Art Courses and Workshops Certificate of Visual Arts Thank you to our corporate sponsors. Diploma of Fine Arts

Vancouver Island School of Art 2549 Quadra Street, Victoria, BC V8T 4E1 ph 250.380.3500 [email protected] www.vancouverislandschoolart.com SPRING/SUMMER 2007 ABOUT THE SCHOOL

The Vancouver Island School of Art is an accredited post secondary institution tha t provides an exciting and high caliber alterna tive to studying art a t the university level. The school of fers two prog rams – a Certifica te of Visual Arts and a Diploma of Fine Arts. A student can enroll in a Prog ram or take individual courses and/or workshops as a Non-prog ram student. Courses and workshops a t the Vancouver Island School of Art also provide an ideal wa y to assemble and complete portf olio ma terial f or future studies a t a college or university. CONTENTS The Vancouver Island School of Art was f ounded in 2004 1 PROGRAMS b y artist and instructor Wendy Welch. The school has nine

2 SIX-WEEK COURSES regular faculty members as well as guest instructors who are all practicing artists with teaching experience. The 14 ONE-WEEK INTENSIVE WORKSHOPS school of fers quality professional art courses f or adults who

20 WEEKEND WORKSHOPS want to study art on a full-time or part-time basis. Courses and workshops are geared to beg inners as well as towards 31 FACULTY advanced artists looking to pursue new challenges. These 34 GUEST INSTR UCTORS courses are an opportunity to develop skills, enhance your understanding of art and discover wha t it means to be a 35 TUITION AND REGISTRATION practicing artist. All studio courses will explore the technical 36 REFUND POLICY aspects of ma terials and execution as well as f ocus on making art in a contemporary context.

The Spring/Summer 2007 semester includes two separa te sessions of six-week courses. (Ma y and Jul y). There are also man y weekend and weeklong workshops running throughout the summer. Weekend workshops run from Ma y to August. Weeklong workshops run from mid June to the third week in August.

The school is loca ted in a wonderful herita ge school building with spacious and bright classrooms and is in the Quadra Street Villa ge just outside of downtown Victoria. There is ample parking, cafés, restaurants and a large g rocery store close b y. ADRAWING rt3 DRAWING 4 PROGRAMS SIX WEEK COURSES (MAY-JUNE and JULY-AUGUST)

Certificate of Visual Arts Supply lists for all courses and workshops are listed on the website – go to COURSES or WORKSHOPS and look directly The Certificate of Visual Arts Program can be completed in one under description. year on a full-time basis, or over four years on a part-time basis. To be in the Certificate Program, a student needs to fill out a Certificate Enrollment Form and register for at least six hours of courses per week. ART FUNDAMENTALS

Diploma of Fine Arts Notan: The Dark-Light Principle of Design (FNDT S100-SS07) The Diploma of Fine Arts Program can be completed in Notan is the Japanese word for the interaction between dark and three years on a full-time basis, or over five years on a part- light (positive and negative or object and ground). In composition, time basis. Acceptance into the Diploma Program requires a notan recognizes the separate but equally important identity of completed application form to be followed by a portfolio review a shape and it’s background. A good notan design is therefore by the Director. the key to a strong painting – without it, both color and line fail All courses completed in the Certificate Program can be to reach their full impact. This workshop provides a complete transferred to the Diploma Program. An application form for the introduction and overview of the text by Dorr Bothwell and Marlys Diploma of Fine Arts can be obtained by contacting the office. Mayfield. Notan’s practical applications will be presented in six All courses and workshops offered at the Vancouver Island School progressive problems that will fascinate artists and designers. of Art are available both to students enrolled in a program, and to Course participants focus on how these powerful design non-program students. Students enrolled in program will receive principles exist in painting and learn how notan can become an 100% hourly credit for all courses and workshops that they integral part of planning and developing a work of art. Material fee: complete. Non-program students who take courses and wish to $13 for textbook. have them transferred over to a program at a later date, can do so (Please note this course starts a week later than the others in and receive a maximum of 80% hourly credit for any courses or this session) workshops completed. Thursdays May 10 – June 14 For more information about the programs please refer to the 2:00 pm – 5:00 pm Xane St Phillip PROGRAMS page of the website.

PROGRAMSDRAWING 51 ARTDRAWING FUNDAMENTALS 62 DRAWING

Drawing: Learning the Materials (DRWG S107-SS07)

This introductory drawing course provides an overview of the basic materials used in drawing: pencil, graphite, charcoal, conté and ink. Each week the instructor focuses on a particular material, with the last class being a chance to explore combinations of materials using a mixed media approach. Focus is on both representational and abstract subject matter. Ideal for the beginner. Wednesdays May 2 – June 6 6:30 pm – 9:30 pm John Luna

Drawing: Still Life (DRWG S108-SS07)

Drawing: Still Life is a review of observational drawing as well as study of the history and techniques of arranging and working from still life tableaux. Students practice constructing arrangements as well as looking to both traditional and contemporary images for examples of compositional planning, rendering and interpretation. Both formal problems (tone, light, perspective) and thematic content (symbolism, drama, narrative) take a role in lectures and projects. Life Drawing II (DRWG S203-SS07) Thursdays May 3 – June 7 In Life Drawing II students continue to develop skills in 10:00 am – 1:00 pm John Luna figure drawing. In addition to increasing a basic knowledge of rendering the human form, this course further explores conceptual, compositional and expressive concerns regarding The Contemporary Portrait (DRWG S102-SSO7) the figure, with particular focus on encouraging an individual’s Students are introduced to aspects of the practice and theory of style. Classes include intensive sessions with the model as well traditional and contemporary portraiture. The art and concerns as working from imagination and memory. There are a series of of key contemporary portrait artists are examined through slides, projects that students work on both in and out of class times as lectures and class discussions. Students develop and interpret the well as group discussions and slide presentations of other artists’ genre of portraiture using models, photography and other sources. work. Basic life drawing skills are required and Life Drawing I is Sessions include drawing and painting. No experience necessary. highly recommended. Model fee: $25 Thursdays May 3 – June 7 Mondays April 30 – June 4 6:30 pm – 9:30 pm Eva Campbell 6:30 pm - 9:30 pm Eva Campbell

DRAWING 73 DRAWING 84 Drawing: Investigating the Imaginative (DRWG S106-SS07) Drawing: Developing a Theme (DRWG S200-SS07)

A course for all those of you who think you can’t draw. Here is a This hands-on studio course focuses on the process of great opportunity to use your imagination, memories, experiences, recognizing and responding to persistent themes and images thoughts and ideas to inspire mark making on paper. Students in your work, whether the images exist independently or relate learn the many ways to approach drawing and how to make it to the pursuit of another medium, such as painting, sculpture or an everyday activity. Engaging assignments include a range installation. Students undertake exercises designed to expand of techniques and methods while focusing on developing notions of subject matter over a series of drawings, such as strong composition. varying approaches to observed subjects, working with narrative Thursdays May 3 – June 7 forms, automatic drawing and preparatory study series for larger 6:30 pm – 9:30 pm Robert Hengeveld work. The six-week format allows for individual problem solving and includes slide presentations of examples from both historical and contemporary art. Drawing: Explorations in Ink (DRWG S103-SS07) Tuesdays May 1 – June 5 This course focuses on using the fluid medium of ink to explore 6:30 pm – 9:30 John Luna pen and brush drawing as well as more experimental approaches of layered washes, using collage and combining mixed media Drawing: Historical Explorations (DRWG S105-SS07) such as pastel and watercolour paint with the ink drawings. Wednesdays May 2 – June 6 This imaginative drawing course explores some of the thematic 2:00 pm – 5:00 pm Wendy Welch ideas that have influenced artists throughout history such as anatomical illustration, mapping and creative cartographies; the creation of strange hybrid creatures based on Pliny’s Natural Drawing: Extended Media (DRWG S104-SS07) History; Dutch still-life painting and early botanical illustration. Classes include brief lectures/slide presentations that provide an This course is a condensed version of Drawing: Extended Media introduction to the various themes. Some drawing experience is that is offered as a 12-week course. Drawing has evolved and recommended – this is an excellent course for artists wishing to extended into other media, incorporating techniques and methods explore new themes in their work. from the disciplines of sculpture and printmaking. This course explores how printmaking techniques such as silkscreen and relief Thursdays July 5 – August 9 can be integrated with drawing. It also investigates the tendency 6:30 pm – 9:30 Jan Gates for drawing to leave the two-dimensional plane and venture into areas of sculpture. The course focuses on three major projects: Drawing: Pastels (DRWG S109-SS07) one that combines sculpture with drawing; one that combines drawing with printmaking and one that incorporates all three Pastels are relatively simple to work with and yield marvelous mediums. Students should have some drawing experience and results. Working with imaginative subject matter, students learn the a willingness to experiment. Material fee: $15 fundamentals for creating monochromatic and colour drawings on to cover printmaking supplies. a variety of surfaces using oil and chalk pastels. This is an ideal Thursdays May 3 – June 7 course for the beginning or intermediate students wishing 6:30 pm - 9:30 pm Megan Dickie to explore a new drawing medium. Tuesdays July 3 – August 7 6:30 – 9:30 pm Jan Gates

DRAWING 95 DRAWING 106 PAINTING Painting: Introduction to Gouache (PNTG S103-SS07)

Gouache, an expressive opaque water-based paint medium, was Painting Primer (PNTG S102-SS07/SU07) favoured by many artists of the early 20th century, including Raoul Dufy, Henri Matisse, Joan Miro and Paul Klee who appreciated An introduction to various challenges offered by the acrylic gouache for its beautifully saturated colours and ease of use. medium, including mixing paint, brushwork, glazes and creating Through a series of imaginative assignments, this informative textures. Exercises include still life, model, outdoor landscape and course reveals the possibilities of this overlooked painting medium working from photographs. The course emphasizes in-class work and inspires students to experiment and further develop a and technical problem solving, and is ideal for the novice painter. personal style. Mondays April 30 – June 4 (PNTG S102-SS07) Tuesdays May 1 – June 5 6:30 pm – 9:30 pm John Luna 6:30 pm – 9:30 pm Jan Gates or Tuesdays July 3 – August 7 (PNTG S102-SU07) Painting: Nature and the Sublime (PNTG S201-SS07) 6:30 pm – 9:30 pm John Luna Although based on landscape and nature, this course examines the more abstract qualities of painting. Students experiment Painting: Still Life (PNTG S105-SS07) with the application of paint on a surface to create atmosphere, mood and emotion. Natural phenomena and weather are used A broad examination of this meeting point between art and life, for their metaphoric capacities, and painting is used to connect Painting: Still Life includes both a thought-provoking overview the painter to the natural surrounding world. Using historical and of the history of the idiom, and a series of exercises designed contemporary examples and approaches, students look towards to stimulate new approaches to the still life subject. Learn how nature as a point of departure to explore ideas, processes and to construct interesting arrangements to explore what can be visual poetry. An understanding about the effectiveness of colour understood about a subject through work in repetition. Course and composition in painting is emphasized. Prerequisite to this examines the variety of forms this genre has used from the course: Introduction to Painting I and II or equivalent painting traditional to the contemporary. Selected topics include theatrical experience required. presentation, symbol and metaphor, and the role of everyday objects. Acrylic or oil painters welcome. Drawing: Still Life is (Please note this course starts a week later than the others in recommended as a prerequisite to this course but is not required. this session) Wednesdays July 4 – August 8 Thursdays May 10 – June 14 6:30 pm – 9:30 pm John Luna 6:30 pm – 9:30 pm Xane St Phillip

DRAWINGPAINTING 117 DRAWINGPAINTING 128 Watercolour Basics (PNTG S106-SS07/SU07) Watercolour on Location (PNTG S107-SP07)

This six-week course is ideal for anyone who has always In this course, students go as a group to sketch and paint diverse wanted to try watercolour but did not know where to start. subjects in various locations around Victoria. The instructor Basic techniques such as brushwork, mixing colour, washes, presents other watercolour artists who use similar subject for textures and working with mixed media are explored. Students analysis and discussion through books and slide presentations. also learn how to develop a composition through exercises with This course also explores basic techniques, including brush subject matter such as still life, landscape and working from usage, drawing with ink and watercolour, colour mixing and photographs as a starting point. Beginners are welcome. collage. Beginners welcome. Wednesdays May 2 – June 6 (PNTG S106-SS07) Tuesdays May 1 – June 5 6:30 pm – 9:30 pm Tracey Nelson 2:00 pm – 5:00 pm Tracey Nelson and Tuesdays July 3 – August 7 (PNTG S106-SU07) 6:30 pm – 9:30 pm Tracey Nelson MIXED MEDIA

Watermedia & Collage II (PNTG S202–SS07) Mixed Media & Photography (MMED S102-SS07/SU07)

In this continuation of Watermedia & Collage I, students examine This course introduces students to various studio methods that and consider the methods and discipline involved in developing use photography in one way or another. This is not a photography a personal style or body of work. Ideas evolve through sketching, course in any traditional or technical sense, but rather an painting and writing in this course. Watermedia & Collage I is a opportunity to experiment with photography as a tool in various prerequisite to this course. studio applications. Since its inception in the early 19th Century, Wednesday May 2 – June 6 photography has been utilized by painters and sculptors, and has 6:30 pm – 9:30 pm Wendy Welch become an integral tool for all artists practicing in the later half of the 20th century. This six-week course introduces, through lectures and assignments, how one might make use of this Oil Basics (PNTG S101-SS07) wonderful and limitless medium within their own artistic pursuits. Photography experience is not necessary. Designed as a no-experience-necessary immersion, this course is a hands-on introduction to oil painting, including traditional Mondays April 30 – June 4 (MMED S102-SS07) tools and materials, paint handling, working with simple colour 2:00 pm – 5:00 pm d bradley muir palettes and preparing proper surfaces. Oil Basics stresses or in-class exercises and demonstrations for students who want to start painting immediately, and offers a variety of approaches Wednesday July 4 – August 8 (MMED S102-SU07) to the problems of planning, layering and finishing small 6:30 – 9:30 pm d bradley muir compositions – a great way to get comfortable with a convenient and flexible medium. The Grid: Exploration in Format (MMED S103-SS07) Tuesdays May 1 – June 5 Throughout the 20th, and now in the 21st century, artists have 2:00 pm – 5:00 pm John Luna used a grid format for compositional design. In this course the regular mathematical structure of the grid is used as a point of departure for a variety of art projects in including drawing, painting, sculpture and installation art. Exercises are supplemented by slide presentations. Mondays April 30 – June 4 2:00 pm – 5:00 pm Wendy Welch

DRAWINGPAINTING 139 DRAWINGMIXED MEDIA 1410 PRINTMAKING PHOTOGRAPHY

Printmaking: Silk Screen (PRNT S100-SS07) Camera Basics (PHOT S102-SS07/SU07)

This course introduces the fundamentals of silkscreen printing. Students are introduced to the basic technical applications of It provides a thorough grounding in the basic technical process traditional camera techniques allowing for controlled exposure of screen printing including: stretching a screen, creating hand and composition in order to create expected results. Through the drawn and photo emulsion stencils, printing in multiple colours use of colour slide film, exercises and lectures student complete and alternative printing techniques. Slide presentations and this six-week course with the confidence of understanding how lectures provide examples of the aesthetic and conceptual to create photographs without reliance upon automatic settings characteristics of silkscreen. This course is suitable for all levels or chance. While this course does not offer a digital component, of artistic experience. Material fee: $50 covers everything interested students are reminded that all information covered except paper. will translate directly to basic digital techniques and methods. Thursdays May 3 – June 7 Students are required to have a working 35mm SLR Camera 2:00 pm – 5:00 pm Megan Dickie and should expect to budget from $90 – $120 in film and processing costs. Tuesdays May 1 – June 5 (PHOT S102-SS07) SCULPTURE 6:30 pm – 9:30 pm d bradley muir or Sculpture: Wax and Encaustics (SCLP S104-SS07) Wednesdays July 4 – August 8 (PHOT S102-SU07) 2:00 pm – 5:00 pm d bradley muir This course provides an extensive look into the elusive qualities and expansive possibilities of wax. Students learn the physical qualities of wax: how it can melt, drip, preserve, bind, and coat. Darkroom Basics (PHOT S100-SS07/SU07) The course covers how to cast with wax, how wax can be used with other objects in assemblages and how to make constructions Students are introduced to the basic technical applications of using sheets of wax and a soldering iron. In addition to the above traditional black and white film processing and printing. Through techniques, students also learn how to add pigment to hot wax, technical exercises and lectures, students will finish this six-week which is traditionally known as encaustic. No previous sculpture course with the confidence of understanding how to create experience needed. Wax is available to purchase from VISA basic black and white photographs in a darkroom. Students by weight. are required to have a working 35mm SLR Camera and should expect to budget for a $40 chemical fee. Tuesdays May 1 – June 5 6:30 pm – 9:30 pm Megan Dickie Mondays April 30 – June 4 (PHOT S100-SS07) 6:30 pm – 9:30 pm d bradley muir or Tuesdays July 3 – August 7 (PHOT S100-SU07) 2:00 pm – 5:00 pm d bradley muir

PRINTMAKINGDRAWING SCULPTURE 1511 PHOTOGRAPHYDRAWING 1612 ART HISTORY ONE-WEEK INTENSIVE WORKSHOPS

Canadian Art (AHIS S105-SS07) Supply lists for all workshops are listed on the website – go to WORKSHOPS and look directly under description. An in-depth look at the history of painting in Canada during the first half of the 20th century, including major figures such as Thom Thomson, Emily Carr, David Milne and Paul-Emile Borduas. Printmaking: Silk Screen (PRNT W103-JN07) The focus is on aesthetic developments as well as the social This workshop is an intensive introduction to the fundamentals currents and the artists’ milieu, drawing on primary sources such of silkscreen printing. It provides a thorough grounding in the as letters, reviews and criticism of the era. Classes are in slide- basic technical process of screen printing including: stretching a lecture format, with time given over to lively discussion at the screen, creating hand drawn and photo emulsion stencils, printing end of each session where everyone is encouraged to share in multiple colours and alternative printing techniques. Slide their opinions and ideas about the subject at hand. No text is presentations and lectures provide examples of the aesthetic and necessary, but a list of readings is provided for students interested conceptual characteristics of silkscreen. This course is suitable for in learning more. all levels of artistic experience. Material fee: $50 covers everything Fridays May 4 – June 8 except paper. 10:00 am – 1:00 pm John Luna June 11 – 15, 10:00 am – 5:00 pm Megan Dickie

Contemporary Art (SEMR S100-SS07) Painting: Expression in Colour (PNTG W130-JN07) With the recent renovation of the Museum of Modern Art in This intensive workshop combines hands-on studio practice with New York, many asked ‘but what came after ‘Modern’? This lectures on the work of modern colourists such as Claude Monet, exciting and engaging survey follows trends and developments Henri Matisse, Georgia O’Keefe and David Hockney. Studio in international art from the experiments of the 1960’s to the art exercises focus on elements of technique and material issues, market boom of the 1980’s, drawing parallels back through art as well as inspiration and source material. Examples of exercises history in an attempt to relate contemporary art with precedents include developing intense colour palettes from observed subjects and influences from past traditions. Lectures take the form of slide and using colour to create rhythm in composition. Oil and acrylic presentations, with time set aside for lively class discussion where painters welcome. everyone is encouraged to share opinions and ideas about the subject at hand. There is no prerequisite for this course and a list June 11 – 15, 10:00 am – 5:00 pm John Luna of readings is provided for students interested in learning more. Thursdays July 5 – August 9 6:30 pm – 9:30 pm John Luna

DRAWINGART HISTORY 1713 DRAWINGONE-WEEK WORKSHOPS 1814 Painting: Fundamentals (PNTG W131-JN07)

This immersion workshop takes students through the basics of paint handling, colour theory and traditional tools and materials, in a stimulating and positive environment. Designed as a beginner’s introduction to either oil or acrylic paints, this course focuses on developing a familiarity with the medium in class, emphasizing small-format composition and work in a series. June 25 – 29, 10:00 am – 5:00 John Luna Drawing Fundamentals (DRWG W120-JN07) This stimulating introduction to observational drawing emphasizes Watercolour on Location (PNTG W135-JL07) the process of learning to draw what you see. Students are introduced to variety of drawing materials including pencils, In this intensive workshop, students go as a group to sketch and graphite, charcoal, conté and ink. Exercises include drawing still paint diverse subjects in various locations around Victoria. This life, landscape, portraiture and the figure. Beginners welcome. workshop explores basic techniques of watercolour, including brush usage, drawing with ink and watercolour, colour mixing and June 18 – 22, 10:00 am – 5:00 pm John Luna collage. Students also learn about how other watercolour artists work with similar subject matter. Beginners welcome. Textile Collage (MMED W111-JN07) July 9 – 13, 10:00 am – 5:00 pm Tracey Nelson

A unique and energetic workshop where layered techniques are used to create contemporary textile works on Japanese Drawing: The Abstract Image (DRWG W119-JL07) silk. Focusing on depth and color the students explore screen In this intensive workshop, students explore the history of printing, Roketsuzome (traditional Japanese wax resist), drawing, abstraction in 20th century drawing leading to an understanding strip piecing and embroidery. Hand application of dyes to of the transition from representational drawing to making marks, achieve depth and dimension is highlighted. Implementing a shapes, forms and textures that are inherently interesting as new technique daily, students collage and layer naturally with the completed works of art. The workshop includes a range of progression of time. By weeks end, students have a fascinating fascinating and innovative projects utilizing a wide variety of surface to be used as an artwork in itself, or integrated into drawing materials. another media such as painting or sculpture. Material fee: $40 July 16 - 20, 10:00 am – 5:00 pm Wendy Welch June 18 – 22, 10:00 am – 5:00 pm Shannon Wardroper Papier Maˆché (SCLP W110-JL07) Sculpture: Modeling, Mold Making & Casting (SCLP W101-JN07) Papier maˆché is an extremely versatile inexpensive material and technique. In this week long course students learn the technique This workshop is a technical resource embracing a variety of of creating an armature, building up layers to fill out the form, methods including molding and casting ready-made objects as as well as surface treatment and embellishment techniques. well as forms modeled out of clay. A number of mold making This is a project-based course and students learn about papier techniques are taught, including multiple piece molds and flexible maˆché through the entire process of the creation of a work, from molds. Students use a variety of casting materials including wax, development of their own idea to its completion. Students also plaster, concrete, and rubber. Lectures and slide presentations learn several techniques for creating papier maˆché masks, using provide an overview of both traditional and contemporary art the collections of Pablo Picasso’s African masks and Frida Kahlo’s which utilize the mold making and casting technique. This course Latin-American masks as sources of inspiration. This course is is suitable for all levels of artistic experience. Material fee: $70 a great introduction to working with three-dimensional forms. covers the cost of casting & mold-making materials. Material fee: $30 June 25 – 29, 10:00 am – 5:00 pm Megan Dickie July 23 – 27, 10:00 am – 5:00 pm Tracey Nelson

DRAWINGONE-WEEK WORKSHOPS 1915 DRAWINGONE-WEEK WORKSHOPS 2016 Painting: Abstract Composition (PNTG W129-JL07) Painting: Series Development (PNTG W108-JL07)

This intensive workshop combines hands-on studio practice In this workshop students develop a series based on the theme with lectures on approaches to abstraction as seen in the of ‘Harvesting the Neighbourhood’. Students need to shoot a work of painters such as Pablo Picasso, Piet Mondrian, Richard roll of 12 shots (minimum) of what they call their ‘neighbourhood’ Diebenkorn and Agnes Martin. Studio exercises focus on and then bring these prints to the first class. Students are also elements of technique and material issues, as well as inspiration asked to bring an example of a drawing or painting (finished or and source material. Examples of exercises include analytic unfinished) that is representative of their personal style, to the and synthetic approaches to subject matter, flat space in first class. From the neighborhood shoot, a theme for a triptych composition, and texture & materiality as colour. Oil and emerges. The instructor conducts one-on-one dialogues with acrylic painters welcome. each student to facilitate the production of a personal and July 23 – July 27, 10:00 am – 5:00 pm John Luna individual body of work. July 30 – August 3, 10:00 am – 5:00 pm Wendy Welch Watercolour Painting (PNTG W134-JL07) Painting: Large Scale Abstraction (PNTG W132-AU07) Have you always had the desire to paint with watercolours, but did not know where to start? This intensive workshop is an This intensive workshop combines hands-on studio practice with ideal introduction to the medium because the focus is on basic lectures on the work of abstract painters such as Jackson Pollock, materials, techniques and approaches. Exercises are designed to Mark Rothko, Helen Frankenthaler and Gerhard Richter. Studio give a beginner a solid grounding in the medium. Subject matter exercises focus on elements of technique and material issues, includes still life objects, the model, the landscape as well as as well as inspiration and source material. Examples of exercises photographs and the imagination. include use of large-scale supports and moving from observation July 23 – July 27, 10:00 am – 5:00 pm Alesha Fowlie to abstract imagery. Oil and acrylic painters welcome. August 6 – 10, 10:00 am – 5:00 pm John Luna Painting: Plein Air (PNTG W133-JL07) Painting Space (PNTG W128-AU07) This workshop follows the tradition of 19th century painting (Monet, van Gogh, Prendergast) by bringing the paint and What are the essential elements needed to successfully construct canvas outdoors. Students work on-site at the school both in the the illusion of space within the confines of the picture plane? backyard and in the classroom studio, as well as visiting nearby For centuries and especially at present with so many options locations such as Ross Bay and the Summit Park Reservoir. available, the fundamental question of space has been at the very Oil or acrylic painters welcome. heart of painting. This course gives a brief inside view into some July 30 – August 3, 10:00 am – 5:00 pm John Luna traditional methods but the focus is primarily on contemporary artists, examining their concept of spatial illusion and the necessary elements that work to create it. The instructor will give a fascinating presentation of work from the major European art fairs this summer (such as Documenta and the Venice Biennale) with an analysis of how contemporary artists deal with questions of space in their work. The workshop includes a variety of hands- on exercises and group discussion/critiques of work. Painting experience is required. August 13 – 17, 10:00 am – 5:00 pm Inga Römer

DRAWINGONE-WEEK WORKSHOPS 2117 DRAWINGONE-WEEK WORKSHOPS 2218 WEEKEND WORKSHOPS

Supply lists for all workshops are listed on the website – go to WORKSHOPS and look directly under description.

Drawing Architecture (DRWG W118-MA07)

This two-day workshop is focused on equipping students with the various techniques and principles at work when drawing from architecture. Students learn to make dynamic drawings through the use of different mark making techniques and the principles behind one, two, and three point perspective. These new skills are be put to work as students venture out to draw from the diverse architecture of downtown Victoria. No experience is necessary. May 12 & 13, 10:00 am – 5:00 pm Robert Hengeveld

Egg Tempera Painting (PNTG W124-MA07)

Textile Collage (MMED W111-AU07) In this workshop, participants learn how to paint in egg tempera, a combination of egg yolk and pigment that produces wonderfully A unique and energetic workshop where layered techniques luminous, translucent colours. Students learn to prepare wooden are used to create contemporary textile works on Japanese panel for egg tempera using chalk gesso and have an opportunity silk. Focusing on depth and color the students explore screen to produce a small panel painting in egg tempera. Finished panels printing, Roketsuzome (traditional Japanese wax resist), drawing, combine areas painted in egg tempera with gilding using gold or strip piecing and embroidery. Hand application of dyes to silver leaf so some basic gilding techniques are covered. Material achieve depth and dimension is highlighted. Implementing a fee: $30 to cover the cost of a prepared wooden panel, pigments new technique daily, students collage and layer naturally with the and binders for the egg tempera, and gilding supplies. progression of time. By weeks end, students have a fascinating May 19 & 20, 10:00 am – 5:00 pm Jan Gates surface to be used as an artwork in itself, or integrated into another media such as painting or sculpture. Material fee: $40 August 13 – 17, 10:00 am - 5:00 pm Shannon Wardroper Printmaking: Monoprinting (PRNT W102-MA07) Monoprinting is a technique which produces one-of-a-kind, Collage as Source (MMED W103-AU07) painterly prints. The beauty of the medium comes from its spontaneity and the combination of painting, drawing and print This workshop offers an in-depth exploration into all the different mediums. When creating monoprints experimentation is rewarded ways that the collage process can act as a point of departure with unexpected surprises. In this course students are taught how for drawing, painting, sculpture and installation art. Students to paint directly onto plastic plates and transfer the painting onto experiment with using collages to work through formal and paper. Instruction also covers press line drawing and reductive conceptual ideas. By the end of the workshop, participants will painting techniques. The workshop emphasizes experimentation have a vast array of collages that can be used as source material and includes opportunities to combine monoprints with chine collé for further projects. Slide presentations discussing the history of and letter press techniques. No experience required. Material fee: collage in 20th century art are also included. $25 to cover ink costs. August 20 – 24, 10:00 am – 5:00 pm Wendy Welch May 19 & 20, 10:00 am – 5:00 pm Megan Dickie

ONE-WEEKDRAWING WORKSHOPS 2319 WEEKENDDRAWING WORKSHOPS 2420 Drawing on Location (DRWG W115-MA07) Printmaking: Linocut (PRNT W100-JN07)

This fun and energetic day of drawing emphasizes getting the Relief printing is one of the most direct forms of printmaking and most out of a day trip both for outdoor work and gathering ideas is unique in that it requires no press. This course explores the for the studio. Exercises emphasize a fresh look at line, texture, graphic possibilities of carving relief prints in linoleum. Students colour and space, with tips for interpretation and compositional learn how to cut lino blocks and print in black and white and in planning. Beginners welcome. colour using multiple blocks. All materials are non-toxic and water based. No experience necessary. Material fee: $35 to cover May 19, 10:00 am – 5:00 pm John Luna printing inks and lino blocks. June 2 & 3, 10:00 am – 5:00 pm Megan Dickie Photography: Van Dyke and Cyanotype Processes (PHOT W105-MA07) The Gilded Miniature (PNTG W100-JN07) Two early photographic processes, the Van Dyke and the Cyanotype are the theme of this workshop. These Participants in this engaging workshop create their own “small two tactile photographic methods are realized through an wonder”, a gilded miniature egg-tempera painting inspired by the exposure to sunlight, providing exceptional and distinctive infinite wonders of the natural world. In producing the miniature, results despite the straightforward process. Students can some of the fundamentals of egg-tempera painting are covered as continue using these unique photographic methods at home well as basic gilding techniques used in applying gold and silver as they require little or no photographic equipment. No leaf. Material fee: $20 to cover the cost of the prepared miniature photographic background is necessary. Material fee: $20 panel, egg-tempera pigments, binders and gilding supplies. to cover the cost of specialized supplies. June 2, 10:00 am – 5:00 pm Jan Gates May 26 & 27, 10:00 am – 5:00 pm Robert Hengeveld Silver Chain Jewelry (MMED W113-JN07) Collage: Paper, Fabric & Thread (MMED W106-MA07) The striking and popular Byzantine chain pattern and the sleek This innovative and imaginative workshop explores different ribbon chain pattern are both constructed of sterling silver rings ways of combining paper, fabric and thread to create interesting each student will cut. The freehand knitted bracelet in fine silver collages. Surfaces are built up with layers of paper and fabric. wire is woven with fingers and a single knitting needle. Students Thread is used as a device to hold things together as well as to make their own simple fastening mechanisms to complete their make drawing marks onto this multilayered surface. Material fee: three silver bracelets. No soldering and no experience necessary. $10 for collage materials. Material fee: $70 (includes sterling & fine silver wire and tool rental). May 26 & 27, 10:00 am – 5:00 pm Wendy Welch June 2 & 3, 10:00 am – 5:00 pm Julia Lowther Papier Maˆché (SCLP W110-MA07)

Papier maˆché is an extremely versatile and inexpensive material and technique. In this workshop, students learn the basic techniques of creating an armature, building up layers and surface treatment. This workshop is a great introduction to working with three-dimensional forms. Material fee: $15. May 26 & June 2 (two Saturdays), 10:00 am – 5:00 pm Tracey Nelson

DRAWINGWEEKEND WORKSHOPS 2521 DRAWINGWEEKEND WORKSHOPS 2622 Photogram (PHOT W106-JN07)

This workshop follows a photographic process that creates images without the use of a camera, usually by placing an object on or near a piece of light-sensitive paper and exposing it to light. It is a very simple process, but one that provides excellent and engaging results. Students learn to develop their own black and white prints and the fundamentals of the darkroom. Material fee: Notan: The Dark-Light Principle of Design (FNDT W107-JN07) $20 for the photographic paper and the chemicals. No experience is necessary. Notan is the Japanese word for the interaction between dark and light (positive and negative or object and ground). In composition, June 9 & 10, 10:00 am – 5:00 pm Robert Hengeveld notan recognizes the separate but equally important identity of a shape and it’s background. A good notan design is therefore Photographing Downtown (PHOT W101-JN07) the key to a strong painting – without it, both color and line fail to reach their full impact. This workshop provides a complete Instructor and photographer d bradely muir takes participants introduction and overview of the text by Dorr Bothwell and Marlys around the downtown area of Victoria and discusses the various Mayfield. Notan’s practical applications will be presented in six ways one might approach photographing the city. The focus is progressive problems that will fascinate artists and designers. on taking photographs of buildings and architectural details and Workshop participants focus on how these powerful design students learn about ways to think about composition, light, principles exist in painting and learn how notan can become an texture and other details necessary for creating integral part of planning and developing a work of art. Material fee: interesting photographs. $13.00 for textbook. June 9, 10:00 am – 5:00 pm d bradley muir June 16 & 17, 10:00 am – 5:00 pm Xane St Phillip

Acrylics: Textures and Glazes (PNTG W118-JN07) Drawing the Model (DRWG W100-JN07)

An immersion into the versatile methods of surface building in This two-day workshop introduces students to the basics of acrylic painting, this workshop is both an eye-opening look at drawing from a model. Students learn to focus on contour, the variable possibilities of the medium and its supports. This gesture, proportion, negative space and value, as well as seeing workshop includes an intensive painting session where students the figure in architectural space. This would be a good session apply their new found techniques to exercises in layering and to complement the “Life Drawing Studio” drop-in sessions. small-format compositions. Model fee: $10. June 9 & 10, 10:00 am – 5:00 pm John Luna June 16 & 17, 10:00 am – 5:00 pm Eva Campbell

DRAWINGWEEKEND WORKSHOPS 2723 DRAWINGWEEKEND WORKSHOPS 2824 Fresco Techniques from the Renaissance: The Sinopia Panel Sculpting the Figure (SCLP W111-JL07) (PNTG W129-JN07) In this workshop students sculpt a figure from clay working from This one-day workshop is an introduction to the Renaissance a live model. Students develop a three-dimensional understanding technique of fresco, a time-honoured process where artists paint of space and form using sculptural techniques using clay. with pigments on freshly laid wet lime plaster. Participants can Casting techniques are reviewed. Previous experience with imaginatively travel in the footsteps of Italian Renaissance painters figurative drawing would be an asset to students interested in Michelangelo, Masaccio and Pontormo, learning the basics as this workshop. Model and material fee: $40. they would have done – preparing affresco panels, transferring July 7 & 8 10:00 am – 5:00 pm Tracey Nelson drawings and painting a monochromatic fresco on a portable wooden panel. In Renaissance times, the sinopia served as the “rough draft” for artists awaiting approval by their patrons of The Tunnel Book (MMED W112-JL07) proposed fresco projects, but by any standard, sinopia paintings Tunnel books were first created in the 19th century as souvenir are beautiful in their own right. Material fee: $45 to cover the items for important historic events or to display scenery from cost of a prepared panel, imported lime plaster and pigments. attractions around the world. A tunnel book uses a window to Participants are encouraged to consider combining this workshop peep into “pages” or cut paper scenes hinged on two accordion with Fresco Techniques from the Renaissance: The Colour folds. This gives the illusion of deep space and often displays Fresco, a complementary workshop scheduled in August 2007. a unfolding visual narrative or one duplicated image shown in June 23, 10:00 am – 5:00 pm Jan Gates different segments or perspectives. This format has been used by contemporary artists who explore innovative possibilities of Garden Design (SCLP W108-JN07) this unique structure. No bookbinding experience is necessary – but you need to be able to use an X-acto knife capably and This is a two-day workshop for students wanting to learn the be careful with measurements and gluing. Material fee fee: $5. basics of home landscape design. Students are introduced to a July 7 & 8, 10:00 am – 5:00 pm Lorraine Douglas rational design process that covers landscape styles, site analysis, spatial diagramming, an overview of materials and the plant palette. It culminates in preliminary design development of their Developing a Sourcebook (FNDT W108-JL07) personal or a hypothetical garden. Discussions are illustrated by This course explores the many ways of confiding, recording, slide presentations and an in-class reference library is available. collecting, constructing and problem solving involved in creating Material fee: $5.00 an artist’s notebook. Students look at historical examples from June 23 & 24, 10:00 am – 5:00 pm Bev Windjack diaries to scrapbooks to the exhibited ‘artists book’, and discuss ways to assemble, utilize and even exhibit the book as Drawing on Location (DRWG W115-JN07) both an invaluable artists’ resource and a medium in its own right. July 14 & 15, 10:00 am – 5:00 pm John Luna This fun and energetic day of drawing emphasizes getting the most out of a day trip both for outdoor work and gathering ideas for the studio. Exercises emphasize a fresh look at line, texture, colour and space, with tips for interpretation and compositional planning. Beginners welcome. June 30, 10:00 am – 5:00 pm John Luna

DRAWINGWEEKEND WORKSHOPS 2925 DRAWINGWEEKEND WORKSHOPS 3026 Pen & Ink: An Experimental Approach (DRWG W109-JL07) Drawing on Location (DRWG W115-JL07)

This workshop uses the traditional form of drawing with pen This fun and energetic day of drawing emphasizes getting the and ink as a starting point to explore the possibilities of line, most out of a day trip both for outdoor work and gathering ideas form, washes, collage and layering to create exciting and for the studio. Exercises emphasize a fresh look at line, texture, dynamic surfaces. A slide presentation, including artists such colour and space, with tips for interpretation and compositional as Rembrandt and van Gogh to more contemporary artists who planning. Beginners welcome. use ink in their work, complements the hands-on exercises. July 28, 10:00 am – 5:00 pm John Luna No experience necessary. July 14 & 15, 10:00 am – 5:00 pm Wendy Welch Pinhole Photography (PHOT W104-AU07)

Photographing Downtown (PHOT W101-JL07) This two-day workshop on pinhole photography introduces students to the fundamental techniques of photography. Students Instructor and photographer d bradley muir takes participants learn about a multitude of pinhole cameras through hands-on around the downtown area of Victoria and discusses the various construction and are introduced to darkroom basics, where they ways one might approach photographing the city. The focus is on print and process the images that they have captured throughout taking photographs of buildings and architectural details. Students the day. Pinhole photography is a method of photography that learn about ways to think about composition, light, texture and offers something for any level of photographer, from advanced other details necessary for creating interesting photographs. to beginner. July 21, 10:00 am – 5:00 pm d bradley muir August 4 & 5, 10:00 am – 5:00 pm d bradley muir

Collage: Experimentation with Paper (MMED W105-JL07)

In this workshop, students work with a range of papers and glue to create a variety of collage drawings and paintings. The versatility and strength of paper is also explored through tearing, weaving, crunching, wetting and forming to create textured and sculptural surfaces. No experience is necessary. July 28 & 29, 10:00 am – 5:00 pm Wendy Welch

DRAWINGWEEKEND WORKSHOPS 3127 DRAWINGWEEKEND WORKSHOPS 3228 Watercolour Sketching (PNTG W126-AU07) Photographing Downtown (PHOT W101-AU07)

This workshop introduces students to some basic watercolour Instructor and photographer d bradley muir takes participants techniques through the simple and casual process of sketching. around the downtown area of Victoria and discusses the various Students learn to use the sketchbook as a way to record ways one might approach photographing the city. The focus observations and ideas as well as how to turn the book into is on taking photographs of buildings and architectural details an art object in itself. and students learn about ways to think about composition, light, texture and other details necessary for creating August 11 & 12, 10:00 am – 5:00 pm Tracey Nelson interesting photographs. August 18, 10:00 am – 5:00 pm d bradley muir Fresco Techniques from the Renaissance: The Colour Fresco (PNTG W121-AU07) Ruling Pen and Walnut Ink Book (DRWG W116-AU07) This one-day workshop is an introduction to the Renaissance technique of fresco, a time-honoured process where artists paint The theme of this workshop is the exploration of the possibilities with pigments on freshly laid wet lime plaster. Participants can of using a ruling pen as a mark making and calligraphic tool. imaginatively travel in the footsteps of Italian Renaissance painters Students create a unique book with an expressive writing tool, Michelangelo, Masaccio and Pontormo, learning the basics as strokes of walnut ink on paper, layering of washes and using resist they would have done – preparing affresco panels, transferring techniques. Written and painted sheets will then be integrated drawings and painting a colour fresco using natural earth pigments into a soft cover pamphlet style book. No previous calligraphic on a portable wooden panel. Supply fee: $50 to cover the cost of or bookbinding experience is required. Material fee: $7.00 a prepared panel, imported lime plaster and coloured pigments. August 18 & 19, 10:00 am – 5:00 pm Lorraine Douglas Participants are encouraged to consider combining this workshop with Fresco Techniques from the Renaissance: The Sinopia Panel, a complementary workshop scheduled in June 2007. August 11, 10:00 am – 5:00 pm Jan Gates

The Sketchbook: Keeping a Visual Diary (FNDT W109-AU07)

Drawing and sketching are used to visualize maps and plans or as a way to dream in doodles and scribbles. The sketchbook is a record of one’s personal everyday life; it also gives an artist the tools to understand, change and exercise their visual perception of the world, as well to provide the building blocks for future artistic work. Students go through the process of gathering and collecting materials of interest (such as textures, fabrics, articles, photographs and written notes) and then experiment with different way of drawings using a range of techniques and materials. August 18 & 19, 10:00 am – 5:00 pm Inga Römer

DRAWINGWEEKEND WORKSHOPS 3329 DRAWINGWEEKEND WORKSHOPS 3430 FACULTY John Luna grew up in Victoria and studied at the Victoria College of Art and the University of Victoria before completing his graduate studies at the University of Calgary. He has exhibited selections All members of the regular faculty at the Vancouver Island and installations of painting, drawing and related work in Victoria, School of Art are practicing artists with teaching experience Kelowna, Calgary and San Francisco. John has also contributed and graduate level university degrees. catalogue essays and criticism for publication in Victoria, Vancouver, Toronto and Jakarta. John has taught at Camsoun Eva Campbell is a painter whose work focuses on the human Collage and also teaches at the University of Victoria. figure. Eva is also an art historian who has taught art at the University of Victoria and the College of Art in Ghana. Eva MFA, University of Calgary recently received a BC Arts Council Production grant. Her BFA, University of Victoria most recent exhibition was at the Ceres Gallery in New York. She has exhibited her work in Canada, Ghana and Britain. d bradley muir is an artist whose practice focuses on contemporary photography, sculpture and installation. He MFA, University of Victoria has taught at the University of Victoria and currently teaches MA, BA, College of Art, Ghana at Camosun College. d bradley has recently received a BC Arts Council Production Grant and he continues to publish Megan Dickie has taught at The University of Saskatchewan and and exhibit on an international basis, including exhibitions in currently teaches at the Victoria College of Art and the University Vancouver, Montreal, Toronto and New York. of Victoria. Her own art includes drawing and sculpture using a fascinating range of materials and techniques. Megan has had MFA, University of Victoria recent solo exhibitions in The LAB space at the Art Gallery of BFA, Concordia University Greater Victoria and at the Nanaimo Art Gallery. She is included in an upcoming group exhibition at Grunt Gallery, Vancouver, BC. Tracey Nelson is an artist who has worked in a variety of media, such as watercolour, papier maˆché sculpture, oil painting and MFA, University of Saskatchewan video art. She has exhibited her work in Canada, the U.S. and BFA, University of Calgary Europe. Tracey has worked as an art educator for the past 15 years, taught at Concordia University, and worked at the Canadian Jan Gates has studied drawing, fresco painting and painting Center for Architecture. Her most recent solo exhibition of restoration in Italy and has worked in Firenze as an apprentice watercolour drawings was at the Black Rock Gallery in Nanaimo, painting restorer. She is completing a M.A. in Art History at the and was part of a group show at the Martin Batchelor Gallery in University of Victoria. Jan has exhibited her work at Open Space, Victoria in February 2007. the Nanaimo Art Gallery and at Access Artist Run Centre. Jan is also an art writer and has written a catalogue essay for the MFA, Concordia University Southern Alberta Art Gallery and a recent exhibition monograph BFA, Concordia University for the Nanaimo Art Gallery. Jan currently teaches drawing and photography at Malaspina University College in Nanaimo. Inga Römer is a painter from Berlin, Germany. She received her Diplom, in 2002 at the Staatiche Kunstak, Karlsuhe, where she MFA, University of Victoria studied under Silvia Bächli and Franz Ackermann. Inga studied BFA, Simon Fraser University and exhibited in several European countries and Canada. Recent exhibitions: Production Studios in Vancouver (2005), Deluge Robert Hengeveld uses various disciplines in his practice Contemporary Art (2005), Rogue-Art Gallery (2004), Gallerie including drawing, sculpture, installation and photography. He Unter den Linden, Berlin (2001). is interested in using fiction to form a better understanding of the real: his works hover between reality and artifice. He has MFA, University of Victoria exhibited across Canada and internationally. Diploma, Staatiche Kunstak MFA, University of Victoria Diploma, Ontario College of Art & Design

FDRAWINGACULTY 3531 FDRAWINGACULTY 3632 Xane St. Phillip has over 15 years experience as an art educator GUEST INSTRUCTORS and his work focuses on painting, sculpture and installation. Xane is also an art and design consultant in the architectural field. Xane has exhibited his work in Canada and U.S and has recently Alesha Fowlie is an artist who works in a variety of media such participated in an exhibition, Reconstructing Deconstruction in as watercolour, acrylic, collage, assemblage and printmaking. Victoria BC. She attended the Camosun Visual Arts Program then received a diploma from the Emily Carr Institute of Art and Design in 1993. MFA, University of California Santa Barbara Alesha has been teaching art courses and workshops at art BFA, University of Victoria centers around Victoria for over ten years. Her work hangs in private collections in Canada and internationally. Wendy Welch is an artist whose practice includes sculpture, painting, drawing, art writing and curatorial work. Wendy has Lorraine Douglas is a book artist and calligrapher and has taught taught at the Victoria College of Art, the University of Victoria classes and workshops since 1984. Her work has been included and Camosun College. She has recently had a solo exhibition in juried and solo exhibitions in Canada and Japan and in 2004 at the Southern Alberta Art Gallery and represented the Art Gallery her book and calligraphy sculpture “Spring Roll” received a Juror’s of Greater Victoria at the Portland Art Fair (Affair@theJupiter). Award for Excellence in the Manitoba Crafts Council Spring Wendy also writes for Monday Magazine, Border Crossings Show. Lorraine has a Certificate in Education and a B. A. from the and Canadian Art and is on the Advisory Committee for University of Manitoba and a B.L.S. from the University of Alberta. Mix Magazine. MFA, University of Victoria Julia Lowther has been teaching jewelry making nationally and BFA, Concordia University internationally for almost a decade. Her current work focuses on reviving and expanding the ancient arts of chain making. She loves the process of transforming stiff, unruly coils of wire into delightfully flexible and sensuous ribbons of chain. Julia’s work has been published most recently in Art Jewelry Magazine, and the books Chain Mail Jewelry, and The Art & Craft of Making Jewelry. She lives and works in Seattle, WA.

Shannon Wardroper, originally from Victoria is a graduate of the Alberta College of Art where she majored in Textiles. She has spent the last twelve years teaching, working and studying abroad in Japan, Southeast Asia and the United Kingdom. Working with traditional techniques and recycled materials in a contemporary way to create large scale wall hangings and interior accessories, her work is exhibited and sold internationally, a highlight being her botanically inspired work for the annual Chelsea Flower Show in London.

Bev Windjack received her Bachelor of Environmental Studies and Master of Landscape Architecture degrees from the University of Manitoba. A practicing landscape architect for over twenty years, Beverly has experience in Manitoba, Bermuda, the Azores and on Vancouver Island. Beverly’s work encompasses a range of styles from traditional garden design to abstracted landscape manipulation, all with underlying roots in sustainable design principles. Beverly is currently the principal of LADR Landscape Architects, an award winning design firm in Victoria.

DRAWINGFACULTY 3733 DRAWINGGUEST INSTRUCTORS 3834 TUITION AND REGISTRATION REFUND POLICY

Six Week Long Courses are $225.00 (18 hours of instruction) A full refund is provided if a course or workshop is cancelled by One Week Workshops are $350.00 (30 hours of instruction) the Vancouver Island School of Art. If a student withdraws seven days or more before the start date of the first class, they receive a Weekend (two days) are $150.00 (12 hours of instruction) full refund minus a 10% administration fee. If a student withdraws Weekend (one day) are $75.00 (6 hours of instruction) less than seven days before the start of the class, they receive a full refund minus a 15% administrative fee. If a student withdraws Information about arranging workshop packages that include after the first class, they receive a full refund minus a 20% hotel accommodations can be found on website or check out administration fee. There are no refunds after the second class www.accentinns.com. or the start of a workshop.

Payment can be made by cash, cheque or credit card. Please refer to website for full detail regarding refund policy There is no GST charged on courses or workshops because www.vancouverislandschoolart.com the Vancouver Island School of Art has Registered Charity status. The Vancouver Island School of Art is Certified with The Vancouver Island School of Art is located in a wonderful Human Resources Development Canada and can issue tuition Arts & Crafts style heritage school building in the Quadra Village. receipts for amounts over $100 for all completed courses and The school is located at 2549 Quadra Street (between Bay and or workshops. Hillside). Parking is available on site. Bus route #6 Royal Oak via Quadra (get off at Bay). To register or for more information phone: 380.3500 The Vancouver Island School of Art Society is a non-profit email: [email protected] incorporation registered in the province of British Columbia. www.vancouverislandschoolart.com The Vancouver Island School of Art is a Registered Charity. On-line registration is available on the website. In addition, forms All donations of goods and money are tax deductible. are available on the website for those interested in registering by fax or mail. The Vancouver Island School of Art is an Accredited Institution with the Private Career Training Institute Agency (PCTIA).

TUITIONDRAWING AND REGISTRATION 3935 REFUNDDRAWING POLICY 4036