Judy Heneghan has been a professional actor for over 20 years with an extensive background in comedy improv, all types of theater, and an array of on-camera work. Written and performed her solo storytelling work at Theaters in Los Angeles/New York/ Dublin/Mpls. 

Her play, The Big Woop, is under option for Film. Judy co-created and originated the role of Olive in the, 70’s musical lounge act called “Martini & Olive”. Musical Theater Productions -including playing ‘Gimli’- in “Fellowship!”, the hit musical parody of “The Lord of the Rings”. At Idyllwild ����ֱ�� Arts – Judy taught/directed many programs including Page To Stage, Artist Discovery, Improvisation, and Shakespeare. Studied Theatre/Communications @ Univ. MN/Mpls and Univ. WI/LaCrosse. 

Johanna McKay has worked for ����ֱ�� ����ֱ�� Program for thirty-two years, teaching and directing everything from musicals to a Page to Stage program where students would write and perform their own plays. She adapts and directs Shakespearean plays, and her adaptation of “As You Like It” was published by Playscripts, Inc. Johanna has been the Curriculum Consultant on the Netflix show Julie’s Greenroom, which teaches children about the arts. She’s also taught theater, acting, and arts integration at UCLA, Los Angeles Community College, Otis College of Art and Design, and California State University at Northridge. Johanna works for P.S. ARTS, writing and directing plays for grades TK-5th. 

She has worked with writers and composers to create projects which she then directs. Johanna has trained with The Groundlings, earned her B.F.A. from The Theatre School, DePaul University, and her M.F.A. in Theater, Film, and Television from UCLA. Besides film and television, Johanna’s acting credits include work at Steppenwolf, The Goodman, Dallas Theatre Center, San Jose Repertory Theatre, and The Rubicon Theatre in Ventura, CA.

Rick Paulus has been a calligrapher and a teacher for over forty years. He apprenticed for several years at the legendary Tolley Studios, in Washington, DC, before becoming the engrosser for the US State Department. In 1998, he was appointed chief calligrapher of the White House, where he remained for two presidents until, in 2006, he answered the call of the wild and left Washington, DC to explore new adventures in nature and art. Today, in addition to enjoying calligraphic explorations in his studio on the shores of Buzzards Bay, Rick is dedicated to sharing the knowledge he gained through many years of studio production and artistic experimentation with students of all ages and skill levels.

Cat Orlando has a degree in art with an emphasis on three dimensional design. She has been teaching at ����ֱ�� ����ֱ�� Program since 2000. She is a lover of all art mediums and for over 30 years has enjoyed teaching others the joy and satisfaction that comes from diving in and learning a new art form!

David Johnson’s interest in woodworking began in his childhood in rural Tulare, California, where he was born in 1968. His early experiences included climbing walnut trees and building forts and chicken coops alongside his father.

In 1997, David graduated from the College of the Redwoods Fine Woodworking Program, where he studied under renowned woodworker James Krenov. The program emphasized craftsmanship, thoughtful design, and a deep respect for materials. Krenov had studied under Carl Malmsten, a pioneer of Scandinavian design, at his school in Stockholm, Sweden, during the 1950s. This connection to Scandinavian design and its principles remains evident in David’s work today.

David also taught himself seat weaving through The Caner’s Handbook, a definitive guide to the craft, and later worked alongside its author at The Caning Shop in Berkeley, California.

Ramson Lomatewama is the first documented Hopi glassblower, having 25 years of experience behind him. Prior to that, he was a katsina doll carver, and worked in creating wire wrapped sterling silver jewelry. Shortly after graduating from Goddard College in Plainfield, Vermont, he went on to publish several books of poetry.

Ramson has taught various glass workshops and classes in the U.S., and has served as a consultant for several museums throughout Japan. He was also an adjunct professor of sociology at North Central College in Naperville.

Hopi ceremonies and cultural activities play a significant role in his life, and Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist.

Ramson also teaches glass art for the Hopitutuqayki (The Hopi School), an arts apprenticeship program on Hopi land. He also volunteers as one of the school board members.

Ayen Talashoma is the second generation of great Hopi glass artists. Ayen is currently an apprentice of his grandfather, Ramson Lomatewama, learning the tricks of the trade while developing his own unique approach to glasswork. These traditional ways of transferring knowledge from generation to generation ensure a rich artistic heritage for years to come.

• Clothing should be all cotton – no synthetic materials! These materials can and will heat up and/or catch fire. Cotton shirts, sweatshirts, etc. are acceptable. Jeans or other cotton materials are suitable for pants.
• No sandals or open toed shoes are allowed. Leather boots are recommended.
• Your favorite polarized eyewear
• Refillable water bottle
• Personal spray water bottle. ����ֱ�� temperatures are hot, a spray bottle may help in keeping you cool.

Optional:

• Comfortable lawn chair with seat cushion

Your workshop starts at 9 a.m. each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings. 

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the studio, you can work on your pieces after 4pm. 

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Join us for Writer’s Week 2027! We’ll have a weeklong lineup of writers participating in workshops, talks, and readings. Artists will bring their imaginations to life under the pines, developing their skills and completing new work.

Each morning begins with class instruction, followed by lunch. Every day brings an afternoon “Craft Talk” presented by faculty/special guests. In the evening, gather for “Evening Readings”, also hosted by faculty and guest speakers, with snacks and drinks provided. On Wednesday, don’t miss “Beat Nite” at Middle Ridge Winery, featuring an expanded showcase of artists presenting their work!

Classes end on Friday around 4:00PM, after a day spent wrapping up projects and attending one-on-one sessions with your instructors. That evening, our week culminates at the Cargill Commons, where students will present their work alongside live music, food, and more!

Laurel Ollstein is an award-winning playwright, director, actor and educator. She was an original member of Tim Robbins’ award winning theatre company The Actors’ Gang. Her play They Promised Her the Moon, about Jerrie Cobb and the Mercury 13 women, had its West Coast premiere at the Old Globe Theatre in San Diego – published by Playscripts in 2022. She wrote the book to OPA!, a musical nominated for 14 awards at the midtown theatre festival in NYC. Her critically acclaimed play SHOWING OUR AGE – supported by an NEA grant – was produced in Los Angeles at {In}side the Ford theatre. Her dark comedy CHEESE published by Original Works. Awards include grants from the NEA, California Arts Council, Ovation, Garland and LA Weekly awards. Her full length memoir THE BULLET – the first chapter published in the Silk Road Review – literary magazine 2026. She is an adjunct faculty member with CalArts, UCLA, USC and OTIS.

Join us for Writer’s Week 2027! We’ll have a weeklong lineup of writers participating in workshops, talks, and readings. Artists will bring their imaginations to life under the pines, developing their skills and completing new work.

Each morning begins with class instruction, followed by lunch. Every day brings an afternoon “Craft Talk” presented by faculty/special guests. In the evening, gather for “Evening Readings”, also hosted by faculty and guest speakers, with snacks and drinks provided. On Wednesday, don’t miss “Beat Nite” at Middle Ridge Winery, featuring an expanded showcase of artists presenting their work!

Classes end on Friday around 4:00PM, after a day spent wrapping up projects and attending one-on-one sessions with your instructors. That evening, our week culminates at Cargill Commons, where students will present their work alongside live music, food, and more!

Douglas Manuel was born in Anderson, Indiana and now resides in Whittier, California. He received a BA in Creative Writing from Arizona State University, an MFA in poetry from Butler University, and a PhD in English Literature and Creative Writing from the University of Southern California. He is the author of two collections of poetry, Testify (2017) and Trouble Funk (2023). His poems and essays can be found in numerous literary journals, magazines, and websites, most recently Zyzzyva, Pleiades, and the New Orleans Review. He has traveled to Egypt and Eritrea with The University of Iowa’s International Writing Program to teach poetry. A recipient of the Dana Gioia Poetry Award and a fellowship from the Borchard Foundation Center on Literary Arts, he is an assistant professor of English at Whittier College and teaches at Spalding University’s low-res MFA program.

Ben Loory’s first book, Stories for Nighttime and Some for the Day (Penguin, 2011), was a selection of the Barnes & Noble Discover Great New Writers Program, and his second book, Tales of Falling and Flying (Penguin, 2017), was named a Favorite Book of the Year by the Staff of the Paris Review, and has since been cited as One of the Best Fantasy Books of All Time by both Esquire and Good Housekeeping magazines. Loory’s fables and tales have appeared in The New Yorker, Fairy Tale Review, BOMB Magazine, and the Sewanee Review, and been heard on This American Life and the Selected Shorts podcast. They have also been adapted to live theater, short film, chamber music, and dance, and been translated into many languages, including Arabic, Farsi, Japanese, Chinese, Burmese, and Indonesian. Loory is also the author of a picture book for children, The Baseball Player and the Walrus (Dial Books for Young Readers, 2015). He lives and teaches short story writing in Los Angeles.

Join us for Writer’s Week 2027! We’ll have a weeklong lineup of writers participating in workshops, talks, and readings. Artists will bring their imaginations to life under the pines, developing their skills and completing new work.

Each morning begins with class instruction, followed by lunch. Every day brings an afternoon “Craft Talk” presented by faculty/special guests. In the evening, gather for “Evening Readings”, also hosted by faculty and guest speakers, with snacks and drinks provided. On Wednesday, don’t miss “Beat Nite” at Middle Ridge Winery, featuring an expanded showcase of artists presenting their work!

Classes end on Friday around 4:00PM, after a day spent wrapping up projects and attending one-on-one sessions with your instructors. That evening, our week culminates at Cargill Commons, where students will present their work alongside live music, food, and more!

Richard Tsosie, Diné (Navajo), is a jeweler and sculptor from Flagstaff, Arizona, and the Wide Ruins area of the Navajo Nation. He currently lives in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, and several books, including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions: Art of the Navajo by Jerry Jacka. His art is on permanent exhibition at the Smithsonian, the Heard Museum, the Museum of Us in San Diego, and the Museum of Northern Arizona. His work has also been photographed by renowned photographer Jerry Jacka.

Richard’s contemporary silver and gold work features fabrication, overlay, and granulation. He is also known for his colorful inlay work using a variety of natural stones, as well as his precision and attention to detail. His designs are inspired by the natural world, particularly the Wide Ruins area of the Navajo Nation, where he spent much of his youth. Richard says of his work, “I am inspired by the colors of the mountains at sunset, the patterns of shadow and light that emerge at dawn, and the pinpoints of starlight against the black night sky.”

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary. Some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping to answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or simply take a break.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner is a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away for a break or to participate in other program activities.

The lab fee covers access to studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. In most cases, silver is not included and must be purchased separately by participants.

Lab fees also cover supplies that your instructor has requested we order or provide specifically for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to accurately reflect the supplies used throughout the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made a limited number of scholarships and fellowships available for Native American community leaders, artists, community members, and teachers participating in adult workshops.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus, registration fees, and lab fees are not included in scholarship awards.

Scholarship Details:

Scholarships are available to Native American community members, leaders, artists, and teachers ages 18 and older with current tribal affiliation or proof of descent. These scholarships are intended to support the traditional transfer of knowledge within Indigenous communities by welcoming participants to workshops at ����ֱ�� that can benefit both the scholarship recipient and their school or tribal home community.

Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and how they may share or apply that knowledge within their home communities. Applicants with demonstrated financial need may receive priority.

Scholarships are also available for Native American teens participating in both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.

Richard Tsosie Diné (Navajo) is a jeweler and sculptor from Flagstaff, Arizona, and the Wide Ruins area of the Navajo Nation and is currently living in Scottsdale, AZ. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, and several books, including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. His art is on permanent exhibition at The Smithsonian, The Heard Museum, The Museum of Us in San Diego, and The Museum of Northern Arizona. His artwork has been featured in the magazine Arizona Highways and photographed by renowned photographer Jerry Jacka.

Richard’s contemporary silver and gold work features fabrication, overlay, and granulation. He is also known for colorful inlay work with various natural stones and his fine degree of control and attention to detail. His designs are motivated by images of the natural world, particularly the Wide Ruins area of the reservation, where he spent a large part of his youth. Richard says of his work, “I am inspired by the colors of the mountains at sunset, the patterns of shadow and light that emerge at dawn, and the pinpoints of starlight against the black night sky.”

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary—some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or take a break when needed.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent open studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner can be a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away to take a break or participate in other program activities.

The lab fee covers access to the studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. Silver in most cases is not included and must be purchased separately by participants. A complete list of materials and consumables provided through your lab fee will be available after registration.

Shop fees include supplies that your instructor has requested we order or provide for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to most accurately reflect the supplies used during the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for:

Native American Community Leaders, Artists, Members, and Teachers.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

For Native American adult Community Members, Leaders, Artists, and Teachers 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.

Roy Talahaftewa is from Shungopovi Village on the Hopi Reservation in Arizona and is a member of the Water Clan. He works in silver and gold, using both Hopi overlay and tufa casting in his designs. Roy has received significant awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu’tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation.

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary—some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or take a break when needed.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent open studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner can be a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away to take a break or participate in other program activities.

The lab fee covers access to the studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. Silver in most cases is not included and must be purchased separately by participants. A complete list of materials and consumables provided through your lab fee will be available after registration.

Shop fees include supplies that your instructor has requested we order or provide for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to most accurately reflect the supplies used during the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for:

Native American Community Leaders, Artists, Members, and Teachers.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

For Native American adult Community Members, Leaders, Artists, and Teachers 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.