MAEA Fall Conference 2019: Visually Speaking
Friday, September 20 - Sunday, September 22, 2019
Haystack School of Crafts, Deer Isle, Maine
Registration Opens June 1st at 7 a.m.
Please note we will continue to register on a first come first served basis.
Selected volunteers are guaranteed a spot if registration is complete by the end of the day June 1st! Look for confirmation by Abby Jacobs.
A waitlist will be generated once we are at capacity. Members on the waitlist will be given priority for the 2020 Haystack Fall Conference.
Volunteers for 2019:
Centerpieces: Jenna DeWan & Zachary Fields
Pins/Name tags: Carolyn Brown
Signs: Ellyn Smith & Lynn Bustard
Vendor Coordinators: Kari McCarthy & Cory Bucknam
Silent Auction Coordinator: Marcy King
Snack Coordinator: Heidi O'Donnell
Photographer: Hevia Paxton
Techno Wizard: Kimberly Medsker-Mehalic
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.
2019 Registrar: Hope Lord - hlord73@gmail.com
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.
2019 Registrar: Hope Lord - hlord73@gmail.com
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.
This conference 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.
“Visually Speaking”
Art allows us to speak with more speed, specificity, and universal accessibility than any other language. We have the ability and responsibility to help ourselves and those around us to find and raise our individual voices, to join the universal conversation about this life we live, our hopes, fears, desires, dreams, and ideas. This year at Haystack, let’s learn new skills, make new connections, and concentrate on making this conversation both open and understandable to everyone. With this ability comes great responsibility for what we say and how we say it. May we all be good stewards of our common language, and may the conversation be richer for our participation.
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.
This conference 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.
“Visually Speaking”
Art allows us to speak with more speed, specificity, and universal accessibility than any other language. We have the ability and responsibility to help ourselves and those around us to find and raise our individual voices, to join the universal conversation about this life we live, our hopes, fears, desires, dreams, and ideas. This year at Haystack, let’s learn new skills, make new connections, and concentrate on making this conversation both open and understandable to everyone. With this ability comes great responsibility for what we say and how we say it. May we all be good stewards of our common language, and may the conversation be richer for our participation.
Conference Fees:
- On-Campus Housing: $295
- Off-Campus Housing: $245
- Note: Two workshops have additional material fees: Encaustic Painting ($45) and Wet Felting ($25)
- 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.
2019 Facilitators/Workshops
See Below for more details regarding facilitators and supply lists.
- Plein Air Painting: Cooper Dragonette
- Enameling 101: Emily Shaffer
- Encaustic Painting: Hélène Farrar (Additional Material Fee $45)
- Image on Clay: Hannah Niswonger
- Stained Glass: Holly Elkins
- Wet Felting Flowers: Jennifer Field (Additional Material Fee $25)
- Watercolor Plus: Marcia Christensen
Plein Air Painting
Facilitator: Cooper Dragonette
This two-day class will focus on Plein Air painting. Whether you are new to painting or have some experience, this workshop will ensure that each student has a good, working foundation in order to support their exploration of working en plein air. The instructor will open each day with a demonstration, after which students will paint and receive individual attention with their work. Plein Air demos will give you a first hand view of Cooper's approach to working on site and you will have plenty of time to work on your own paintings in the field and in the studio.
The class will focus on learning to see what elements help to make a successful painting, emphasizing the fundamental principles necessary to quickly and accurately capture the beauty of the landscape when painting outdoors. Among topics covered will be: composition, values, saturation, drawing, edges, brushes, and paint application. We will also discuss artistic style, and the importance of painting from life as a means to developing one’s own individual voice.
Supply List:
Landscape painting is always weather dependent and learning to paint en Plein Air in bad weather never makes for a good learning environment. If the weather is good, we will be painting outdoors. Should we decide it’s not, we will paint in the classroom. Pack everything in one bag.
This supply list covers what I consider necessary for painting outdoors. I try to limit my gear to just what is essential. The supply list below is what I like to have with me. I get most of my supplies online. It’s great to support the local art stores, but you can often get supplies for half the price online. There are art-supply chain stores that are very affordable, like Dick Blick, Utrecht, Cheap Joes, Jerrysartarama, and others.
The class will focus on learning to see what elements help to make a successful painting, emphasizing the fundamental principles necessary to quickly and accurately capture the beauty of the landscape when painting outdoors. Among topics covered will be: composition, values, saturation, drawing, edges, brushes, and paint application. We will also discuss artistic style, and the importance of painting from life as a means to developing one’s own individual voice.
Supply List:
Landscape painting is always weather dependent and learning to paint en Plein Air in bad weather never makes for a good learning environment. If the weather is good, we will be painting outdoors. Should we decide it’s not, we will paint in the classroom. Pack everything in one bag.
This supply list covers what I consider necessary for painting outdoors. I try to limit my gear to just what is essential. The supply list below is what I like to have with me. I get most of my supplies online. It’s great to support the local art stores, but you can often get supplies for half the price online. There are art-supply chain stores that are very affordable, like Dick Blick, Utrecht, Cheap Joes, Jerrysartarama, and others.
- Layers of clothing, including a warm hat
- Sun hat
- Sunscreen
- Bug Spray
- Water & Snack
- Apron
- Small sketchbook
- Soft pencil - like 4B
- View finder (black card with cut out window approx. 3 1/4 x 4”) A 35mm slide mount is too small!
- 1 black Sharpie "fine point" (tip looks kind of like a crayon point)
- 7 gessoed panels ranging in size from 8x10” to 12” x 16”. If you prefer stretched canvas, that's fine. I like a smooth panel, but canvas or linen covered is fine as well.
- Gamsol, for thinning your paint and cleaning brushes.
- Medium. I like to use medium when I paint, but not everybody does. When painting indoors or outside I like Liquin Original. It has a fast time drying time that I have grown comfortable with using. For slowing drying times, I like to use Gamblin Solvent Free Gel or Neo Meglip Medium. And of course, if you don't feel the need for medium, that's fine too. In addition to making your oils a nicer consistency, most mediums have a drying agent in them that speeds drying time -- very helpful when traveling.
- 1 small jar with water tight lid or one of the metal, brush washer cans. This is to put your Gamsol in.
- Rags or paper towels
- Bristle brushes, bright, 2 each of sizes 4, 5 and 6. (I use Utrecht No.202) These range in width from 3/8" to 5/8". Any decent quality hog's hair bristle brush will do fine. And if you prefer flats or filberts, that's fine.
- Outdoor easel with palette. There are many types of outdoor easels, and any of them should be fine. I use a version of the Art Box and Panel tripod easel. For bigger works or windy locations, I use a French easel. Practice setting up and taking down your easel at home.
- •Vinyl or latex gloves
- •Wet panel carrier or some way to get your wet paintings home. Raymar makes an affordable corrugated plastic carrier in several sizes.
- Oil Paints: alizarin crimson (permanent) cadmium red light cad. orange cad. yellow medium cad. yellow light sap green cobalt blue ultramarine blue titanium white (soft)
- If you have your own palette of colors or use a “limited palette”, that’s fine. I also have a box full of paint and colors that I rarely use, but now and again make a guest appearance on my palette.
- I use mostly Lukas or Gamblin oil paints. Don’t worry about getting exactly the right brands or the perfect brushes, etc. Anything will work.
Enameling 101
Facilitator: Emily Shaffer
Enameling 101 with Emily Shaffer Emily Shaffer, award-winning metalsmith and studio jeweler, will introduce students to enameling on copper. This ancient art produces vibrant colors by fusing powdered glass to 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.
Originally from Pennsylvania, Emily received her B.F.A and B.S. from Kutztown University. She moved to Maine in 2014 since then has made a home in Maine creating wearable jewelry with vitreous enamel and sterling silver. Emily is the recipient of the J. Allen Pawling Craft Memorial Award, an American Craft Week 30 Under 30 Rising Star, a 2017 Halstead Grant Top 5 Finalist, and the 2018 Halstead Grant Winner.
Supply list:
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.
Originally from Pennsylvania, Emily received her B.F.A and B.S. from Kutztown University. She moved to Maine in 2014 since then has made a home in Maine creating wearable jewelry with vitreous enamel and sterling silver. Emily is the recipient of the J. Allen Pawling Craft Memorial Award, an American Craft Week 30 Under 30 Rising Star, a 2017 Halstead Grant Top 5 Finalist, and the 2018 Halstead Grant Winner.
Supply list:
- Various enamel colors (Transparent + Opaque Colors, Counter enamel)
- Spray Bottles
- Steel bench blocks
- Distilled Water
- Newspaper
- Metal Spatula for Kilns
- Various hand tools
- Plastic paint palettes
- Small paint brushes
- Eye Dropper
- Paper towels
- Copper
- Files
- Pliers
- Sponge for cleaning
- 3M Masks
- 3M Scotch Brite Pads
- Cardstock paper for stencils
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.
Biography Hélène Farrar
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:
Materials Fee: supply costs: $45 / student TOTAL
Biography Hélène Farrar
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 and obscure collected objects for embedding such as rusted medal washers
- Old shoes:) the wax drips.
- Additional panels to paint on for students wishing to go bigger than 10 X 10 inches - - - students will be given varied small panels from 4 X 4 and Up
Materials Fee: supply costs: $45 / student TOTAL
Image on Clay
Facilitator: Hannah Niswonger
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In this session we will explore a number of ways of adding image to clay, including working with wax and other resist materials, paper transfer, Mishima, sgraffito, and making and using glaze crayons. Students will have the opportunity to explore a number of techniques, and we’ll discuss materials and firing techniques, as well as how to introduce the techniques to students of various levels.
Supply List:
- 2 bisqued plates or several large tiles (6"x6")
- If possible - 2 unfired plates
- fairly fine paintbrush
- paper
- pencils
- scissors
- X-ACTO knife
- a basic pottery tool kit to the list: pin tool, carving tools, sponge, knife, serrated rib.
Stained Glass
Facilitator: Holly Elkins
Holly is a multi-faceted printmaker/painter whose latest medium is stained glass. Within the time constraints of the weekend she will guide you in the basics of cutting, grinding, foiling and soldering glass pieces. The hope is to help you become comfortable with this amazing craft.
We will also devote time to the design of windows that celebrate the color and luminosity of the glass while honoring the structural requirements (and limitations) of the process.
Supply List:
We will also devote time to the design of windows that celebrate the color and luminosity of the glass while honoring the structural requirements (and limitations) of the process.
Supply List:
- Safety glasses or goggles
- Glass cutter
- Sharpie marker
- Glue stick
- Burnisher or chopstick
- Soldering iron Shears for cutting foil (FOR PATTERN CUTTING)
- Running pliers grozing pliers
- 60/40 solder Copper foil
- Cutting oil
- Grinder
- Patina
- graph and/or heavy drawing paper (for design making) GLASS
Wet Felting Flowers
Facilitator: Jennifer Field
WET FELTING FLOWERS with Jennifer Field In this fun and colorful workshop students will learn how to wet felt wool into beautiful realistic felt flowers. We will be using soft, quick felting short fiber merino wool in luscious colors, aromatherapeutic olive oil soap, warm water and some elbow grease. Students will learn how to make botanical forms such as flower petals, leaves, buds and wired stems. Students will spend the first day learning how to create components and the second day fine tuning components and assembling a realistic stemmed flower, like a tulip, daffodil, poppy or a more ambitious lily or simple iris. More complicated flowers forms techniques will be discussed. I cannot overstate the therapeutic and relaxing effects of wet felting and the satisfaction of recreating nature with wool.
Jennifer Field is a mixed media artist living in Eliot, Maine. She travels all over the country teaching and showing her glass beads, jewelry and felted sculptures. Her work incorporates needle and wet felted wool, lampworked glass, enameled metal and other mediums into whimsical sculptures and jewelry. Her subject matter is inspired by nature: Birds, animals and flowers are among her favorite forms. With a background as a toy, fabric, graphic and product designer and an illustrator and after 20+ years of creating lampworked glass beads and metal jewelry, Jennifer discovered felting with wool and it has become her primary passion.
Jennifer maintains an amazing colorful studio at Salmon Falls Mills in Rollingsford, NH. Any questions: jenniferfieldstudios@gmail.com www.facebook.com/jenniferfieldstudios www.jenniferfieldstudios.com (currently under construction)
Supply List:
$25 Materials kit will include fleece, basic wet felting tool kit, felting needles, foam block, soap and wire.
Jennifer Field is a mixed media artist living in Eliot, Maine. She travels all over the country teaching and showing her glass beads, jewelry and felted sculptures. Her work incorporates needle and wet felted wool, lampworked glass, enameled metal and other mediums into whimsical sculptures and jewelry. Her subject matter is inspired by nature: Birds, animals and flowers are among her favorite forms. With a background as a toy, fabric, graphic and product designer and an illustrator and after 20+ years of creating lampworked glass beads and metal jewelry, Jennifer discovered felting with wool and it has become her primary passion.
Jennifer maintains an amazing colorful studio at Salmon Falls Mills in Rollingsford, NH. Any questions: jenniferfieldstudios@gmail.com www.facebook.com/jenniferfieldstudios www.jenniferfieldstudios.com (currently under construction)
Supply List:
- old bath towel
- VERY SHARP large and small scissors (I like Fiskars)
- notebook and pen for taking notes
$25 Materials kit will include fleece, basic wet felting tool kit, felting needles, foam block, soap and wire.
Watercolor Plus
Facilitator: Marcia Christensen
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Beginning with basic transparent watercolor techniques, the workshop with advance to nontraditional expressive areas of the medium. This may include working with collage and collaged surfaces, inscribing, and perhaps some transfer while creating a final painting.
Supply List:
Supply List:
- Watercolor paints: alizarin crimson, permanent rose, ultramarine blue, cobalt blue, thalo blue, aurelin, new gamboge.
- Watercolor brushes: at least 1” flat wash brush and various rounds
- Two sheets 140# cold pressed arches watercolor paper
- ZipDry glue (necessary and available at Joann’s)
- Masking tape
- PHOTOCOPIED writing in reverse (computer printout will not work)
- Needletool
- Palette, preferably covered
- Linen gummed tape
- Two reservoirs: one large and one small
- Tracing paper
- Various papers you might like to use in collage
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