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Quicklinks: Two-Day Workshops | Thursday-Full-Day | Thursday-Half-Day | Friday-Full-Day | Friday-Half-Day | Saturday-Full-Day | Saturday-Half-Day | Printer Friendly Version | Workshop Chart (PDF) | CEU Credits Note: Full-day workshops will run from approx. 9 am–5 pm with a break for lunch. Also note that enrollment is limited in all workshops. Supplies needed for each workshop are either indicated within the descriptions below, provided by instructors (some with an additional fee), or provided as a separate PDF document that opens in a new tab or window. All locations are at Ithaca College unless otherwise noted; please check your campus location. [**Cancellations and Filled workshops are indicated**] |
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| The Great Escape: Absorption in a Technique of Dramatic Lighting/Texture on Dark Paper Rhonda Nass Thursday & Friday, July 24-25, 9 am–5 pm 202 Williams Hall Have you wanted to create dramatic, stroke-free, accurately-colored, detailed artwork? Then this technique workshop is for you. We’ll efficiently move from viewing inspiring contemporary colored pencil artworks, to a hands-on stroke application exercise, leading to mastering reverse grisaille, a white foundational layering application which defies traditional colored pencil. Each student will develop a personally meaningful and well-composed artwork to be completed afterwards. By using dark Mi-Tientes paper, we’ll showcase dramatic lighting and texture. A precision pencil sharpener is required, along with your subject matter (photos with VERY CLOSE perspective, or a subject that will not grow or move for the duration of a time-consuming technique). Prismacolor or Faber-Castell colored pencils preferred. Supplies (pencils, paper, erasers, etc.) avail. for in-class purchase for ~$18. Motivated beginners thru advanced; basic drawing skills. Two-day: Sign up for 1 or 2 days. . |
 Big Guy, Golden Retriever, Colored Pencil, Rhonda Nass, 1999 |
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| Making Giclée Prints **Both Days Cancelled** Stan Bowman Thursday & Friday, July 24-25, 10 am–5 pm The first day is an introduction to Giclée printing with background on newer printing technologies, color management, and setting up a controlled workflow. Max: 10. Day two of this workshop is for continuing towards actually making 16x20 prints on one of my large format printers. It will include a brief introduction to Photoshop and issues of how one preps for printing including proofs, evaluating and correcting proofs, and making final prints. Friday’s session max.: 7; only those from first day. All in second day session to bring a digital image to print. A $30 materials fee will be charged each participant for the second day for making a 16x20 print. Location: Stan's studio; transportation will be arranged. . |
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| THURSDAY FULL-DAY WORKSHOPS | Back to Top | |||
| Cabinets of Curiosity **Cancelled** Carol Schwartzott Thursday, July 24, 9 am–5 pm | 307 Center for Natural Sciences Bldg Cabinets of curiosity were highly prized and valued objects in the age of exploration. Wealthy patrons and private museums collected curious and delightful objects, which were held within the hidden drawers or behind glass. Explore this concept as we create a lidded box with dividers or shelves to house your collection of memorable objects. Bring found objects, writings, illustrations, copies, anything to complete and fit within your container. Constructed of heavy boxboard, covered or fauxed, a small miniature book, or even a larger pamphlet may be produced within this workshop for inclusion. . |
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| Painting Natural Science Subjects with Acrylic & Color Pencil Dolores R. Santoliquido Thursday, July 24, 9 am–5 pm | Supplies Needed 109 Center for Natural Sciences Bldg We'll focus on rendering natural science subjects using acrylic paint and color pencil, stressing drawing skills, accuracy and specific techniques for producing permanent transparent results with the combined media. The use of acrylic paints and color pencils result in illustrations that have great reproductive quality and luminosity. This combination of media allows the artist to render minute detail, maintain extreme control over how the subject matter is depicted and provide an expansive palette choice for mixing exact color matches. Instruction will include hands-on demonstrations of the entire process and emphasize specific techniques for producing realistic paintings. Participants provide own subject matter; a limited amount of natural science subjects will be available for use; see supplies needed link above for a complete list of materials. . |
 Fungi, Dolores R. Santoliquido |
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| Introduction to Adobe Illustrator Larry Lavendel Thursday, July 24, 9 am–5 pm | 318 Phillips Hall We will explore the basic tools and techniques for producing illustrations and information graphics with Adobe Illustrator. Concepts covered include: setting-up, saving and delivering Illustrator documents; using the pen tool to draw; coloring, and stroking shapes; selecting, organizing, transforming, aligning and modifying shapes; using imported graphics and type. If time permits we’ll cover: gradient meshes, the pathfinder tools; envelope distortion and creating custom patterns. . |
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| Ink and Graphite Pencil on Scratchboard Trudy Nicholson Thursday, July 24, 9 am–5 pm | 218 Williams Hall Participants will discover the potentials and excitement of scratchboard, where contrasts of textures and values produce dramatic, luminous effects. We will review tools and materials and how to use them to create a vast range of textures that will portray subjects with detail and accuracy. We will use the pen and x-acto blade to juxtapose and overlap black and white lines and dots, as well as making corrections. Participants will choose several subjects from nature, create a well-balanced dark and light composition that they will sketch, transfer and render in ink or pencil on white scratchboard, conveying form, shading, textures, and spatial placement of each element of their composition. Each participant will work toward completing one ink and/or graphite pencil illustration. Back to Top . |
 Detail of "Protective Alliance," Great Horned Owl on Nest, Ink on Scratchboard, Trudy Nicholson, 2004 . |
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| Scientific Reconstruction: Interpreting Fossils through a Methodology of Drawing, Sculpting, and Painting Mark Klingler Thursday, July 24, 9 am–5 pm | 222 Williams Hall When scientists wish to share new fossils with the public, they may work with an artist to reconstruct the fossil evidence in an artistic, more visually accessible format. This workshop introduces students to a combined methodology of interpreting fossil casts & photos through various stages including: bone diagram from fossil photo, diagramming a layered skeleton drawing, basic musculature, and addition of skin, and fur. Students then render a final sketch of the mammal from the work-ups. Workshop concludes with discussion of building a clay model for perspective and lighting, as well as scanning and digitally editing the final image so that students may explore these elements at home. Level: intermediate; prerequisite: pencil drawing, some sculpting in clay, paint technique of choice. Materials needed: Paints, sketchbook or other desired paper/board, pencils, tracing paper. Materials provided include fossil casts & photos, Sculpey polymer clay, wireframe elements, modern & paleo mammal reference books, Bristol board. . |
 Lower Permian diadectomorph, related trackway. Watercolor/Colored Pencil, digitally edited in Photoshop, Mark A. Klingler, 2007 |
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| Advanced Photoshop Rendering Frank Ippolito **This Workshop is Full** Thursday, July 24, 9 am–5 pm | G25 Stimson Hall at Cornell University In this full-day workshop, we will take a look at features in Photoshop CS3 Extended that allow the artist to take their renderings to the next level. We will go deep on the newest brush engine, exploring ways to work with both tablet and mouse to achieve the greatest range of expression. We will work with smart objects, custom brushes, new layer techniques, as well as Adobe's exciting new 3D workspace. Participants will work with scanned art and Wacom pen & tablet to establish a working sketch and proceed to paint and manipulate to a final rendering. . |
 Detail: Mahakal omnogovae, The Tiniest Dromaesaurid, Pencil/Digital Frank Ippolito, 2007 . |
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THURSDAY HALF-DAY WORKSHOPS | Back to Top . |
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| Silverpoint for Scientific Illustration Jerry Hodge and Melinda Hodge **This Workshop is Full** Thursday, July 24, 9 am–Noon | 221 Williams Hall Silverpoint is a drawing technique utilizing sterling silver wire that creates a high-key drawing that develops a lovely, slightly brown patina over time. "Tone" is created from finely layered networks of line, creating the illusion of tone. In addition, silverpoint lends itself to extremely fine detail not possible with traditional pencil techniques. Silverpoint can be used in combination with gouache to add color, and carbon dust to expand the tonal range. Workshop participants will complete a small drawing on coated paper. Supplies will be provided. . |
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| Money Plant & Orange-Tipped Butterflies, Silverpoint on Gouache Ground, Gerald P. Hodge, 1996 |
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| Using Dried Plant Specimens in Creating Botanical Art Robert Dirig **This Workshop is Full** Thursday, July 24, 1–5 pm | Bailey Hortorium at Cornell University Herbaria (pressed plant collections) are wonderful resources for botanical illustrators. We tour the Bailey Hortorium Herbarium at Cornell University, a huge worldwide collection of wild and cultivated plant specimens. Following a demonstration on "The Art of Botanical Specimen Preparation," we will briefly sketch fresh wild plants (provided), then use dried Herbarium specimens to augment detail, and finally press the fresh material for later reference. We’ll see the Herbarium’s botanical art, including work by Lilian Snelling, Marion Ruff Sheehan, Elfriede Abbe, Mitsu Nakayama, Bente King, and beautiful ink sketches by illustrators of L. H. Bailey's books on vegetables and garden flowers. Bring a large sketch pad and favorite drawing pencils. Prerequisite: some experience drawing or sketching plants. |
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| Scan of Partial Herbarium Specimen, Low Bindweed, Field Sketch and Pressed Plant, Robert Dirig . |
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| Using Luxology’s MODO Chuck Carter Thursday, July 24, 1–5 pm | TC3 Ithaca Campus Downtown Modo 3D is a revolutionary 3D product that works equally as well on both a Mac and a PC. Like zBrush it can be used for 3D sculpting and painting, with its high-quality rendering package, lighting features and texturing editors that allow you to create anything in the program (including animation) that is virtually photo-real. We will cover the basics from building a simple block diagram to a more complex terrain and/or series of organic objects with textures, all set up to render in a photo realistic environment. We will cover the tools needed to build on what’s learned in class so that the student can take home the demo package and practice on their own with confidence, improving their understanding of the 3D image-creation process. . FRIDAY, JULY 25 FULL-DAY WORKSHOPS | Back to Top . |
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| A Modern Approach to Egg Tempera Karen Ackoff Friday, July 25, 9 am–5 pm | Supplies Needed 218 Williams Hall Egg tempera is a medium with characteristics unlike modern media. Because it lends itself toward transparency and is also waterproof, colors may be layered, allowing them to show through subsequent applications of color. The surface of an egg tempera painting has a soft sheen which may be enhanced by gentle buffing. This workshop will explore these and other qualities characteristic to this versatile medium. This workshop will employ a modern method that utilizes watercolors, rather than powder pigments. Both traditional and modern methods permit such techniques as cross-hatching, stippling, and scumbling. Surfaces, including vellum, will be considered. Workshop participants will explore these techniques, and will apply them to a small painting. If wishing to work in advance, bring a small drawing of a natural object with good detail and indication of light and dark (8x10 or smaller), drawn on tracing or layout paper. Eggs provided and small pieces of vellum available for purchase. See supplies needed above. . |
 Atlantic Puffin, Egg Tempura, Karen Ackoff, 1995 |
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| GYOTAKU: Japanese Fish Printing Stephen Di Cerbo Friday, July 25, 9 am–5 pm | 307 Center for Natural Sciences Bldg Learn Chokusetsu-ho, the direct method of Gyotaku, Japanese fish printing. A relatively new art form, Gyotaku came to America in the 1950s and its history can be traced back a couple hundred years. Used to identify species of fish and record size of catches, gyotaku is often seen as a parallel to Taxidermy. It has evolved into an art form and unique type of illustration, and techniques and methodology continue to be refined today. A form of relief printmaking, it allows for an intimate familiarity with the morphology of the fish. Not only are Gyotaku images popular in gallery art and editorial illustration, the process is a great tool for art and science educators to expose students to ichthyologic identification and morphology, as well as relief printing. After a brief introduction to the history and the art, by demonstration, you will learn to prepare a specimen for printing, then prepare your own fish and create Gyotaku prints experimenting with various techniques and approaches. All materials provided, but bring any preferred brushes for working with ink washes. . |
 . Marauders, Chokusetsu-ho Gyotaku of Atlantic Bluefish, Stephen Di Cerbo, 2000 |
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| Creating Realistic Textures in Watercolor John Cody Friday, July 25, 9 am–5 pm | 109 Center for Natural Sciences Bldg Natural objects all have their own highly characteristic textures. It is not difficult to create the appearance of different surfaces in watercolor, i.e., that of leaves, flower petals, live and weathered (driftwood) twigs and branches, butterfly wings, shells, etc. Participants will bring small specimens whose surfaces present a challenge to them. The deployment of small lights and darks to give the illusion of texture will be examined. Also, the use of masking fluid to create tiny negative shapes (very important in texturing) will be assayed by participants after being demonstrated by the teacher. More "abstract" or ornamental textures (for backgrounds) by the use of salt, plastic wrap, paper towels (for clouds), etc. will be explored. A photo for all to use will be provided. Materials needed: Some attendees should bring hair dryers to share. All attendees will need an 11x15 sheet of Arches cold press 300 weight paper, watercolors, brushes, salt, plastic wrap, and masking fluid. . |
 Callosomia securifera moths (male and female) on Phormium, Watercolor, John Cody . |
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| Advanced Adobe Illustrator Rick Simonson Friday, July 25, 9 am–5 pm | G25 Stimson Hall at Cornell University Increase your skills with Adobe Illustrator! Are you already comfortable with the basics of working with paths, layers, and type? Take the next step! This workshop will cover advanced Illustrator techniques such as gradient mesh, opacity masks, clipping masks, blends, 3D and other effects, filters, creating custom brushes and symbols and many more. We will learn to use these techniques to create realistic renderings of both living and non-living subjects. Level: Intermediate/advanced; basic experience in Adobe Illustrator. Back to Top . |
 Eyed-Click Beetle, Screenshot, Rick Simonson, 2008 |
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| Miniature Moths—Painting Small Moths 1:1 Scott Rawlins Friday, July 25, 9 am–5 pm | Supplies Needed | 222 Williams Hall Using both wet-on-wet and drybrush technique, participants will learn to render small moths in watercolor, to be used alone or as accents in larger compositions of botanical subjects. Capturing, "dispatching," pinning and mounting moths will be discussed as well as appropriate positioning to maximize compositional design. See supplies needed above. . |
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| An Easy Method For Creating Digital Illustrations J. Marie Metz and Steve Marshall Friday, July 25, 9 am–5 pm | 318 Phillips Hall Students will learn how to create digital illustrations using a step-bystep, easy-to-follow method, as they are introduced to the industry standard applications, Adobe Illustrator and Adobe Photoshop, and learn differences between vector and raster graphics. In just a few keystrokes and mouse clicks, you will understand the advantages of the digital medium. Leave your erasers at home! Recovery from mistakes and multiple revisions are easy with a correctly built, digital illustration. You will leave this light-hearted, stress-free, "ask-any-question-you-want-to," atmosphere with a structurally completed illustration and a new sense of accomplishment. Prerequisite: Very basic knowledge of both Illustrator pen tool and Photoshop tools; emphasis on Photoshop. Prior to class simply go to: http://www.adobetutorialz.com/articles/2794/1/ Adobe-Photoshop-Pen-Tool-Tutorial —and http://graphicssoft.about.com/od/photoshop/ig/The- Photoshop-CS2-Workspace/ —then work through the basic tutorials to get ready. If you have never used Illustrator or Photoshop go to http://www.adobe.com/downloads/ —and download CS3 free trial versions of Illustrator and Photoshop to practice and play with the software prior to coming to this workshop. Just poke around and have fun, then come to class! Level: Beginner-intermediate, but advanced users welcome. . |
 Yellow Longhorn Beetle, Adobe Illustrator/Adobe Photoshop, J. Marie Metz, 2007 . |
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| How to Make a Common Frog with Zbrush Mieke Roth Friday, July 25, 9 am–5 pm | TC3 Ithaca Campus Downtown Within this workshop I will show how to make a common frog from basic objects in Zbrush. I will tackle the pitfalls and answer questions about importing and exporting the frog for further manipulation. Zbrush is great to make 3D objects that can’t be distinguished from real or clay objects, not only by the shape of the object itself, but also because you are able to paint your 3D object as if it is a real object. Zbrush also has the advantage that you have a (limited) ability to animate the object. Level: Intermediate; prerequisite experience using software like Photoshop, a basic understanding of 3D software. . |
 Common Frog, Zbrush, Mieke Roth |
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FRIDAY HALF-DAY WORKSHOPS | Back to Top . |
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| The Business of Art Dolores R. Santoliquido Friday, July 25, 9 am–Noon | 221 Williams Hall We make the life decision to become a professional artist. We select a program fitted to our desires and talents. We hone our skills, learn about design, draftsmanship, composition, color and all the other elements that make up good art. We receive our undergraduate degree and in many cases, continue with graduate studies in our area of concentration. Then we are set free to earn a living in the art world. This is a world that functions differently than the business world at large. Artists are usually provided little or no undergraduate training on how to logically and successfully proceed. This workshop will focus on discussing necessary business practices for running a freelance business, how to determine pricing, how to negotiate with clients, deal with copyrights, and how to develop a successful portfolio. It is strongly recommended that each participant purchase and read the 12th edition of the Graphic Artists Guild Handbook of Pricing & Ethical Guidelines. Participants should bring in a current portfolio of artwork or samples of artwork and any promotional materials to share and review. Specific topic requests can be directed to skylinestudio@sbcglobal.net. . |
 Lilac 'Sensation', Acrylic & Colored Pencil, Dolores R. Santoliquido |
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| The Science and Art of the Facial Reconstruction Process Gay Malin Friday, July 25, 1–5 pm | 221 Williams Hall Bring a person to life from a skull! Facial reconstruction from a skull is a process that has been used since the late 1880s. In this workshop you will learn how a three dimensional facial reconstruction is created. Both tissue depth measurements and anatomical methodologies will be discussed. We will then take this knowledge and apply it to create a two dimensional facial reconstruction representation. At the end of the workshop we will compare these images with one another and also with their 3D counterparts. Prerequisite: Attend "...Science and Art of the Facial Reconstruction Process" Presentation. Please bring pencils and erasers suitable for drawing on frosted mylar/tracing paper. . |
 Facial Reconstruction of "Pearl", Mixed-Media, Life-Size, Gay Malin, 1999 |
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SATURDAY, JULY 26 FULL-DAY WORKSHOPS | Back to Top . |
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| Value-Driven Detail with Non-Sheen Graphite Rhonda Nass **This Workshop is Full** Saturday, July 26, 9 am–5 pm | 202 Williams Hall In teaching hundreds of adults, I've learned most students (including myself) had little training in value: the degree of light and dark in a specific area or subject. Working with a limited drawing pencil palette, you'll luxuriate in discovering pigment-free values and master seamless gradations from lightest lights ("white" paper color) to the darkest darks without the usual graphite sheen. You'll create incredible detail through a simple exercise. The graphite-illustrated Gifts from the Earth will be our reference book. Each participant will design a customized composition, develop values and use tricks to draw viewers' eyes to your focal point. I guarantee value training will improve artwork of any medium. AND…graphite is a blast! Precision sharpener and drawing source material required. In-class additional supplies: $10-$18. Beginner– Advanced; prerequisite: basic drawing experience OR great motivation. . |
 Hickory, Carya, Graphite, Rhonda Nass. |
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| Effective Color Mixing and Color Theory Camille Doucet Saturday, July 26, 9 am–5 pm | Supplies Needed 107 Center for Natural Sciences Bldg In this day-long workshop for artists of all skill levels, you will explore the fullest range of colors available from a limited number of tube colors, producing a color reference chart you can use for years to come. In methodically mixing each pigment with all others, you come to see and understand how they behave. This technique is particularly useful for scientific illustrators and for anyone who wants to use color reliably and skillfully. You will also start (and finish at home) a chart of Color Transparency/Opacity and learn about color permanence. Prerequisite: some knowledge of watercolor. Materials fee $7 per participant; also see supplies needed above. . |
 Photo by Camille Doucet |
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SATURDAY HALF-DAY WORKSHOP | Back to Top . |
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| Introduction to Carbon Dust Frances Fawcett Saturday, July 26, 9 am–Noon | Supplies Needed 109 Center for Natural Sciences Bldg Carbon dust is one of the classic techniques of medical and entomological illustration. It is a wonderful medium for depicting natural subjects in three dimensions with photo-realistic detail. With a few flicks of the brush, pencil, and kneaded eraser, a whole landscape of hills and valleys, mountains and craters, can snap into focus. A carbon dust drawing resembles a miniaturized charcoal drawing executed on finely textured mylar film or a smoothly textured clay surface. The photo-realistic appearance is achieved through subtle and smooth gradations of tone. In this half-day workshop participants will be introduced to the medium and spend some time getting the feel of painting tonal gradations with dust. Carbon dust is a superb medium for rendering surface texture, and participants will see the ease with which fur, pits, cracks, and ridges can be drawn. In the second part of the session each student will work on a small drawing of a natural science subject of his/her choice. Prerequisite: Basic Drawing; see supplies needed above. . |
 Milkweed Community (detail) Carbon Dust, Frances Fawcett . |
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