FALL WORKSHOPS Maine Media 1
FALL WORKSHOPS Online and On-Campus Fall is the time for digging into new opportunities for learning. Explore a new medium or technique this Fall, guided by professional artists and scholars! P.4 March to March Student Showcase March to March is a celebration of Maine Media students and their work. Get just a taste of the amazing work submitted! P.6 ON-CAMPUS WORKSHOPS The magic continues on campus through October! Don’t miss the opportunity to work closely with our outstanding instructors. P.10 Q&A with Jason Kohn Hear from our new instructor for this year’s Documentary Master Class about genre in nonfiction, the past tense, and CIFF 2022. P.16 Student Films: Summer 2022 See just a peek of what our filmmaking students created on campus this summer. P.19 Alchemy: In-Person Exhibition Join Fern Nesson (MFA graduate) and Howard Greenberg (Chair of the MFA program) for an in-person exhibition. 2 Click your class to learn more.
P.20 Arnold Newman Prize Winners Congratulations to this year’s winner, finalists, and honorable mentions in portraiture! P.25 A Delicious Life: Anita Verna Crofts A few brief words on the joys of writing - and of eating - here on campus. P.28 2022 Book Artists in Residence We’re pleased to announce our 2022 Book Artists in Residence! P.30 Beautifully Imperfect Graduate Patricia Christakos talks about her Maine Media MFA experience and her work. P.34 ONLINE WORKSHOPS Our celebrated workshop model spills into the virtual realm! Find even more workshops year-round, online and in real time. P.40 French Cinema: Language of Light Journey through the rich delights and extraordinary risks that define French cinema. P.45 2022 Fall Alumni Lecture Series Don’t miss this Fall’s virtual lectures, free and open to the public, starting in September. Cover Image (left) by Kate Beck. Don’t miss Kate’s upcoming online workshop, Culture, Identity and the Over-Painted Image. Images on this spread, in order, by Amy Wappler, Harold Greenberg, Lisa Elmaleh, Rafael Baeza, The Impossible Voyage, and Kate Beck. 3
MMAarRchCtoHMarTchOStuMdenAt SRhoCwcHase March to March is a celebration of Maine Media students and their work. The pieces shown here are among work created by both online and on-campus students between March of 2021 and March of 2022. See all of our outstanding submissions at mainemedia.edu/marchtomarch Left page, clockwise from left: Ni Rong, Jennifer Booher, Emily Buckley Right page, clockwise from top left: Kym Ghee, Lynn Garwood, Michael Honegger, Amy Wappler, Amber Doe 4 Click your class to learn more.
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FALL ON CAMPUS P.8 P.20 FILMMAKING Arnold Newman Prize Winners P.10 P.24 Q&A with Jason Kohn THE WRITERS HARBOR® P.16 P.25 Student Films: Summer 2022 A Delicious Life: Anita Verna Crofts P.17 P.26 PHOTOGRAPHY BOOK ARTS & DESIGN P.19 P.28 Alchemy: In-Person Exhibition 2022 Book Artists in Residence 6 Click your class to learn more.
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FILMMAKING Observational Filmmaking SEP 5–9 | Allie Humenuk | $1495 | 12 students Learn the fine art of observational filmmaking, and the purity of story that the vérité style may evoke. Through screenings, case studies, and practice, explore the building blocks foundational to an observational documentary scene. DaVinci Resolve SEP 5–9 | David Martinez | $1295 | 12 students This workshop is an introduction to digital color correction and grading using DaVinci Resolve. Students will take their first steps toward a technical understanding of the art and craft of color correction and grading for digital video. 6-Week Cinematography Intensive SEP 12–OCT 21 | Various Instructors | $10,500 | 16 students Our Cinematography Intensive is a fully immersive program that provides students with the knowledge, experience, and tools essential to becoming a working professional in the film industry or reaching the next level in their career. Grip & Electric SEP 12–16 | Justyn T Davis | $1650 | 16 students This workshop is for emerging filmmakers, video professionals, and film school graduates who want to immerse themselves in fundamentals of lighting theory, learn set etiquette and procedure, and get hands-on with essential grip and gear. Nonfiction Cinematography SEP 12–16 | Chris Wairegi | $1695 | 14 students This one-week course is for emerging documentary filmmakers and cinematographers who want to explore the technical and creative role that the camera plays in documentary production. 8 Click your class to learn more.
The Art of Cinematography SEP 19–23 | Instructor TBD | $1895 | 16 students This workshop explores the camera as a tool for cinematic storytelling. It is designed for new cinematographers, filmmakers, video professionals, and anyone looking to gain a solid foundation in the art of shooting motion pictures. Documentary Master Class SEP 19–23 | Jason Kohn | $1575 | 12 students This one-week master class is for filmmakers and students who want to sharpen their work with the mentoring of a master documentary filmmaker, specifically addressing how to improve your works-in-progress. Creative Producing for Film & TV SEP 19–23 | Eric Mofford | $1395 | 14 students This workshop closely examines the role of the creative producer in overseeing the development and production of a project from conception to completion, with particular attention paid to getting a project financed and greenlit. The Steadicam Workshop SEP 26–30 | Paul Taylor | $2550 | 16 students Learn to interpret a script in visual terms based on the director’s vision, DP’s requirements, and editor’s needs. Uncover the “language of Steadicam” and how to employ it to produce riveting images that enhance your narrative. Paul’s Spring 2022 Steadicam Class On-Campus Workshops 9
JASON KOHN: DOCUMENTARY MASTER Instructor Jason Kohn is an award-winning documentary filmmaker whose debut film re- ceived the Sundance Film Festival Grand Jury Prize and whose films have played to wide audiences on platforms such as Showtime. Although born and raised in New York, his family’s Brazilian roots led Jason to São Paulo, where he produced and directed his debut film Manda Bala (Send a Bullet). That film examined the connections between political corruption and violence in Brazil and won the 2007 Sundance Film Festival’s Grand Jury and Best Cinematography awards. Love Means Zero was Jason’s second feature documentary about legendary tennis coach Nick Bollettieri and premiered at the Toronto International Film Festival in 2017. Jason’s new film, Nothing Lasts Forever, investigates the criminal and philosophical controversies around synthetic diamonds and will be showing at the Camden International Film Festival (CIFF) later this month. Congratulations on your new movie elements. You bring in people being a nonfiction film, what Nothing Lasts Forever. Are you excited at the top of their profession and kind of nonfiction film is it? Is it a about the screening at CIFF? people who are in the process of comedy? Is it a competition film? developing and then they’re able Is it a romance? Is it a thriller? I really can’t wait. It’s my favorite to have lunch together. There are event of the year. This will be my interconnections that happen that Genre is one of the most third time at CIFF and the sec- last beyond the week. important elements of making ond time with a film. I was there any film, but we don’t often talk with Love Means Zero in 2017, How can you help a student with about it with nonfiction. I think that and went last year just to attend. their work in progress? there are biases against feeling I think I would say it’s one of the too contrived, since our content best documentary film festivals in For me it starts with the question, is based on facts. But the role the world. There’s such a focus on “What kind of movie is it?” The of any artist is to create reality, filmmaker relationships at CIFF elements of nonfiction that I think whether you’re working in fiction that makes it truly unique. Plus, are most important to my process or nonfiction. If it feels fake, it is Camden is so beautiful during are tense and genre. For most fake. Understanding the history of that time of the year. commercially viable nonfiction, cinema, and where your story falls you’re either telling the story in that history, is an important part What I think CIFF does remarkably in past tense or present tense. of framing your story. well is that they manage to be a And in some cases you are doing community oriented Film Festival both, but that is important to Is it ok to make mistakes in your that attracts our colleagues from identify and will dictate how a workshop? everywhere in the United States film is shot. The other important to come to this one place. Maine component is understanding the I had a mantra when I was struggling Media, I think, shares a lot of those genre of your story. Beyond it with my first movie that success is 10 Click your class to learn more.
completion. It didn’t matter what it was just a nature film. Now we you’re making, which includes happened, if in the end I could have an actual robust audiences genre, commercial viability, and finish the film, that would be a with real eyeballs watching these artistic ambition, you have a real success. However, somewhere films. There is a tremendous shot at working as an artist in along the line of making Love demand for content. And I don’t nonfiction film. Means Zero, I realized that that’s use the word “content” in the most only half of the equation, because cynical sense, because it’s a loaded To learn more about Jason’s if completion is success that term, but there is definitely an upcoming on-campus workshop, means process is failure. appetite for documentaries. Documentary Master Class, click here. But, it’s only through failure that I think if you’re just clear eyed and you can actually move forward. It’s honest about what kind of film when your theories don’t work that you have the most opportunity to Posters from two grow and move the needle in the of Jason’s films, right direction. Because it’s only by Love Means Zero exploring all the ways that a movie does not work that we finally figure (2017) and out the way that it does. Manda Bala (Send What advice would you give to a Bullet) (2007) someone wanting to make documentary films? In the past if anybody had ever asked me, my standard answer was always, “Don’t do it. It’s too hard. It’s impossible to make a living.” I was never more broke than the day after I won the Grand Jury Award at Sundance Film Festival in 2007. However, that has changed Don’t miss Jason’s dramatically. You can actually newest film, Nothing make documentaries now, and Lasts Forever, at the make a living doing it. This is a Camden International really, really big deal. Now it’s sure Film Festival this Fall! as shit not the most equitable place in the entire world - for sure, Jason is teaching our there’s still a tremendous amount Documentary Master of work to be done on that front. But, the needle has moved. Class on campus September 19–23, Can you expand on that? following CIFF. Well, the audience has grown significantly. For instance, when I started making Manda Bala my parents didn’t know what a documentary was. They thought 11
Shooting & Directing Branded Content SEP 26–30 | Jon Weiman | $1695 | 14 students This hands-on workshop is for directors, producers, agency executives, and all creatives who want to gain practical experience in creating compelling and effective promotional material and commercial content. DIT on Set OCT 3–7 | Ben Hopkins | $1695 | 14 students Digital Imaging Technician: Explore the tools, technology, and science at play in today’s digital cinema cameras. This workshop is designed for DPs, DITs, ACs, and anyone seeking an understanding of the current state of digital cinema. Shooting Commercials & Music Videos OCT 3–7 | Diego Rosenblatt | $1595 | 16 students This workshop covers the advanced technical aspects of digital camera systems and delves into the theory and fine art of cinematic storytelling. Explore the creative potential of digital cameras for commercials music videos, The Camera and Visual Storytelling OCT 10–14 | Instructor TBD | $2095 | 16 students Learn the cinematic language of shot design and composition to tell effective and emotional stories This workshop is for cinematographers and emerging filmmakers who want to focus on the use of the camera in cinematic storytelling. Audio Storytelling OCT 10–14 | Suzi Pond | $1350 | 12 students Explore the technological and methodological basics in capturing compelling stories. We’ll delve into ambient and scene sound — how to identify it and capture it, and how to structure a story, using interview and ambient tape. Adobe Premiere OCT 17–21 | Alex Burnett | $1295 | 12 students Understanding the editor’s job of combining images, words, and audio into a cohesive and engaging body of work is essential for all filmmakers. Adobe’s Premiere has become the preferred software choice for many professional editors. 12 Click your class to learn more.
Feature Film Lighting OCT 17–21 | Mo Flam | $2395 | 16 students This is our most advanced lighting workshop for filmmakers who want to explore dramatic lighting techniques used in feature films. Led by a career Chief Lighting Technician, learn the importance of light in visual storytelling. Writing & Developing the Documentary OCT 17–21 | Jack McDonald | $1350 | 12 students While ideas for documentaries abound, the key is to realize the development of the idea into a doable, sellable, and compelling proposal. This course is for anyone who has a documentary project to produce, write and develop. THE COURSES: Shooting Commercials & Music Videos OCT 3–7 | Diego Rosenblatt Grip & Electric The Camera and Visual Storytelling SEP 12–16 | Justyn T Davis OCT 10–14 The Art of Cinematography Feature Film Lighting SEP 19–23 OCT 17–21 | Mo Flam The Steadicam Workshop SEP 26–30 | Paul Taylor On-Campus Workshops 13
Adobe After Effects OCT 24–28 | Alex Burnett | $1350 | 10 students Adobe After Effects continues to be the industry standard for creating motion graphics. Through hands-on projects, this workshop explores the tools of After Effects including layers, blending modes, masks and alpha channels. Cinematography Master Class OCT 24–28 | Steve Yedlin, ASC | $1695 | 16 students Refine your cinematic vision and aesthetic. Guided by master Director of Photography Steve Yedlin, A.S.C. (Knives Out, Star Wars: The Last Jedi, Looper), explore the motivation behind specific aesthetics, lighting, lens selection, and more. Nature & Wildlife Cinematography OCT 24–28 | Mauricio Handler | $1595 | 14 students Spend the week documenting the beautiful natural scenery of midcoast Maine, from coastal landscapes to forests, rivers, and mountains. Learn to document scenes using an array of field techniques, such as high speed and time-lapse. Don’t miss instructor Jason Kohn’s newest film, Nothing Lasts Forever, at the Camden International Film Festival this Fall! Jason is teaching our Documentary Master Class on campus September 19–23, immediately following 14 Click your class to learn more.
Nature & Wildlife Cinematography OCT 24–28 | On campus with Mauricio Handler Spend the week documenting Maine’s natural scenery with accomplished cinematographer Mauricio Handler (National Geographic, Netflix, BBC, CNN). Learn field techniques to produce beautiful motion sequences using Red cinema cameras, and learn to “find the light” in your natural environment to produce the highest possible quality cinematic visuals. CLICK TO LEARN MORE 15
Student Films! Film shorts created in a week Roy H. Wagner, ASC The Camera and Visual Storytelling Greg Smith Instructors Roy H. Wagner, ASC & Robert Adetuyi | July 18–22 The Encounter This one-week workshop is for cinematographers and emerging Written, Directed, Starring filmmakers wanting to focus on the use of the camera in cinematic Gregory Gotham Smith storytelling. To join the Fall edition of this workshop, click here. Cinematography Oleg Metlinskii & Aaron Hogan Starring Sean McCarthy Rachel and Zach Young Artist Academy Film School Partner in Crime Starring Rafael Baeza Instructor Tom Ryan | June 27–July 8 Written, Directed Detective Torres Students produced short films on the second week of this two- Zach Cutter Austin Sherwood week immersion course in the fundamental skills of filmmaking. Cinematography Detective Day Rachel Garrity Taylor Femino 16 Student Films: Summer 2022 Sound Demi Day Taylor Femino & Mia Negrin Camera Assistant Luka D’Onofrio
PHOTOGRAPHY Composition & Photography: A Hands-On Workshop SEP 12–16 | Harold Davis | $1595 | 12 students This hands-on workshop will approach composition as open-ended, two-dimensional design. Photographic exer- cises, field sessions, and discussion will help to integrate the process of composition into each student’s creative practice. The Lyrical Photograph SEP 19–23 | Sal Taylor Kydd | $1250 | 12 students Explore your personal narrative through the lens of memory and personal symbolism. Investigate connections to the landscape and your own story through the visual language of allegory, myth and metaphor. The Quiet Landscape: Beyond the Picture Postcard SEP 26–30 | Alissa & Jacob Hessler | $1350 | 12 students The world has changed, yet the creative approach to landscape photography has remained largely the same. This workshop is a fresh approach to traditional landscape photography. Break the rules and ignore the easy postcard shots. The Portrait Workshop: Photography and Retouching OCT 3-7 | Mickey Strand | $1595 | 10 students Learn the fundamentals of portrait photography and improve your skills for your business or learn how to make compelling portraits of your family and friends. Cover the entire process of portrait-making, from photo shoot to post-processing. The Language of Color OCT 3–7 | Magdalena Solé | $1595 | 12 students For amateurs and professionals alike, this workshop will explore the process of photographing spontaneously and intuitively; how to photograph people; and how to edit photographs so they reveal a story to the viewer. On-Campus Workshops 17
Composition & Craft OCT 10–14 | Andrea Birnbaum | $1375 | 12 students Composition in this workshop is very loosely designed and will be different for each participant - from learning to make strong compositions in camera, to making images that are considered, meaningful and go deeper than a pretty picture. Return to Oz: The Colors of Fall OCT 17–21 | Vincent Versace | $1695 | 12 students There are few places on earth that are as full of light, color, gesture, and the potential for timelessness than Maine in October. This workshop is all about making pictures, with daily opportunities for in-the-field shooting experiences. Vincent’s Fall 2021 Return to Oz: The Colors of Fall Class 18 Click your class to learn more.
ALCHEMY Assemblages Photographs Howard Greenberg Fern L. Nesson MFA Chair, Maine Media MFA Graduate, 2018 Pascal Hall, Rockport, Maine October 6–31, 2022 Opening Reception October 7th, 5–8 PM
2022 Arnold Newman Prize Winner & Finalists
Winner: Lisa Elmaleh, Promised Land “Promised Land is a series of portraits of those whose lives have been affected by American policies implemented during the construction of the border wall... Utilizing [my camera] as an asset, I am able to spend time with each person who sits in front of my lens, hearing their stories.” See more at mainemedia.edu/ANP Clockwise from top left: Rosario and Her Daughter, Nogales,Mexico, 2021; Nohemy, Mexico, 2021; Samuel in front of Monument Hill, where his ancestors are buried, Arizona, 2021; all by Lisa Elmaleh
Finalist: Anna Grevenitis, REGARD “Because I believe in the connective power offered by the depiction of domesticity, I hope that REGARD helps the audience rethink some of their assumptions about people living with disabilities.” Finalist: Andrew Kung, The All-American “I imagine and construct scenes of strength, intimacy, and togetherness between Asian men that I’ve rarely witnessed in an American context – tender moments that rebel against monolithic constructs of masculinity.” Finalist: Rania Matar, ) Where Do I Go? (Lawen Ruh “During recent trips to Lebanon, I found hope and inspiration through the younger generation of women. Instead of focusing on destruction, I found myself in awe of them, their creativity, strength, beauty, and resilience, despite all.” From top: August 13, 2017 by Anna Grevenitis; In Bloom, 2022 by Andrew Kung; Demi Brummana, Lebanon, 2021 by Rania Matar
Honorable Mentions: Robert Coombs, CripFag Sarah Cooper & Nina Gorfer, Between These Folded Walls, Utopia Matt Eich, Bird Song Over Black Water Sam Geballe, Self-Untitled David Lombeida, Resistencia Rebecca Moseman, The Irish Travelers: A Forgotten People Clockwise from top left: Resistencia, Sotu by Lombeida; Breathe by Geballe; Yohana Holding Scissors by Cooper & Gorfer; Morgan (Loner #1), Buckingham County, Virginia, 2022 by Eich; Untitled by Coombs; Living Poverty by Moseman
THE WRITERS HARBOR® Thinking in Book SEP 5–9 | Susan Conley | $1350 | 10 students Thinking in Book is a mixed-genre, non-fiction and fiction workshop designed to make you talk and think explicit- ly and intentionally about your book— the book you most want to write, and how. Loaded Objects: The Stories in Our Stuff SEP 19–23 | Faith Adiele | $1495 | 10 students Playing on poet William Carlos Williams’ famous line, “No ideas but in things” this interactive writing workshop will investigate the richness of “stuff” as both material possessions and emotional backstory. Writing Our Origins from Memory OCT 10–14 | Elizabeth Miki Brina | $1250 | 10 students Our stories begin before we were born. In this workshop, we will explore the use of memory as a way to invoke both personal and inherited history, searching for symbols and threads that take us further into the past. Image: Your Poem’s North Star OCT 17–21 | Carrie Fountain | $1495 | 10 students In this workshop, we’ll investigate the art and craft of image- making, and learn how predisposing ourselves to image can help bring clarity and depth to our writing (not to mention our lives). Celebrated poet Carrie Fountain will help you cut through the cloudiness of abstraction so your poems can find their way. “Carrie Fountain writes wondrous poems of such transporting movement and time-depth, we could all be everywhere we’ve ever loved, teenagers again, or a hundred years from now, sky-shimmering, containing it all.” –Naomi Shihab Nye 24 Click your class to learn more.
A Delicious Life by A.V. Crofts Perhaps this instinct to my body focused on stamina borrow terms comes from chefs —they were a sociable downshift. The temptation is strong to use and writers laboring at times Conversations started in our food-related vocabulary when in solitude, while the meaning classroom would spill into the meal describing the writing process. We of their final product—be it a hours, as friendships deepened over discuss the recipe for a memorable meal or a memoir—takes place second helpings of velvety roasted story. We identify which ingredients when shared with others. Words potatoes (the secret is to parboil combine to make dialogue dance left unwritten form a pang, them first, I learned), cabbage slaw, off the page. We look to add more while fresh words on the page or Chef Mantica’s unforgettable spice to certain prose, or safeguard help satisfy our yearning for tahini blondie brownie, topped with against saccharine passages. Put self-expression, while also toasted sesame seeds. more meat on the bones of that essay, potentially connecting us to a encourages the editor. broader audience. Dining in the Maine Media open air pavilion became an extension of the In my August Maine Media work- As my students produced their learning, as Chef Mantica’s meals shop Write Like Your Life Depends On It, work each day, Maine Media reflected composition, structure, students spent five days writing and community. intensively every morning and During our immersive week of engaging in rich peer feedback Chef Jennifer Mantica offered creative output, how fortunate we sessions each afternoon. All of them her culinary self-expression by all were to be lovingly fed by a chef produced writing defined by what producing astonishing meals with with such expressive and inventive Martin Luther King Jr. named as her small cookery team. Savory mastery of her craft. In the case of “the fierce urgency of now,” as this flavor combinations, seasonal food, our life literally depends on it, was a class designed to prioritize vegetables, and addictive desserts and in the hands of Chef Mantica, stories hungry to be told. were all hallmarks of the meals. it’s a delicious life indeed. To learn more about A.V. Crofts and her workshops, click here. See that? I did it again. These meals were more than fuel —though I’d pile my plate high, A Delicious Life 25
BOOK ARTS & DESIGN Photopolymer Gravure Mentorship & Personal Projects SEP 5–9 | Jeanne Wells | $1495 | 7 students Working on personal projects & building a collection of images this weeklong workshop builds on your plate creation and hand-wiping skills while taking your Direct to Plate practice to the next level. Continuing Techniques in Photopolymer Gravure SEP 12–16 | Jeanne Wells | $1495 | 7 students In this intermediate/advanced direct-to-plate photopolymer gravure class, we’ll continue to hone your plate creation and hand-wiping skills, and put them to use with larger plates, an assortment of papers, and a variety of new techniques. Creating Beyond the Frame: Photo-based Printmaking in Layers SEP 19–23 | Jari Poulin | $1395 | 8 students If you have ever wanted to put your hand to your images with ink, paint, or other materials, this is the course for you. Learn to get down and dirty creative in printmaking. Photographic Objects, Advanced Techniques SEP 26–30 | Dawn Surratt | $1395 | 8 students Objects can evoke empathy and connect us to memory. Learn ways to connect photography and structure to tell your story. Develop a concept using photography as a jumping off point and build an object within the week. Encaustic Techniques on Paper OCT 3–7 | Diane Bowie Zaitlin | $1350 | 8 students Painting with molten beeswax and damar resin adds depth, texture, and intrigue to your photographs and artwork. In this workshop, artist Diane Bowie Zaitlin will introduce you to her contemporary approach to encaustic painting. 26 Click your class to learn more.
Work by Diane Bowie Zaitlin that employs encaustic techniques overlaid on photographic images to create a unique, tactile piece. Joine Diane’s workshop, Encaustic Techniques on Paper, taking place October 3–7 on campus. 3D Enclosures: All Kinds of Boxes, Cases, Covers OCT 10–14 | Richard Reitz Smith | $1175 | 8 students During this weeklong workshop, explore and construct multiple 3D enclosures! Begin by making coverings for your creations: paste paper, marbling and painted surfaces are integral to finishing your structures, so we’ll start there! On-Campus Workshops 27
Congratulations to our 2022 Book Artists in Residence! The Maine Media Book Artist in Residence Program supports emerging and practicing book artists, letterpress printers, and photographers combining word and image. This year’s chosen artists are Stephanie Wolff and Rachel Church. Stephanie Wolff works with paper, text, textile, and the book form, with projects that explore themes of weather, history, and rural life, among other topics. Her artist books are held in many public and private collections, and have been exhibited in the United States and Germany. Her works are included in 500 Handmade Books, Volumes 1 & 2 (Lark Books). She has been awarded fellowship/residencies, including from the American Antiquarian Society and the Jaffe Center for Book Arts. 28 Book Artists in Residence
Rachel Church is an intermedial artist, book artist, and printmaker working in Maine. She is currently pursuing an Interdisciplinary PhD at the University of Maine investigating the intersection of cookbooks as historical documentation of issues of domesticity and gender, and cookbooks as art objects. She is part-time faculty at the University of Southern Maine and University of Maine at Machias, and teaches printmaking and bookmaking workshops. 29
Beautifully Imperfect by Teresa Piccari Patricia Christakos’s MFA thesis installation project, The Sleepover, was on view at the Southeast Museum of Photography at Daytona State College, Sept. 28 – Dec. 16, 2021. Graduate Patricia Christakos for a Three-Year Conversation select a different mentor talks about her Maine Media About Your Work? each semester from among MFA experience and her work. “I can never thank the people the campus faculty and the here enough for all they did rotating guest faculty who visit More than two years after and continue to do for me,” each semester. It’s a very rich earning her low-residency MFA she noted. bevy of mentors, which to me in Media Arts at Maine Media Mentorship is an important is the heart of the program, to College, Patricia Christakos hallmark of the Maine Media work with these amazing artists was back on campus studying MFA program. The degree and teachers,” said Christakos. Experimental Filmmaking with candidates work intensely with Anna Graham this summer, mentors of their choosing, who Behind the Lens ]giving voice to the artist she guide them through As a lens-based program, has transformed into. their projects. students focus primarily on “That’s the structure of the filmmaking, photography and She researched other low- program. We were able to multimedia. They integrate residency programs, but chose video, book arts, as well as Maine Media. “This place called to me,” she recalled of the tag- line that asks, Are You Ready 30 Beautifully Imperfect
interdisciplinary and trans- Real World Application is known for its important media forms to generate a “My experience at Maine teaching and advocacy work cross-pollination of ideas in a Media changed my life,” for its young women. I wanted community that is inspirational acknowledged Christakos. to be a part of that.” and supportive. “My experience Returning to campus for She expanded her fine art at Maine Media ongoing workshops gives practice to include teaching changed my life” Patricia the opportunity to and curating. A self-portrait sustain a sense of community, workshop she created for The Christakos will be showcasing by seeing fellow MFA graduates, Pace Center, an alternative her latest project, For Ever former mentors and instructors, high school for girls in Flagler After, online for the Women’s as well her thesis advisor Beach, FL, will culminate with Photo Alliance, @wpanyc, a Howard Greenberg, Chair of an exhibition this December fine art collective dedicated to the MFA Program and Provost, at the Museum of Arts and making “the point of view of and Christakos’s advisor, Sciences in Daytona, Florida. women more universal.” Elizabeth Greenberg. “The Pace project evolved This latest project includes She also remains connected to from my Maine Media thesis photographs, wallpapers, others she went through the project, a video-projection textiles, poetry, as well as clips MFA program with via monthly installation called The and stills from And They Lived, Zoom meetings to share work Sleepover. I wanted my work and get feedback that helps to have meaning beyond the support her craft. exhibition. The Pace Center
her most recent experimental overlooked stories, objects, return to during an upcoming film. The project offers a thoughts, and desires. Maine Media online workshop, subversive look at Snow White, Experimental filmmaking Culture, Identity and the and other real and imagined provides me with so many Over-Painted Image with women contained by dirty entry points and opportunities instructor Kate Beck. dishes and pretty frocks. to manipulate and abstract,” “My projects are never really “I am pleased that I continue she said. finished. It’s difficult for me to put my films and other “Analog filmmaking is so to leave any work. I become projects out into the world tactile and deliberate. So attached to the narratives and that people respond to different from working in and I enjoy keeping the them,” she observed. digital. Just holding a Bolex conversations going,” she said. Ongoing Dialogue camera was a thrill. It’s slow, This past July Christakos, who meditative, multi-step work. To learn more about Patricia’s splits her time between Central And we got to shoot in the installation project visit her New York State in the summer beautiful light that is in website: patriciachristakos.com and Florida in the winter, was Maine,” she said. at Maine Media to study In regard to her practice, To learn more about Anna Experimental & Alternative the artist said diversity of Graham and her upcoming Filmmaking Processes with materials and new approaches workshops, click here. Boston-based filmmaker Anna are what really drive her. She Graham. continues to work on projects “Much of my work examines that were conceived during her beautifully imperfect, often MFA study. She talked about the evolution of a video and stills project that she plans to
MFA Maine Media Workshops + College Low-Residency MFA in Media Arts Photography, Filmmaking, Multimedia Low-Residency MFA in Media Arts Testimonial at Maine Media College. “When I took classes prior to my The 3 year low-residency program at Maine Media College is for MFA, there was nothing to string artists interested in engaging in a rigorous educational experience them together. After my MFA, leading to an MFA in Media Arts. Students work in various media when I add new creative skills art forms including photography and filmmaking, as well as and take classes, I now have the interdisciplinary and transmedia forms. Produce original creative capacity to integrate them into work under the guidance of experienced mentors and participate my art, like a symphony.” in a community of artists striving for artistic growth through highly individualized practice and study. — Anne Seybolt, MFA Graduate 2019 What is a Low-Residency MFA Program. Our low-residency program provides flexibility for our students to work on their thesis outside of our campus, providing minimal disruption to employment or family life. Two, five-day MFA retreats are held each year, one in May and the other in November on our beautiful campus in Rockport, Maine.media arts. Provost, Elizabeth Greenberg, discusses the Low-Residency MFA Program in Media Art.s
FALL ONLINE P.38 P.46 FILMMAKING PHOTOGRAPHY P.40 P.50 French Cinema: The Language of BOOK ARTS & DESIGN Light 1895-1960 (Online) P.53 P.45 THE WRITERS HARBOR® 2022 Fall Alumni Lecture Series 34 Click your class to learn more.
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FILMMAKING French Cinema: The Language of Light 1895–1960 (Online) SEP 13–NOV 1 | Imogen Sara Smith | $575 | 30 students Join film historian, critic, and Criterion Channel speaker Imogen Sara Smith for this fascinating journey through the rich delights and extraordinary risks that define French cinematic history. 2-Day iPhone Filmmaking (Online) SEP 17–18 | Anna Graham | $375 | 12 students See why the iPhone is changing the cinematic landscape. Experiment with creating footage that demonstrates how this tool can be taken to a whole new level, using powerful apps like FiLMiC Pro, lens and audio options, and more. 1-Day Business Plans for Artists (Online) SEP 24 | Valerie Landsburg | $110 | 10 students How is the business side of your creative practice going? Is it working the way you thought it would? The missing piece may be a Business Plan. Playing with Prompts and Parameters in your Personal Practice (Online) SEP 27–OCT 25 | Scott Fuller | $495 | 12 students Explore using prompts and parameters to infuse fresh ideas into your creative process. Work with photography, video, installations, sound/visual hybrids, or any other visual forms. Editing the Documentary (Online) OCT 1–NOV 19 | Simeon Hutner | $1195 | 9 students Guided by an accomplished editor, examine the dynamics of editing a feature-length documentary over eight weeks. While the focus will be on feature-length documentaries, many of the lessons will also apply to short form. 36 Click your class to learn more.
1-Day Lighting Basics (Online) OCT 8 | Instructor TBD | $185 | 12 students Properly light spaces and subjects for any film or video project. Through lectures and demonstrations of theory and lighting techniques, students will learn how to best use natural and artificial light to tell their story. FRENCH CINEMA The Language of Light – 1895-1960 with Imogen Sara Smith Film Historian and On-air commentator for The Criterion Channel Sep 13–NOV 1, 2022 | Online. In Real Time. Online Workshops 37
1-Day Adobe Premiere (Online) OCT 8 | Alex Burnett | $175 | 14 students Use and navigate Premiere’s dynamic interface. Adobe Premiere continues to be the preferred software for many professional editors. Get a great jumpstart to editing! 2-Day Creating The Podcast (Online) OCT 15–16 | Alison Bruzek | $395 | 12 students Find your audience. Get a crash course in script writing, recording and interviewing, and editing your podcast like a pro using Hindenburg Journalist and/or Pro Tools First. Editing for Genre: A Film Editing Workshop Series (Online) OCT 15–NOV 5 | Luis Zerón | $295 | 40 students Guided by accomplished editor Luis Zeron (HBO, Netflix), become a well-rounded editor over 4 classes, learning to navigate the unique challenges in cutting for different genres: drama, action, thrillers, and montage sequences. 1-Day Cutting Drama (Online) OCT 15 | Luis Zerón | $75 | 40 students In this three-hour session, learn how to create dramatic tension through dialogue scenes. Examine how to build emotion and get the best out of actors and stories. Take individually or enroll in the full series, Editing for Genre. 38 Click your class to learn more.
1-Day Adobe After Effects for Beginners (Online) OCT 22 | Alex Burnett | $175 | 12 students Create your own animation. Students leave this workshop with an understanding of After Effects basics, and with an appreciation for the amazing possibilities in creating motion graphics. 1-Day Cutting Action (Online) OCT 22 | Luis Zerón | $75 | 40 students In this three-hour session, examine the characteristics of action as a genre and explore a methodology to address action scenes in the cutting room. Take individually or enroll in the full series, Editing for Genre. 1-Day Cutting Montage (Online) OCT 29 | Luis Zerón | $75 | 40 students In this three-hour session, develop your creativity and storytelling skills to create powerful sequences using images and sound. Take individually or enroll in the full series, Editing for Genre. 1-Day Introduction to DaVinci Resolve (Online) OCT 29 | BJ Attarian | $175 | 14 students Designed for students with little or no editing experience. We start with the basics and work together, learning the DaVinci Resolve interface through interactive training and projects. 2-Day Art of the Interview (Online) OCT 29–30 | Mimi Edmunds | $375 | 12 students This is a course in the techniques of interviewing for in- depth stories. While the interview may appear to be a simple question-and-answer process, it is in fact a stage in which there are rules, styles, and formats. 1-Day The Art of Cinematography (Online) NOV 5 | Instructor TBD | $185 | 12 students Explore the aesthetic and technical considerations of the craft and process of cinematography. We explore the camera as a tool and the theory of cinematic storytelling. Immerse yourself in the art of shooting motion pictures. Online Workshops 39
French Cinema: The Language of Light 1895-1960 (Online) Journey through the rich delights and extraordinary risks that define French cinema Remorques by Jean-Gremillion, 1941 The first six decades of French cinema new brand of American crime movies championing of Hollywood genre were an extraordinary period of they dubbed “film noir,” and France filmmakers. Turning to directing, invention and reinvention. In December launched its own tough and dazzlingly they would shatter conventions of 1895 in Paris, the inventors Louis and stylish series of crime thrillers by the filmmaking, storytelling, and polite Auguste Lumière presented the world’s likes of Henri-Georges Clouzot, Jacques behavior in the 1960s. (In Part Two first public screening of projected motion Becker, and Jean-Pierre Melville. of this class, we will start by exploring pictures. Their short “actualities” Brilliant and singular artists like how Jean-Luc Godard, Francois Truffaut, documented everyday life and sowed Melville and Robert Bresson have had a Eric Rohmer, Claude Chabrol, and the first seeds for comedy, while the lasting influence on filmmakers around Jacques Rivette, together with directors short films of Georges Méliès, a former the world. (And if you took this like Agnès Varda, Jacques Demy, and stage magician, introduced fantasy, instructor’s film noir class last winter, Alain Resnais, gave birth to the French science fiction, and special effects. In you’ll be exploring new filmmakers and New Wave, a movement that is still 1896, Alice Guy-Blaché became the new ideas that pushed that style and inspiring filmmakers around the world.) first female filmmaker, and she went sensibility forward.) on to be a pioneering director and This survey of French film history producer, running her own studio in In the 1950s, the impassioned and will be offered in two parts that America. While the French film argumentative young critics at the can be taken individually or as a industry suffered from the effects of journal Cahiers du Cinéma changed sequence. Part two ‘French Cinema: World War I and the rise of Holly- film culture forever with their Breaking Rules & Boundaries 1960- wood, the arrival of sound prompted development of the politique des 2022’ (January 17-March 14, 2023), a renaissance, and France once again auteurs (auteur theory), rejection of will pick up with the New Wave and broke ground with the inventive, witty, France’s “tradition of quality,” and run through the present day. and quintessentially Gallic musical comedies of René Clair. The 1930s were a golden age for French film, with masters like Jean Renoir, one of cinema’s greatest humanists, the poetic realist and proto-noir films of Marcel Carné and Jean Gremillon, and the surreal, avant-garde films of Jean Vigo, Jean Epstein, and Jean Cocteau (that’s a lot of Jeans!) World War II and the Nazi Occupation disrupted many careers, but French cinema roared back after the War as critics discovered a 40 French Cinema Le Corbeau by Henri-Georges Clouzot, 1943
Participants will watch films Children of Paradise by Marcel Carné, 1945 through online streaming platforms, read key texts, and join a virtual Few nations have contributed more to the development classroom for live lectures and group of film culture than France. Come fall in love with French discussions. No knowledge of cinema as we examine key films, artists, and movements French is required; all films will be that shed light on the evolution of cinematic style. Join film subtitled and any readings will be historian andcritic Imogen Sara Smith, whose commentary in English. isregularly featured on The Criterion Channel, for this fascinating journey through French film history. CLICK TO FIND French Cinema: French Cinema: OUT MORE AND The Language of Light Breaking Rules&Boundaries REGISTER 1895-1960 1960-2022 Instructor: Imogen Sara Smith Imogen Sara Smith is a film critic and historian based in New York City. She is the author of two books, In Lonely Places: Film Noir Beyond the City and Buster Keaton: The Persistence of Comedy, and her work has appeared in Film Comment, Sight & Sound, Cineaste, Reverse Shot, The Criterion Collection, and many other venues. She is a regular speaker on The Criterion Channel, on disc releases from Criterion, Kino Lorber, and other distributors, and at national and international film festivals. She has taught courses on film noir at the School of Visual Arts in New York. French Cinema 41
The Art of Editing (Online) NOV 5–DEC 10 | Toby Yates | $995 | 9 students This workshop is designd for editors, directors, and other filmmakers who want to go beyond software and workflow, and discuss the nuances of what makes a cut motivated and compelling. 1-Day Cutting Suspense & Thrillers (Online) NOV 5 | Luis Zerón | $75 | 40 students What, when, and how to give information is a crucial aspect of suspense and thrillers. In this three-hour session, learn to build tension and emotion with visuals and sound. Take individually or enroll in the full series, Editing for Genre. 2-Day Nonfiction Cinematography & Editing (Online) NOV 5–6 | Tom Ryan | $355 | 12 students Explore the growing possibilities of shooting non-fiction stories with today’s most accessible, and increasingly capable, digital cinema cameras. Learn best practices for editing non-fiction projects to get the most out of your footage. Creating Horror (Online) NOV 10 | Alice Rosso | $135 | 15 students Guided by an award-winning horror writer and producer, learn to create a strong protagonist, shape a compelling story, develop conflict and suspense, identify an engaging world for the story, and keep the tension up until the end! 1-Day Lighting for Film & TV (Online) NOV 12 | Instructor TBD | $185 | 12 students This workshop is for cinematographers and filmmaking professionals who want to engage in a dynamic discussion about lighting and learn about lighting techniques and styles used in feature films, commercials, and episodic TV. 1-Day Advanced Editing in DaVinci Resolve (Online) NOV 12 | Instructor TBD | $175 | 14 students Designed for students wanting to take their video editing skills in DaVinci Resolve to the next level. Topics include working with bins, finessing the edit, syncing audio and video, working with metadata, power bins, and more. 42 Click your class to learn more.
Editing For Genre: with Luis Zerón A Four Session Workshop Series “Psycho” Edited by George Tomasini “In the Mood for Love” Edited by William Chang “Battleship Potemkin” Edited by Sergei Eisenstein & Grigori Aleksandrov “Léon the Professional” Edited by Sylvie Landra 1-Day Camera in Motion (Online) NOV 19 | Instructor TBD | $185 | 12 students This course is for emerging cinematographers and filmmakers looking to explore the fundamentals of camera operation and movement, and the emotional impact these moves can create in telling visual stories. 1-Day Introduction to Final Cut Pro (Online) NOV 19 | BJ Attarian | $175 | 14 students Storytelling at its most powerful. Final Cut Pro combines revolutionary video editing with powerful organization and performance. Students taking this course will find out what makes Final Cut Pro so efficient and fast. Editing for Digital Content (Online) NOV 12–DEC 10 | Luis Zerón | $595 | 12 students Content creators, graphic designers, community managers, motion graphics artists, and others who need to create videos will learn the dynamics of how to edit them for maximum impact in this workshop. 2-Day Advanced Color Grading with DaVinci Resolve (Online) DEC 3–4 | Instructor TBD | $355 | 12 students Dive deeper into the art and craft of color correction and color grading for film. Maximize the image quality of your digital negatives while supporting story and visual style. Online Workshops 43
1-Day Audio Post Production & Sound Design (Online) DEC 3 | Alex Burnett | $195 | 12 students Learn about the foundation and principles of audio post-production and the effective manipulation of dialogue, music, and sound effects to create a unified soundtrack and tell more powerful stories. 1-Day Advanced Editing with Final Cut Pro (Online) DEC 3 | BJ Attarian | $175 | 14 students This interactive, hands-on course will cover ways to edit even faster inside Final Cut Pro, organizing footage, working with audio, multicam editing, working with stills, titles and effects, animating and compositing images, and more. Nonfiction DSLR & Mirrorless Cinema (Online) DEC 5–9 | Instructor TBD | $795 | 14 students Explore the robust capabilities of the DSLR and DSLM in shooting cinematic non-fiction stories. Through exercises and demos, students practice shooting and experience how these tools are best employed in capturing non-fiction. Get the Most Out of Your Mac Computer (Online) DEC 6–8 | Rick Allred | $155 | 12 students This is a simple introduction for new Apple users or people transitioning from Windows to Mac. Through demos, tutorials, and a variety of resources, learn the primary features of the Apple platform, its apps, and accessories. 1-Day DaVinci Resolve for Beginners (Online) DEC 10 | Instructor TBD | $185 | 12 students Take your first steps toward a technical understanding of the art and craft of color correction and grading for digital video, with this powerful, industry-standard color correction software. 44 Click your class to learn more.
Fall 2022 Alumni Stimulating conversation on photo, film, book arts, and writing. Lecture Series Learn more at mainemedia.edu/lectures or follow us on Facebook Join Our First Alumni Lecture this Fall! Thursday, September 8 at 1:00pm ET (Online) Sal Taylor Kydd & Dawn Surratt Dawn and Sal will discuss their creative process, the beginning and progression of their collaborative project Touchstones, and their book Touchstones: Artist Talk A Passing Song. hosted by Richard Reitz Smith Click Here to Register Alumni Lectures 45
PHOTOGRAPHY 19th Century History of Photography (Online) SEP 9–NOV 11 | Brenton Hamilton | $350 | 40 students This is a lecture course introducing the discovery of photography and influences in visual culture in the 19th century up to approximately 1935. Learn how the advent of technology and visual images related to photography. Photoshop for Photographers (Online) SEP 6–15 | Mickey Strand | $325 | 10 students Set Photoshop up for use as a working photographer. You don’t need any prior Photoshop experience to enroll in this workshop. Learn to do everything from editing portraits to creating items in 3D. 3 Ways to Leverage your Website for a Financially Sustainable Art Career (Online) SEP 10 | Sarah Berkeley | $245 | 24 students Is your website just sitting there? Learn how to (re)design your portfolio website so that it is actively working for you and your financial goals. 2-Day Creating Opportunities for Your Work (Online) SEP 13–20 | Sherri Littlefield | $165 | 8 students The playing field is leveled, and image making has moved to digital promotions, experiences and exhibitions. How can this be used to your advantage? This workshop will help you manage your many dreams, goals and endeavors. Almost to “WOW!” – Adobe Lightroom Workshop (Online) SEP 13–OCT 11 | Jean Miele | $950 | 10 students This workshop will help you create stronger, more striking images, and master the Adobe Lightroom tools needed to take your RAW files from “almost” to “WOW!” 46 Click your class to learn more.
Website in a Weekend (Online) SEP 17–18 | Sarah Berkeley | $350 | 10 students You know your portfolio website needs to be built or rebuilt but you keep putting it off. You start working on it, then other, more pressing things pull you away. Sound familiar? Let’s knock it out in a weekend. Photoshop for Photographers II (Online) SEP 20–29 | Mickey Strand | $325 | 10 students This class is geared for anyone who wants to learn how to use more advanced features and tools in Photoshop to work on images. Students should be familiar with layers, blending modes, layer masks and basic photoshop tools. 1-Day Business Plans for Artists (Online) SEP 24 | Valerie Landsburg | $110 | 10 students How is the business side of your creative practice going? Is it working the way you thought it would? The missing piece may be a Business Plan. Playing with Prompts and Parameters in your Personal Practice (Online) SEP 27–OCT 25 | Scott Fuller | $495 | 12 students Explore using prompts and parameters to infuse fresh ideas into your creative process. Work with photography, video, installations, sound/visual hybrids, or any other visual forms. Demystifying the NFT: A Powerful New Platform For Photographers & Digital Artists (Online) OCT 4 | Kris Graves | $175 | 40 students Learn how you can use NFT’s (Non Fungible Tokens) to leverage the online art market, promote your artmaking career, and gain a sense of independence. Social Media & Photography (Online) OCT 11–NOV 1 | Sherri Littlefield | $295 | 8 students This course is designed to explore and define what social media is, was, and can be and the implications of its use in the photography field. Develop a greater understanding of the prevalence of social media in all aspects of our lives. Online Workshops 47
Self-Publishing Photo Books with Lightroom (Online) OCT 18–27 | David Allen | $295 | 12 students There are a lot of online platforms for self-publishing, but the Blurb plug-in for Lightroom stands out as a great option, especially for photographers. In this workshop, use the Book Module in Blurb to design an image-driven book. 2-Day Pricing Your Photographs for the Fine Art Market (Online) OCT 19–26 | Juli Lowe | $195 | 10 students Learn how to size, edition, and properly price photographs for the fine art market. Gain insights about market trends, pricing for targeted audiences, and gallery structures. The Creative iPhone Image (Online) OCT 29–30 | Rick Allred | $550 | 12 students What is the best camera??? The one you have with you! Your iPhone can help you express yourself and capture the world in creative ways. Raise the quality of your photos from snapshots to wonderful, creative travel images. Demystifying the NFT: A Powerful New Platform For Photographers & Digital Artists (Online) October 4th with Kris Graves 48 Click your class to learn more.
Image © Michael Jeans Exploring Photographic Styles I (Online) OCT 31–NOV 4 | Andrea Birnbaum | $695 | 12 students Broaden your visual interests and add new intensity to your work. Inspiration and knowledge is derived from lectures that examine the work of major photographers in specific fields, providing a context for each day’s work. Content Creation With Your Camera (Online) NOV 11–15 | Sherri Littlefield | $165 | 8 students Explore content creation with your camera and create your own Speculative Advertisement to help showcase your content creation skills commercially and online. The Personal Project: From Concept To Completion (Online) NOV 15–DEC 13 | Susan Burnstine | $895 | 10 students Edit and organize the work you make into the shape of a portfolio with Brenton Hamilton. This is a mentored, directed exploration of your ideas with Maine Media College programming Chair. 2-Day Intro to Adobe Bridge (Online) NOV 29–DEC 1 | David Allen | $160 | 12 students Do you have Adobe Bridge in your applications folder but never use it? Learn why you should! Originally developed as a companion program to Photoshop, Bridge is a robust program designed for managing all of your digital assets. Get the Most Out of Your Mac Computer (Online) DEC 6–8 | Rick Allred | $155 | 12 students This is a simple introduction for new Apple users or people transitioning from Windows to Mac. Through demos, tutorials, and a variety of resources, learn the primary features of the Apple platform, its apps, and accessories. Online Workshops 49
BOOK ARTS & DESIGN Unfolding Narratives: Writing for Artist’s Books (Online) SEP 13–27 | Ellen Sheffield | $195 | 12 students Learn techniques for generating text for artist’s books through conceptual approaches to language such as words as image, as narrative or as lyrical expression. Experiment with text itineraries and Dada and Surrealistic approaches. Copyright Primer: Rights and Permissions for Visual Artists (Online) SEP 15 | Suzanne Glémot | $75 | 20 students Dig into the basics of copyright, what it protects, and when permission needs to be granted by copyright owners for you to work with material not originally your own. 1-Day Flagbook Frenzy! (Online) SEP 17 | Savannah Bustillo | $150 | 12 students Join in the fun for this introductory book-format workshop where we explore how to create compelling “flag books” — a binding done without any stitching and held together with accordion folds and glue. Advanced Collage Techniques (Online) SEP 18 | Gwen Tatreaux | $175 | 12 students With decoupage, use simple cut, torn, and manipulated paper in multiple layerings to redefine a household object of your choice. Paper-weaving, image-slurry, and basic cordage will all be covered in this playful workshop! Website in a Weekend (Online) SEP 17–18 | Sarah Berkeley | $350 | 10 students You know your portfolio website needs to be built or rebuilt but you keep putting it off. You start working on it, then other, more pressing things pull you away. Sound familiar? Let’s knock it out in a weekend. 50 Click your class to learn more.
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