• Design Fundamentals and Design Processes
• Art Assessment
• Drawing and Watercolor
• Fiber & Fabric
Vision School art students & Katherine modeling sox color theory dye explorations.
Please stroll through the small “galleries” below to see examples of the areas of my expertise.
The teaching and facilitation methods I use focus on eliminating students’ fears and trepidation, and, on sharing the joy of life-long learning and discovery.
I work with students ages 9 to 90, novice to professional, guiding students’ learning in relation to their own artistic or other goals. With individuals and small groups we work in my studio, and for larger workshops and classes we work in the Rivendell classroom.
For Art Assessment—-when all you need are my recommendations about your works-in-progress, completed works, or for matting, framing and presentation—-simply schedule a session for several of your works, and/or with several artists and their works.
I teach and mentor in these specific areas:
- Drawing in achromatic and color media: graphite, color pencil, Sumi-e, ink, and watercolor.
- Design Fundamentals: the Design Element and Principle Relationships—-including color theory—-for, and with, any visual arts media.
- Art Assessment Process: students & artists are empowered to “critique” their own work and works-in-progress, using an intuitive, ”should-free” Process.
- A universal Design Process to create textile, fiber, fabric or embroidery works from students’ own drawings.
- Portions of the Design Process in relation to other media, i.e., painting & sculpture, including working from photographs.
- Silk paper fusion techniques and process.
- Monoprinting on fabric.
Judging and Assessment-Critique
When judging art exhibits, I look for artists’ mindful use of the Elements and Principles of Design, and whenever possible provide positive and constructive feedback for the artists and students. Application of my Artwork Assessment Process (based on consideration of an artwork’s imagery, medium, and use of design elements and principles) objectively informs my decisions about the degree of artistic merit of a work.
In judging (as well as teaching and mentoring), I do not have one point of view on which I base artistic merit or success; I am open to all perspectives. I believe that successful works communicate most effectively through the artist’s thoughtful use of Elements and Principles of Design, their skill with media, and some degree of creative risk-taking with materials and ideas.
Through thoughtful, objective-based Assessment of design element and principle relationships, it is possible to develop an uderstanding of an artist’s intentions in a work—-whether realistic, abstract, or non-representational.
In every art exhibit I’ve judged or juried, the artwork presentation (i. e. matting and framing) was a crucial factor as I made my decisions. Paintings and photos in the Professional and Advanced categories may be top quality, but are framed or finished in ways that create disharmonies or imbalances with the work itself, thus eliminating the works as contenders for awards. Many of my conversations with the artists during and after opening receptions include discussion of how mindful consideration of Element and Principle relationships when selecting mats and frames can create harmony and balance with the artwork.
I never “critique” artwork in the traditional sense. The Artwork Assessment Process that I use and teach is universal. I have used this Process over the years when judging art exhibits of all types (from very rural county fairs, to national fiberart exhibits). My goal is to model this objective Process while in conversation with artists at exhibits (as well as in my teaching and mentoring). With practice, anyone can learn the Assessment Process and apply it to their own work, so “critiques” from “experts” with their dogmatic “shoulds” are not necessary in the future!
Assessing and discovering harmony or disharmony, and balance or imbalance—-in a complete work or in a work-in-progress—- leads to artists’ and students’ mindful assessment during their creative processes. Sculptor Daphna Russell said of my Art Assessment presentation for Delta Fine Arts, “It was a smashing success…our least self-assured artist in the group was dancing around saying ‘I am alright, I am not failing’…….you were superb.”
Teaching and Mentoring Fees
For large classes at Rivendell we work in Taniquetil Lodge. With individuals and small groups we work in my studio or Taniquetil Lodge.
For 4 to 10 students we work in Taniquetil Lodge.
With 1 to 3 students we work in my studio or Taniquetil Lodge.
• $5 per artist for up to three works during each session.In-Studio
• $30 per hour; or, $75 for three hours paid in advance, with options for scheduling:
i.e., one 3-hour session; two 1 1/2-hour sessions; or three 1-hour sessions.
Please contact Rivendell for discounts for 3 students studying together.
Multi-day classes and workshops held in Rivendell’s Taniquetil classroom:
$100 deposit per student required.
12-hours teaching time
• $250 per student
• 3 to 6 students
• scheduling options: i.e., two consecutive 6-hour days, or three consecutive 4-hour days.
18-hours teaching time
• $325 per student
• 3 to 6 students
• four consecutive 6-hour days.
Half-day, Full-day, and Multi-day classes and workshops at your location:
• I enjoy teaching and mentoring on the road. Please contact Rivendell for rates.
Judging and Jurying
• Since 1989, I have judged and juried art exhibits, from small rural county fairs to multi-media national exhibits.
Please inquire about availability for your schedule.
Other Information
• Upon receipt of the mentoring fee or deposit, I send a list of questions to the students in order to learn about students’ goals and current skills and knowledge. I am then able to design the class or workshop specifically for the students’ needs.
• I have two lectures/presentations available for your groups’ meetings/programs, and can design others based on the aspect of my work and experience you are interested in. My lecture fee is $100 for up to two hours.
* Connecting Threads: Art and needlework from traditional to contemporary.
* Artwork Assessment Process: Discovering How Intuition and Logic Enhance Artistic Success.
• Please contact us to schedule and design your class, workshop or presentation—for yourself, a small group, or your organization. I look forward to working with you. Here is another small gallery to illustrate the possibilities:
Linda S’s thoughts after working with me sum up my teaching and mentoring goals:
“This has been a life-changing experience. Katherine pushes and challenges her students beyond their ‘comfort zone’. She took the skills I had when I began and challenged me to use those skills in new ways. I also discovered new skills (drawing and ‘seeing’ in a new way). It has been a wonderful journey. I have not only the tools to continue designing, but also the confidence to design original works.”