5 Reasons Why the World Needs Art and Artists

Winston Churchill once asked a most important question, “What is society worth without poets and artists?” The answer is nothing and here are 5 reasons why…

Winston Churchill once asked a most important question, “What is society worth without poets and artists?” Over the last few years, I have had many conversations with artist friends and mentees who have the concern that it feels ‘selfish’ or ‘self-serving’ to make art in a world with so many horrible things going on in it. I’m sorry to say that according to history, the world always has and always will have horrible things going on in it…but it has always had art as well. To fall into despair and want to fight the wrongs is natural for all empathetic humans. But please don’t stop making your art or beat yourself up for wanting to work in your studio rather than go to a protest. The world is a fallen place and we need art now more than ever.
During the last year or so, I’ve asked workshop students what art does for the them, for the world and the following were the most popular answers. There are many such lists that answer this same question and I would suggest that when you feel the need to create protest signs in lieu of your art, read these lists! It will benefit you and lots of others as well.

  1. Asks Questions  In my recent blog post article 3 Essential Art Evaluation Questions, I cite this and the next list item as one of the essential parts of a good work of art. In fact, I think the best art offers no answers but allows for further questions and good art asks both big and little questions. When considering questions in this respect, it’s not the literal asking, but the thought that counts.
  2. Expands Ideas Art provides an endless arena for experimental thoughts and ideas to enter our consciousness, both as a viewer and a maker. Just like asking questions without giving answers, it’s best not to spoon feed all thoughts and ideas right there in the work. Rather, allowing room for expansion of thought, discussion and even debate makes for the most interesting works.
  3. Health Benefits Don’t you feel good after working in your studio? Even if the work wasn’t going particularly well that day, you still feel like you’ve unloaded a burden. Well, there is actually a physical and physiological reason why you feel so good and it’s all in this interesting Business Insider article Why You Should Be Making Art Even If You’re Bad At It. If you stop making work because you feel bad about the state of the world, well, you’re only going to feel worse. So get into that studio, start feeling better and make the world a better place in the process!
  4. Create Beauty As serious artists, we aren’t supposed to mention ‘the B word’ these days. In fact, I’ve heard from a few curators if the word exists in your artist statement it knocks you down a few pegs. I’m a huge proponent of beauty in my own work as well as in the art I purchase. Ginny Ruffner is a well known artist who I have followed since grad school and whose life’s work has been focused on the idea and ideal of beauty. Also exploring the subject of beauty is the Ted Radio Hour Podcast, What Is Beauty? Each speaker makes the case for various kinds of beauty and that we may actually need beauty in our lives to survive. Denis Dutton is one of the speakers, whose work focused on beauty and why it’s actually essential to life. He states that the experience of beauty encourages us to make survival decisions by arousing and sustaining our interest…Beauty spurs us on simply by existing. Dutton also mentions a landscape structure that people all over the world universally consider beautiful. Artists Vitaly Komar and Alexander Melamid took this idea a step further by commissioning polling companies all over the world to conduct scientific research in order to derive what the public wanted to see in a work of art. The use of the poll was meant to mimic the democratic vote of the United States and to the make the point that if the general public could choose a president, why are they not a sufficient judge of art? The research data resulted in a series of paintings the two artists created of the ‘most wanted’ and ‘unwanted’ works of art, one of the most wanted is pictured at the top of this article. Also cited in the Ted Podcast is the inspiring story of Nathanial Ayers, the subject of the book and film, The Soloist, whose story serves as an excellent supporting example for why art and beauty is needed in the world.
  5. Spread Hope & Healing In my opinion, one of the most important components to a work of art and one I strive to include in my own. Sometimes we just need a place to escape to and don’t know how to get there. Art presents a vehicle in which to transcend to another time/place in order to reflect on the present. Hope is what is gained from these experiences and from hope comes healing.

Workshop Highlight: Fiber and Structure

Since 2001 I have been combining encaustic and fiber or fiber related techniques in my work. In fact, I actually initiated the practice of combining these two highly compatible and versatile mediums. With an emphasis on mixed-media, this workshop is specially created to address the interests of artists working in fiber and fiber related techniques.

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Since 2001 I have been combining encaustic and fiber or fiber related techniques in my work. In fact, I actually initiated the practice of combining these two highly compatible and versatile mediums. The techniques I used in my work at that time and continue to use are all self taught and/or innovated by me. I continue to experiment, mix it all up and encourage exploration and a ‘just go for it’ attitude in all of my workshops. For more about my early work and other blog posts in which I reference my early explorations see (in order of relevance) this post, this post, this post and this post ..or just scroll down for more information and to see some of my paintings employing the techniques and material explorations covered in this workshop. See this post for student work from this and other encaustic and fiber related workshops.

Updated Workshop Description: With an emphasis on mixed-media, this workshop is specially created to address the interests of artists working in fiber and fiber related techniques such as quilting, weaving and surface design. This workshop will cover the basics of working in encaustic as well as encaustic application techniques to enhance or create structure and texture, color mixing, layers, surface manipulation, and the creation of pattern using stencils, candy molds and tjaps. Participants will also be introduced to alternative materials such as drawing with horse hair and water soluble embroidery film combined with machine and hand stitching. Innovative surface design techniques such as deconstructed screen printing (without harmful dyes), rust printing and indigo will also be introduced. Working two or three dimensionally, participants are encouraged to develop a personal vocabulary and explore current content interests by combining the infinite possibilities of encaustic in combination with fiber structures, surfaces and stitch.

What You Will Learn

See this post and read both workshop descriptions in the post as well as see lots of additional eye candy of the techniques covered in this workshop.

Additionally…

  • Because Jeff has generously offered the use of his printing tables, we will explore the innovative technique, Deconstructed Screenprinting..a very loose, super fun printing method that creates multi-layered, multi-colored textures on fabric. I have practiced this technique and have adapted a way to do it without using harsh textile dyes and chemicals. These fabrics are works of art in and of themselves, but can also be used as a wonderfully inspired basis for your encaustic paintings. Scroll down for images of my paintings utilizing these fabrics as a base.
  • Covering a board with fabric or paper..not just applying to the front of a board, but wrapping all the way around..activating the sides of a cradled board and utilizing book corners so that your painting becomes an all around beautiful object.
  • We will create 3 dimensional sewn drawings using the amazing water soluble embroidery stabilizer, Solvy. These sewn constructions can be used to collage into paintings, stiffened with wax for sculptural possibilities and much more.
  • The application of thin layers of encaustic for collage and a discussion of the conceptual use of layers, pattern and repetition.
  • Much more…if you haven’t done so yet, be sure to visit this blog post for more of what will be covered in this workshop. I look forward to working with you!

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Images of My Encaustic Work and Additional Student Work

Art Podcast Favorites List

The holidays are over, its cold and you’re stuck inside during the January doldrums. Time to grab your phone, start downloading some new art podcasts and get inspired!

The holidays are over, its cold and you’re stuck inside during the January doldrums. Time to grab your phone, start downloading some new art podcasts and get inspired! In my last post, I mentioned that one of my weekly studio resolution carry overs from last year was to keep my habit of listening to or watching Art Podcasts or Videos. In fact, I increased my listening and watching from last year’s 2-4 per week to 10-15 per week this year because I’m kinda addicted. I got so many requests for a podcast list, I see that there are some hungry for art inspiration listening ears.

I should mention that I actually subscribe to many Youtube video channels, but few of them are focused on art. If I watch an art video, it’s usually because its focused on a technique, a product or an artist interview-these are things that I’ve searched for specifically, so I don’t usually subscribe to any one art channel. For that reason I’m sharing with you my favorite Artist & Art Marketing Podcasts only. I subscribe to many, but I kept this list to 10 so as not to get too crazy. I also mention timing, especially the ones focusing on artist interviews…I have a short attention span, I don’t have the stamina for a 2 hour interview and I absolutely cannot listen to an incompetent interviewer. I would love it if you have a favorite art video channel or podcast you would like to share, please list it in the comments section (comments are at the upper left of the blog post title) so everyone can see it. I’m always looking for something new and my readers will appreciate some recommendations as well. The following Podcasts are listed in no particular order.

  1. Onward Creatives A marketing podcast that is not just focused on artists, but on all creative professionals writers, designers, etc. and I love listening to it for that reason. It’s good practical advice that can be applied to many aspects of creative marketing..and life for that matter.
  2. The Savvy Painter Artist Antrese Wood is the Savvy Painter who has a fun, friendly conversational interview style and edits her interviews to 50 minutes. What I really like about her is that she asks the questions I want to hear the answers to and asks them as they arise in the conversation. It’s an authentic, interesting and easy going listen.
  3. The Art History Babes Most of the workshops I teach include some aspect of art history because it is integral to understanding the context of one’s own work. I find that most of my workshop participants are craving some kind of art history in their lives and this podcast offers it up in a fun group chat by extremely knowledgeable women.
  4. 99% Invisible Not necessarily and ‘art’ podcast, but one that focuses on ‘invisible’ art–design and architecture. I love the relaxed interview style and relatively short snippets of succinct information. This podcast also has a knack for delving into unusual and extremely interesting subjects. I always learn so much from listening even for a short time.
  5. Art Marketing Podcast Helpful, practical information on a subject that all of us artists could use help with and delivered succinctly-most podcasts are under 30 minutes.
  6. Artists Helping Artists Two artists, Leslie Saeta and Margaret Sheldon discuss art marketing, materials, studio discipline, process, artist interviews and more in a fun, friendly, non-pretentious way.
  7. Hyperallergic Artist interviews from this always interesting art magazine. Most podcasts are under an hour.
  8. John Dalton Gently Does It Conversational artist and critic interviews. Very interesting guests and spot on interviews with great questions. Give yourself some time to listen to these interviews, they tend to go on a bit.
  9. Make/Time I come from a fine craft background in textiles, so I really appreciate these bite-sized (most 20 minutes and under) fine craft artist interviews focused on process and materials. Unfortunately, a new episode has not been added since August of last year, but I definitely recommend listening to the back episodes.
  10. Modern Art Notes-This is a bonus addition to my personal favorites list and comes from art friend and mentee, Celia Johnson, who highly recommended this podcast. It has since been added to my subscribed list, but unfortunately, I haven’t listened to it yet. However, judging from the podcast listings, it looks fantastic. Thank you, Celia!

My 2019 Weekly Studio Resolutions

Happy New Year! It’s that time of year again-time to reset, re-evaluate, re-order and re-invigorate. Have you created your 2019 Studio Resolutions yet? As promised, I’m sharing with you my list of New Year Studio Resolutions to help give you ideas for your own list.

Happy New Year! It’s that time of year again-time to reset, re-evaluate, re-order and re-invigorate. Have you created your 2019 Studio Resolutions yet? As promised, I’m sharing with you my list of New Year Studio Resolutions to help give you ideas for your own list. At the turn of the new year, on my favorite list making phone app, Evernote, I check my list from the year before, add/remove items, rewrite, redo. I make a list of daily, weekly, monthly and annual Studio and Marketing resolutions that I check frequently throughout the year to make sure I haven’t forgotten what I’ve resolved to do. Having the list in a convenient place on my phone and using an app that syncs to all of my devices, I’m easily able to check and recheck it in order to keep myself accountable.

Last year I shared with you my Daily Studio Resolutions in this and this post. This list has pretty much stayed the same, so this year I will share with you my Weekly Studio Resolutions. I combine my Studio and Marketing lists in my Evernote, but for the purposes of this and the next blog post, I will only be sharing my Studio Resolutions.

  1. Work in the studio 25-35 hours These studio hours reflect the hours I’m actually in the studio making something, producing or experimenting. I made this resolution way back when I was still teaching 2 days a week at Tyler and even though I’m almost three years retired, I haven’t added more hours as I thought I would. What I have added are more hours devoted to things that contribute to the making such as reading and drawing, photographic journaling, hiking, etc. Keep in mind that depending on what I have to accomplish in the way of deadlines, etc. my resolution hours may fluctuate from as low as ten hours a week to 70 hours or more. However, these are extremes and will only occur a few times a year. My resolution is an average-a mark to determine my success or failure weekly and/or monthly. To see how I log my studio time hours, read the first item in Part 2 of My 2018 Resolutions in which I detail how I keep my Studio Notes.
  2. Experiment at least two hours each studio day OR 1-2 days per week If you’re a regular reader of Art Bite, you may have read my recommendation for devoting a percentage of studio time toward experimentation, better known as the 40/60 principle outlined in this post. It is very important to do this in order to consistently grow and evolve your work. But as with anything, the world of ‘shoulds’ gets in the way which is why I consider it my most important resolution. If you find it difficult to devote time toward experimentation, either follow my lead as explained in the post or actually block out a day each week to experiment. It isn’t imperative that you do this for exactly 40 percent of studio time, but it is so very important to make time for it even if it’s an hour per month.
  3. Watch/listen to 8-10 art videos OR podcasts I must confess, I have become a Youtube and Podcast junkie and as a result I changed this resolution from last year’s 2-4 videos/podcasts to 10-15 for this year because it reflects what I actually do. I listen while I work, while I drive, before I sleep in order to relax. I listen and watch a variety of subjects, all inclusive my listening time is way over 10-15 but I want to make sure that a portion of my listening time is devoted to art. My Instagram viewing included, I probably watch a lot more videos than this, so what I’m including here are only artist interviews, comprehensive painting demonstrations, product demonstration, artist biographies, etc. I do believe that the videos and podcasts are contributing to my studio work, not taking away from it and that is why I increased the hours. Sometimes watching videos, even if they are about art, can become a substitute for studio work and we must be careful not to let that happen.

When you do make your list, print it out and sign it. Put it somewhere that you can see it and also keep it on your phone so you refer to it and be reminded of it often. If it’s your first time making a list like this, it will need to be adjusted a few times. Most importantly, don’t make these resolutions and forget about them by mid-February! Really try to stick to them and if you find yourself failing, adjust the list accordingly. If you’re having difficulty making a list like this and/or keeping to your resolutions, please don’t hesitate to contact me for a mentoring appointment-the start of a new year is the best time to begin….

Wishing you all an amazing year of Studio Resolution keeping and creatively productive time in the studio!

5 More Mistakes I Made As An Artist

I find it very helpful to take stock at the end of the year, both of my professional triumphs and even more helpful, of my professional flops. Listing mistakes not only prevents us from repeating them, but allows us to learn from them and to recognize how we might not be who we are today without them.

Last year during this festive holiday season I wrote two blog posts outlining 10 Mistakes I Made As An Artist, Part 1 and Part 2. I find it very helpful to take stock at the end of the year, both of my professional triumphs and even more helpful, my professional flops. Listing mistakes not only prevents us from repeating them, but allows us to learn from them and to recognize how we might not be who we are today without them. 

  1. Not putting my best work out there. I have heard over and over again by many artists and art mentors that its best to put only your best pieces out there and keep and rework the unsatisfactory ones. But I wonder how many actually do this when pressed for time getting ready for a show? I’ve made paintings that are just blah and I can’t take the time to figure it out because I have a deadline and rush, rush, rush, it’s gone to Fedex and hanging on a wall with me cringing at the opening. What’s kind of silly is that some of these paintings are the first to sell at said opening, which makes me even more depressed because then I realize I can’t even judge the quality of my own work! The root of the problem lies in poor planning, poor studio discipline and poor time management. I may not be able to understand why my not so good paintings sell and the ones I love collect dust in storage, but I can do better at working on my time and studio discipline problems, especially before a show. 
  2. Not attending enough openings. Like a lot of us artist types, I’m an introvert and a bit of an empath. I don’t mind being around people for the most part, but interacting at openings truly exhausts me, as do many large group social activities. I also find it difficult to view the work at openings, which is what I really want to do when I’m there. But openings aren’t really for intimately viewing art, openings are for supporting the artist, discussing the art and meeting new people. A few years ago I decided to make a New Year’s resolution to attend at least one opening and/or one artist talk a month. Even though I go through a little social anxiety beforehand, I’ve pretty much stuck to it and the experience has been quite rewarding. I don’t stay long, but I make a point to interact, to ask questions and to introduce myself to either the artist or to a few others while I’m there. I’ve met many people, some of whom I now call friends. I’ve seen some amazing shows and created a new habit of sharing the work I’ve seen on my Facebook. It’s been a veritable win/win/win and instead of dreading openings, I actually look forward to attending them.
  3. Not taking enough art classes/workshops. I spend a good deal of my time sharing with and teaching others and although I learn a lot from my students, sometimes I want to be in the student seat, having fun and making a mess with new ideas, new products and new voices. I have only taken two workshops in the 15 years since graduate school-One with Lisa Pressman and the other with Laura Moriarty and both workshops were worth their weight in gold. I was at a crossroads in my work during each workshop and they both shook me out of my doldrums, I am grateful. But there have been many, many workshops I’ve passed over for one reason or another-mostly lack of time. One resolution I will add to my 2019 list is to take a workshop every year. I’m keeping my eyes open for unique workshops with well known instructors in plein air painting, oil/chalk pastels, markmaking, collage, creative writing, Chinese brush painting, mixed media, just to name a few. Suggestions are welcome. 
  4. Not taking enough risk in my art. If you read my recent post, The Evolution of A Mark, you’re familiar with my early creative development involving a career in textile design. Because of this, it’s ingrained in me to create with sale-ability in mind. I have pretty much broken this mindset over many years but it still lurks in the darkest shadows of the studio and poisons my creative mojo. For this reason, I have had many ideas I simply repressed because they were too risqué and that is more than sad!! I made a list of these ideas as I have recommended other artists do and I have made some things on that list, but wish I’d made more. Emily Hopcian of Unsettled writes “the moments we most remember — those which make our stories rich, our lives worth living and our dreams worth pursuing — are the ones where we just say yes. When we plunge head first into the things that scare the shit out of us.” I need to silence the little voice that screams NO, tells me that it’s a dust collector I’m creating and no one will buy it and for Pete’s sake, quit worrying if no one will buy it!! 
  5. Making work I’m tired of making because it sells. Many times during my career I have said ‘this is exactly the work I should be making right now’ and those times feel so good! But too many times that ‘right now’ passes and it’s time to move on but I don’t. I like my current work, but I don’t love my current work. I feel it’s work I should have made two years ago and did make, but I feel I’ve lingered in making it too long because it’s comfortable. I’ve done this many times over my 15 year professional career and need to cut those lingerings short, create and  experiment with abandon and do it more often. 

Listing these mistakes at the end of the year helps in creating your Studio Resolutions for the following year. Stay tuned for my 2019 Studio Resolutions List coming up in January and read this post and this post for my 2018 Resolutions if you need ideas for your own list. I look forward to reading some of your resolutions in the comments section as well as some of your mistakes. (The comments tab is located at the top left of this post under the tags.)

I am overwhelmed by the support Art Bite Blog has received this year and I am truly grateful for all of you! Wishing you the very best of this Holiday Season, see you soon in 2019!

A Special Holiday Offer

I am so grateful for your support throughout the year that I have created a special Holiday Offer just for you…

Dear Friends,
I am so grateful for your support throughout the year that I have created a special Holiday Offer just for you…
Through December 3 I am offering mini paintings, workshops and products for sale with FREE shipping on ALL orders. Sorry, the free shipping offer is only available in the continental US. This offer is ONLY offered to you, my super cool blog readers and Instagram followers.
Scroll down for a list of links and products at a glance or hit the buttons just below to start shopping now.
The Happiest of Holidays to you!
Lorraine xo

Itty Bitty Pretties 

My newest little creations are so popular! Original one of a kind encaustic paintings on board in an Itty Bitty bite size 2×3 inches, each is titled and signed on the back. Perfect to brighten a shelf, desktop or a dark corner of the room. Purchase 1 at $35 or 2 for $60!

Shop Itty Bitty Pretties

Encaustic Monoprint Postcards

New this year are original one of a kind encaustic monoprints on heavy card stock paper in a convenient 4×6 inch postcard size. Each is inspired by a hike I took over the year and is titled and signed on the back. Perfect for an office party gift or to brighten your own little place in the world. Purchase 1 at $35 or 2 for $60!

Shop Postcard Monoprints

Mini Paintings

My most coveted mini encaustic paintings go quickly! Starting at 4×4 inches to 8×8 inches on wood panel, these fantasy landscapes are inspired by dreams. Titled and signed on the back, most have poems and private messages just for the collector also handwritten on the back.

Shop Mini Paintings

Workshops!!

Don’t want a painting or a physical product? Purchase an experience that will last a lifetime! Follow the link for my full 2019 workshop schedule with links to descriptions and registration information.

Shop Workshops

Notecard set with envelope seals

This very popular notecard set is a perfect gift or to send a holiday message to someone special. The set includes 5 different original designs plus 6 original envelope seals.

Purchase Notecards

Limited Edition Stickers

Who doesn’t love a colorful bunch of stickers? The perfect stocking stuffer, these stickers are printed on heavy vinyl with 8 different designs in each pack. Collect all 28 designs!

Purchase Stickers

My Catalog

Another great stocking stuffer, this catalog chronicles my work from 2002-2017. Purchase a digital or print copy ordered directly from the printer. Sorry, this item does not qualify for the free shipping offer.

Purchase A Catalog

Other Products

Purchase my extra special handmade encaustic medium and sanding sponges kit so you can buff your paintings to a luscious glass like finish. Frustrated you can’t draw on your encaustic paintings? You can with horsehair! Click individual product links or follow the link below to purchase.

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Beyond the Basics Encaustic Workshop In Salt Lake City!!

Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you!

BEYOND THE BASICS ENCAUSTIC
Limited to 8 participants!
Level: Intermediate to Advanced
$500 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($250) is due at the time of registration with the remaining 50% ($250) due on the first day of the workshop. Please contact Lorraine for payment details.

When
July 26-28, 2019, 10am-4pm each day

Where
Jeff Juhlin’s Studio in SLC (Jeff will not be teaching, but he may visit on occasion)
666 West 100 South, Salt Lake City, UT

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Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number Two Description
Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you! With an emphasis on mixed-media, techniques and materials include the latest tools, mark-making, surface finishing, stencils and utilizing horsehair as a drawing tool. Progressive painting and collage techniques include the use of transparency and opacity, blending, gradations, pours and how to apply and manipulate layers of color and visual information. Also included is a comprehensive demonstration of my new Encaustic PaintSmash technique, an experimental, super fun method of paint application using alternative brushes you can make yourself. It is helpful, but not necessary to have had any previous experience with the encaustic medium to take this workshop.

VISIT THIS POST to see images of student work, plus more in depth information about Beyond the Basics Encaustic. Visit this post, this post, this post and this post for more information and images about Encaustic PaintSmash as well as my YouTube Channel for videos.

WORKSHOP NUMBER TWO WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 4-8 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual or images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • sketchbook or drawing paper and drawing media of your choice
  • package of razor blades or scraper
  • smock (optional)
  • sharp scissors
  • any tool or material for any technique that you normally employ while working with encaustic
  • Iwatani torch (optional)
  • materials for collage (magazine images, photos, etc.)

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • wood burning tools
  • Disposable gloves
  • Extra drawing paper
  • Wax paper
  • Parchment paper
  • encaustic paints
  • masking tape
  • Tracing paper
  • Graphite transfer paper
  • drawing mixed media
  • Extra razor blades/scrapers
  • Pans and cups for paint and medium
  • Linseed oil
  • paper punches
  • 2 iwatani torches with extra butane
  • horse hair
  • surface finishing tools
  • alternative encaustic ‘brushes’

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and an electric kettle in the studio for your use.

Accommodations
People seem to like “Little America” ( not Grand America across the street, it’s pricier.) It’s 5-8 min drive from the studio. There are lots of others but Little America has free and easy parking, a restaurant etc. though not quite walking distance. There is a Hyatt Place just 3 blocks due east of the studio on 100 South across from the Special Event Center and a Hyatt House on the other side of the Event Center-Both easy walks to the studio. There are several others in the “Gateway Center” a couple of blocks from the studio. Lots of  Air B & B’s right nearby. Avoid any motels on North Temple Street West of the studio.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com