodating beginners with no background in digital fabrication and providing opportunities for more experienced students to engage with more complicated tools, processes, and projects. The workshop will be project-based, allowing participants to apply what they have learned to create unique and visually stunning artworks. Throughout the workshop, there will be conversations and discussions on foundational concepts and techniques to ensure that everyone is up to speed and able to create beautiful CNC fabricated artwork.
Topics covered in the workshop include introductory computer design workflows for the laser cutter, generative design patterns for laser engraving and cutting, laser cut topography and sliceforms, and pressfit construction (optional). Whether attendees are art educators looking to integrate digital fabrication into their curriculum or artists looking to expand their skillset, this workshop will provide them with the tools and knowledge to take their creations to the next level. The workshop is designed to be accessible to beginners while still being interesting for people with more experience. Attendees will learn several workflows to go from artwork to machine using software programs, allowing them to create stunning artworks that integrate technology and craft.
Instructor
James Rutter is the Technology Director at Haystack Mountain School of Crafts in Deer Isle, Maine. As an affiliate of the global MIT Fab Lab network, James has developed expertise in research, engineering, design, and fabrication. In the past, he served as a graduate research assistant at the Lab School for Advanced Manufacturing, focusing on integrating digital fabrication techniques into K-12 education. With more than 10 years of experience in design, fabrication, and education, James has successfully collaborated with schools, community organizations, and libraries to create and implement innovative projects. His work at the University of Virginia has earned support from prestigious institutions such as the National Science Foundation (NSF) and the US Department of Education. As a research consultant, James continues to have a significant impact on his field by working on grant-funded projects and using his extensive background to develop educational and community programs further.
Materials List for Participants to Bring:
- Laptop computer. If you have a laptop (windows or mac), please bring this with you. I'll provide additional computers as needed. It does not need to be a particularly powerful computer for the type of work we will be doing. If you could install some of the programs we will be using ahead of time, that will save us some time. See the software section below.
- USB/Bluetooth Mouse. If you have a USB or Wireless mouse to pair with your laptop, please bring it. Otherwise, I will have some mice available for students to use. I find it incredibly helpful to design using a mouse (versus a trackpad) on a computer.
- Sketchbook (optional). If you have a sketchpad for drawing, please bring that with you along with some drawing tools (i.e., pencils/pens). We will discuss a workflow for the machines using traditional drawing methods and then digitized using a scanner.
- Patterns/Designs. If you have existing patterns/drawings or designs, you want to bring to work. This could be an existing design you want to experiment with on the machines, etc.
- Materials. We will be exploring cutting and engraving artwork in a number of materials. Please bring any material you would like to experiment with (e.g., ceramic, glass, wood, linoleum, fabric, etc.). This includes found objects such as shells, stones, granite, toast, etc.
Mapping Sense of Place / Molly Brown / Haystack
Workshop Description
In this workshop, we will explore participant’s sense of place. Molly will walk participants through her process of creating fully finished mental maps of personal geographies, finished with watercolors and pen. We will also dive deeper into the meanings of specific sites in one’s life, and design more symbolic artwork to represent these places visually. Additional watercolor techniques to be explored include using gum arabic, masking medium, watercolor ground, salt, craft papers and ink.
Instructor
Molly is a visual artist and geographer. She was born and raised along the Penobscot River in eastern Maine. She fell in love with geography, maps and the spatial perspective at Middlebury College, and went on to earn a Ph.D. in Human Geography from the University of Colorado. Her work examines both our connection to place and our sense of living on a planet. For over 20 years she has run MollyMaps, designing custom maps and offering map-making workshops for schools, communities, and place-based organizations. Her current projects involve reimagining Maine as the Dawnland of the Wabanaki people, and using visual creativity as a driver of restoring our connection to the land.
Studio Fee: Additional $10
Materials List for Participants to Bring:
In this workshop, we will explore participant’s sense of place. Molly will walk participants through her process of creating fully finished mental maps of personal geographies, finished with watercolors and pen. We will also dive deeper into the meanings of specific sites in one’s life, and design more symbolic artwork to represent these places visually. Additional watercolor techniques to be explored include using gum arabic, masking medium, watercolor ground, salt, craft papers and ink.
Instructor
Molly is a visual artist and geographer. She was born and raised along the Penobscot River in eastern Maine. She fell in love with geography, maps and the spatial perspective at Middlebury College, and went on to earn a Ph.D. in Human Geography from the University of Colorado. Her work examines both our connection to place and our sense of living on a planet. For over 20 years she has run MollyMaps, designing custom maps and offering map-making workshops for schools, communities, and place-based organizations. Her current projects involve reimagining Maine as the Dawnland of the Wabanaki people, and using visual creativity as a driver of restoring our connection to the land.
Studio Fee: Additional $10
Materials List for Participants to Bring:
- Participants are encouraged to bring maps, pictures or other artifacts of meaningful places.
- Also suggested is a laptop for designing mental map in Google Maps (optional but useful step)
- Any soft hand-made craft papers to use in collage experimentation
- Participants are welcome to bring personal watercolor palettes and brushes if preferred
Bookish / Sandy Weisman / Haystack
Workshop Description
Do you have deep inspirations – a love of the critters in the sea, geological phenomena, family secrets, fabrics from your grandmother? How do we capture our loves within a bookmaker’s craft?
As a writer/poet/artist, I have combined my love of 3-dimensional forms and the structure of book making into objects I can only call book-ish. My definition of book-ish objects is this: using some concept of page, cover, binding I create objects that speak about my inspirations. Those inspirations have included seaweed, barnacles, women of the Bible, miniature books that don’t work, and a contemporary Book of Hours.
In this workshop I will introduce a few book structures that lend themselves to 3-D solutions. Possibilities include accordion structures, boxes, a dual signature book, perhaps a new-to-you sewn binding... The challenges for your inspiration might be tiny books vs big, the thrill of nature, a favorite poem or text that meanders through pages. You might make papier mache rocks that sit on top of your work, or consider objects from which to display your heart’s desire. All of these are fodder for Book-ish!
Bring your love of books and bookmaking to this workshop. I will provide book making materials. You bring your own inspirations, any objects of your desire, and perhaps a paragraph of what is important about this inspiration for you. We’ll complete some bookish objects together. Can’t wait.
Instructor
Sandy Weisman is both poet and visual artist. Her poetry has been included in two anthologies and several other journals, including Salamander, Spillway, Barrow Street, The Maine Review, Off the Coast, and Muddy River Poetry Review. Sandy’s art work has been exhibited locally at the Maine Jewish Museum in Portland, Michael Good Gallery in Rockport, Granite Gallery in Tenants Harbor, Waterfall Arts in Belfast, and other locations in the Boston area. She is a founding member of the Midcoast Maine Book Arts group. Her artist books include Ontogeny, Book of Hours, Love Letters to Nora, Who Is Not a Migrant, and Blue.
Sandy is the owner of 26 Split Rock Cove, a privately-owned artist community of studios, artist living space, and workshops overlooking Mussel Ridge Channel in S. Thomaston, ME.
Materials List for Participants to Bring:
Do you have deep inspirations – a love of the critters in the sea, geological phenomena, family secrets, fabrics from your grandmother? How do we capture our loves within a bookmaker’s craft?
As a writer/poet/artist, I have combined my love of 3-dimensional forms and the structure of book making into objects I can only call book-ish. My definition of book-ish objects is this: using some concept of page, cover, binding I create objects that speak about my inspirations. Those inspirations have included seaweed, barnacles, women of the Bible, miniature books that don’t work, and a contemporary Book of Hours.
In this workshop I will introduce a few book structures that lend themselves to 3-D solutions. Possibilities include accordion structures, boxes, a dual signature book, perhaps a new-to-you sewn binding... The challenges for your inspiration might be tiny books vs big, the thrill of nature, a favorite poem or text that meanders through pages. You might make papier mache rocks that sit on top of your work, or consider objects from which to display your heart’s desire. All of these are fodder for Book-ish!
Bring your love of books and bookmaking to this workshop. I will provide book making materials. You bring your own inspirations, any objects of your desire, and perhaps a paragraph of what is important about this inspiration for you. We’ll complete some bookish objects together. Can’t wait.
Instructor
Sandy Weisman is both poet and visual artist. Her poetry has been included in two anthologies and several other journals, including Salamander, Spillway, Barrow Street, The Maine Review, Off the Coast, and Muddy River Poetry Review. Sandy’s art work has been exhibited locally at the Maine Jewish Museum in Portland, Michael Good Gallery in Rockport, Granite Gallery in Tenants Harbor, Waterfall Arts in Belfast, and other locations in the Boston area. She is a founding member of the Midcoast Maine Book Arts group. Her artist books include Ontogeny, Book of Hours, Love Letters to Nora, Who Is Not a Migrant, and Blue.
Sandy is the owner of 26 Split Rock Cove, a privately-owned artist community of studios, artist living space, and workshops overlooking Mussel Ridge Channel in S. Thomaston, ME.
Materials List for Participants to Bring:
- Inspirations
- Any objects of your desire
- Perhaps a paragraph of what is important about this inspiration.
- Also bring an 18” ruler, cutting mat, Exacto or box cutter knife, bonefolder, and awl. If you have favorite thread colors, a brayer or two, and any paints you might want to use.
Window of Opportunity / Pam Wilcox / Haystack
Workshop Description
Participants will use the Tiffany method of foiled stained glass to create a masterpiece to fit inside an old paneled window frame or by cutting and routing holes (which you will do) out of a wooden board to create a wall hanging or yard art (both frame and barn boards provided). Emphasis will be placed on designing a pattern, cutting glass to fit the pattern, foiling and soldering the masterpiece while staying within boundaries of the frames or holes. Depending on the complexity of their design, students should be able to complete their masterpiece during the weekend.
Instructor
Pam Wilcox has been working with glass for 15 years and has been teaching glass classes for the last 10 years. She began with stained glass, then branched out into hot glass and has a love for fusing and playing with a torch. Pam has apprenticed at a hot shop for blown glass and furthered studies with many classes, including several at the Corning Museum of Glass.
Pam typically uses bright, cheerful colors or themes of Maine in her work. She likes to experiment with glass and push the limits of its capabilities. Pam often likes to use mixed media and mixed glass methods, including wood, lighting, and metal in her work. Pam’s work can be seen in galleries and shops around the state.
Materials List for Participants to Bring:
Participants will use the Tiffany method of foiled stained glass to create a masterpiece to fit inside an old paneled window frame or by cutting and routing holes (which you will do) out of a wooden board to create a wall hanging or yard art (both frame and barn boards provided). Emphasis will be placed on designing a pattern, cutting glass to fit the pattern, foiling and soldering the masterpiece while staying within boundaries of the frames or holes. Depending on the complexity of their design, students should be able to complete their masterpiece during the weekend.
Instructor
Pam Wilcox has been working with glass for 15 years and has been teaching glass classes for the last 10 years. She began with stained glass, then branched out into hot glass and has a love for fusing and playing with a torch. Pam has apprenticed at a hot shop for blown glass and furthered studies with many classes, including several at the Corning Museum of Glass.
Pam typically uses bright, cheerful colors or themes of Maine in her work. She likes to experiment with glass and push the limits of its capabilities. Pam often likes to use mixed media and mixed glass methods, including wood, lighting, and metal in her work. Pam’s work can be seen in galleries and shops around the state.
Materials List for Participants to Bring:
- Rubber gloves
- safety glasses
- masks (for soldering lead)
- scissors, sharpie
- roll of contact paper for preserving patterns
- glass tools/soldering irons and glass that you have and might want to use (tools and glass will be provided for the class)
- Other items to consider are found objects (seashells, agate slices, etc.)
NOTE!!!
The two workshops below are taught at Monson Arts, located in Monson, Maine.
Artist Books and Sketchbook Prompts / Raegan Russell / Monson
Workshop Description
In this workshop, you will learn to make artist sketchbooks with gelatin print covers, various paper surfaces, and Coptic bindings. This is the first project that I do with my students, and they love it! In addition to making your own sketchbook (or several), we will work through some of my favorite prompts, which are sure to spark creativity, build art skills and introduce students to contemporary artists and art-making.
Instructor
Raegan Russell graduated from Boston University’s School for the Arts, where she earned both her BFA and MFA and studied with Jim Weeks, John Moore, and Lennart Anderson. For the past two decades, she has acted as the Visual Art Chair and Director of Visual and Performing Arts at Berwick Academy and has participated in artist residencies and workshops at Maine College of Art, Haystack Mountain School of Crafts, and Monhegan Island (MARC), where she has been proud to collaborate with Maine’s rich community of artists and craftsmen. Her teaching has expanded into teaching workshops at Haystack through the Haystack Mentor Program and at MAEA Conferences for adult art educators.
Raegan Russell was the 2021 Secondary School MAEA Teacher of the Year and the 2022 MAEA Maine Art Educator of the Year. At Berwick Academy, Raegan was awarded the Dorothy Green Outstanding Educator of the Year in 2003. She received a sabbatical in 2018, where she traveled to Southeast Asia and later earned the Monhegan Artists Residency for art educators.
At her core, Raegan Russell is an artist, who works in oil, mixed media, and printmaking. Her current body of work is figurative, painterly, and evocative of the light and space found in the neighborhoods and changing landscape of rural Maine, and in her travels. Her paintings, while sensitive and observational in nature, look for the quirky, unusual, or profound lying just beneath the surface of the mundane.
Materials List for Participants to Bring:
In this workshop, you will learn to make artist sketchbooks with gelatin print covers, various paper surfaces, and Coptic bindings. This is the first project that I do with my students, and they love it! In addition to making your own sketchbook (or several), we will work through some of my favorite prompts, which are sure to spark creativity, build art skills and introduce students to contemporary artists and art-making.
Instructor
Raegan Russell graduated from Boston University’s School for the Arts, where she earned both her BFA and MFA and studied with Jim Weeks, John Moore, and Lennart Anderson. For the past two decades, she has acted as the Visual Art Chair and Director of Visual and Performing Arts at Berwick Academy and has participated in artist residencies and workshops at Maine College of Art, Haystack Mountain School of Crafts, and Monhegan Island (MARC), where she has been proud to collaborate with Maine’s rich community of artists and craftsmen. Her teaching has expanded into teaching workshops at Haystack through the Haystack Mentor Program and at MAEA Conferences for adult art educators.
Raegan Russell was the 2021 Secondary School MAEA Teacher of the Year and the 2022 MAEA Maine Art Educator of the Year. At Berwick Academy, Raegan was awarded the Dorothy Green Outstanding Educator of the Year in 2003. She received a sabbatical in 2018, where she traveled to Southeast Asia and later earned the Monhegan Artists Residency for art educators.
At her core, Raegan Russell is an artist, who works in oil, mixed media, and printmaking. Her current body of work is figurative, painterly, and evocative of the light and space found in the neighborhoods and changing landscape of rural Maine, and in her travels. Her paintings, while sensitive and observational in nature, look for the quirky, unusual, or profound lying just beneath the surface of the mundane.
Materials List for Participants to Bring:
- Glue stick
- Assorted papers, collage papers
- Drawing materials: pencils, sharpies, colored pencils, markers
- straight edge ruler or T square
- Scissors
- Exacto knife
Extruding Plus+ / Jemma Gascoine / Monson
Workshop Description
In this workshop we will be exploring the wonders of Extruding. Using multiple dyes, we will make boxes as initial pieces, then alter them with pieces thrown off the hump (a method of throwing off a large amount of clay). I have 5 wheels, 1 slab roller and 1 extruder in my workshop. No more than 5 can throw at a time. You will be provided with one bag of clay.
Instructor
Jemma Gascoine originally studied under the UK based Master Potter Barry Guppy. She has been teaching clay workshops through Adult Education programs and in schools for eighteen years. She has been selling her functional and sculptural work in Maine and beyond for over twenty years. At present she owns and runs Monson Pottery in Monson where she teaches and sells regionally made functional and sculptural ceramics.
Studio Fee: Additional $15
Materials List for Participants to Bring:
In this workshop we will be exploring the wonders of Extruding. Using multiple dyes, we will make boxes as initial pieces, then alter them with pieces thrown off the hump (a method of throwing off a large amount of clay). I have 5 wheels, 1 slab roller and 1 extruder in my workshop. No more than 5 can throw at a time. You will be provided with one bag of clay.
Instructor
Jemma Gascoine originally studied under the UK based Master Potter Barry Guppy. She has been teaching clay workshops through Adult Education programs and in schools for eighteen years. She has been selling her functional and sculptural work in Maine and beyond for over twenty years. At present she owns and runs Monson Pottery in Monson where she teaches and sells regionally made functional and sculptural ceramics.
Studio Fee: Additional $15
Materials List for Participants to Bring:
- Clay tools
- Rags
- Apron
- Packing materials and boxes for any work you might want to bring home to fire later
- Examples/photos of clay work that you have done or other work that you have made that you feel passionate about and would like to share with the group