2011-11-23T12:31:00.000-08:00

The Nature of Drawing Birds I with Linda M. Feltner

Your investigation into bird anatomy begins with physical characteristics such as beaks, feet, wings, feather tracts, body shapes, as well as behavior. We will compare adaptations for finding food and habitat specialization. Museum mounts and specimens with expert guidance will assist with techniques and “bird details.” The final product: a sophisticated bird study in graphite when you leave the class. Fee: $210 member, $257 non-member, Prerequisites: Pencil I, Pencil II recommended

No refunds for registration cancellations after January 16 unless your seat can be filled.

*Mon. – Wed., Feb. 6 – 8, 9 a.m. – 2:30 p.m.

Instructor: Linda Feltner, Hereford, AZ

The Nature of Drawing Birds II with Linda M. Feltner

Learn the common approaches to illustrate birds and discover the challenging proportions and perspective of bird illustration. Enjoy group instruction and individual attention from a specialist. With guidance, museum mounts and bird specimens provide tools to complete an elegant bird portrait. Fee: $210 member, $257 non-member, Prerequisites: Pencil I, Pencil II recommended, Color Mixing for Artists, Watercolor I or Water Color Pencil I.

No refunds for registration cancellations after January 19 unless your seat can be filled.

*Fri. – Sun., Feb. 10 – 12, 9 a.m. – 2:30 p.m.

Instructor: Linda Feltner, Hereford, AZ

Linda M. Feltner specializes in both the aesthetics and science of natural history. Not only does her work represent the strict standards of accuracy for natural history, but through her fine arts background, she combines the creativity of artistic design with the realism of nature into what has become her trademark. Her career has developed through interpretive media, book and magazine illustrations, solo exhibitions and classroom teaching. She has over 38 years of experience in painting and drawing. She has been an instructor for the Scientific Illustration Program with the University of Washington, the North Cascade Institute and currently teaches at the Arizona-Sonora Desert Museum Art Institute.

Field Trip to Birds of Prey Foundation, Broomfield, Colorado

Observing live birds allows you to apply the skills honed on the previous days or prepares you for an upcoming course. Study first-hand the physical characteristics, gestures, changing shape and posture of a living bird.

The Birds of Prey Foundation is a nonprofit organization with a mission to rehabilitate and release injured and orphaned raptors back into the wild. This foundation in Broomfield is the largest raptor center in Colorado, admitting over 500 injured and orphaned raptors from all over the state each year. Transportation from Denver Botanic Gardens is arranged. Fee: $70 member, $85 non-member. Recommended for all The Nature of Drawing Birds participants; limited to 12 participants each visit.

No refunds for registration cancellations after January 19 unless your seat can be filled.

1. Thurs., Feb. 9, 9 a.m. – noon. – Geared for students from the Bird Workshop I

2. Thurs., Feb. 9, 1 – 4 p.m. – Geared for students from the Bird Workshop II

Egg Tempera Painting with Koo Schadler
Dating to ancient Egypt and most famous during the Renaissance, egg tempera painting is becoming increasingly popular with artists today. Tempera has unsurpassed luminosity and dozens of glazes and scumbles can be applied in a day. The medium also allows for meticulous, fine, linear detailing – making it an ideal paint for botanical illustration. In this comprehensive three day workshop you will learn all aspects of the medium: egg tempera’s rich history, the characteristics of powdered pigments, how to mix fresh egg tempera paint from scratch, dozens of ways to apply the paint (including decorative patterning and faux finishing effects) and how to finish an egg tempera painting (including oil glazing over tempera).

Fee: $240 member, $290 non-member. Fee includes genuine powdered pigments (in paste form) and true gesso panels. Open to all levels of painters, from beginner to advanced.

No refunds for registration cancellations after May 18 unless your seat can be filled.

*Weekend Workshop

Fri. – Sun., June 8 – 10, 9 a.m. – 2:30 p.m.

Instructor: Koo Schadler, Alstead, NH

Koo Schadler has taught egg tempera and old master painting classes around the

U.S.

and abroad. Her exquisitely detailed egg tempera paintings and silverpoint drawings are in more than 400 private and corporate collections worldwide and in the permanent collections of many museums. Schadler is a master painter of the Copley Society of Art in Boston, MA, a board member of The Society of Tempera Painters and a contributing editor to The Artists’ Magazine. Her work is represented by the Arden Gallery in Boston, the J. Cacciola Gallery in New York and by Tree’s Place, in Orleans, MA. Her comprehensive book on egg tempera has been described as “one of the most concise and useful books on the art of egg tempera painting…should be on the bookshelf of every serious artist.”

Drawing on Tradition: Drypoint Printing (Intaglio Print)

If Rembrandt and Dürer had Plexiglas at their disposal, they most certainly would have embraced the inexpensive and simple contemporary method of printing this class teaches. You will learn the printmaking process called drypoint or intaglio. Learn to etch like the masters without the complexity of traditional copperplate methods first developed in Southern Germany during the late 15^th century. The team of two instructors will guide you through their respective areas of expertise; design and printmaking. First learn to apply basic principles of design in a simple composition inspired by live tulips. Then walk step-by-step through the drypoint printing process, experimenting first with line then applying drypoint to your composition. Finish with techniques for coloring your engraved plates using the medium of your choice. This type of etching renders elegant, expressive lines varying between light and delicate to heavy and bold, to create a uniquely velvety feel. Fee: $226member, $326 nonmember. Prerequisites: Pencil I, Color Mixing for Artists, Watercolor I OR Color layering for Colored Pencil and Colored Pencil I

*Sat., Feb. 11, 9 a.m. – 2:30 p.m. (Hibiscus); Sat. – Sun., Feb 18 – 19, 9 a.m. – 2:30 p.m. (KOZO-Fine Art Materials, 10 E. Ellsworth Ave, Denver); Sat., Feb. 25, 9 a.m. – 2:30 p.m. (Hibiscus).

Instructors: Annie Reiser and Patricia Branstead, KOZO

Ukrainian Easter Eggs: Pysanky

Beautiful batik with a botanical flair! Start with an introduction to the history of the centuries-old craft of Pysanky and study botanical motifs in traditional ornamental patterns. Create your original egg design by combining motifs. Learn about the specialized techniques and tools for this batik method using aniline dyes with wax resist. A discussion of dye colors and preparation will have you ready to create one sampler egg and one with your personal design, just in time for Easter. Fee: $225 member, $275 non-member. Fee includes professional toolkit with three different sized traditional kitsky (drawing tool). No prerequisites, though some drawing experience helpful.

*Weekend Workshop

Fri. – Sun., March 16 – 18, 9 a.m. – 2:30 p.m.

Instructor: Annie Reiser

BOOKBINDING, BOOK AND PAPER ARTS

Under the Press: Papyrus Art with Jill Powers

Enjoy a winter dip into the warmth of working with the inner beauty of fruits and vegetables. Kiwi, cucumber, beet or orange – slices of vegetables, fruits, roots or other plant parts turn into ultra thin, strong and dry translucent cross-sections that you can use in collage or mixed media art. Transform these ephemeral items into an art form that will last, reminding you of the beauty of our gardens and orchards. Use steam heat and six tons of pressure to make these translucent pieces. Fee: $80 member, $110 non-member. No prerequisites.

*Sat., March 10, 9 a.m. – 2:30 p.m.

Instructor: Jill Powers, Boulder, CO

Jill Powers creates mixed media fiber art with unusual natural materials. Her primary material is Kozo, a tough inner bark which she laboriously cooks, opens, casts, paints and stitches into abstract sculptures or installation pieces. Powers shows her work internationally, and in private, corporate and museum collections. Her work won best of show in the Paper in the Millennium exhibit at the American Museum of Papermaking in Atlanta. Her studio is in Boulder, CO, where she also breeds silkworms.

Coptic Binding - Color Mixing Journal

Make it beautiful and make it useful! Learn the craft of Coptic binding start-to-finish as you make your own journal for Color Mixing in Watercolor or for mixing colors in the field. Create a custom cover with your own decorative papers. Beginning with specially printed cardstock, learn to assemble paper signatures, align the spine and stitch your beautifully bound journal. In just one day, create a lasting journal for color mixing. Once you know the binding techniques, you’ll make numerous books for many uses. Fee: $100 member, $$125 non-member. The fee includes paper (Fabriano Artistico, 90-lb hot press watercolor paper and color mixing templates in cardstock), archival glue, Davey board for one journal and needles for sewing. No prerequisites.

*Sat., March 24, 9 a.m. – 4 p.m.

Instructor: Annie Reiser

Pop-up Wildflowers

In this two-day workshop, you will build seven or eight pop-up cards featuring native flowers of North America. Working within the physical boundaries of paper-engineered structures provides exciting challenges for maintaining both accuracy of flower structure and pop-up function.

Fundamental techniques of pop-up engineering will be demonstrated and practiced while building these flowers, using little more than a knife, glue and card stock. Aside from assembling a collection of cards that you might either bind together to keep for further study or give as a gift, you will have the knowledge to continue engineering your own pop-up paper plants at home.

Fee: $140 member, $170 non-member. No experience is necessary, but binding and/or sewing skills will speed your progress. Confidence in cutting paper with X-ACTO knife is needed.

*Mon. – Tue., April 16 – 17, 9 a.m. – 2:30 p.m.

Instructor: Shawn Sheehy, Chicago

No refunds for registration cancellations after March 19 unless your seat can be filled.

Advanced Pop-up Design

This three-day advanced workshop in pop-up botanical structures will build on concepts learned in the beginner's workshop. You will assemble six to eight additional flowers, each more complex than those learned previously. These more complex projects implement a number of additional pop-up strategies not covered in the beginner's workshop. In addition, you will learn a binding that is frequently used in making pop-up books. The last day you will have the opportunity to invent your own pop-up flower structures under the guidance of your patient instructor. Fee: $210 member, $257 non-member. Prerequisites: Pop-up entry level class.

No refunds for registration cancellations after March 23 unless your seat can be filled.

* Thur. – Sat., April 19 – 21, 9 a.m. – 2:30 p.m.

Instructor: Shawn Sheehy, Chicago

Shawn Sheehy combines paper engineering and paper making with an interest in biology and science to produce sculptural pop-up books. Sheehy has taught workshops at PBI, Penland and the Centers for Book Arts in Chicago and New York. His commercial pop-up clients include the American Girl Company and American Greetings.

Katagami: Stencil Design and Japanese Paper Patterns

Originating in the Nara Period (710-794 CE), katagami, or Japanese paper stencil patterns, were first used for applying designs in dye to leather goods such as stirrups and warrior helmets. They later came to be used for dyeing textiles and made great advances with the development of the kimono culture. We will discuss the traditional use of katagami in

Japan

(katazome), plus the rich history behind katagami and the far-reaching effect on design and art in the Western world. During this hands-on workshop you will learn how to adapt your design into a traditional katagami stencil. You will carve a katagami stencil from traditional mulberry paper (shibugami) to use for printing and dyeing or to frame on the wall. Fee: $160 member, $185 non-member. No prerequisites.

No refunds for registration cancellations after March 30 unless your seat can be filled.

*Fri., April 27, 9 a.m. – 2:30 p.m.

Instructor: Jennifer Falck Linssen, Boulder, CO

Jennifer Falck Linssen is a classically trained fine artist who has been designing and creating art for more than 20 years. Trained in the Japanese traditions of katazome and katagami, she combines the precise and painstaking process of katagami-style paper carving with metalsmithing and basketry traditions. Her artwork reflects the refinement and harmony of fine Japanese craft; the elegance and beauty of European textile traditions; and the form and texture of American and African art. Linssen’s design work has been exhibited internationally and her contemporary art basketry has been in nationally juried exhibits, invitational exhibitions and appears in several publications.

Good Hues: Integrating Color, Design and Letters (collaboration with Colorado Calligraphers Guild)

This class is designed for students who want to learn how to achieve stunning color mixes with predictability and learn formulas that will take the guesswork out of mixing them again. Instructor Louise Grunewald incorporates small-format exercises in color, composition and text based on the color wheel invented by water media artist Stephen Quiller. Fee: $175 member, $210 non-member. Fee includes all paints. No prerequisites.

No refunds for registration cancellations after April 2 unless your seat can be filled.

* Sat. – Sun., April 28 – 29, 9 a.m. – 2:30 p.m.

Instructor: Louise Grunewald, Durango, CO

Louise Grunewald is a calligrapher, painter and printmaker living in Durango, Colorado. She teaches workshops for calligraphy guilds around the

United States

and at international calligraphy conferences. Her work is included in numerous private collections and in the permanent collection at the Portland Art Museum in Oregon. She has operated out of her design studio, Western Hands, since 1980 as a commercial lettering artist and greeting card designer.

Case Binding

Do you subscribe to a newsletter or journal, but can’t find the issue you are looking for? Case bind your journals to organize them and protect them for the future. In this class you will work with case bound structures, which are the most basic of book structures. Begin by making a blank single-signature binding with a hardcover and spine, which also features an inlaid label or design on the front cover. Then bind printed journals or periodicals into a finished bound book. The sturdy binding also allows you to open the book flat for copying purposes. By the end of the class you’ll have one basic book and perhaps had time to bind two books filled with periodicals! Fee: $215 member, $290 non-member. Fee includes supply kit for the books produced during the class. No prerequisites.

*Tue., May 1, 8, 15, 6 – 9 p.m.

Instructor: David Ashley, Denver, CO

Papermaking: Eastern Techniques

The invention of paper as we know it dates to nearly 2,000 years ago. In this workshop students explore and practice different ways of papermaking from Asian traditions. Study the different fibers that can be used in handcrafted paper including cotton, kozo and other raw materials to create a unique paper. Learn the fundamentals of sheet formation and options for including color, fiber and embellishments to add a creative and artistic touch. The focus of this class will be hands-on experience in Japanese papermaking. Fee: $70 member, $85 non-member. No prerequisites.

*Sat., May 5, 9 a.m. – 2:30 p.m.

(Workshop held at KOZO-Fine Art Materials, 10 E. Ellsworth Ave., Denver)

Instructor: Patricia Branstead, KOZO

Guest and Additional Instructors Winter - Spring 2012