MAEA Fall Conference 2018: Collaboration with Impact Friday, September 14 - Sunday, September 16, 2018
Haystack School of Crafts, Deer Isle, Maine
Registration is closed.
A wait list has been started.
Please know that we are investigating ways to expand our capacity to serve our membership through this very special professional development opportunity. Registration this morning averaged one every 11.3 seconds in a 10 minute period - it was impressive and reflective of this valuable experience.
Please consider this opportunity to join/renew your 2018-19 MAEA membership today. You may join/renew online HERE.
Thank you.
Refund and Cancellation Policy
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. 2018 Registrar: Holly Houston - holly_houston@yarmouthschools.org
Notification of Cancellation received by:
June 30th - 100% conference rate refund;
July 15th - Full conference rate refund minus 5% service fee;
July 31st - 75% full conference rate refund;
August 15th - 50% full conference rate refund;
August 30th - 25% full conference rate refund;
After September 1st - no refund.
Notification of Cancellation received by:
June 30th - 100% conference rate refund;
July 15th - Full conference rate refund minus 5% service fee;
July 31st - 75% full conference rate refund;
August 15th - 50% full conference rate refund;
August 30th - 25% full conference rate refund;
After September 1st - no refund.
The Maine Art Education Association’s annual Fall Conference is a time for art educators in our state to gather together for professional development, conversations around curriculum and instruction, and time dedicated to working in a focused studio workshop for the duration of the session.
The intensive nature of our Fall Conference, and the setting at Haystack School of Crafts, gives art educators the opportunity to re-energize their commitment to education and the arts at the beginning of each school year, free from the distractions of daily life.
Studio workshops allow for extended conversations around the practice of teaching. We become students again, with outstanding artists and teachers as workshop facilitators. Communal meals, presentations, and our annual MAEA meeting are all avenues for connections and collaboration, serving as a catalyst for many more conversations and shared activities throughout the school year.
“Collaboration with Impact” encourages us to reflect on the potential for growth and interconnectedness as we join together at Haystack: taking the experience from Fall Conference back to our classrooms, to share with our students and colleagues; experienced teachers mentoring those new to the profession; and fostering the development of students in our arts classrooms.
The intensive nature of our Fall Conference, and the setting at Haystack School of Crafts, gives art educators the opportunity to re-energize their commitment to education and the arts at the beginning of each school year, free from the distractions of daily life.
Studio workshops allow for extended conversations around the practice of teaching. We become students again, with outstanding artists and teachers as workshop facilitators. Communal meals, presentations, and our annual MAEA meeting are all avenues for connections and collaboration, serving as a catalyst for many more conversations and shared activities throughout the school year.
“Collaboration with Impact” encourages us to reflect on the potential for growth and interconnectedness as we join together at Haystack: taking the experience from Fall Conference back to our classrooms, to share with our students and colleagues; experienced teachers mentoring those new to the profession; and fostering the development of students in our arts classrooms.
|
Registration opens at 7 a.m. on
Friday - June 1st, 2018. Space is limited with some workshops filling by lunch! Sign up early! |
Conference Fees:
- On-Campus Housing - $295
- Off-Campus Housing $245
- Note: Two workshops have additional material fees: Encaustic Painting and Silver Clay. If you register for one of these, you will need to wait until you are notified that a place for you has been secured. At that point, you will be directed to pay the additional materials cost.
- If you are renewing as an active member - add $30
- If you are renewing as a full-time student - add $5
- If you are renewing as a retired art educator - add $15
- If you are no longer teaching and want to renew with a retired lifetime membership - add $120
- If you are already a retired lifetime member - there is no additional cost.
2018 Facilitators/Workshops
See Below for more details regarding facilitators and supply lists.
- Encaustic Painting: Hélène Farrar (Note: $25 materials fee/student)
- Textile Arts - Create and Explore Surface Design and Collage: Catherine Worthington
- Clay: Simon van der Ven
- Exploring Precious Silver Clay Jewelry Fabrication: Nisa Smiley (Note: $30 materials fee/student)
- Printmaking for Artists who like to draw: Lisa Pixley
- Introduction to Scientific Illustration: Karen Talbot
- Outdoor/Plein Air Painting, all mediums welcome including drawing: Ralf Feyl
Encaustic Painting
Facilitator: Hélène Farrar
Let's drip, pour, drag, layer, heat, and incise! Investigate the art of encaustic painting in this very hands-on workshop using pigmented wax, and a heated palette! Explore a rich variety of marks and surfaces while doing image transfer, etching, and collaging in this seductive medium. Take both your flat collections of drawings, collected papers, pictures and incorporate found objects. Class time will be divided between demonstrations, individual work time, and discussion about historical and contemporary practices. We will also touch on proper studio ventilation, wax safety, and how to “finish” artworks in terms of framing and care. Students will leave with multiple finished pieces and the understanding of proper studio set-up.
Hélène Farrar has taught and worked in the visual arts for fifteen years while actively exhibiting in commercial, nonprofit and university galleries in New England, New York, Pennsylvania, Italy, and England. Farrar has a BA in Studio Art from the University of Maine and a Masters of Fine Art Degree in Interdisciplinary Arts from Goddard College in Vermont. Hélène currently owns and operates her own private art school in Maine out of her “Farmhouse” studio, where she holds varied workshops and classes. Farrar most recently featured in a solo exhibition “What We Carry” at the University of Maine at Farmington's Emery Art Center. Farrar is represented by the Stable Gallery in Damariscotta, Archipelago Fine Arts in Rockland, and the Center for Maine Craft in West Gardiner .
Supply list:
wax or parchment paper
scissors
masking tape
paper towels
tracing paper
a sketchbook for note taking / sharing ideas / process
pencil / pens favorite drawing tools
paper towels or wipes
an apron
Camera
A small set of oil pastels
laser xerox photocopies in color + bl/wh for transfer
flat stuff for collage such as old photos, original drawings, pattern paper, commercial or handmade papers
Small collected objects for embedding
Old shoes:) the wax drips.
Additional panels to paint on - - - students will be given 1- 12 X 12, 2 8 X 10, and 4ish small panels around 5 X 5 inches
Materials Fee: supply costs: $25 / student
Hélène Farrar has taught and worked in the visual arts for fifteen years while actively exhibiting in commercial, nonprofit and university galleries in New England, New York, Pennsylvania, Italy, and England. Farrar has a BA in Studio Art from the University of Maine and a Masters of Fine Art Degree in Interdisciplinary Arts from Goddard College in Vermont. Hélène currently owns and operates her own private art school in Maine out of her “Farmhouse” studio, where she holds varied workshops and classes. Farrar most recently featured in a solo exhibition “What We Carry” at the University of Maine at Farmington's Emery Art Center. Farrar is represented by the Stable Gallery in Damariscotta, Archipelago Fine Arts in Rockland, and the Center for Maine Craft in West Gardiner .
Supply list:
wax or parchment paper
scissors
masking tape
paper towels
tracing paper
a sketchbook for note taking / sharing ideas / process
pencil / pens favorite drawing tools
paper towels or wipes
an apron
Camera
A small set of oil pastels
laser xerox photocopies in color + bl/wh for transfer
flat stuff for collage such as old photos, original drawings, pattern paper, commercial or handmade papers
Small collected objects for embedding
Old shoes:) the wax drips.
Additional panels to paint on - - - students will be given 1- 12 X 12, 2 8 X 10, and 4ish small panels around 5 X 5 inches
Materials Fee: supply costs: $25 / student
Textile Arts - Create and Explore Surface Design and Collage
Facilitator: Catherine Worthington
Surface Design and Textile Painting is an art form where in using your creativity and explorative painting techniques you can transform a plain piece of cloth into art.
Textile surface design encompasses a wide variety of techniques for altering the surface of fabric, painting and printing on fabric, using a resist to separate colors and to create a design, layering different types of fabrics, as in a fabric collage and stitching, just to name a few.
This course will explore the Art of cloth by transforming fabric through surface design Students will learn techniques such as, gel printing, mono printing and mark making, silk screening and textile painting.They will build layers of color and texture to create unique palette of fabrics to use in their textile art.
Art cloths will also be transformed into textile collages.
Demonstrations on techniques will be given throughout the workshop.Students will spend time creating at their own pace.
Participants will learn from scratch, expand their knowledge, or perfect their skills.
Open to all skill levels
Catherine Worthington grew up in Rockland,MA and studied art at the University of Massachusetts in Dartmouth where she received a BFA in textile design. In the late eighties Catherine left a job in a textile mill in Canton,MA to move with her husband to Brunswick,Maine. Now she has lived in Maine thirty years,raised three boys and is working full time as an artist. For more than twenty years she worked as an artist mentor at Spindleworks in Brunswick,an arts program for adults with disabilities. Working in the local arts community Catherine found herself more and more connected to, and immersed in the arts giving her much opportunity to grow and nurture her own creative practice of textile artist, maker and teacher. Having learned the skill and love of sewing as a young girl Catherine combines her textile design background and studio practice of surface design to create unique hand painted and printed textiles that she uses in her textile art. She enjoys sharing her knowledge and techniques she has learned creating and has taught many surface design classes and workshops in the community. Catherine served on the board of Arts are Elementary in Brunswick and has had several artist residencies in local schools.
Catherine has been exhibiting her work for eighteen years throughout Maine, New England and Florida and her art quilts are part of many private collections and found permanent residence in three hospitals in Maine as well as a local church. Catherine is represented by Archipelago, Island Artisans Gallery, Monkitree and at the Center for Maine Craft. She is a member of Designing Women,Harlow Gallery, Maine Crafts Association,Maine Crafts Guild and Maine Fiber Arts.
Supply list:
I will be supplying Textile Paints and Canvas as well as other materials/supplies to use.
PLEASE BRING:
Textile surface design encompasses a wide variety of techniques for altering the surface of fabric, painting and printing on fabric, using a resist to separate colors and to create a design, layering different types of fabrics, as in a fabric collage and stitching, just to name a few.
This course will explore the Art of cloth by transforming fabric through surface design Students will learn techniques such as, gel printing, mono printing and mark making, silk screening and textile painting.They will build layers of color and texture to create unique palette of fabrics to use in their textile art.
Art cloths will also be transformed into textile collages.
Demonstrations on techniques will be given throughout the workshop.Students will spend time creating at their own pace.
Participants will learn from scratch, expand their knowledge, or perfect their skills.
Open to all skill levels
Catherine Worthington grew up in Rockland,MA and studied art at the University of Massachusetts in Dartmouth where she received a BFA in textile design. In the late eighties Catherine left a job in a textile mill in Canton,MA to move with her husband to Brunswick,Maine. Now she has lived in Maine thirty years,raised three boys and is working full time as an artist. For more than twenty years she worked as an artist mentor at Spindleworks in Brunswick,an arts program for adults with disabilities. Working in the local arts community Catherine found herself more and more connected to, and immersed in the arts giving her much opportunity to grow and nurture her own creative practice of textile artist, maker and teacher. Having learned the skill and love of sewing as a young girl Catherine combines her textile design background and studio practice of surface design to create unique hand painted and printed textiles that she uses in her textile art. She enjoys sharing her knowledge and techniques she has learned creating and has taught many surface design classes and workshops in the community. Catherine served on the board of Arts are Elementary in Brunswick and has had several artist residencies in local schools.
Catherine has been exhibiting her work for eighteen years throughout Maine, New England and Florida and her art quilts are part of many private collections and found permanent residence in three hospitals in Maine as well as a local church. Catherine is represented by Archipelago, Island Artisans Gallery, Monkitree and at the Center for Maine Craft. She is a member of Designing Women,Harlow Gallery, Maine Crafts Association,Maine Crafts Guild and Maine Fiber Arts.
Supply list:
I will be supplying Textile Paints and Canvas as well as other materials/supplies to use.
PLEASE BRING:
- Fabric : a small selection of smooth white,light fabrics such as Muslin or other cottons.
- I will supply some canvas but you might want additional fabric to print on.
- Some foam brushes,and a variety of sizes of brushes for painting.
- An old credit card or something to use as a squeegee
- Found objects to create texture or stamp with such as bubble wrap, corks,
- paper towel tube, string,combs, different kinds of sponges, any stamps or stencils you may have.
- Freezer paper, manila folders or stencil paper for cutting stencils
- Scissors, E-xacto knife, and ruler
- Pencil,Sharpie,and sketchbook or paper
- Ideas for inspiration - photos,postcards,pictures from books or magazines
- Card stock or something suitable for mounting finished collages
- Roll of masking or duct tape
- Aileen’s Tacky glue
- If you have an iron bring it- there may be some there but I am not sure
- Apron or smock
- Sponge, rag, towel or baby wipes helpful for clean up
- Rotary cutter and cutting mat is very helpful
- Hairdryer for drying fabric quicker
- If you have a Gel plate please bring
- Chalk pastels
- Fabric markers
- tracing paper
Clay
Facilitator: Simon van der Ven
Soup to Nuts or The Truth About Teaching
In this workshop, we will follow two streams. One will involve refining what you already know about clay. The other will be adding new tricks and techniques to your toolkit. Simon “Siem” van der Ven will bring some of his favorite tools and demonstrate as many of his specific techniques as the participants can bear. These can include: paddle and pinch forming, double-walled throwing, slab construction, drawing accurate grids, piercing and surface carving, clay body modification and more.
How divergent or parallel the two streams run will be up to the individual participants. Interruptions, questions and challenges will be welcome, for these will inspire participants to offer different, possibly better, ways and means. Discussion subjects will include critical theory and practice and how to successfully develop a craft program.
By the end of our weekend, we will leave with loads of bisqueware and greenware, including refinements of previously established forms, completely new forms and everything in between (the in between, as always, being the most important stuff).
Simon van der Ven received an undergraduate degree in printmaking with a minor in sculpture, van der Ven worked as a goldsmith and carpenter/builder before becoming an award winning high school art teacher. Seventeen years in the classroom were interrupted only by a year-long sabbatical in the south of France, where van der Ven worked in Les Buffile clay studio and studied painting and critical theory at the Marchutz School. Later, while still teaching, van der Ven earned an MFA concentrating his studies on ceramics and drawing.
Simon has been an adjunct instructor at the University of Maine Augusta, University College Rockland, and Unity College. He’s facilitated workshops at Haystack Mountain School of Craft, and has been a resident artist at Anderson Ranch Arts Center in Colorado and Watershed Center for the Ceramic Arts in Maine.
Van der Ven’s work has won awards in several national juried competitions. It is held in both private and public collections including the San Angelo Museum of Fine Arts, the Canton Museum of Fine Arts, and Harrisburg Community College.
Today, van der Ven works as a full-time studio artist and part-time educator. He’s married to author Kate Braestrup with whom he shares six grown children.
I follow these threads through my life: Making things, cooking, drawing, sailing, teaching, being a father. I have never let go of the stage in which I learn from my fingertips inward. From here on, it’s a matter of refinement.
Supply list:
Miller #250 raku clay – a least a box per student plus two for me?
For the students:
Clay tools to include – towel(s), throwing sponge, needle tool, ribs, trim tools, water container, scrap bucket, paddle, craft knife
Super Secret Favorite Tool(s) - especially one you think no one else will bring
–– I strongly suggest you label your tools before arriving
Favorite cup
In this workshop, we will follow two streams. One will involve refining what you already know about clay. The other will be adding new tricks and techniques to your toolkit. Simon “Siem” van der Ven will bring some of his favorite tools and demonstrate as many of his specific techniques as the participants can bear. These can include: paddle and pinch forming, double-walled throwing, slab construction, drawing accurate grids, piercing and surface carving, clay body modification and more.
How divergent or parallel the two streams run will be up to the individual participants. Interruptions, questions and challenges will be welcome, for these will inspire participants to offer different, possibly better, ways and means. Discussion subjects will include critical theory and practice and how to successfully develop a craft program.
By the end of our weekend, we will leave with loads of bisqueware and greenware, including refinements of previously established forms, completely new forms and everything in between (the in between, as always, being the most important stuff).
Simon van der Ven received an undergraduate degree in printmaking with a minor in sculpture, van der Ven worked as a goldsmith and carpenter/builder before becoming an award winning high school art teacher. Seventeen years in the classroom were interrupted only by a year-long sabbatical in the south of France, where van der Ven worked in Les Buffile clay studio and studied painting and critical theory at the Marchutz School. Later, while still teaching, van der Ven earned an MFA concentrating his studies on ceramics and drawing.
Simon has been an adjunct instructor at the University of Maine Augusta, University College Rockland, and Unity College. He’s facilitated workshops at Haystack Mountain School of Craft, and has been a resident artist at Anderson Ranch Arts Center in Colorado and Watershed Center for the Ceramic Arts in Maine.
Van der Ven’s work has won awards in several national juried competitions. It is held in both private and public collections including the San Angelo Museum of Fine Arts, the Canton Museum of Fine Arts, and Harrisburg Community College.
Today, van der Ven works as a full-time studio artist and part-time educator. He’s married to author Kate Braestrup with whom he shares six grown children.
I follow these threads through my life: Making things, cooking, drawing, sailing, teaching, being a father. I have never let go of the stage in which I learn from my fingertips inward. From here on, it’s a matter of refinement.
Supply list:
Miller #250 raku clay – a least a box per student plus two for me?
For the students:
Clay tools to include – towel(s), throwing sponge, needle tool, ribs, trim tools, water container, scrap bucket, paddle, craft knife
Super Secret Favorite Tool(s) - especially one you think no one else will bring
–– I strongly suggest you label your tools before arriving
Favorite cup
“Exploring Precious Silver Clay Jewelry Fabrication”
Facilitator: Nisa Smiley
Are you a jewelry enthusiast? Curious to try crafting your own jewelry, but don’t have a jewelry studio and big budget to play with? Well this class is for you then! Discover the exciting possibilities of working with this precious material to make your own unique and beautiful jewelry.
Precious Silver Clay is just that: silver particles in an organic binder, mixed with water, resulting in a clay. When fired in a small kiln, the binder and water burn away and the particles fuse together, creating a solid metal. In this class, we’ll explore the techniques of mold making, wet clay working, leather-hard clay working, kiln firing, and jewelry fabrication using our fired silver clay components.
We’ll begin Friday by making our own custom molds, using natural found objects, mark-making tools, and silicone molding compound. In the evening we will “become acquainted” with our silver clay, and finish out the day with a kiln-load of simple work.
Saturday morning we’ll unload the kiln, and discovering the difference between the clay form and the solid metal form, giving us a better sense of the silver’s potential. The rest of the day will be spent working with the silver clay again, building on our previous experiences from the first firing. Following the evening firing (during dinner), we’ll explore jewelry fabrication techniques (mostly cold-connected, but simple torch soldering will be available, as well) and design, and begin to transform our pieces into jewelry!
Sunday morning we’ll finish crafting our silver jewelry and cleaning up the studio before our final showcase, and walk through.
Nisa Smiley is a professional studio jeweler, based in Ellsworth, Maine, as well as a certified instructor of metal clays, and various forms of fine craft. She works predominantly in gold, silver, and bronze, with special attention to natural found objects and gemstones as accents. She enjoys marrying traditional metalsmithing techniques with metal clay techniques, resulting in one-of-a-kind pieces that are rich in detail, kinetic in form, and designed to compliment the human figure.
When not in her beautiful sunny studio, or out teaching, Nisa can be found enjoying time with her family and friends, and/or combing miles of local beaches for inspiration.
Supply List:
~pencil, and favorite drawing tools (ruler, pens, templates, Sharpies, erasers, etc.)
~sketchbook for drawing designs and taking notes
~Natural found objects that inspire you, such as buttons, shells, things with texture, leaves (preferably fresh, stored in plastic ziplock bag in refrigerator with damp paper towel insert).
~optional: linoleum carver with sharp fine blades for carving fine details in rubber.
*basic sterling silver jewelry components will be included, such as 1 pair of ear wires and 3 jump rings, as well as nylon cord. Sterling silver chains, additional ear wires and jump rings, and pin bars will be available to purchase individually in class.
Materials Fee: $30 / Student
Precious Silver Clay is just that: silver particles in an organic binder, mixed with water, resulting in a clay. When fired in a small kiln, the binder and water burn away and the particles fuse together, creating a solid metal. In this class, we’ll explore the techniques of mold making, wet clay working, leather-hard clay working, kiln firing, and jewelry fabrication using our fired silver clay components.
We’ll begin Friday by making our own custom molds, using natural found objects, mark-making tools, and silicone molding compound. In the evening we will “become acquainted” with our silver clay, and finish out the day with a kiln-load of simple work.
Saturday morning we’ll unload the kiln, and discovering the difference between the clay form and the solid metal form, giving us a better sense of the silver’s potential. The rest of the day will be spent working with the silver clay again, building on our previous experiences from the first firing. Following the evening firing (during dinner), we’ll explore jewelry fabrication techniques (mostly cold-connected, but simple torch soldering will be available, as well) and design, and begin to transform our pieces into jewelry!
Sunday morning we’ll finish crafting our silver jewelry and cleaning up the studio before our final showcase, and walk through.
Nisa Smiley is a professional studio jeweler, based in Ellsworth, Maine, as well as a certified instructor of metal clays, and various forms of fine craft. She works predominantly in gold, silver, and bronze, with special attention to natural found objects and gemstones as accents. She enjoys marrying traditional metalsmithing techniques with metal clay techniques, resulting in one-of-a-kind pieces that are rich in detail, kinetic in form, and designed to compliment the human figure.
When not in her beautiful sunny studio, or out teaching, Nisa can be found enjoying time with her family and friends, and/or combing miles of local beaches for inspiration.
Supply List:
~pencil, and favorite drawing tools (ruler, pens, templates, Sharpies, erasers, etc.)
~sketchbook for drawing designs and taking notes
~Natural found objects that inspire you, such as buttons, shells, things with texture, leaves (preferably fresh, stored in plastic ziplock bag in refrigerator with damp paper towel insert).
~optional: linoleum carver with sharp fine blades for carving fine details in rubber.
*basic sterling silver jewelry components will be included, such as 1 pair of ear wires and 3 jump rings, as well as nylon cord. Sterling silver chains, additional ear wires and jump rings, and pin bars will be available to purchase individually in class.
Materials Fee: $30 / Student
Printmaking for Artists who like to draw
Facilitator: Lisa Pixley
An Intro to Non-toxic Drypoint Etching.
Students will be introduced to the materials and processes of drypoint etching using inexpensive and non-toxic materials. Drypoint is a detail rich, and expressive printmaking process that allows for a variety of mark making. The plates that are used are made from a recyclable plastic rather than traditional copper. This material cuts easily, and is transparent, allowing for easy transfer of pencil or pen and ink drawings. The printing process is fun, easy to learn, and inherently beautiful in its results. Students are encouraged to bring their sketchbooks, drawings and other sources including collage materials and photographs, though working directly on the plate is also possible. Students will be shown both traditional methods of plate making and printing as well as contemporary experimental processes. Drypoint etching is a satisfying and dynamic process for both beginners and advanced artists. No previous experience necessary.
Lisa Pixley is an artist printmaker located in Portland Maine. She received her BFA with a concentration in painting from the Maine College of Art. After graduating, Pixley began a focus in the craft of print, both as a commercial and artistic practice. She studied as an apprentice with David Wolfe of Wolfe Editions where she worked closely with artists such as Charlie Hewitt and Allison Hildreth. In 2009 Pixley founded Pickwick Independent Press in Portland, a for profit shared access print studio where she worked as director, master printer, and events coordinator, while also maintaining an active art practice in the medium of printmaking. This winter, Pixley has developed a body of work consisting of suites of prints for the upcoming launch of her new studio boutique, PrintCraft. PrintCraft is a fine art print studio, and bindery started with Martha Kearsly of Strong Arm Bindery. With their combined forces Kearsly and Pixley will work together to bring exquisite but affordable prints and stationary to market in their new store front located in Portland’s West End.
Supply List:
Lisa.pixley@gmail.com
Stonehenge Paper, 90lb 22”x30” white or warm white. (I will be providing a limited amount of paper, but should you want to be able to print with abandon, I recommend bringing a few extra sheets.) You can order it online at Dick Blick. Artist and Craftsman in Portland also carries it.
Any standard printmaking or rag paper will do. Rives BFK is a Favorite of mine if you wanted to step it up a notch.
An old phone book. We probably only need one for the whole class, but they are very useful for printing and clean up so bring one if you have one!
I’ll be demonstrating some hand coloring processes, so bring some of these if you are interested in doing this:
Marker set (sharpie or drawing), or watercolors, or color pencils.
A handful of q-tips
Students will be introduced to the materials and processes of drypoint etching using inexpensive and non-toxic materials. Drypoint is a detail rich, and expressive printmaking process that allows for a variety of mark making. The plates that are used are made from a recyclable plastic rather than traditional copper. This material cuts easily, and is transparent, allowing for easy transfer of pencil or pen and ink drawings. The printing process is fun, easy to learn, and inherently beautiful in its results. Students are encouraged to bring their sketchbooks, drawings and other sources including collage materials and photographs, though working directly on the plate is also possible. Students will be shown both traditional methods of plate making and printing as well as contemporary experimental processes. Drypoint etching is a satisfying and dynamic process for both beginners and advanced artists. No previous experience necessary.
Lisa Pixley is an artist printmaker located in Portland Maine. She received her BFA with a concentration in painting from the Maine College of Art. After graduating, Pixley began a focus in the craft of print, both as a commercial and artistic practice. She studied as an apprentice with David Wolfe of Wolfe Editions where she worked closely with artists such as Charlie Hewitt and Allison Hildreth. In 2009 Pixley founded Pickwick Independent Press in Portland, a for profit shared access print studio where she worked as director, master printer, and events coordinator, while also maintaining an active art practice in the medium of printmaking. This winter, Pixley has developed a body of work consisting of suites of prints for the upcoming launch of her new studio boutique, PrintCraft. PrintCraft is a fine art print studio, and bindery started with Martha Kearsly of Strong Arm Bindery. With their combined forces Kearsly and Pixley will work together to bring exquisite but affordable prints and stationary to market in their new store front located in Portland’s West End.
Supply List:
Lisa.pixley@gmail.com
- Black Sharpie Marker. Fine or ultra-fine depending on preference.
- Masking Tape
- A tall kitchen Trash bag.
- A clean bath towel, preferably white, or light in color.
- A pair of good sturdy scissors
- T-shirt rags (one or two old t-shirts worth cut into quarters)
Stonehenge Paper, 90lb 22”x30” white or warm white. (I will be providing a limited amount of paper, but should you want to be able to print with abandon, I recommend bringing a few extra sheets.) You can order it online at Dick Blick. Artist and Craftsman in Portland also carries it.
Any standard printmaking or rag paper will do. Rives BFK is a Favorite of mine if you wanted to step it up a notch.
An old phone book. We probably only need one for the whole class, but they are very useful for printing and clean up so bring one if you have one!
I’ll be demonstrating some hand coloring processes, so bring some of these if you are interested in doing this:
Marker set (sharpie or drawing), or watercolors, or color pencils.
A handful of q-tips
Introduction to Scientific Illustration
Facilitator: Karen Talbot
In this course, participants will take a piece of art from concept to display within the context of art as education. Scientific illustrator Karen Talbot is an award-winning artist with more than two decades of teaching experience at the primary and secondary levels. The course itself will model a progression that can be readily transferred to the classroom.
The course will begin with an overview of scientific illustration and examples of some of the work Karen has done for scientific journals, museums and other organizations. This brief introduction will be followed by an in-depth discussion of different media and substrates with which educators may choose to work with their students.
The first day will conclude with an introduction to working with specimens with an emphasis on close observation and creating a study.
On the second day of the course, students will work with their own specimens to create studies they will use as a tool for both learning and creating their finished piece. Throughout the entire course, Karen will help participants identify opportunities for curricular connections across disciplines. While scientific illustration lends itself well to curricular objectives in math and science, connections with English, literature, writing, and history will also be discussed. Throughout the remainder of the second day, participants will begin work on a finished piece while discussing tips, tricks and strategies to employ in the classroom.
On the third and final day, participants will discuss the process and value of evaluating and revising their work, as well as the benefits of working as partners and in small groups. The course will wrap up with a discussion of bringing revised work to conclusion in a polished piece that can be displayed and extend the learning beyond the classroom.
Karen Talbot is an award-winning artist known for her lifelike, scientific illustrations and fine art renderings and of fishes, birds, and botanicals. Whether she is enjoying the rocky coast and brook trout streams near her home in Midcoast Maine or she is on the road doing field work, Karen takes her inspiration from oceans, streams, canyons, and mountains where she regularly dives, fishes and climbs. An ardent conservationist and educator, she aims to educate through her art and frequently works with universities, museums, and secondary and primary schools to share both her expertise in, and passion for, scientific illustration and the value of art in the traditional classroom. In addition, she teaches scientific illustration workshops out of the Karen Talbot Art Gallery and Studio in Rockland, Maine. Karen donates a percentage of sales to help conserve wildlands and waters that inspire her.
Supply List:
Pencils and erasers!
Optional items that are not required but might be helpful: magnifying glasses, ruler or calipers, digital camera (or smartphone!).
The course will begin with an overview of scientific illustration and examples of some of the work Karen has done for scientific journals, museums and other organizations. This brief introduction will be followed by an in-depth discussion of different media and substrates with which educators may choose to work with their students.
The first day will conclude with an introduction to working with specimens with an emphasis on close observation and creating a study.
On the second day of the course, students will work with their own specimens to create studies they will use as a tool for both learning and creating their finished piece. Throughout the entire course, Karen will help participants identify opportunities for curricular connections across disciplines. While scientific illustration lends itself well to curricular objectives in math and science, connections with English, literature, writing, and history will also be discussed. Throughout the remainder of the second day, participants will begin work on a finished piece while discussing tips, tricks and strategies to employ in the classroom.
On the third and final day, participants will discuss the process and value of evaluating and revising their work, as well as the benefits of working as partners and in small groups. The course will wrap up with a discussion of bringing revised work to conclusion in a polished piece that can be displayed and extend the learning beyond the classroom.
Karen Talbot is an award-winning artist known for her lifelike, scientific illustrations and fine art renderings and of fishes, birds, and botanicals. Whether she is enjoying the rocky coast and brook trout streams near her home in Midcoast Maine or she is on the road doing field work, Karen takes her inspiration from oceans, streams, canyons, and mountains where she regularly dives, fishes and climbs. An ardent conservationist and educator, she aims to educate through her art and frequently works with universities, museums, and secondary and primary schools to share both her expertise in, and passion for, scientific illustration and the value of art in the traditional classroom. In addition, she teaches scientific illustration workshops out of the Karen Talbot Art Gallery and Studio in Rockland, Maine. Karen donates a percentage of sales to help conserve wildlands and waters that inspire her.
Supply List:
Pencils and erasers!
Optional items that are not required but might be helpful: magnifying glasses, ruler or calipers, digital camera (or smartphone!).
Outdoor/Plein Air Painting, all mediums welcome including drawing
Facilitator: Ralf Feyl
The overall objective of this workshop is to explore ones creativity in the outdoors. Weather permitting, we will be using the surrounding grounds of the campus as inspiration. Inside studio space will be available at all times as well. We will be focusing on technique, composition, drawing, and color. All levels are welcome from first timers to advanced. Students are encouraged to bring completed works and or works in progress for critique and studio time. Personal attention will be given to each student according to their goals in art.
First generation German roots and a midwestern upbringing provided Ralf Feyl with a strong foundation. Ralf was immersed in the world of hand work, his father being a woodworker and his mother a tailor. Observing his parents' crafts, Ralf became attuned to detail, delicacy, and design. At the American Academy in Chicago, Ralf studied a more traditional approach to painting. He then traveled east to study in Connecticut at the Lyme Academy and became deeply inspired by the mysterious borderlands of the coastal area and the people who inhabit it. Once in New England, Ralf found the influence and stimulation he needed. Ralf has over twenty solo exhibitions to his credit, and his work is found in hundreds of private and corporate collections. Ralf resides in Maine where he continues to paint. At times elusive and at times familiar, Ralf creates a plurality of feelings that keeps.
Supply List:
Supplies depend on the medium the student would like to work in. Feel free to contact the instructor if you have questions. If you choose to work outside a portable easel or surface would be highly recommended.
First generation German roots and a midwestern upbringing provided Ralf Feyl with a strong foundation. Ralf was immersed in the world of hand work, his father being a woodworker and his mother a tailor. Observing his parents' crafts, Ralf became attuned to detail, delicacy, and design. At the American Academy in Chicago, Ralf studied a more traditional approach to painting. He then traveled east to study in Connecticut at the Lyme Academy and became deeply inspired by the mysterious borderlands of the coastal area and the people who inhabit it. Once in New England, Ralf found the influence and stimulation he needed. Ralf has over twenty solo exhibitions to his credit, and his work is found in hundreds of private and corporate collections. Ralf resides in Maine where he continues to paint. At times elusive and at times familiar, Ralf creates a plurality of feelings that keeps.
Supply List:
Supplies depend on the medium the student would like to work in. Feel free to contact the instructor if you have questions. If you choose to work outside a portable easel or surface would be highly recommended.
Schedule:
Friday
9:00-11:30 Registration & Art Vendor Exhibits
9:00-11:00 OPTIONAL Gelli Printmaking mini-workshop, Printmaking studio
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 (door prizes, incl. $100 cash and other...)
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
9:00-11:00 OPTIONAL Gelli Printmaking mini-workshop, Printmaking studio
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 (door prizes, incl. $100 cash and other...)
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