art courses and workshops · programs art fundamentals six week courses (may-june and july-august)...

Vancouver Island School of Art 2549 Quadra Street, Victoria, BC V8T 4E1 ph [email protected] www.vancouverislandschoolart.com

Thank you to ourcorporate sponsors.

2007SPRING/SUMMER

Art Courses and WorkshopsCertificate of Visual ArtsDiploma of Fine Arts

DRAWING 3 DRAWING 4

Art

CONTENTS

PROGRAMS

SIX-WEEK COURSES

ONE-WEEK INTENSIVE WORKSHOPS

WEEKEND WORKSHOPS

FACULTY

GUEST INSTRUCTORS

TUITION AND REGISTRATION

REFUND POLICY

2

14

20

31

34

35

36

ABOUT THE SCHOOL

The Vancouver Island School of Art is an accredited post secondary institution that provides an exciting and high caliber alternative to studying art at the university level. The school offers two programs – a Certificate of Visual Arts and a Diploma of Fine Arts. A student can enroll in a Program or take individual courses and/or workshops as a Non-program student. Courses and workshops at the Vancouver Island School of Art also provide an ideal way to assemble and complete portfolio material for future studies at a college or university.

The Vancouver Island School of Art was founded in 2004 by artist and instructor Wendy Welch. The school has nine regular faculty members as well as guest instructors who are all practicing artists with teaching experience. The school offers quality professional art courses for adults who want to study art on a full-time or part-time basis. Courses and workshops are geared to beginners as well as towards advanced artists looking to pursue new challenges. These courses are an opportunity to develop skills, enhance your understanding of art and discover what it means to be a practicing artist. All studio courses will explore the technical aspects of materials and execution as well as focus on making art in a contemporary context.

The Spring/Summer 2007 semester includes two separate sessions of six-week courses. (May and July). There are also many weekend and weeklong workshops running throughout the summer. Weekend workshops run from May to August. Weeklong workshops run from mid June to the third week in August.

The school is located in a wonderful heritage school building with spacious and bright classrooms and is in the Quadra Street Village just outside of downtown Victoria. There is ample parking, cafés, restaurants and a large grocery store close by.

1

DRAWING 5 DRAWING 6PROGRAMS ART FUNDAMENTALS

SIX WEEK COURSES (MAY-JUNE and JULY-AUGUST)

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

ART FUNDAMENTALS

Notan: The Dark-Light Principle of Design (FNDT S100-SS07)

Notan is the Japanese word for the interaction between dark and light (positive and negative or object and ground). In composition, notan recognizes the separate but equally important identity of a shape and it’s background. A good notan design is therefore the key to a strong painting – without it, both color and line fail to reach their full impact. This workshop provides a complete introduction and overview of the text by Dorr Bothwell and Marlys Mayfield. Notan’s practical applications will be presented in six progressive problems that will fascinate artists and designers. Course participants focus on how these powerful design principles exist in painting and learn how notan can become an integral part of planning and developing a work of art. Material fee: $13 for textbook.

(Please note this course starts a week later than the others in this session)

Thursdays May 10 – June 14 2:00 pm – 5:00 pm Xane St Phillip

PROGRAMS

Certificate of Visual Arts

The Certificate of Visual Arts Program can be completed in one 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.

Diploma of Fine Arts

The Diploma of Fine Arts Program can be completed in three years on a full-time basis, or over five years on a part-time basis. Acceptance into the Diploma Program requires a completed application form to be followed by a portfolio review by the Director.

All courses completed in the Certificate Program can be transferred to the Diploma Program. An application form for the Diploma of Fine Arts can be obtained by contacting the office.

All courses and workshops offered at the Vancouver Island School of Art are available both to students enrolled in a program, and to non-program students. Students enrolled in program will receive 100% hourly credit for all courses and workshops that they complete. Non-program students who take courses and wish to have them transferred over to a program at a later date, can do so and receive a maximum of 80% hourly credit for any courses or workshops completed.

For more information about the programs please refer to the PROGRAMS page of the website.

1 2

DRAWING 7 DRAWING 8DRAWING DRAWING

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.

Thursdays May 3 – June 7 10:00 am – 1:00 pm John Luna

The Contemporary Portrait (DRWG S102-SSO7)

Students are introduced to aspects of the practice and theory of traditional and contemporary portraiture. The art and concerns of key contemporary portrait artists are examined through slides, lectures and class discussions. Students develop and interpret the genre of portraiture using models, photography and other sources. Sessions include drawing and painting. No experience necessary. Model fee: $25

Mondays April 30 – June 4 6:30 pm - 9:30 pm Eva Campbell

Life Drawing II (DRWG S203-SS07)

In Life Drawing II students continue to develop skills in 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 figure, with particular focus on encouraging an individual’s style. Classes include intensive sessions with the model as well as working from imagination and memory. There are a series of projects that students work on both in and out of class times as well as group discussions and slide presentations of other artists’ work. Basic life drawing skills are required and Life Drawing I is highly recommended.

Thursdays May 3 – June 7 6:30 pm – 9:30 pm Eva Campbell

3 4

DRAWING 9 DRAWING 10DRAWING DRAWING

Drawing: Investigating the Imaginative (DRWG S106-SS07)

A course for all those of you who think you can’t draw. Here is a great opportunity to use your imagination, memories, experiences, thoughts and ideas to inspire mark making on paper. Students learn the many ways to approach drawing and how to make it an everyday activity. Engaging assignments include a range of techniques and methods while focusing on developing strong composition.

Thursdays May 3 – June 7 6:30 pm – 9:30 pm Robert Hengeveld

Drawing: Explorations in Ink (DRWG S103-SS07)

This course focuses on using the fluid medium of ink to explore pen and brush drawing as well as more experimental approaches of layered washes, using collage and combining mixed media such as pastel and watercolour paint with the ink drawings.

Wednesdays May 2 – June 6 2:00 pm – 5:00 pm Wendy Welch

Drawing: Extended Media (DRWG S104-SS07)

This course is a condensed version of Drawing: Extended Media that is offered as a 12-week course. Drawing has evolved and extended into other media, incorporating techniques and methods from the disciplines of sculpture and printmaking. This course explores how printmaking techniques such as silkscreen and relief can be integrated with drawing. It also investigates the tendency for drawing to leave the two-dimensional plane and venture into areas of sculpture. The course focuses on three major projects: one that combines sculpture with drawing; one that combines drawing with printmaking and one that incorporates all three mediums. Students should have some drawing experience and a willingness to experiment. Material fee: $15 to cover printmaking supplies.

Thursdays May 3 – June 7 6:30 pm - 9:30 pm Megan Dickie

Drawing: Developing a Theme (DRWG S200-SS07)

This hands-on studio course focuses on the process of recognizing and responding to persistent themes and images in your work, whether the images exist independently or relate to the pursuit of another medium, such as painting, sculpture or installation. Students undertake exercises designed to expand notions of subject matter over a series of drawings, such as varying approaches to observed subjects, working with narrative forms, automatic drawing and preparatory study series for larger work. The six-week format allows for individual problem solving and includes slide presentations of examples from both historical and contemporary art.

Tuesdays May 1 – June 5 6:30 pm – 9:30 John Luna

Drawing: Historical Explorations (DRWG S105-SS07)

This imaginative drawing course explores some of the thematic 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 History; Dutch still-life painting and early botanical illustration. Classes include brief lectures/slide presentations that provide an introduction to the various themes. Some drawing experience is recommended – this is an excellent course for artists wishing to explore new themes in their work.

Thursdays July 5 – August 9 6:30 pm – 9:30 Jan Gates

Drawing: Pastels (DRWG S109-SS07)

Pastels are relatively simple to work with and yield marvelous results. Working with imaginative subject matter, students learn the fundamentals for creating monochromatic and colour drawings on a variety of surfaces using oil and chalk pastels. This is an ideal course for the beginning or intermediate students wishing to explore a new drawing medium.

Tuesdays July 3 – August 7 6:30 – 9:30 pm Jan Gates

5 6

DRAWING 11 DRAWING 12

PAINTING

Painting Primer (PNTG S102-SS07/SU07)

An introduction to various challenges offered by the acrylic medium, including mixing paint, brushwork, glazes and creating textures. Exercises include still life, model, outdoor landscape and working from photographs. The course emphasizes in-class work and technical problem solving, and is ideal for the novice painter.

Mondays April 30 – June 4 (PNTG S102-SS07) 6:30 pm – 9:30 pm John Luna

or

Tuesdays July 3 – August 7 (PNTG S102-SU07) 6:30 pm – 9:30 pm John Luna

Painting: Still Life (PNTG S105-SS07)

A broad examination of this meeting point between art and life, Painting: Still Life includes both a thought-provoking overview of the history of the idiom, and a series of exercises designed to stimulate new approaches to the still life subject. Learn how to construct interesting arrangements to explore what can be understood about a subject through work in repetition. Course examines the variety of forms this genre has used from the traditional to the contemporary. Selected topics include theatrical presentation, symbol and metaphor, and the role of everyday objects. Acrylic or oil painters welcome. Drawing: Still Life is recommended as a prerequisite to this course but is not required.

Wednesdays July 4 – August 8 6:30 pm – 9:30 pm John Luna

Painting: Introduction to Gouache (PNTG S103-SS07)

Gouache, an expressive opaque water-based paint medium, was favoured by many artists of the early 20th century, including Raoul Dufy, Henri Matisse, Joan Miro and Paul Klee who appreciated gouache for its beautifully saturated colours and ease of use. Through a series of imaginative assignments, this informative course reveals the possibilities of this overlooked painting medium and inspires students to experiment and further develop a personal style.

Tuesdays May 1 – June 5 6:30 pm – 9:30 pm Jan Gates

Painting: Nature and the Sublime (PNTG S201-SS07)

Although based on landscape and nature, this course examines the more abstract qualities of painting. Students experiment with the application of paint on a surface to create atmosphere, mood and emotion. Natural phenomena and weather are used for their metaphoric capacities, and painting is used to connect the painter to the natural surrounding world. Using historical and contemporary examples and approaches, students look towards nature as a point of departure to explore ideas, processes and visual poetry. An understanding about the effectiveness of colour and composition in painting is emphasized. Prerequisite to this course: Introduction to Painting I and II or equivalent painting experience required.

(Please note this course starts a week later than the others in this session)

Thursdays May 10 – June 14 6:30 pm – 9:30 pm Xane St Phillip

PAINTING PAINTING7 8

DRAWING 13 DRAWING 14

Watercolour on Location (PNTG S107-SP07)

In this course, students go as a group to sketch and paint diverse subjects in various locations around Victoria. The instructor presents other watercolour artists who use similar subject for analysis and discussion through books and slide presentations. This course also explores basic techniques, including brush usage, drawing with ink and watercolour, colour mixing and collage. Beginners welcome.

Tuesdays May 1 – June 5 2:00 pm – 5:00 pm Tracey Nelson

MIXED MEDIA

Mixed Media & Photography (MMED S102-SS07/SU07)

This course introduces students to various studio methods that use photography in one way or another. This is not a photography course in any traditional or technical sense, but rather an opportunity to experiment with photography as a tool in various studio applications. Since its inception in the early 19th Century, photography has been utilized by painters and sculptors, and has 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 wonderful and limitless medium within their own artistic pursuits. Photography experience is not necessary.

Mondays April 30 – June 4 (MMED S102-SS07) 2:00 pm – 5:00 pm d bradley muir

or

Wednesday July 4 – August 8 (MMED S102-SU07) 6:30 – 9:30 pm d bradley muir

The Grid: Exploration in Format (MMED S103-SS07)

Throughout the 20th, and now in the 21st century, artists have 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

MIXED MEDIAPAINTING

Watercolour Basics (PNTG S106-SS07/SU07)

This six-week course is ideal for anyone who has always wanted to try watercolour but did not know where to start. Basic techniques such as brushwork, mixing colour, washes, textures and working with mixed media are explored. Students also learn how to develop a composition through exercises with subject matter such as still life, landscape and working from photographs as a starting point. Beginners are welcome.

Wednesdays May 2 – June 6 (PNTG S106-SS07) 6:30 pm – 9:30 pm Tracey Nelson

and

Tuesdays July 3 – August 7 (PNTG S106-SU07) 6:30 pm – 9:30 pm Tracey Nelson

Watermedia & Collage II (PNTG S202–SS07)

In this continuation of Watermedia & Collage I, students examine and consider the methods and discipline involved in developing a personal style or body of work. Ideas evolve through sketching, painting and writing in this course. Watermedia & Collage I is a prerequisite to this course.

Wednesday May 2 – June 6 6:30 pm – 9:30 pm Wendy Welch

Oil Basics (PNTG S101-SS07)

Designed as a no-experience-necessary immersion, this course is a hands-on introduction to oil painting, including traditional tools and materials, paint handling, working with simple colour palettes and preparing proper surfaces. Oil Basics stresses in-class exercises and demonstrations for students who want to start painting immediately, and offers a variety of approaches to the problems of planning, layering and finishing small compositions – a great way to get comfortable with a convenient and flexible medium.

Tuesdays May 1 – June 5 2:00 pm – 5:00 pm John Luna

9 10

DRAWING 15 DRAWING 16PHOTOGRAPHYPRINTMAKING SCULPTURE

PRINTMAKING

Printmaking: Silk Screen (PRNT S100-SS07)

This course introduces the fundamentals of silkscreen printing. It provides a thorough grounding in the basic technical process of screen printing including: stretching a screen, creating hand drawn and photo emulsion stencils, printing in multiple colours and alternative printing techniques. Slide presentations and lectures provide examples of the aesthetic and conceptual characteristics of silkscreen. This course is suitable for all levels of artistic experience. Material fee: $50 covers everything except paper.

Thursdays May 3 – June 7 2:00 pm – 5:00 pm Megan Dickie

SCULPTURE

Sculpture: Wax and Encaustics (SCLP S104-SS07)

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. The course covers how to cast with wax, how wax can be used with other objects in assemblages and how to make constructions using sheets of wax and a soldering iron. In addition to the above techniques, students also learn how to add pigment to hot wax, which is traditionally known as encaustic. No previous sculpture experience needed. Wax is available to purchase from VISA by weight.

Tuesdays May 1 – June 5 6:30 pm – 9:30 pm Megan Dickie

PHOTOGRAPHY

Camera Basics (PHOT S102-SS07/SU07)

Students are introduced to the basic technical applications of traditional camera techniques allowing for controlled exposure and composition in order to create expected results. Through the use of colour slide film, exercises and lectures student complete this six-week course with the confidence of understanding how to create photographs without reliance upon automatic settings or chance. While this course does not offer a digital component, interested students are reminded that all information covered will translate directly to basic digital techniques and methods. Students are required to have a working 35mm SLR Camera and should expect to budget from $90 – $120 in film and processing costs.

Tuesdays May 1 – June 5 (PHOT S102-SS07) 6:30 pm – 9:30 pm d bradley muir

or

Wednesdays July 4 – August 8 (PHOT S102-SU07) 2:00 pm – 5:00 pm d bradley muir

Darkroom Basics (PHOT S100-SS07/SU07)

Students are introduced to the basic technical applications of traditional black and white film processing and printing. Through technical exercises and lectures, students will finish this six-week course with the confidence of understanding how to create basic black and white photographs in a darkroom. Students are required to have a working 35mm SLR Camera and should expect to budget for a $40 chemical fee.

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

11 12

DRAWING 17 DRAWING 18ONE-WEEK WORKSHOPSART HISTORY

ART HISTORY

Canadian Art (AHIS S105-SS07)

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. The focus is on aesthetic developments as well as the social currents and the artists’ milieu, drawing on primary sources such as letters, reviews and criticism of the era. Classes are in slide-lecture format, with time given over to lively discussion at the end of each session where everyone is encouraged to share their opinions and ideas about the subject at hand. No text is necessary, but a list of readings is provided for students interested in learning more.

Fridays May 4 – June 8 10:00 am – 1:00 pm John Luna

Contemporary Art (SEMR S100-SS07)

With the recent renovation of the Museum of Modern Art in New York, many asked ‘but what came after ‘Modern’? This exciting and engaging survey follows trends and developments in international art from the experiments of the 1960’s to the art market boom of the 1980’s, drawing parallels back through art history in an attempt to relate contemporary art with precedents and influences from past traditions. Lectures take the form of slide presentations, with time set aside for lively class discussion where everyone is encouraged to share opinions and ideas about the subject at hand. There is no prerequisite for this course and a list of readings is provided for students interested in learning more.

Thursdays July 5 – August 9 6:30 pm – 9:30 pm John Luna

ONE-WEEK INTENSIVE WORKSHOPS

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

Printmaking: Silk Screen (PRNT W103-JN07)

This workshop is an intensive introduction to the fundamentals of silkscreen printing. It provides a thorough grounding in the basic technical process of screen printing including: stretching a screen, creating hand drawn and photo emulsion stencils, printing in multiple colours and alternative printing techniques. Slide presentations and lectures provide examples of the aesthetic and conceptual characteristics of silkscreen. This course is suitable for all levels of artistic experience. Material fee: $50 covers everything except paper.

June 11 – 15, 10:00 am – 5:00 pm Megan Dickie

Painting: Expression in Colour (PNTG W130-JN07)

This intensive workshop combines hands-on studio practice with lectures on the work of modern colourists such as Claude Monet, Henri Matisse, Georgia O’Keefe and David Hockney. Studio exercises focus on elements of technique and material issues, as well as inspiration and source material. Examples of exercises include developing intense colour palettes from observed subjects and using colour to create rhythm in composition. Oil and acrylic painters welcome.

June 11 – 15, 10:00 am – 5:00 pm John Luna

13 14

DRAWING 19 DRAWING 20ONE-WEEK WORKSHOPSONE-WEEK WORKSHOPS

Drawing Fundamentals (DRWG W120-JN07)

This stimulating introduction to observational drawing emphasizes the process of learning to draw what you see. Students are introduced to variety of drawing materials including pencils, graphite, charcoal, conté and ink. Exercises include drawing still life, landscape, portraiture and the figure. Beginners welcome.

June 18 – 22, 10:00 am – 5:00 pm John Luna

Textile Collage (MMED W111-JN07)

A unique and energetic workshop where layered techniques are used to create contemporary textile works on Japanese silk. Focusing on depth and color the students explore screen printing, Roketsuzome (traditional Japanese wax resist), drawing, strip piecing and embroidery. Hand application of dyes to achieve depth and dimension is highlighted. Implementing a new technique daily, students collage and layer naturally with the progression of time. By weeks end, students have a fascinating surface to be used as an artwork in itself, or integrated into another media such as painting or sculpture. Material fee: $40

June 18 – 22, 10:00 am – 5:00 pm Shannon Wardroper

Sculpture: Modeling, Mold Making & Casting (SCLP W101-JN07)

This workshop is a technical resource embracing a variety of methods including molding and casting ready-made objects as well as forms modeled out of clay. A number of mold making techniques are taught, including multiple piece molds and flexible molds. Students use a variety of casting materials including wax, plaster, concrete, and rubber. Lectures and slide presentations provide an overview of both traditional and contemporary art which utilize the mold making and casting technique. This course is suitable for all levels of artistic experience. Material fee: $70 covers the cost of casting & mold-making materials.

June 25 – 29, 10:00 am – 5:00 pm Megan Dickie

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

Watercolour on Location (PNTG W135-JL07)

In this intensive workshop, students go as a group to sketch and paint diverse subjects in various locations around Victoria. This workshop explores basic techniques of watercolour, including brush usage, drawing with ink and watercolour, colour mixing and collage. Students also learn about how other watercolour artists work with similar subject matter. Beginners welcome.

July 9 – 13, 10:00 am – 5:00 pm Tracey Nelson

Drawing: The Abstract Image (DRWG W119-JL07)

In this intensive workshop, students explore the history of abstraction in 20th century drawing leading to an understanding of the transition from representational drawing to making marks, shapes, forms and textures that are inherently interesting as completed works of art. The workshop includes a range of fascinating and innovative projects utilizing a wide variety of drawing materials.

July 16 - 20, 10:00 am – 5:00 pm Wendy Welch

Papier Maché (SCLP W110-JL07)

Papier maché is an extremely versatile inexpensive material and technique. In this week long course students learn the technique of creating an armature, building up layers to fill out the form, as well as surface treatment and embellishment techniques. This is a project-based course and students learn about papier maché through the entire process of the creation of a work, from development of their own idea to its completion. Students also learn several techniques for creating papier maché masks, using the collections of Pablo Picasso’s African masks and Frida Kahlo’s Latin-American masks as sources of inspiration. This course is a great introduction to working with three-dimensional forms. Material fee: $30

July 23 – 27, 10:00 am – 5:00 pm Tracey Nelson

15 16

DRAWING 21 DRAWING 22ONE-WEEK WORKSHOPSONE-WEEK WORKSHOPS

Painting: Abstract Composition (PNTG W129-JL07)

This intensive workshop combines hands-on studio practice with lectures on approaches to abstraction as seen in the work of painters such as Pablo Picasso, Piet Mondrian, Richard Diebenkorn and Agnes Martin. Studio exercises focus on elements of technique and material issues, as well as inspiration and source material. Examples of exercises include analytic and synthetic approaches to subject matter, flat space in composition, and texture & materiality as colour. Oil and acrylic painters welcome.

July 23 – July 27, 10:00 am – 5:00 pm John Luna

Watercolour Painting (PNTG W134-JL07)

Have you always had the desire to paint with watercolours, but did not know where to start? This intensive workshop is an ideal introduction to the medium because the focus is on basic materials, techniques and approaches. Exercises are designed to give a beginner a solid grounding in the medium. Subject matter includes still life objects, the model, the landscape as well as photographs and the imagination.

July 23 – July 27, 10:00 am – 5:00 pm Alesha Fowlie

Painting: Plein Air (PNTG W133-JL07)

This workshop follows the tradition of 19th century painting (Monet, van Gogh, Prendergast) by bringing the paint and canvas outdoors. Students work on-site at the school both in the backyard and in the classroom studio, as well as visiting nearby locations such as Ross Bay and the Summit Park Reservoir. Oil or acrylic painters welcome.

July 30 – August 3, 10:00 am – 5:00 pm John Luna

Painting: Series Development (PNTG W108-JL07)

In this workshop students develop a series based on the theme of ‘Harvesting the Neighbourhood’. Students need to shoot a roll of 12 shots (minimum) of what they call their ‘neighbourhood’ and then bring these prints to the first class. Students are also asked to bring an example of a drawing or painting (finished or unfinished) that is representative of their personal style, to the first class. From the neighborhood shoot, a theme for a triptych emerges. The instructor conducts one-on-one dialogues with each student to facilitate the production of a personal and individual body of work.

July 30 – August 3, 10:00 am – 5:00 pm Wendy Welch

Painting: Large Scale Abstraction (PNTG W132-AU07)

This intensive workshop combines hands-on studio practice with lectures on the work of abstract painters such as Jackson Pollock, Mark Rothko, Helen Frankenthaler and Gerhard Richter. Studio exercises focus on elements of technique and material issues, as well as inspiration and source material. Examples of exercises include use of large-scale supports and moving from observation to abstract imagery. Oil and acrylic painters welcome.

August 6 – 10, 10:00 am – 5:00 pm John Luna

Painting Space (PNTG W128-AU07)

What are the essential elements needed to successfully construct the illusion of space within the confines of the picture plane? For centuries and especially at present with so many options available, the fundamental question of space has been at the very heart of painting. This course gives a brief inside view into some 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

17 18

DRAWING 23 DRAWING 24WEEKEND WORKSHOPSONE-WEEK WORKSHOPS

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)

In this workshop, participants learn how to paint in egg tempera, a combination of egg yolk and pigment that produces wonderfully luminous, translucent colours. Students learn to prepare wooden panel for egg tempera using chalk gesso and have an opportunity to produce a small panel painting in egg tempera. Finished panels combine areas painted in egg tempera with gilding using gold or silver leaf so some basic gilding techniques are covered. Material fee: $30 to cover the cost of a prepared wooden panel, pigments and binders for the egg tempera, and gilding supplies.

May 19 & 20, 10:00 am – 5:00 pm Jan Gates

Printmaking: Monoprinting (PRNT W102-MA07)

Monoprinting is a technique which produces one-of-a-kind, painterly prints. The beauty of the medium comes from its spontaneity and the combination of painting, drawing and print mediums. When creating monoprints experimentation is rewarded with unexpected surprises. In this course students are taught how to paint directly onto plastic plates and transfer the painting onto paper. Instruction also covers press line drawing and reductive painting techniques. The workshop emphasizes experimentation and includes opportunities to combine monoprints with chine collé and letter press techniques. No experience required. Material fee: $25 to cover ink costs.

May 19 & 20, 10:00 am – 5:00 pm Megan Dickie

19 20

Textile Collage (MMED W111-AU07)

A unique and energetic workshop where layered techniques are used to create contemporary textile works on Japanese silk. Focusing on depth and color the students explore screen printing, Roketsuzome (traditional Japanese wax resist), drawing, strip piecing and embroidery. Hand application of dyes to achieve depth and dimension is highlighted. Implementing a new technique daily, students collage and layer naturally with the progression of time. By weeks end, students have a fascinating 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

Collage as Source (MMED W103-AU07)

This workshop offers an in-depth exploration into all the different ways that the collage process can act as a point of departure for drawing, painting, sculpture and installation art. Students experiment with using collages to work through formal and conceptual ideas. By the end of the workshop, participants will have a vast array of collages that can be used as source material for further projects. Slide presentations discussing the history of collage in 20th century art are also included.

August 20 – 24, 10:00 am – 5:00 pm Wendy Welch

DRAWING 25 DRAWING 26WEEKEND WORKSHOPSWEEKEND WORKSHOPS

Drawing on Location (DRWG W115-MA07)

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.

May 19, 10:00 am – 5:00 pm John Luna

Photography: Van Dyke and Cyanotype Processes (PHOT W105-MA07)

Two early photographic processes, the Van Dyke and the Cyanotype are the theme of this workshop. These two tactile photographic methods are realized through an exposure to sunlight, providing exceptional and distinctive results despite the straightforward process. Students can continue using these unique photographic methods at home as they require little or no photographic equipment. No photographic background is necessary. Material fee: $20 to cover the cost of specialized supplies.

May 26 & 27, 10:00 am – 5:00 pm Robert Hengeveld

Collage: Paper, Fabric & Thread (MMED W106-MA07)

This innovative and imaginative workshop explores different ways of combining paper, fabric and thread to create interesting collages. Surfaces are built up with layers of paper and fabric. Thread is used as a device to hold things together as well as to make drawing marks onto this multilayered surface. Material fee: $10 for collage materials.

May 26 & 27, 10:00 am – 5:00 pm Wendy Welch

Papier Maché (SCLP W110-MA07)

Papier maché 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

Printmaking: Linocut (PRNT W100-JN07)

Relief printing is one of the most direct forms of printmaking and is unique in that it requires no press. This course explores the graphic possibilities of carving relief prints in linoleum. Students learn how to cut lino blocks and print in black and white and in colour using multiple blocks. All materials are non-toxic and water based. No experience necessary. Material fee: $35 to cover printing inks and lino blocks.

June 2 & 3, 10:00 am – 5:00 pm Megan Dickie

The Gilded Miniature (PNTG W100-JN07)

Participants in this engaging workshop create their own “small wonder”, a gilded miniature egg-tempera painting inspired by the infinite wonders of the natural world. In producing the miniature, some of the fundamentals of egg-tempera painting are covered as well as basic gilding techniques used in applying gold and silver leaf. Material fee: $20 to cover the cost of the prepared miniature panel, egg-tempera pigments, binders and gilding supplies.

June 2, 10:00 am – 5:00 pm Jan Gates

Silver Chain Jewelry (MMED W113-JN07)

The striking and popular Byzantine chain pattern and the sleek ribbon chain pattern are both constructed of sterling silver rings each student will cut. The freehand knitted bracelet in fine silver wire is woven with fingers and a single knitting needle. Students make their own simple fastening mechanisms to complete their three silver bracelets. No soldering and no experience necessary. Material fee: $70 (includes sterling & fine silver wire and tool rental).

June 2 & 3, 10:00 am – 5:00 pm Julia Lowther

2221


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: $20 for the photographic paper and the chemicals. No experience is necessary.

June 9 & 10, 10:00 am – 5:00 pm Robert Hengeveld

Photographing Downtown (PHOT W101-JN07)

Instructor and photographer d bradely muir takes participants around the downtown area of Victoria and discusses the various ways one might approach photographing the city. The focus is on taking photographs of buildings and architectural details and students learn about ways to think about composition, light, texture and other details necessary for creating interesting photographs.

June 9, 10:00 am – 5:00 pm d bradley muir

Acrylics: Textures and Glazes (PNTG W118-JN07)

An immersion into the versatile methods of surface building in acrylic painting, this workshop is both an eye-opening look at the variable possibilities of the medium and its supports. This workshop includes an intensive painting session where students apply their new found techniques to exercises in layering and small-format compositions.

June 9 & 10, 10:00 am – 5:00 pm John Luna

Notan: The Dark-Light Principle of Design (FNDT W107-JN07)

Notan is the Japanese word for the interaction between dark and light (positive and negative or object and ground). In composition, notan recognizes the separate but equally important identity of a shape and it’s background. A good notan design is therefore the key to a strong painting – without it, both color and line fail to reach their full impact. This workshop provides a complete introduction and overview of the text by Dorr Bothwell and Marlys Mayfield. Notan’s practical applications will be presented in six progressive problems that will fascinate artists and designers. Workshop participants focus on how these powerful design principles exist in painting and learn how notan can become an integral part of planning and developing a work of art. Material fee: $13.00 for textbook.

June 16 & 17, 10:00 am – 5:00 pm Xane St Phillip

Drawing the Model (DRWG W100-JN07)

This two-day workshop introduces students to the basics of drawing from a model. Students learn to focus on contour, gesture, proportion, negative space and value, as well as seeing the figure in architectural space. This would be a good session to complement the “Life Drawing Studio” drop-in sessions. Model fee: $10.

June 16 & 17, 10:00 am – 5:00 pm Eva Campbell

23 24


Fresco Techniques from the Renaissance: The Sinopia Panel (PNTG W129-JN07)

This one-day workshop is an introduction to the Renaissance technique of fresco, a time-honoured process where artists paint with pigments on freshly laid wet lime plaster. Participants can imaginatively travel in the footsteps of Italian Renaissance painters Michelangelo, Masaccio and Pontormo, learning the basics as they would have done – preparing affresco panels, transferring 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 proposed fresco projects, but by any standard, sinopia paintings are beautiful in their own right. Material fee: $45 to cover the cost of a prepared panel, imported lime plaster and pigments. Participants are encouraged to consider combining this workshop with Fresco Techniques from the Renaissance: The Colour Fresco, a complementary workshop scheduled in August 2007.

June 23, 10:00 am – 5:00 pm Jan Gates

Garden Design (SCLP W108-JN07)

This is a two-day workshop for students wanting to learn the basics of home landscape design. Students are introduced to a 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 personal or a hypothetical garden. Discussions are illustrated by slide presentations and an in-class reference library is available. Material fee: $5.00

June 23 & 24, 10:00 am – 5:00 pm Bev Windjack

Drawing on Location (DRWG W115-JN07)


June 30, 10:00 am – 5:00 pm John Luna

Sculpting the Figure (SCLP W111-JL07)

In this workshop students sculpt a figure from clay working from a live model. Students develop a three-dimensional understanding of space and form using sculptural techniques using clay. Casting techniques are reviewed. Previous experience with figurative drawing would be an asset to students interested in this workshop. Model and material fee: $40.

July 7 & 8 10:00 am – 5:00 pm Tracey Nelson

The Tunnel Book (MMED W112-JL07)

Tunnel books were first created in the 19th century as souvenir items for important historic events or to display scenery from attractions around the world. A tunnel book uses a window to peep into “pages” or cut paper scenes hinged on two accordion folds. This gives the illusion of deep space and often displays a unfolding visual narrative or one duplicated image shown in different segments or perspectives. This format has been used by contemporary artists who explore innovative possibilities of this unique structure. No bookbinding experience is necessary – but you need to be able to use an X-acto knife capably and be careful with measurements and gluing. Material fee fee: $5.

July 7 & 8, 10:00 am – 5:00 pm Lorraine Douglas

Developing a Sourcebook (FNDT W108-JL07)

This course explores the many ways of confiding, recording, collecting, constructing and problem solving involved in creating an artist’s notebook. Students look at historical examples from diaries to scrapbooks to the exhibited ‘artists book’, and discuss ways to assemble, utilize and even exhibit the book as both an invaluable artists’ resource and a medium in its own right.

July 14 & 15, 10:00 am – 5:00 pm John Luna

25 26


Pen & Ink: An Experimental Approach (DRWG W109-JL07)

This workshop uses the traditional form of drawing with pen and ink as a starting point to explore the possibilities of line, form, washes, collage and layering to create exciting and dynamic surfaces. A slide presentation, including artists such as Rembrandt and van Gogh to more contemporary artists who use ink in their work, complements the hands-on exercises. No experience necessary.

July 14 & 15, 10:00 am – 5:00 pm Wendy Welch

Photographing Downtown (PHOT W101-JL07)

Instructor and photographer d bradley muir takes participants around the downtown area of Victoria and discusses the various ways one might approach photographing the city. The focus is on taking photographs of buildings and architectural details. Students learn about ways to think about composition, light, texture and other details necessary for creating interesting photographs.

July 21, 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

Drawing on Location (DRWG W115-JL07)


July 28, 10:00 am – 5:00 pm John Luna

Pinhole Photography (PHOT W104-AU07)

This two-day workshop on pinhole photography introduces students to the fundamental techniques of photography. Students learn about a multitude of pinhole cameras through hands-on construction and are introduced to darkroom basics, where they print and process the images that they have captured throughout the day. Pinhole photography is a method of photography that offers something for any level of photographer, from advanced to beginner.

August 4 & 5, 10:00 am – 5:00 pm d bradley muir

27 28


Watercolour Sketching (PNTG W126-AU07)

This workshop introduces students to some basic watercolour techniques through the simple and casual process of sketching. Students learn to use the sketchbook as a way to record observations and ideas as well as how to turn the book into an art object in itself.

August 11 & 12, 10:00 am – 5:00 pm Tracey Nelson

Fresco Techniques from the Renaissance: The Colour Fresco (PNTG W121-AU07)

This one-day workshop is an introduction to the Renaissance technique of fresco, a time-honoured process where artists paint with pigments on freshly laid wet lime plaster. Participants can imaginatively travel in the footsteps of Italian Renaissance painters Michelangelo, Masaccio and Pontormo, learning the basics as they would have done – preparing affresco panels, transferring drawings and painting a colour fresco using natural earth pigments on a portable wooden panel. Supply fee: $50 to cover the cost of a prepared panel, imported lime plaster and coloured pigments. 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

Photographing Downtown (PHOT W101-AU07)

Instructor and photographer d bradley muir takes participants around the downtown area of Victoria and discusses the various ways one might approach photographing the city. The focus is on taking photographs of buildings and architectural details and students learn about ways to think about composition, light, texture and other details necessary for creating interesting photographs.

August 18, 10:00 am – 5:00 pm d bradley muir

Ruling Pen and Walnut Ink Book (DRWG W116-AU07)

The theme of this workshop is the exploration of the possibilities of using a ruling pen as a mark making and calligraphic tool. Students create a unique book with an expressive writing tool, strokes of walnut ink on paper, layering of washes and using resist techniques. Written and painted sheets will then be integrated into a soft cover pamphlet style book. No previous calligraphic or bookbinding experience is required. Material fee: $7.00

August 18 & 19, 10:00 am – 5:00 pm Lorraine Douglas

29 30

DRAWING 35 DRAWING 36FACULTYFACULTY

FACULTY

All members of the regular faculty at the Vancouver Island School of Art are practicing artists with teaching experience and graduate level university degrees.

Eva Campbell is a painter whose work focuses on the human figure. Eva is also an art historian who has taught art at the University of Victoria and the College of Art in Ghana. Eva recently received a BC Arts Council Production grant. Her most recent exhibition was at the Ceres Gallery in New York. She has exhibited her work in Canada, Ghana and Britain.

MFA, University of Victoria MA, BA, College of Art, Ghana

Megan Dickie has taught at The University of Saskatchewan and currently teaches at the Victoria College of Art and the University of Victoria. Her own art includes drawing and sculpture using a fascinating range of materials and techniques. Megan has had recent solo exhibitions in The LAB space at the Art Gallery of Greater Victoria and at the Nanaimo Art Gallery. She is included in an upcoming group exhibition at Grunt Gallery, Vancouver, BC.

MFA, University of Saskatchewan BFA, University of Calgary

Jan Gates has studied drawing, fresco painting and painting restoration in Italy and has worked in Firenze as an apprentice painting restorer. She is completing a M.A. in Art History at the University of Victoria. Jan has exhibited her work at Open Space, the Nanaimo Art Gallery and at Access Artist Run Centre. Jan is also an art writer and has written a catalogue essay for the Southern Alberta Art Gallery and a recent exhibition monograph for the Nanaimo Art Gallery. Jan currently teaches drawing and photography at Malaspina University College in Nanaimo.

MFA, University of Victoria BFA, Simon Fraser University

Robert Hengeveld uses various disciplines in his practice including drawing, sculpture, installation and photography. He is interested in using fiction to form a better understanding of the real: his works hover between reality and artifice. He has exhibited across Canada and internationally.

MFA, University of Victoria Diploma, Ontario College of Art & Design

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 and installations of painting, drawing and related work in Victoria, Kelowna, Calgary and San Francisco. John has also contributed catalogue essays and criticism for publication in Victoria, Vancouver, Toronto and Jakarta. John has taught at Camsoun Collage and also teaches at the University of Victoria.

MFA, University of Calgary BFA, University of Victoria

d bradley muir is an artist whose practice focuses on contemporary photography, sculpture and installation. He has taught at the University of Victoria and currently teaches at Camosun College. d bradley has recently received a BC Arts Council Production Grant and he continues to publish and exhibit on an international basis, including exhibitions in Vancouver, Montreal, Toronto and New York.

MFA, University of Victoria BFA, Concordia University

Tracey Nelson is an artist who has worked in a variety of media, such as watercolour, papier maché sculpture, oil painting and video art. She has exhibited her work in Canada, the U.S. and Europe. Tracey has worked as an art educator for the past 15 years, taught at Concordia University, and worked at the Canadian Center for Architecture. Her most recent solo exhibition of watercolour drawings was at the Black Rock Gallery in Nanaimo, and was part of a group show at the Martin Batchelor Gallery in Victoria in February 2007.

MFA, Concordia University BFA, Concordia University

Inga Römer is a painter from Berlin, Germany. She received her Diplom, in 2002 at the Staatiche Kunstak, Karlsuhe, where she studied under Silvia Bächli and Franz Ackermann. Inga studied and exhibited in several European countries and Canada. Recent exhibitions: Production Studios in Vancouver (2005), Deluge Contemporary Art (2005), Rogue-Art Gallery (2004), Gallerie Unter den Linden, Berlin (2001).

MFA, University of Victoria Diploma, Staatiche Kunstak

31 32

DRAWING 37 DRAWING 38GUEST INSTRUCTORSFACULTY

Xane St. Phillip has over 15 years experience as an art educator 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 participated in an exhibition, Reconstructing Deconstruction in Victoria BC.

MFA, University of California Santa Barbara BFA, University of Victoria

Wendy Welch is an artist whose practice includes sculpture, painting, drawing, art writing and curatorial work. Wendy has taught at the Victoria College of Art, the University of Victoria and Camosun College. She has recently had a solo exhibition at the Southern Alberta Art Gallery and represented the Art Gallery of Greater Victoria at the Portland Art Fair (Affair@theJupiter). Wendy also writes for Monday Magazine, Border Crossings and Canadian Art and is on the Advisory Committee for Mix Magazine.

MFA, University of Victoria BFA, Concordia University

GUEST INSTRUCTORS

Alesha Fowlie is an artist who works in a variety of media such as watercolour, acrylic, collage, assemblage and printmaking. She attended the Camosun Visual Arts Program then received a diploma from the Emily Carr Institute of Art and Design in 1993. Alesha has been teaching art courses and workshops at art centers around Victoria for over ten years. Her work hangs in private collections in Canada and internationally.

Lorraine Douglas is a book artist and calligrapher and has taught classes and workshops since 1984. Her work has been included in juried and solo exhibitions in Canada and Japan and in 2004 her book and calligraphy sculpture “Spring Roll” received a Juror’s Award for Excellence in the Manitoba Crafts Council Spring Show. Lorraine has a Certificate in Education and a B. A. from the University of Manitoba and a B.L.S. from the University of Alberta.

Julia Lowther has been teaching jewelry making nationally and 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.

33 34

DRAWING 39 DRAWING 40REFUND POLICYTUITION AND REGISTRATION

TUITION AND REGISTRATION

Six Week Long Courses are $225.00 (18 hours of instruction)

One Week Workshops are $350.00 (30 hours of instruction)

Weekend (two days) are $150.00 (12 hours of instruction)

Weekend (one day) are $75.00 (6 hours of instruction)

Information about arranging workshop packages that include hotel accommodations can be found on website or check out www.accentinns.com.

Payment can be made by cash, cheque or credit card. There is no GST charged on courses or workshops because the Vancouver Island School of Art has Registered Charity status. The Vancouver Island School of Art is Certified with Human Resources Development Canada and can issue tuition receipts for amounts over $100 for all completed courses and or workshops.

To register or for more information phone: 380.3500 email: [email protected] www.vancouverislandschoolart.com

On-line registration is available on the website. In addition, forms are available on the website for those interested in registering by fax or mail.

REFUND POLICY

A full refund is provided if a course or workshop is cancelled by 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 full refund minus a 10% administration fee. If a student withdraws less than seven days before the start of the class, they receive a full refund minus a 15% administrative fee. If a student withdraws after the first class, they receive a full refund minus a 20% administration fee. There are no refunds after the second class or the start of a workshop.

Please refer to website for full detail regarding refund policy www.vancouverislandschoolart.com

The Vancouver Island School of Art is located in a wonderful Arts & Crafts style heritage school building in the Quadra Village. The school is located at 2549 Quadra Street (between Bay and Hillside). Parking is available on site. Bus route #6 Royal Oak via Quadra (get off at Bay).

The Vancouver Island School of Art Society is a non-profit incorporation registered in the province of British Columbia.

The Vancouver Island School of Art is a Registered Charity. All donations of goods and money are tax deductible.

The Vancouver Island School of Art is an Accredited Institution with the Private Career Training Institute Agency (PCTIA).

35 36

art courses and workshops · programs art fundamentals six week courses (may-june and july-august)...

Documents