Continuing Studies


Continuing Studies 

Students of all ages and skill levels explore creative and cultural interests in non-credit art and design classes, workshops, lectures and certificate programs. Experiment with new methods such as laser cutting and 3D digital modeling or refresh existing skills to inspire your artistic practice. Enjoy the inspiration and camaraderie of these shared learning experiences while you develop your creativity and critical thinking.


Continuing Studies promotes visual arts by providing educational and professional development opportunities for multigenerational audiences, and supports the academic mission of the College by developing innovative programming that serves current and future students, the public, and professionals from multiple fields.

Classes for the Community



Ringling College of Art and Design
Continuing Studies
2700 North Tamiami Trail
Sarasota, FL 34234-5895
Submit your contact info online


Media sponsored in part by:         


Classes and Workshops for the Community


Realize the power of creativity in traditional studio and digital arts courses designed for beginner to advanced artists of all ages.


Submit a Payment



We invite you to join us for inspiration and creative camaraderie, to explore new materials and ideas, and to refresh your creative practice. Designed for beginning artists and advanced professionals, our non-credit classes and workshops are held during the day, evening and weekends, with starts happening throughout the semester. Please refer to individual course listings for pricing, dates and times.
High school students may enroll in adult courses.  

Upon registration students receive an email confirmation, a supply list with course location information and a campus map. Students are responsible for purchasing their supplies unless otherwise noted. Visit Policies and Procedures for complete information regarding schedule changes, and class cancellation or withdrawal refund policies for Continuing Studies programming.

REGISTER  NOW     Fall 2018 Catalog     Fall 2018 Course Listt by Start Date   Submit a Payment

Questions?    Need Assistance?    Email or phone 941-955-8866, during normal business hours: Monday-Friday from 9 AM to 4 PM.

5 sessions, 15 hours, SA, 9 AM - Noon
AN110: Sept. 8 - Oct. 6
$225, Jared Greenleaf
This course introduces students to the basics of working with time-based media to create works that have duration as a dimension and unfold to the viewer over time. With an emphasis on movement using Adobe After Effects and design using Adobe Illustrator, students will explore timing, spacing, rhythm, arrangement, and sequence. Learn the basics of Motion Design through animated transitions, animating vehicles using parenting, and creating 2D title sequences using a 3D camera. All skill levels welcome. Basic computer skills are required.

2 sessions, 6 hours, SA, 9 AM - Noon
AN115: Oct. 13 - 20
$95, Jared Greenleaf
Often used to create illusions or visual tricks for film, television, and video games, cel animation is a traditional animation technique where each frame is hand-drawn. In this 2-day workshop, students learn the basics of cel animation using Adobe Photoshop on a Cintiq monitor to create a short 2D FX animation that enhances an illustrated character or scene of their choice with an effect such as or related to fire, wind, smoke, lightning, water, etc. This course compliments AN110. All drawing skill levels welcome. Basic computer skills are required.


10 sessions, 25 hours, W, 5:30 - 8 PM
CG255: Sept. 12 - Nov. 14
$355, Pedro Perez
Today’s websites are a practical combination of image and blog. WordPress offers a unique, affordable and easy to manage platform to present your ideas and images. Learn how to build the features of a dynamic multi-page website to present visual media online. An introduction to the basic languages of HTML and CSS will enhance your web agility and understanding to enhance your site when publishing on the Internet. Learn professional skills you can immediately apply to create web projects for today’s online business audiences. Basic computer skill are required.

8 sessions, 20 hours, M, 5:30 - 8 PM
CG118: Oct. 15 - Dec. 3
$295, Pedro Perez
Students are directed step-by-step on the application of Illustrator in the process of creating a “look” and collateral for their business. Learn Adobe Illustrator through projects ranging from how and why to select a certain font to the basic development of your business logo. Discussion will address how to maximize your brand impact through the easy to use features of Adobe Illustrator software. By the end of the course, students will use the software as comfortably as they would a pencil.


8 sessions, 16 hours, TH, 4:30 - 6:30 PM
CW260: Oct. 4 - Nov. 29 (No class Nov. 22)
$195, Rick Dakan
Become a skilled storyteller in this workshop, where we explore one of the oldest and most pervasive forms of communication and expression: telling a tale.  We invite students to bring in work-in-progress or create new work as this course introduces and reviews the techniques and conventions of storytelling craft through sample readings, provocative exercises, discussion, and workshop. Creative writing has multiple applications: those seeking to develop memoirs or other written projects, to create digital narratives, or simply gain mastery in the art of storytelling will emerge from the course with a rich experience of the form. Beginner to experienced writers are welcome.


1 session, 2.75 hours, W, 3 - 5:45 PM
CG101: Sept. 5
$45, Pedro Perez
Master the fundamental skills necessary to use the Mac comfortably while fulfilling the prerequisite for other digital courses. Basic skills such as logging into home and web spaces, understanding the differences and similarities between Mac and PC window and file management are covered. PC users can learn on the Mac during class, and transfer their knowledge to practice on their PC at home.

5 sessions, 15 hours, M, 5:30 - 8:30 PM
CG110: Sept. 10 - Oct. 8
$215, Pedro Perez
This is a hands-on introduction to the powerhouse software applications of the Adobe Suite: Photoshop, Illustrator, and InDesign. Students will receive instruction demonstrating invaluable insider tips and techniques, and they will develop an understanding of how the Suite works together, so they may make informed decisions about which software or combination of programs will best meet their project goals.  This popular workshop fills fast. All skill levels are welcome. Basic computer skills required. This course is taught on the Mac platform. See CG101 for an Intro to the Mac.

4 sessions, 15 hours, TH, 3:15 - 7 PM
CG102: Sept. 20 - Oct. 11
$225, Elena De La Ville
Photoshop is the industry favorite software for management and image manipulation of photographs. Through demonstrations and lectures, this basics course will introduce students to the essential tools of Photoshop. Hands-on exercises lead students through the filters and applications processes used to transform photographs and to create original artwork. All skill levels are welcome. Learn anew or refresh and pick up new tricks of the trade. Basic computer skills required. This course is taught on the Mac. See CG101 for an Intro to the Mac. PC users can learn on the Mac during class, and transfer their knowledge to practice on their PC at home.

10 sessions, 25 hours, T and TH, 6:30 - 9 PM
DS105: Oct. 16 – Nov. 15
$355, Pedro Perez
Design brings form and content together to create images that communicate ideas without using words. Students learn to employ simple Adobe Photoshop tools to achieve design solutions. They will develop an individual design based on color symbolism, image manipulation, text usage, and the combination of all these elements with the emphasis of accomplishing “understanding” and “using design” to communicate. All skill levels are welcome. Basic computer skills required. This course is taught on the Mac platform. See CG101 for an Intro to the Mac. 

See Business in Art & Design for:


2 sessions, 10 hours, SU, 10 AM - 3 PM
DR325: Sept. 23 – 30
$110, Michael White
One of the most extraordinary skills an artist can achieve is the ability to capture a likeness, whether realistically or interpretively. Embark on a fun-filled, inspired exploration of realism, exaggeration, cartooning and symbolism as you develop methods to convey a likeness. Drawing from life and from photographs, students will use various media to tackle the challenges of portraiture and produce realistic or interpretive representations of their subjects. Beginner through advanced skill levels welcome.

6 sessions, 15 hours, SA, 10 AM - 12:30 PM
DR100: Sept. 29 - Nov. 3
$175, Alexandra Lillis
In this drawing workshop, explore a variety of techniques with an emphasis on drawing from observation. Shape, line, shading, texture, dark and light all work to create dimension, perspective and good composition for the best visual effects. There are no boundaries to what you can create if you can draw: all you need is pencil and paper. The instructor will demonstrate techniques in each class and provide individual attention to students’ work along the way. This is a multi-level course. No previous experience in drawing is necessary.

5 sessions, 12.5 hours, W, 10 AM - 12:30 PM
DF203: Oct. 3 - 31
$155, Alexandra Lillis
(Undraped and draped models)
Working from observation of the figure model, students learn proportion, basic anatomy for the artist, composition, mark making, modeling the human form, light and shadow. Various materials such as charcoal, Conte crayon and ink techniques are used, and a review of sighting and measuring techniques reveal invaluable lessons. Group and individual discussions give direction to student progress. This is a multi-level course, welcoming beginner to advanced students Previous drawing experience required.

5 sessions, 12.5 hours. W, 1:30 - 4 PM
DR211: Oct. 3 - 31
$145, Alexandra Lillis
Imagine drawing any image you want in vivid color, whether it is from observation o one you’ve created in your imagination. With the exacting control of color pencils you can do it with ease. This course will show you how quickly you can learn to draw in color. A pencil at your fingertips makes it as straightforward as signing your name. Learn color theory, blending color, shading for light and dark effects, value relationships and perspective. You will be drawing complete compositions in no time.

2 sessions, 8 hours, SA, 9 AM - 1 PM
DR205: Oct. 13 - 20
$115, Jeffery Cornwell
Join us for this fast-paced hands-on drawing exploration anticipated to prompt aspiring and experienced artists to push their understanding and use of line, mark making, materials, and expression. Using graphite, ink, markers, watercolor, charcoal, colored pencils and oil pastels, this investigation will inspire students to consider meaning through both new and familiar methods; develop concept through metamorphosis or sequence; or explore movement and gesture through process. All drawing experience levels welcome.

1 session, 5 hours, SU, 10 AM - 3 PM
DR208: Nov. 18
$55, Michael White
Whether you draw or paint professionally, or doodle just for fun, understanding perspective can solve common compositional problems. In this easy, step-by-step workshop, you’ll learn the basics of one, two and three point perspective, including: vanishing points and horizon lines, how to make some objects in your drawings look close to the viewer, and how to make others look further away. You will learn ways to add a sense of depth to your drawings and paintings with and without formal perspective. Beginner and experienced artists are welcome!


5 sessions, 15 hours, W, 1 - 4 PM
MM280: Nov. 7 - Dec. 12
$215, Elena De La Ville
Through personal experimentation using paint and collage, create richly textured expressive images based on the fundamental principles of art combined with the exploration of the elements of chance and order. Beginners are encouraged to let their creativity bloom while finding their personal style; experienced artists are urged to take this opportunity to explore new directions in fresh and unexpected ways. A history of mixed media along with demonstrations and experimental techniques are presented throughout the workshop. All skill levels are welcome in this fun, adventurous class.

2 sessions, 12 hours, SA and SU, 10 AM - 4 PM
VPT830: Oct. 6 and 7
$295, Elena De La Ville
Experimentation and exploration converge with rich color and texture to produce vivid results, while honoring the fundamental principles of art. In this workshop, students learn to combine and manipulate the soft impasto medium of cold wax with oil paint and pigment sticks, using a variety of tools, techniques and other materials to create layered textured expressive surfaces. Demonstrations, presentations and group discussions together with attention toward each student's painting vocabulary and personal direction will result in unique and highly individualized results. Bring a playful attitude.  Some painting experience desired. Member benefits, tuition remissions or promotional savings are not applicable.



8 sessions, 20 hours, W, 6:30 - 9 PM
PR210: Sept. 26 - Nov. 14
$295, Eszter Sziksz
Create unique one-of-a-kind works using the monotype painterly approach where the artist paints or rolls ink onto a blank plate, or the subtractive method where the ink is applied one color at a time and successive press passes build the image through layers. Each approach invites the artist to work the ink with various tools (brushes, rags, stencils, etc.) to add expression, texture and line through mark making. Image transfers of photos, drawings, or appropriation add layers of color, line, texture and image. Join us for this creative adventure.
Who should take this class? Beginners through advanced artists/painters seeking new inspiration or directions in their work. Everyone looking for an environment of creative camaraderie.

6 sessions, 15 hours, SA, 1:30 - 4 PM
PT100: Sept. 29 - Nov. 3
$175, Alexandra Lillis
Learn the basics of acrylic or oil painting through an introduction to the tools and techniques, and the world of color, composition, figure and ground relationships, visual perception, and spatial concepts. Beginner students will build competence and confidence working in the medium of their choice, while returning students are encouraged to work in the studio to advance their painting to the next level. Individual and group critique will aid in artistic development.

2 sessions, 12 hours, SA and SU, 10 AM - 4 PM
VPT830: Oct. 6 and 7
$295, Elena De La Ville
Experimentation and exploration converge with rich color and texture to produce vivid results, while honoring the fundamental principles of art. In this workshop, students learn to combine and manipulate the soft impasto medium of cold wax with oil paint and pigment sticks, using a variety of tools, techniques and other materials to create layered textured expressive surfaces. Demonstrations, presentations and group discussions together with attention toward each student's painting vocabulary and personal direction will result in unique and highly individualized results. Bring a playful attitude.  Some painting experience desired. Member benefits, tuition remissions or promotional savings are not applicable.

3 sessions, 18 hours, SU, 10 AM - 4 PM
PT115: Nov. 4 - 18
$225, Tim Jaeger
This workshop is for students with some experience seeking to develop a consistent body of work in a series of paintings done during the course of the workshop. Tim’s experience and enthusiasm creates an atmosphere of fun and spontaneity, inspiring new directions and discovery through innovative combinations of design and materials. Many techniques, materials, compositions and above all emotion, play off each other in creating the work. Part of the adventure is “not knowing” where you are going until you get there! You will become thrilled with possibilities as you journey through this process while learning to let go of painting habits and gain the knowledge of layering textures, colors and feelings while executing shapes utilizing a structure of positive and negative space. This class is for anyone that has previously taken Tim’s Loose and Confident classes and/or intermediate to advanced artists.

1 session, 6 hours, SA, 10 AM - 4 PM
VPT365: Oct. 27
$75, Jennifer Pace
This hands-on workshop introduces the art of trompe l’oeil to students of all levels whose interests lie in combining detailed realistic painting techniques with delightful, dimensional deceit. French for “trick the eye”, trompe l’oeil incorporates the concepts of perspective to create a 3-dimensional effect through shading, shadow and color contrast to achieve decorative, functional artwork. Students learn to achieve dimension by combining and manipulating various artist and faux finishing materials. Historical information and demonstrations make this workshop interesting for anyone who enjoys detail with a twist of humor. Most supplies are included. Member benefits, tuition remissions or promotional savings are not applicable.


8 Sessions, 20 hours, TH, 6:30 – 8:30 PM and SA, 9 AM - Noon
PH4301: Sept. 13 - Oct. 6
$295, Karen Arango
Your digital camera is a precise tool for capturing a still, visual representation of a moment. Learn to harness the power of digital photography by understanding the specialized features of your camera, proper exposure, depth of field, composition, lighting, and the fundamentals of photo management within Adobe Photoshop. Then challenge your imagination with weekly shooting assignments and software manipulation. Discussions include a brief history of photography, and an exploration of contemporary trends. Students will leave with a portfolio of images. Group critiques enhance learning. Students must bring their own digital SLR camera. All skill levels are welcome. Basic computer skills required. Some elements of this course are taught on the Mac. See CG101 for an Intro to the Mac. PC users can learn on the Mac during class, and transfer their knowledge to practice on their PC at home.

5 sessions, 15 hours, W, 6:30 - 9 PM, and SA, 9 AM - 12:45 PM
DV103: Oct. 24 - Nov. 7
$225, Karen Arango
This class provides hands-on experience in basic video production to produce short and compelling videos. Beginning with simple storyboarding and idea development, students learn the application of proper shooting technique using video settings. With an emphasis on visual composition, students apply basic directing techniques combined with frames per second, sound, lighting, camera angles, and audio control to record creative imagery.  A brief introduction of finishing techniques with Premier Pro editing will prepare you for DV105: Video Post-Production. Students must provide a working digital SLR camera, smartphone, or tablet (iPad) with a video settings option that is in working condition. All skill levels are welcome. Basic computer skills required. Some elements of this course are taught on the Mac. See CG101 for an Intro to the Mac. PC users can learn on the Mac during class, and transfer their knowledge to practice on their PC at home.



WINTER/SPRING ART 2019 Featured Immersions, Master Classes and Visiting Artists
Spring Art Week 2019: Saturday, March 9 - Sunday, March 17

Join us for special workshops with visiting and local artists in immersive studios that explore new depths of visual and literal creativity, and mater classes with renowned experts. Open to the public. High School students are welcome in these workshops.  Online Registration for all Winter/Spring Art 2019 classes will be available in mid-November.
Download this EARLY REGISTRATION FORM for advanced registration for our  2019 FEATURED IMMERSIONS (pdf).  Use Submit a Payment for payments of any balance due.

Charles Reid Watercolor Workshop
Charles Reid, Visiting Artist
VWC830, 5 sessions, M-F/9:15-3:30, March 11-15, $850

(undraped and draped models)
Treat yourself to a weeklong workshop with internationally renowned watercolor artist, Charles Reid. This highly sought-after course focuses on rendering the figure in a gestural manner, in the context of capturing the light as much as the model. Learn to simplify and avoid overworking, concentrate on interconnecting shapes, and practice “Direct Painting.”

Traditional Figure Drawing: Anatomy & Construction
Glenn Vilppu, Visiting Artist
VDRW920, 5 sessions, M-F/ 9-12:30, March 11-15, $375

(undraped and draped models)
Join this Glenn Vilppu master class and learn his traditional, internationally recognized Renaissance approach to figure drawing. His methodology is applicable whether your direction is fine art, illustration, computer or traditional animation. No previous drawing experience required.
High School students registering for this workshop must be at least 16 years of age.

Head Drawing and Expression
Glenn Vilppu, Visiting Artist
VDRW925, 5 sessions, M-F/1:30-5, March 11-15, $375

(draped models)
Learn master artist Glenn Vilppu’s structural approach to head drawing: constructing the head through an understanding of anatomy and planes. Study also includes a focus on clothing and drapery, with both short and long poses. Gain an understanding of the fundamentals of expression and drapery, and how to capture them in a quick sketch. No previous drawing experience required.
High School students registering for this workshop must be at least 16 years of age.

Week of Figure Drawing with Glenn Vilppu
VDRW940, 10 sessions, M-F/9-5, March 11-15, $700
Take both VDRW920 and VDRW925 and SAVE!

Outdoor Landscape Sketching
Glenn Vilppu, Visiting Artist
VDRW930, 2 sessions, Sa-Su/9-1, March 16-17, $175

(draped models)
Grab your sketching and watercolor supplies and join Glenn Vilppu and learn to sketch on location in beautiful Sarasota.

The Portrait in Clay
Philippe Faraut, Visiting Artist
VSC201, 3 session, F-Su/9 -4, March 15-17, $595

(draped models)
This seminar includes lectures emphasizing bone structure, and discussions on expression and ethnic differences. Three days of intensive work are spent on sculpting exercises in water-based clay of the head with step-by-step, one-on-one instruction. Study from models and numerous exercises are used to assist students in understanding the intricacies of modeling the human face. Though participants are welcome to keep any projects worked on during the seminar, the goal is not to work toward the completion of a single finished piece, but rather to provide students the opportunity to experiment on numerous small studies.

The Wild Side of Stained Glass
Joseph Cavalieri
VGL102, 5 sessions, Su-Th/9:30-4:30, March 10-14, $795

Whether you are new to stained glass or a seasoned professional, this class is for you. We will learn the basics of stained gladss cutting, copper foiling, and soldering, plus lots of painting techniques to make a finished colorful and fun stained glass panel. There are many processes for painting and printing on the glass surface and the results are endless. We will learn air-brushing glass (using an atomizer), pen-and-ink drawing (with quilled pen), printing using an existing silk-screen the instructor provides, and sandblasting glass. Enamels will be kiln fired on the glass and then the glass is soldered together. We live in 2018, so the choice of imagery is totally up to  your imagination!

Ink Painting
Elisabeth Condon and Chalice Mitchell
VMM820, 2 sessions, Sa-Su/9:30-4:30, Jan 19-20, $495

Do you marvel how scrolls wrest space from ink and paper? The twist and turn of the brush as space unspools before you into animals, trees, mountains and water? Two painters share their study of scroll painting in this two-day workshop that focuses on brushwork and composition. In this course, you will be introduced to historical and contemporary Chinese and Japanese artists. You will learn to mix and load ink, and use Chinese plant and flower idioms to develop your brushwork. We will explore compositional principles of landscape that will enable you to make your own Ink Brush Landscape. Tuition covers all supplies for this workshop.

Art Quilts and Fabric Collages with Maggie Dillon
Maggie Dillon, Visiting Artist
VFA210, 2 sessions, M-T/9:30-4:30, March 11-12, $195 

This workshop focuses on the use of fabric to create light and shadow within the subject and is designed for fiber artists. Spend two days immersing yourself in color and shape. You will discover that learning these in a purposeful way will allow you to control the mood and emotional impact of your work. We will use fiber artist’s tools including: batik fabric, very sharp scissors, thread and lots of pins. No paint is used. Students will work on a pet, flower or still life.

Cold Wax and Oil Painting Workshop
Elena De La Ville
VPT830A, 2 sessions, Sa-Su/10-4, Jan 19-20, $295
VPT830B, 2 sessions, Sa-Su/ 10-4, March 9-10, $295

Experimentation and exploration converge with rich color and texture to produce vivid results, while honoring the fundamental principles of art. In this workshop, students learn to combine and manipulate the soft impasto medium of cold wax with oil paint and pigment sticks, using a variety of tools, techniques and other materials to create layered textured expressive surfaces. Demonstrations, presentations and group discussions together with attention toward each student's painting vocabulary and personal direction will result in unique and highly individualized results. Bring a playful attitude. Open to students of all levels of experience.

Encaustic Painting
Elena De La Ville
VPT824: 3 sessions, M-W/10-4, March 11-13, $495

Encaustic (hot wax) painting is an ancient medium, first used by the Greeks, that has gained popularity with contemporary artists. A permanent and non-toxic medium, encaustic often results in exquisite, luminous painting effects. Daily demonstrations are followed by hands-on studio practice. Learn about suitable grounds supports, encaustic materials, combining encaustic and oil sticks, tools for surface incising, and stencils. This intensive course is designed for all levels of painters, as well as those familiar with encaustic. Tuition covers all encaustic and oil stick materials and supports.

Week-of-Wax with Elena De La Ville
Enroll in VPTW824 + VPTW820 (A or B) to SAVE!
VPT850: 5 sessions, Sa-W/10-4, Mar 9-13, $750

Silk Painting Workshop
Jamie Kirkell
VPT305, 4 sessions, M-Th/9 AM-1 PM, March 11-14, $340

This is an exciting and stimulating workshop to explore design, color and painting on silk. Colors on silk are breath-taking. Design techniques are easy to apply and painting florals are perfect for this art form. Classes are taught in an open, relaxed manner and geared for the beginner as well as the seasoned artist interested in exploring silk painting. We will be completing three scarves at the end of the third day. Most materials will be provided. This workshop is suitable for students ages 18 and above.

Trompe l'Oeil Trilogy
Jennifer Pace
VPT366, 3 sessions, Sa-M/10-4, Mar 9-11, $295

Join us as we delve into the Faux Marbre (marble), Faxu Bois (wood graining) and simple drapery methods. These century-old techniques have been updated through combined usage of neo-faux and mart materials to make techniques less complicated. This workshop is for students who have previously taken The Magic of Trompe l’Oeil (VPT365), those skilled in faux finishing or have some painting knowledge and experience. Participants must enjoy fine detail work that involves layers of process to achieve realistic results. Previous trompe l’oeil or detailed painting experience required.

Marvelous Marbles "In-Faux"
Jennifer Pace
VPT368, 3 sessions, T-Th/10-4, Mar 12-14, $295

What nature took millions of years to accomplish, we will undertake in 3 days. We will duplicate 5 actual marbles/granite panels: white Carrera, travertine, Mediterranean Empress Green, Sienna and stone.  Utilizing various materials and techniques, the student will learn to combine basic and advanced skills to accomplish panels that appear to be real marble and “fool the eye.” Previous trompe l’oeil or detailed painting experience required.

"Wonder" Ful Woods in Faux
Jennifer Pace
VPT370, 3 sessions, F-Su/10-4, Mar 15-17, $295

This workshop will instruct students in the duplication of various species of woods: natural oak, flame mahogany and burl. The oak panel will be designed in trompe l’oeil to create the illusion of a door panel utilizing shading and shadowing. Students will learn to layer glazes and use various wood-graining tools. Discussion will provide insight into the nature and growth of various species and to understand why various methods and techniques are used. Three panels will be created with one in trompe l’oeil. Previous trompe l’oeil or detailed painting experience required.

Week of Surface Design with Jennifer Pace
Enroll in VPT366 + VPT368 + VPT370 to SAVE!
VPT375, 9 sessions, Sa-Su/10-4, Mar 9-17, $850

Direct Wax Sculpting
Sean Colson, Visiting Artist
VSC155, 1 session, Sa/10 AM-4 PM, Feb. 16, $195

Learn the ancient art of Direct Wax Sculpting by creating your own 3-dimensional sculpture in wax! with 42 years of art foundry experience, Sean's workshop will cover sculptuing, sticking and welding, using pliable waxes, feeding gate waxes, and stickey waxes. You sculpt, assemble, and take home your own wax sculpture. You will also be shown how to coat your wax with bronze powder, giving it a realistic bronze look. Or, if desired, wax sculptures may be cast in bronze at an outside foundry. See examples of direct waxes cast in bronze: All skill levels welcomed. Materials are included in the workshop fee.

Marketing for Artists – FREE LECTURE
Joseph Cavalieri
Tuesday, March 12, 2019, 5-6:30 PM
P19AS225, 1.5 hours

This lecture focuses on organized steps to market your art, with the results of getting better exposure, professional contacts, and better sales. It includes how to package the look of your promotional materials, and focuses on solid steps on getting articles published on your work.  Q & A will follow.  Joseph Cavalieri worked as an Art Director at GQ, Peopleand Good Housekeeping magazines. He worked closely with editors and learned what type of articles they chose, and why. Cavalieri now shares information from this past career, as well as insight he has learned running his own studio. He has offered this lecture in the USA and internationally for over 4 years. .


In Ringling's Summer Studios students learn new techniques through exploration in a variety of materials and methods to inspire creative problem solving, and further develop technical as well as critical thinking skills.  We offer classes for Adults, High School and Middle School students during June and July.

Information about Summer 2019 will be available in April 2019.

Questions?  Need Assistance?  Email or call us at 941-955-8866.

Continuing Studies Faculty: Practicing Artists and Designers
Our instructors are experienced educators who are practicing artists and designers that maintain a competitive edge in the creative fields. Many individuals are on the faculty at Ringling College of Art and Design where they teach in the BFA and BA degree programs. 

Karen Arango

Karen is an independent photographer, videographer and black and white gelatin silver printer. She earned her Bachelor's Degree in Photography and Digital Imaging from Ringling College of Art and Design in Sarasota, FL, and completed the General Studies Photography progam at the International Center of Photography in NYC. Arango was selected as one of the 30 Under 30: Women Photographers by Photo Boite. She co-authored the recently self-published book Visible Narratives, in collaboration with Visible Men Academy in Saraosta, FL, and in 2015 was selected to participate in the New York Times Lens Portfolio review. Arango has worked as an analog printer at Phototechnica, where she printed more than 130 images for Larry Towell's Apeture book "Afghanistan". Her Miss Behave series have been exhibited internationally including the International Center of Photography's "The Future Perfect" show in 2016, "Photoville NYC 2016", the "Breda International Photo Festival" in 2014, and selected as one of the 100 best works of the Republic of Georgia's "KOLGA Photo Festival" in 2013.

Aaron Board
Aaron  holds an MFA from the New York Academy of Art where he studied with prominent figurative artists, such as Steven Assael and Vincent Desiderio, among others. He taught for six years at institutions in upstate New York and for the past three years at the Ringling College of Art and Design, where he is the instructor for Figure Anatomy. He has an extensive national exhibition record that covers all four corners of the United States and includes The Arnot Art Museum, Sotheby’s, The Dahesh Museum, and Munson Williams Proctor Institute, as well as galleries in Seattle, Sarasota, New York and Los Angeles.

Peter Brown

Peter is a painter and full time faculty member for Ringling College of Art and Design. His works have been included in numerous regional and national exhibitions and collections, including galleries in Florida, Maine and New York City. He holds a BS from University of Massachusetts and an MFA from Indiana University. Brown has received the Florida Visual Artist Fellowship, the Delta Fricke grant, and the 2010 Rome Prize Fellowship. Peter is a member of the Ringling College Computer Animation faculty.

Lori Burton

Lori is a graduate of the Ringling College of Art and Design where she received her BFA in Illustration. After a long career as a freelance illustrator for clients such as The Wall Street Journal, Simon and Shuster and Coca Cola, she moved back home to Sarasota with her family. Since then she has obtained her Florida teaching certificate and has been teaching at the Sarasota County School Board for the last ten years. Currently, you can find her teaching at the well-known Booker High School Visual Performing Arts Academy where she facilitates a commercial art progression she conceived the award-winning Digital and Motion Design program.

Matteo Caloiaro

Matteo earned his BFA from Ringling College of Art and Design. Matteo is a successful painter and illustrator and is also a member of the Illustration faculty at Ringling College of Art and Design. His work is part of numerous private collections, and he is represented by M Gallery of Fine Arts in Sarasota, FL, and Kiley Court Gallery in Provincetown, MA.  

Joseph Cavalieri’s work can be seen in the permanent collection of the Museum of Arts and Design, the Italian American Museum, the Leslie-Lohman Museum, and the Stax Museum. Private and public art commissions include a MTA Arts for Transit public art installation at the Philipse Manor Train Station in Westchester, New York, and a 6-foot-round stained glass window at Our Lady of Sorrow Church on the island of Itaparica, in Brazil. Joseph has collaborated with illustrator R. Crumb and Alpha & Chris Hipkiss. His teaching credentials include over 30 workshops in the USA, South America and Europe, including Corning Glass, Berlin Glass and Pilchuck Glass School. He has been invited to 15 art residencies in the US, South America, Europe, Australia and India, including the Open Studio Program at the Museum of Arts and Design in New York City.  

Diane Lynne Chanako-Turner is an American Artist, born in Philadelphia, now living in Florida’s west coast. She received her BFA from the Pennsylvania Academy of the Fine Arts, and Philadelphia College of Art. During her years at the Pennsylvania Academy she focused on “drawing from life” and attended anatomy lectures by Robert Beverly Hale, famous author, and Professor of Human Anatomy. The classical figure, landscape, and symbolic drawing and painting in pencil, charcoal, sumi-e, and transparent watercolor painting were her chosen genres and mediums. Diane has won the “gold medal of Honor” and 1st Place from the American Watercolor Society’s (AWS) 109th Annual Exhibition in NYC, and she is currently a long-term part-time faculty at Ringling College of Art and Design.

Noah Coleman is an artist, educator, and maker whose expertise in materials and processes include glass, digital fabrication, electronics, metal work, robotics, and new media.  He received an MFA in Art & Technology Studies from the School of the Art Institute of Chicago and a BFA in Sculpture from Brigham Young University.  Noah has worked as an educator at the Utah Museum of Contemporary Art, the School of the Art Institute of Chicago, and Ringling College of Art & Design.  

Sean Colson, Visiting Artist

Sean Colson, has been a sculptor since the mid 1960’s, and began bronze casting with his father in 1974, at the first art casting sculpture foundry in Sarasota, Florida. Sean has run Shellspen International, Inc. a sculpture supply business for artists casting bronze sculpture, to teaching bronze casting, since 1979.

Ross Cometti

Creative Director / Co-Founder of Commit Marketing

Originally from Syracuse, New York, Ross graduated in 2008 from Ringling College of Art and Design with a focus on design and communications. For more than a decade he has impacted the efforts of design studios, interactive agencies, corporate marketing teams and start-ups. Notably, he has created successful print and interactive solutions for clients such as Six Flags, Susan G. Komen Foundation, Siemens, Champs Sports, Florida Cancer Specialists Foundation, and the NFL Players Association.

Elisabeth Condon is an American painter who has developed an extensive body of work that uses the pour as a central motif in the composition. Her paintings combines disparate paint applications and materials to re-interpret Chinese principles of balance for an information-saturated world. The paintings respond to the locations where they are made, simultaneously referencing associations to scroll painting, nightclubs, vintage wallpaper and textiles to emphasize how places feel as well as look. A native of Los Angeles, CA, Condon lives and works in New York, NY. She has a studio in Tampa, FL where she held tenure at University of South Florida from 2003 to 2014 until resigning to paint full-time. Condon received the 2015 New York Pulse Prize; a New York Studio School Alumni Association's Mercedes Matter Award; a Hanban Confucius Institute Understanding China Fellowship; a Pollock Krasner Foundation Grant; Florida Individual Artist Grant and numerous University research grants. Her work is held in public collections including the US Embassy Beijing, Perez Museum Miami, Tampa Museum of Art, and JP Morgan/ Chase Art Collection.

Jeffery Cornwell

Jeffery studied fine art at Ringling College of Art and Design. He is an exhibiting painter whose work is represented by galleries in Florida, Texas, and on the west coast of the United States. He has been teaching Teen Studios at Ringling College for fifteen years and is the coordinator of the College’s Summer Teen Studio program.

Kaitlin Crockett

Kaitlin is a writer, artist, and letterpress printer in St. Petersburg, FL. By day, she is a full-time children's librarian at the Palmetto Library in Manatee County, FL. Through OMA Darlin Press, she produces original cards, prints, broadsides and ephemera. Kaitlin is also the co-founder of Print St. Pete Community Letterpress, a community studio in St. Petersburg, whose mission is to provide affordable, accessible letterpress education through workshops, events, visiting artists, and more. Kaitlin has studied letterpress printing and book binding at Florida State University, Asheville Bookwords, and Penland School of Crafts. She received her BA in Creative Writing from Florida State University, and her MLS from the University of South Florida. She was Studio Assistant in the Letterpress and Books Arts Studio at Penland in 2013, and she currently teaches letterpress printing at Print St. Pete Community Letterpress, and in Continuing Studies and Special Program at the Ringling Letterpress and Books Arts Center at Ringling College of Art and Design in Sarasota, FL.

Rick Dakan

Rick Dakan earned a BA in History from The American University and an MFA in Creative Writing from Pacific Lutheran University. He joined Ringling College in 2015. Rick has written professionally since 1995, with dozens of tabletop game publications in the late 1990s. In 2000 he co-founded Cryptic Studios and was the original lead designer for the hit online video game, City of Heroes. Since then he has written comic books, video game criticism, magazine articles, short stories and has had four novels published including the Geek Mafia trilogy and Cthulhu Cult: A Novel of Obsession. He continues to write for and about games as well as new fiction in multiple genres.

Elena De La Ville

Elena mixes photography, digital, silver based and alternative processes, with wax, encaustic medium and pigments. She loves everything about wax. It is texture upon texture, it is softness and smell, it is built up in layers that hide and reveal at the same time.

 Elena studied at the Escuela de Bellas Artes in Caracas, Venezuela, and then traveled to London to study Textile Design at Chelsea School of Art and Design. She has shown at Shaw Cramer Gallery and Dragonfly Gallery on Martha's Vineyard, Nelson Gallery, Lexington, VA, Florida Craftsmen Gallery, St. Petersburg, FL, Montserrat College of Art, Beverly, MA and Boca Raton Museum of Art and her work is in the collections of MUSEO de Arte Contemoraneo and Museo Acarigua Araure. Her work is included in numerous private a public collections.

 Elena has received: Honorable Mention at the 58th Annual All Florida Juried Competition and Exhibition, Boca Raton Museum of Art, Directors Award at the 3rd National Encaustic Conference, Montserrat College of Art in Beverly, MA, Honorable mention, EPHEMERA Show, The Arts Center, St Petersburg, FL, Ann Culvert Award for Creativity, All Island Art Show, Martha's Vineyard, MA and the Ruth Bogan Award All Island Art Show, MA. 

Bridget Elmer 

Bridget is an artist, educator, bookmaker, and letterpress printer. She received her MFA in Book Arts and a Masters in Library and Information Studies from the University of Alabama, where she was awarded a Windgate Fellowship and a Faculty Scholar Award. She has taught in a variety of educational settings, including Asheville BookWorks, Colorado College, Florida State University, Ox-Bow, and the Penland School of Crafts. Bridget currently serves as Coordinator of the Letterpress and Book Arts Center at Ringling College of Art and Design, where she also teaches as an Adjunct Faculty member. She is the proprietor of Flatbed Splendor, an independent press that produces artists' books, prints and ephemera; co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA), an organization for those who make experimental or conceptual work with obsolete technology; and co-owner of The Southern Letterpress, a letterpress printing and design studio. Bridget is a board member of the College Book Arts Association and serves as Vice-Chair of the Awards Committee. Her work is exhibited widely and can be found in collections across the country.

Philippe Faraut, Visiting Artist

Philippe received his degree in woodcarving and the construction of French fine furniture from Germain Sommeillier in Annecy, France, his boyhood home. An avid traveler, Philippe’s destinations have allowed him the opportunity to study the cultures of many countries in Europe, Asia, Africa and the Caribbean, thus influencing his work in portraiture. After establishing residence in the Chesapeake Bay area of Virginia, he developed an interest in modeling the head in clay. Soon, thereafter, he relocated his studio to New York State and began teaching sculpting classes. 

Graciela Giles 

Graciela originally from Argentina, has been an active watercolorist and teacher for two decades, earning awards from art societies for her sensitive portrayals of landscapes and people. Her paintings are in private collections internationally and in galleries in Florida and North Carolina. She and her husband Herbie Rose were instrumental in the founding of the Village of the Arts in Bradenton, Florida.

Jared Greenleaf

Jared Greenleaf earned a BFA in 2-D Art from Brigham Young University of Hawaii and his MFA in 2-D Studio with Animation emphasis from Brigham Young University in Utah. With over 10 years of professional teaching experience, Jared joined Ringling College in 2015. He is a motion graphic specialist and video producer that has created Telly Award winning motion graphics and shot/produced hundreds of mini documentaries all over the U.S. Jared has been a key player in Siggraph and Annie Award winning animation productions for clients: The Smithsonian Institute, Monterey Bay Aquarium, The Polynesian Cultural Center, and directed animation segments for documentaries featured on Independent Lens and the Berlinale. He has also worked with storyboard and animatic artists for Marvel Studios on productions like Iron Man 2, and The Avengers.

Tim Jaeger

Raised in Paducah, KY, Tim Jaeger moved to the resort coastal town of Sarasota, FL in 1998 to earn a BFA from Ringling College of Art + Design. Since graduating in 2002, Jaeger has emerged as a leading artist in South Florida and beyond. Currently, he continues to maintain his Sarasota studio while working towards engaging the community and fostering new artistic partnerships. Jaeger's paintings can be found in numerous public and private collections both in the United States and abroad.

Marcia Johnson

Marcia D. Johnson (BFA; M.ED) is a painter, photographer and digital designer. She is a graduate of Massachusetts College of Art, the Art Institute of Boston, and Cambridge College. Ms. Johnson is licensed and certified in art education in Massachusetts, California and Florida. She has several publications, and her work is shown and collected nationally and internationally. Her work has been exhibited in juried shows, one-woman shows and private collections in Boston, Los Angeles, Milan and Bali. Marcia has taught at colleges and universities for twenty years.

Polly Johnson

BFA in Graphic Design from Western Michigan University and an MFA in Visual Communication from Virginia Commonwealth University. With over 22 years of professional teaching experiences, Polly joined Ringling College in 1993 and is teaching typography, three dimensional problem solving and graphic design studio courses in the graphic design program as well as letterpress printing for all majors. Her recent articles include Design Education in Progress: Process and Methodology, From Stasis to Motion; Zed 5: Implications of the Object, Big rigs and mudflapgirls; Zed 7: Public and Private, Just in case we have to do some cooking and her published works include Experimental Typography, Innovations in Digital Graphics. 

Cassia Kite was born and raised in Auburn, Nebraska. She earned a B.F.A in painting and sculpture, along with a B.S in Art Education from Northwest Missouri State University in 2003. In the summer of 2006, Kite moved to St. Petersburg, FL from Atlanta, GA to work with both the Museum of Fine Arts and Salvador Dali Museum's educational departments. Kite completed her Master in Education, Curriculum and Instruction, with an emphasis in School Improvement, Teacher Leadership and Technology at the University of Florida in December 2010. Currently, Kite is a Studio Art Instructor in the fine art program at IMG Academy in Bradenton, FL and is a member of SARTQ, a Sarasota Contemporary Artist Collective. Kite resides in Sarasota, Florida during the instructional year, where she works in her home studio. She lives in Auburn, Nebraska during the summer months, where she works on her family farm.

Emily Larned has been publishing as an artistic practice since 1993, when as a teenager she made her first zine. She is co-founder of the participatory art and publishing project Impractical Labor in Service of the Speculative Arts (ILSSA), and founder of Alder & Frankia, an imprint of collaborations. Her artist books and publications are collected and exhibited by over 70 institutions in the USA and UK, and she has taught and lectured widely. She holds an MFA from Yale School of Art, and is Chair & Associate Professor of Graphic Design at SASD, University of Bridgeport, CT.

Alexandra Lillis

Lillis earned a BFA in Illustration from Ringling College of Art and Design. She is well educated on many visual platforms, mediums, and age level of students. Her versatility, her charm, her positive attitude makes her a popular instructor with all of her students. She understands all levels of visual art making and takes her students through all of the steps to achieve their goals of a finished product as well as having transferred new and important information for improvement in their art making. Alexandra’s work has been featured in solo and group exhibits at cultural centers, and government buildings, and is also held in private collections.     

Joe Loccisano
Joe Loccisano is an independent artist, consultant, and arts education professional visiting from Vermont. In addition to teaching for RCAD, Loccisano taught a variety of classes at State College of Florida (SCF) where he served as Gallery Director from 1987 - 2017. Throughout his tenure at SCF Loccisano curated over 250 exhibitions with a focus on interdisciplinary education featuring such talents as environmental artist, Swoon, Post-Visualization photographer, Jerry Uelsmann, and Japanese ceramist, Toshiko Takaezu. His highly acclaimed costumes exhibitions received national attention from WBGH (Boston) and his humanities publications and exhibition catalogs have won numerous state and national awards. After conducting two successful Museum Assessments while under the direction of the American Alliance of Museums, Loccisano was invited by the AAM to serve as a peer reviewer. Loccisano currently teaches Museum Studies at New College of Florida, a course he designed for “Connecting The Arts + Humanities on Florida’s Creative Coast” funded through a grant from the Andrew W. Mellon Foundation.

Lori Loveberry George

Lori is an award winning artist with over 35 years experience in fine arts encompassing drawing and painting in a diversity of mediums, printmaking, pottery, and sculpture. She is a 2008 graduate of Eckerd College Pel Program in St. Petersburg, Florida, and a 1983 graduate of Ringling College of Art and Design in Sarasota, Florida, a printmaking major. For 24 years, she has owned and operated a decorative painting business in Sarasota, Florida specializing in murals and decorative finishes. Lori is a teaching artist with Sarasota Arts and Cultural Alliance and EdExploreSRQ, and currently completing her Florida Teaching Certification

Aleksandra Moore

Aleksandra received her BFA and MFA in interior design at the Savannah College of Art and Design, School of Building Arts, Savannah, Georgia.  While studying interior design she also received minors in Architecture and Architectural History (focused in Non-Western Architecture).  She received an EdD in Educational Leadership from Argosy University, Tampa in 2013.  Aleksandra focused her dissertation on Student Perception of Studio Based Learning, and presented her research at the 2014 IDEC (Interior Design Educators Council) Annual Conference.

Martin Murphy

Martin, a Ringling College alumnus, has sixteen years of experience in the entertainment industry. He has contributed his talents to feature films, numerous broadcast design packages and commercials, and to creation of more than twenty games ranging from the arcade and SEGA Genesis era to the current console systems. He was Senior Producer at Midway Games, where he assisted in the development of an original, multiplatform game concept to a playable prototype ready for production. Prior to that, he was Midway’s companywide Director of Art, shepherding the transition of almost three hundred artists to current generation technologies and fostering collaboration across five development studios to improve product quality and reduce development costs. He was an adjunct professor at Columbia College in Chicago where he taught computer animation and portfolio development. He currently teaches curricula for game design at Ringling College.

Brooke Olivares-Caloiaro

Brooke earned a BFA, in Illustration from Ringling College of Art and Design. Olivares is a gallery painter represented by Kiley Court Gallery, Provincetown, MA, and Ghostprint Gallery, Richmond, VA. She has had works published and clients include CMYK, FORMAT Magazine, RISEN Magazine, North American Literary Review, Ringling PERSPECTIVE, The San Diego Reader, The Cimarron Review, and Recording Magazine.

Omarr A. Otero

Omarr received his BFA in Photography and Digital Imaging from Ringling College of Art and Design, and is a painter, photographer, and illustrator. Through Omarr Photography he has worked throughout the U.S, Central America and across Europe, including assignments as on-set photographer for New York television dramas such as All My Children, One Life to Live, Guiding Light, and As the World Turns, and applying advanced technical lighting skills for the well-known Food Network. Otero started teaching visual arts 10 years ago at IQ Village, School of the Arts in Orlando, FL, and has taught for Ringling College Continuing Studies for the past 7 years, where he will return from abroad to teach for the 2017 summer. Otero has received his IB certification and during the academic year teaches IB High School Art in Tegucigalpa, Honduras. He has been a recipient of the Ava Video Award along with Imagination Unlimited. His work has been exhibited throughout FL, and is in numerous private and corporate collections.

Jennifer Pace

Pace attended Pratt Institute and The Maryland Institute of Art, majoring in Fashion and Interior Design. Originally from Baltimore, Maryland, she has lived in Florida since 1971. She opened "Art Effects" a gallery, custom framing/art supply business in Winter Haven, FL operating from 1972-1995 where she taught all levels of classes in Oil, Acrylic, watercolor and drawing and, accepted commissions for her artwork. Concurrently, after training in the study of the decorative arts under European Masters she relocated to Sarasota, FL and established "Grande' Illusions LLC" a flourishing decorative art/ finishing company working in collaboration with high-end designers. Pace is an experienced industry instructor having taught workshops in Trompe L'Oeil, Faux Finishing, Marbling, Wood Graining, Gilding, Mural painting and furniture finishing throughout the U.S. at the national seminars of (IDAL) International Decorative Artisans League, The Sarasota School of Architectural Finishing, The Southwest Chapter of IDAL and Faux Effect, an industry leader in Faux Finishing products. Her work has graced the walls of beautiful homes throughout the country and has been featured in Florida Design Magazine.

Mark Parry 

B.A., M.F.A. Chapman University (Art & Communications); University of Southern California (Film Production). Mark’s career in the motion picture industry spans 20 years and includes work in nearly every position critical to the creation of a film. As a cinematographer, Mark has shot over a dozen features and scores of other projects including commercials, music videos and shorts. His cinematography has won several awards including the Nissan FOCUS Award. He is a member of the Directors Guild of America, and as second unit director, he directed the “Flying Elvises” and the Hawaii aerial sequences in Honeymoon in Vegas, a 1993 Golden Globe nominee for Comedy. Previously, Mark is a member the Ringling College of Art and Design Digital Filmmaking faculty, and has previously taught at Chapman University’s Dodge College of Film & Media Arts. In 2006, he mentored the director of the Coca-Cola Refreshing Filmmaker Award winning film The Reel Monkey. In addition, Mark served as the cinematographer on the project. Mark has also guest-lectured at the USC School of Cinematic Arts.

Octavio Perez

Octavio holds a BFA in from Ringling College of Art and Design (Illustration). He worked at Hallmark Cards, Inc. in Kansas City, Missouri for three years as a greeting card designer and illustrator. Currently Perez works on concept design and execution of editorial illustrations and news graphics for the St. Petersburg Times. Numerous national clients including Hallmark Cards Inc., GEAR Inc., Cabela's, and Humanities Magazine.  Octavio is a member of the Ringling College of Art and Design Illustration faculty.

Pedro Perez

Pedro, a graduate of Ringling College of Art and Design, is co-founder and vice president of Nuevo Advertising Group, Inc. Pedro also co-owned Merging Point Design, Inc., a technology company focused on building web sites and providing high-end technology solutions to companies all over the U.S. such as Stardust Casino and Resort, Boyd Gaming Corporation, Industrial Coverage Insurance, Van Wezel Performance Arts Hall, Ringling College of Art and Design and the City of Sarasota.

Charles Reid

Charles is an artist, teacher and author known around the world. He has authored eleven books on painting, which are directed toward students at all levels. His use of beautiful clean color and his capture of light create a look of freshness and spontaneity. His drawing skills are masterful. Reid studied at the University of Vermont and The Art Student League of New York. He is a member of the National Academy and the National Watercolor Society and he has won numerous awards He including the Childe Hassam Purchase Prize at the American Academy of Arts and Letters, the National Academy of Design and the American Watercolor Society. In 1980 he was elected to the National Academy of Design. Public collections of his work include Smith College, Yellowstone Art Center, Brigham Young College, Roche Corporation, and the National Academy of Design. In addition to painting, Reid teaches workshops around the world. He has written eleven books on painting in watercolor and oil. Charles’ work is in collections private, corporate and educational institutions throughout the Unites States and the world, and represented by the Munson Gallery in Chatham, Massachusetts and Santa Fe, New Mexico and the Stremmel Gallery in Reno, Nevada.

Glenn F. Schudel has over twenty years as a working theatre professional, and thirteen years as an educator. He holds an M.F.A. in Shakespeare and Performance from Mary Baldwin University, and served as an assistant director and dramaturg at the American Shakespeare Center. He has lectured on theatre and rhetoric all over the country, and recently taught at Randolph College. He has written over a dozen plays, two of which premiered in New York City through Love Creek Productions.

Nathan Skiles

Nathan Skiles earned a BFA in Fine Arts from Ringling College of Art and Design and an MFA in Studio Arts from Montclair State University. With over 7 years of professional teaching experience, Nathan joined Ringling College in 2010. He considers technology to be an indispensable component to his professional practice as a contemporary artist and feels that embracing emerging new media is crucial to the development of any Fine Arts department. His recent exhibitions include The Clockmaker’s Apprentice, The Hunterdon Art Museum, Clinton, NJ; Black Forest / White Lightning, Sloan Fine Art, New York, NY; Welcome to Tartarus, Welcome to Valhalla, Greene Contemporary, New York, NY. 

Steven Strenk

Steven holds an MFA in Studio Art from the University of South Florida in Tampa, and a BFA in Studio Art from Ringling College of Art and Design, and is a graduate from the Alternative Certification for Florida Teachers Program at Eckerd College, earning a Professional Education Certificate. Strenk is a member of the faculty at Ringling College where he teaches courses in drawing, painting, and three-dimensional art. He also teaches in the Visual Performance Arts Magnet Program at Booker High School in Sarasota, where he is responsible for all aspects of curriculum development for freshmen and level 3 curriculum for AP in 3D and Drawing Portfolio, and supervises all auditions for placement into the Art Program. Steve’s work is as diverse as the materials he works with, ranging from graphite to clay, and has been exhibited throughout Florida, as well as in Pennsylvania.

Karen Sullivan

Karen, earned her BFA at Indiana University (Fine Arts); and the MFA at University of Massachusetts (Computer Animation). She was cover editor, SIGGRAPH Computer Graphics Quarterly; and Chair, SIGGRAPH Art Gallery 2002. She has published focus issues on Visual Literacy, Concept Development for Computer Animators, and is the former department head, Art and Visual Communications, Hood College as well as former department head, Biomedical Communications, University of Connecticut Health Center. Karen’s work has been included in numerous national shows and publications.  Karen currently is a member of the Computer Animation faculty at Ringling College of Art and Design.

Eszter Sziks

Eszter Sziksz is a Hungarian artist and has traveled and lived in several countries from Asia to Europe.  She earned a BA from Eötvös Loránd University, Budapest, and completed her MFA at the Memphis College of Art. Eszter's work blends papermaking, installation and video elements. She is an active artist and has shown at the regional and international level from Tokyo to Budapest. Her works were recently shown at the Santorini Art Biennial, International Artists Collective Museo del Brigantaggio, in Itri, Italy, Ice Hotel, Sweden, Krakow International Print Triennial and at the International Print Center New York.  Eszter`s works were mentioned at Art in Print Magazine, Volume 5 number 2.

Jill Taffet

Jill received her BFA (Fine Arts) from The Cooper Union for the Advancement of Art & Science in New York and her MFA (New Genres) from The San Francisco Art Institute. She is an exhibiting artist who creates large-scale immersive video installations, motion paintings, GIFS and New Media. Her work has been exhibited nationally and internationally including The Unpainted Media Art Fair in Munich and Interrupting Entropy: Selections from The Betlach Collection in California. She has also exhibited at large outdoor public venues of light-based art including InLight Richmond in 2013 and 2017. Previously she was a EMMY® Award-winning Creative Director recognized with multiple awards from the AIGA, The Art Directors Club, The Type Directors Club, Graphis and The Broadcast Design Assoc. She served as Chair of Motion Media at Savannah College of Art and Design where she created the annual Inspire Motion Media conference and currently she is a member of the faculty at Ringling College of Art and Design, where she teaches classes in Experimental Concepts, Projection Mapping and History of Motion Media.

Joel Tanner

Joel Tanner is a professional with over forty years in the graphic arts and advertising fields. He has graduate degrees from New York University and Pratt Institute. He has taught at the Ringling College of Art and Design, Stamford public schools in Connecticut, and the Lifelong Learning Academy.

Andrew Theophilopoulos

BFA Ringling College of Art and Design.  Canadian born, American raised, Andrew lives and works from the Sarasota Bay Area. In the spirit of the old masters, Andrew is well on his way to redefining the legitimacy of Digital Art. His illustration and concept artwork come to life with a mystical sense of imagination and adventure, tinged with the classical aesthetic of the old masters. This award winning artist has worked in the Feature Film industry, had his work exhibited internationally and has been commissioned to paint the portraits of some of the worlds most influential Politicians.

Glenn Vilppu, Visiting Artist

Glen has worked in the Animation Industry concurrently while teaching since 1978. He holds BFA and MFA Degrees from Art Center College of Design, and has also studied at Otis Art Institute in Los Angeles and Santa Monica City College. His work is in collections throughout the North American and Europe. He says, “Drawing is the primary means the artist has to communicating his thinking, and figure drawing has been the measure of an artist’s skill since the caveman. As a drawing instructor I am dedicated to developing the student’s capabilities to communicate visually to their fullest extent. The bedrock of drawing the figure is the ability to draw the figure in any position from memory.” 

Michael White

Michael graduated in 1985 from the first Illustration class at Ringling College of Art and Design. He started drawing at age 2 and was published by age 11. At 14 he completed his original comic book series, and was painting murals for churches and creating courtroom sketches for newspapers. Since then, his clients included Marvel Comics, Coca-Cola, Amoco Oil, Delta Airlines, Hyatt Hotel, The Ritz-Carlton, and Atlantis Resort. He has created art for Sarasota Opera House, Tropicana, Child Protection Agency, Circus Sarasota, Sarasota Magazine, and the Humane Society and drew caricatures at the 2010 Super Bowl. One of his most visible pieces is the illustrated map used by Ringling Museum of Art. He has taught at Ringling College since 1993, and says, “Growing up, I was always the teacher’s helper. Now that I’ve become a teacher I try to teach art the way I wish I had been taught.” 

Christopher Wilson

B.Arch., M.A., Ph.D. Temple University (Architecture); The Architectural Association, London (Histories &d Theories of Architecture); Middle East Technical University, Ankara, Turkey (Architecture). Dr. Wilson has worked professionally as an architect in Philadelphia, Berlin, and London, and is a registered architect with the Royal Institute of British Architects. He has been teaching architecture and design students at the university level since 1997, both in design studios and lecture/seminars. Dr. Wilson has presented scholarly papers at conferences in Austria, Canada, France, the United States, the United Kingdom, Australia and Japan, and has published articles in refereed journals and chapters in edited books.

Nicholas Wozniak

Nicholas holds a MA in Art Education from Maryland Institute College of Art, Baltimore, MD and a BFA in fine art and documentary photography from Savannah College of Art and Design, Savannah, GA, and he has attended graduate studies in photography at Virginia Commonwealth University, Richmond, VA.  Wozniak is a devoted educator with over 15 years teaching experience at the elementary and middle school levels. In addition he has created and conducted studio art curriculum for the Orlando Museum of Art and is also teaching at the undergraduate level for Valencia College in Orlando, FL.  Bringing a wealth of and experience to his students in 2D, 3D and digital photography studies, artistic challenges often combine multiple elements to bring collaboration and teamwork into the creative process.  Wozniak is a frequent presenter and contributor to the Florida Art Educators Conference as well as the National Art Educators Conference, and at the Florida Alliance for Art Educators.  He has exhibited in both Florida and Georgia and is a contributing photographer and writer in numerous student and arts centered publications.

Kathy Wright

Kathy has a Master’s Degree in Architecture from Harvard University’s Graduate School of Design and a Bachelor of Science from Georgia Institute of Technology. She is a recipient of a 2009-2010 Pollock-Krasner Foundation Grant, and she has enjoyed multiple residencies through the Everglades National Park Artist-in-Residence Program in 2008, 2009 and 2010. Her work can be found in corporate, public and private collections internationally including The United States Department of the Interior and The United States Embassy, Sofia, Bulgaria.


Ongoing registration based on space availability. Please register one week or more before a class starts to assure minimum enrollment will be met. Registrations for on-campus programming can be submitted using our online registration forms, by mail, or in person. Ringling College accepts payment by VISA, MasterCard, American Express, or Discover credit cards, eCheck, and personal check (payable to Ringling College of Art and Design) or cash (in person only).

Member Benefits
Ringling College of Art and Design graduates, current Ringling College Library Association members, and K-12 arts teachers in Sarasota and Manatee counties receive 10% tuition savings on many CSSP courses and workshops.  Membership benefits do not extend to family members, and are not applicable to visiting artists or other designated classes as noted in the catalog.

Course/Workshop Cancellation and Schedule Changes
Unforeseen circumstances may deem it necessary to postpone, cancel, or reassign a course. The College reserves the right to assign a substitute instructor without notice.

In the event a course or workshop is cancelled, the College’s liability is limited to the return of fees paid for that course. Applications and payments are acknowledgement of the terms and conditions as outlined herein. The College assumes no liability for travel expenses or nonrefundable airline tickets that cannot be used due to any course or workshop cancellation, schedule change, or any misprint in our course materials, catalogs, or on our web site. All students accept full responsibility for personal injury and/or personal losses during the period of a course or workshop.

Refund Policies
Course withdrawal refunds, minus a $25 administrative fee, are issued only when written notification is received no later than 5 (five) business days prior to the first class session. Cancellations may be submitted by mail or email to No refunds are issued after this time. Refunds are issued in the original payment method and may take up to 15 business days to process. Ringling College will not refund the cost of any unused portion of your tuition/fees. Ringling College reserves the right to require persons not complying with College policies to leave a course or program with no refund.

Visiting Artist and Spring Art Week Workshops Refund Policies
Spring Art Week  (held each March) adheres to the following schedule: Through the first Friday in January, a 100% refund, minus a $25 cancellation fee, will be issued. Subsequently, no refunds can be granted. The effective date of cancellation will be upon receipt of your written notification. Notification can be mailed, or emailed to Refunds may take up to 15 business days to process and are issued in the manner payment was made to Ringling College of Art and Design. You may substitute someone to attend in your place up to one week before the start of the workshop. At the time of substitution, the person taking your place must register with Continuing Studies and pay a $25 transfer fee.
Other Special Immersion, Master Class or Visiting Artist Workshops (identified by courses beginning with a “V” in their course code) require cancellation no less than 30 business days prior to the class start and also carry a $25 cancellation fee. The effective date of cancellation will be upon receipt of your written notification. We cannot accept cancellations by phone. Notification must be mailed or emailed to Refunds may take up to 15 business days to process and are issued in the manner payment was made to Ringling College of Art and Design. You may substitute someone to attend in your place up to one week before the start of the workshop. At the time of substitution, the person taking your place must register with Continuing Studies and pay a $25 transfer fee. 

Ringling College will not refund the cost of any unused portion of your tuition/fees.
Ringling College reserves the right to require persons not complying with College policies to leave a course or program with no refund.

Your Right to Know
Your personal safety and the security of the campus community are of vital concern to Ringling College of Art and Design. A copy of the school’s annual security report, which contains statistics for the most recent three-year period concerning reported crimes that occurred on campus, is available upon request. You can obtain a copy of this report by contacting the Director of Public Safety, Ringling College of Art and Design, 2700 N. Tamiami Trail, Sarasota, FL 34234.  You may request a copy by phone by calling the Office of Public Safety at 941.351.5100 or 941.351.4742.  The annual security report is also available online.

Facilities Safety Guidelines
Ringling College of Art and Design is committed to creating and maintaining a safe and healthy environment for our faculty, students and staff. The following safety rules and procedures, as well as the College’s no smoking policy MUST be observed at all times. The College’s policy meets the requirements of Federal, State, and local laws and regulations to secure the environmental health and safety concerns for the campus community, and applies to all faculty, staff, students and visitors and to all sites under the control of Ringling College of Art and Design. 

Please read all of the College's guidelines below.  On the first day of your class or workshop, you will be asked to initial that you have reviewed and agree to abide by these guidelines.


  • Students are expected to act responsibly, maintaining respect for faculty, peers, and equipment, while maintaining clean and operable studio spaces.
  • Food and beverages are not permitted in any studios or labs.
  • REPORT ALL EMERGENCIES to the instructor and the Office of Public Safety. Know where all exits are located. Know where the first aid kit is located. Know where the telephone is located and the campus emergency phone number: 941-359-7500. For medical and/or fire emergencies: PHONE 9-1-1 first, AND then notify the Office of Public Safety immediately.
  • CLOSED TOED SHOES must be worn at all times in the studios.
  • KNOW WHERE ALL FIRE EXTINGUISHERS ARE LOCATED and how to operate them. ALL exits to classrooms and buildings MUST BE KEPT CLEAR AND FREE OF CLUTTER.
  • Use personal protective equipment (gloves, goggles or ear protection when using loud equipment or machinery) as instructed and required.
  • Know where to find and how to work the emergency eyewashes and safety shower. Cut materials on approved cutting surfaces, using appropriate techniques.
  • Never work alone in a studio. No student may work in a studio during a class period other than the one in which he/she is enrolled. No student may work in a studio unless an instructor or studio monitor is present. Inform a Public Safety Officer if an unfamiliar person is in the studio.
  • If you do not know how to operate a piece of equipment DO NOT USE IT until you have received sufficient instruction.
  • NO HORSEPLAY and no running in the studios. No food or drink is allowed in classroom or studio areas. No alcohol or drug use before or during studio time is permitted. No weapons are allowed on campus, including firearms, swords, large knives, etc. or replicas thereof.
  • No loud music or use of headphones during class time is permitted.
  • NO OPEN FLAMES (candles, oil lamps, etc) or items containing flammable liquids or fumes are permitted in any studio or lab.
  • Report any problems with equipment or facilities to your instructor. If something breaks, keep any parts that may come loose or fall off. Do not attempt to make repairs yourself.
  • Clean up work areas, tables and floors at the end of each class. Use a razor scraper to remove unwanted materials and avoid the use of solvents for clean up. Where required due to materials usage, areas are to be cleaned with wet/mop or HEPA filter vacuum. Spills of any substances must be cleaned up immediately and materials are to be disposed of according to proper studio procedures.
  • All studio furniture and equipment must be maintained and arranged in workable order at the end of each class.
  • No artwork may interfere with the conduct of any class or studio.
  • Artwork must be removed at the end of each class period.


Read any materials safety data sheets (MSDS) that pertain to your course work and be familiar with the proper application of said materials and their dangers.

GAMSOL is the only approved solvent for use in Continuing Studies and Special Programs studios. Gamsol cannot be used inside the studios for washing or for thinning down paint. Either linseed oil or stand oil should be used for these purposes. Gamsol washes may be done outside the studio away from the building door and brought into the studio when completely dry. All solvent rags – including paper towels used with solvents – must be placed in rag containers immediately after use. Work areas and hands are to be washed with soap and water after using solvents.

  • NO lead-based products may be used in any facility at any time. Beware of using old oil paint that may be lead-based.
  • For classes utilizing chemicals, they must be properly labeled and stored. Students may NOT bring chemicals into a darkroom, classroom, or studio.
  • Use provided disposal containers for all used mat-cutter and Exacto knife blades. Do NOT put used blades in the trash and do NOT leave used blades lying around.


III-A: Digital Film and Photography Studios/Labs:

  • Turn off all lighting equipment if you must leave the shooting area for any reason.

  • Use a ladder when adjusting the height of lighting, backgrounds or props in   the studio. DO not use folding chairs or other furniture in place of a ladder.

III-B: Painting Studios:

  • Each student must bring an oil filled brush cleaning jar - any vegetable oil can be used for brush cleaning.
  • Spray fixatives should be used ONLY in the spray booths on the campus.
  • Acrylics or water-soluble oils may also be used for under-painting and washes and then painted over with traditional oil paints.­
  • The waste from brush cleaning jars for all painting media (acrylics, water soluble oils, traditional oils) must be properly disposed of in containers provided in the studio.
  • Under NO circumstances should paint be washed down the sink.

III-C: 3D, Printmaking, Woodworking and Sculpture Studios:

  • Never wear loosing clothing that might be caught in moving parts of equipment.
  • Long hair must be tied back or tucked under a close-fitting cap or scarf.
  • Rings, bracelets, necklaces and wristwatches should not be worn while operating any power tool or machinery/equipment.
  • Worktables and floors must be covered when working with paint, plaster, flux or other materials that may cause damage or create a mess.
  • No storage of projects or materials in the shop or studio is permitted.
  • Use of Power Tools
  • DO NOT USE A MACHINE without previous proper training.
  • Never leave a machine while it is running.
  • Never remove safety guards or other devices from a machine.
  • Use machines for bona fide operations only.
  • Do not adjust machines before they have come to a dead stop.
  • Vacuum equipment when performing work that creates dust.
  • While a machine is running, be alert to sounds, which indicate that it is not operating properly. If is doesn’t sound right, SHUT IF OFF and seek assistance from the instructor.
  • Use push blocks when making narrow cuts on power saws.
  • Do not distract attention of those using machines.
  • Abuse of a tool may result in the student replacing a tool or piece of equipment.

III-D: Ceramics Studio Rules and Guidelines:

  • Children are not allowed in the ceramics studio, glaze room or kiln yard at any time.


  • Read the material safety data sheets (MSDS) for hazardous materials that you use.
  • Learn your safe lifting limits and how to lift objects properly. This is particularly important with heavy objects (over 30 pounds). The lifting method most generally recommended is keeping your back straight and bending your knees to pick up an object, rather than keeping your knees straight and bending over to lift.
  • Wear special clothing in the studio, and remove them after work. Wash them frequently and separately from other clothing. If you mix glaze, it must be stored in plastic containers or buckets with lids.


  • It is important not to put clay down the sink drains. All scrap clay and slip should be deposited in the slip barrels. Please clean out the sinks after use.


  • When rolling out a slab, use a top and bottom cloth. Do not roll directly onto the slab bed, or you will not be able to pick up your slab. If you get clay on the edges and sides of the machine, be sure to clean it off. DON’T FORCE THE ROLLER! If it seems difficult to turn, notify your instructor.


  • Take care that any loose clothing, hair, etc. is not going to be caught by the roller, handle, or cables underneath.
  • Make sure the table and floor areas are clear of obstructions.


  • Please do not leave clay out on the wedging table. Keep it clear for others to use. When finished wedging, the table should be scraped clean with a spatula or other tool. Chunks of dry and hard clay picked up from the table during wedging will cause problems both in working with the clay and as it is drying.


  • Wheels and wheel parts, (especially moving parts), need to be carefully maintained to keep them in good working condition. If a wheel is not working properly, inform your instructor. Try not to let water overflow the wheel table when working. A wet floor is a safety hazard. (All spills should be sponged up immediately). The wheel head, splash pan, seat, and table of the wheel must be cleaned after every use.


  • Beginning students are provided with a range of stock glazes (raku, stoneware, and low fire), and mix glaze only under the direction of their instructor. Glaze chemicals are expensive and some are toxic and should, therefore, be used with discretion.
  • Wear a dust mask/respirator if dry mixing or measuring glaze chemicals. Cover all open cuts, especially on your hands, and wear rubber gloves when handling glaze materials. The area in which the chemical bins are located is reserved for dry mixing only.
  • No water or wet mixing is allowed on top of or around the chemical bins. A spill would ruin the chemicals stored there.
  • Keep all containers closed, even when working, to prevent escape of dusts, etc. into the air. Use a ventilation fan.
  • As with all dry materials, transfer powders which create dust with spoons, scoops, or similar implements. (Do not dump, since this creates a lot of dust in the air).
  • Scales and tools should be cleaned and returned to the tool cabinet. Sieves should be rinsed and returned to their proper place. Any dry spills should be sponged up and the counters wiped off after mixing.
  • Wash your hands carefully with soap and water after work, before eating and during work breaks. Never use solvents to clean your hands; if soap and water are not sufficient, use a waterless hand cleanser and then soap and water. 
  • *Keep your hands away from your mouth.


  • When glazing, please work on the table provided. Do not work on the chemical bin counter tops.
  • All glazes must be stirred well each time they are used. Rinse the stirring sticks between glazes.
  • Please be careful not to contaminate one glaze with another (for example, by pouring a glaze back into the wrong glaze bucket). If a glaze sees to be too thick or too thin, ask the advice of the instructor before attempting to adjust it.
  • All work that is to be glaze fired must be signed and must be completely cleaned of glaze on the bottom and up the sides from the bottom. Both wax emulsion and paraffin are provided to aid in the above requirement. When heating paraffin, do not turn the skillet above 250 degrees, and unplug after use. Wax is flammable and the fumes from burning wax are a health hazard.
  •  Any work or possessions left out on the tables and counters will be disposed of. 
  • Glazed work should be placed on the appropriate ware cart to be fired. Carts are labeled according to type of fire, e.g. raku, stoneware, etc.


  • Beginning students will not be directly responsible for operation of the kilns. Classes will alternate in helping to load the kilns, keep the kiln log, unstuck the kiln and clean the kiln shelves. Your instructor will tell you the specifics needed in each case.
  • The kiln furniture (posts, shelves, etc.) is to be kept organized and well maintained. You are responsible for grinding off any glaze on shelves and for keeping shelves in operating order. Your instructor will show you how to operate the grinder for cleaning shelves and proper application of kiln wash.
  • Electric kilns are to be loaded carefully, being aware of the fragile nature of the soft bricks and elements. Make sure posts and shelves are clean. Kiln firing requires that someone be in charge at all times.


  • Wear proper protective clothing to protect against burns. (Ex. Raku: you would want to wear long sleeves, pants, and heavy leather gloves.)
  • Use proper equipment such as tongs or heavy gloves for handling hot objects.
  • Don’t stare into a hot kiln for extended periods of time. Wear protective eyewear when firing at higher temperatures.
  • Be careful not to arbitrarily grab or touch anything in the proximity of a firing kiln with bare hands. Whatever it is might be hot!!! Use gloves or tongs.
  • Keep the kiln yard and areas around the kilns free of obstacles and debris. Remove all material from the area where it may cause someone to trip and fall.
  • Make certain that all fires, coals, embers, etc. are out before you leave. If you are firing a gas kiln, make sure that the gas is off.


Ringling College of Art and Design is committed to providing a safe and healthful environment for its students, faculty, staff, and visitors. Research findings show that tobacco use in general, including smoking and breathing secondhand smoke, constitute a significant health hazard. In addition to causing direct health hazards, smoking contributes to institutional costs in other ways, including fire damage, cleaning and maintenance costs, and costs associated with employee absenteeism.

Ringling College of Art and Design therefore has set the following policy:

Smoking is prohibited on the Ringling College campus except in outdoor designated smoking areas. Smoking is also prohibited in all Ringling College vehicles including golf carts. For the purposes of this policy, smoking is defined as burning any type of tobacco product including, but not limited to, cigarettes, cigars, cigarillos and pipes. Smoking materials will not be sold or dispensed within any property owned, leased, or controlled by Ringling College.

This no-smoking policy applies to all persons including students, faculty, staff, visitors, contractors, subcontractors, and others on Ringling College property.  Designated smoking areas are identified by signage and contain receptacles for the proper disposal of cigarette butts. All students, faculty, staff, and visitors are expected to observe these designated smoking areas and to dispose of cigarette butts safely and only in the receptacles provided.


Thank you for your interest in the Ringling College Certificate Programs. They are currently under review. Please check back in the spring term!



Other Learning Opportunities


Request Info