One canvas, two artists and infinite creativity
By Kelly Brooks
For fifth grader Tom Kemp, 1989 was a banner year: He moved to Jefferson’s Valley Elementary School, watched The Simpsons debut on Fox and met the kid who would become his lifelong artistic collaborator, Colin Smallwood. “He was an artist and really friendly, and he invited me to his big pool party,” recalls Kemp.
Swimming and splashing in the pool was cool, but it was later in Smallwood’s room — a domain where kids were encouraged to paint all over the walls — that the boys really started having fun.
“We painted monsters, Homer Simpson, Fozzie, weird Muppets, biomechanical surgical robots. Crazy shit that scared the hell out of my mom,” Smallwood says with a grin. “But he could draw Bart Simpson way better than I could, and it drove me crazy!”
By middle school, Kemp had earned the nickname “Cheezer” for his unstoppable smile, and the duo were spending their Friday nights painting, drawing, filming or editing video together.
Two decades later, they’re still collaborating, whether painting to live music on a stage or spending months in an isolated studio completing a series of intricate, visionary portraits. Although they’re both artists in their own right — Kemp is the art director for EventEQ and Smallwood tattooed at Gus’s Tattoo Studio on Market Street until this past fall —their most powerful inspiration comes when they’re together.
“Both of us individually can create great art,” says Kemp, “but the collaboration makes it just exponentially better artwork to us.”
A Collaborative Consciousness Awakes
After graduating from Brunswick High School, the boys went separate ways to pursue their artistic dreams. Kemp studied art at Frostburg State University and started a career creating 3D video games. He then moved on to designing signs and ultimately ended up working as an art director for an event planning company. He’s glad to earn a living while being creative, but “it’s a day job, no matter how you slice it,” he says. Just a couple years into his professional career, he found that although he was creating art full time, “It wasn’t that fulfilling.”
Meanwhile, Smallwood got his start in film school but dropped out to join up with Zendik Arts Farm in West Virginia. Best known for its “Stop Bitching, Start a Revolution” bumper stickers, the community and its artists promote environmental awareness and social change. After five years there, Smallwood returned to Frederick and began bartending at Wag’s Restaurant.
When his shift ended, Smallwood would return to his parent’s basement, watch Adult Swim and spend the wee morning hours with his paint and canvas. He’d been reading and researching about human consciousness — how humanity’s self-concept and relationship to the universe changes over time — and felt compelled to express the concept artistically. “I wanted to do the whole idea in one painting, so I went to the art store and bought the hugest possible canvas. I did the layout and thought, ‘Awesome!’ ”
But 10 weeks later, the painting still wasn’t done and overwhelming feelings started to set in. “It was the best painting I’d ever done, but it was close to breaking me.” So he called in the one guy he knew he could trust: Cheezer. Smallwood explained his concept for finishing the painting and then looked away while Kemp put brush to canvas.
The artwork, which came to be known as The Crucible, shows what Smallwood believes is the current state of human consciousness: a turning point in which humanity takes its collective knowledge and scientific understanding and begins applying it for the good of mankind.
Somewhere in the middle of creating it, Smallwood realized the concept was way too big for just one canvas — or just one artist. How did history lead humanity to this turning point? And what will come in the future? To incorporate the theories of evolution he’d read about in Arthur M. Young’s The Reflexive Universe, he realized, “I not only had to finish this huge painting, which is the most ambitious thing I have ever done, I now had to paint six more!”
The Crucible became the centerpiece of a seven-part series, The Evolution of Human Consciousness (see page xx), which pushed the duo to their artistic and collaborative limits. For 2 1/2 years, while Smallwood was researching the abstract concepts they wanted to portray, Kemp was helping to turn the theoretical into artistic reality, and the two spent every spare moment together painting.
The series’ first exhibition, held at the Blue Elephant Art Center in early 2008, featured the first four paintings, which take viewers from the dawn of humanity’s self-awareness to the present day. The complete series was exhibited in May 2009 and included the final three paintings, which depict a path by which humans eventually transcend physical reality and return to God. Walking through the gallery was an adventure in consciousness with each painting displayed in a separate room and original music by local musician Will Saxton.
The Dynamic Duo Act Out
“I felt I had validated my existence on the earth,” says Smallwood of their time spent on the project. “I felt like I could die and my life wouldn’t have been a waste. Then the next day it was like, ‘What the fuck do I do now?’”
What they did next was have a little fun.
It was Halloween, and the duo was invited to paint on stage at Café 611, creating their art to live music in front of an audience. They bought a Walmart bed sheet and painted a mural of the band, The Handsome Creatures, as “the goriest, grossest monsters we could,” says Kemp. “It was kind of cool after we spent years doing this really heavy, deep painting to do something fun for ourselves for a while.”
The show kicked off their new obsession: painting live for events at Café 611, Café Nola, and Flying Dog Brewery in Frederick and Manifest parties across Baltimore. They were hired to paint murals for local businesses such as Flying Dog, Gus’s Tattoo Studio, Olives and Guido’s. No matter where they went, people were astounded by the way they painted together.
“People see me paint something and then go work on something else. And they see Cheezer come behind me, get ready to paint right on it, and they literally gasp,” says Smallwood. “Or they ask us, ‘I’m confused. Which part is yours and which part is his?’”
But that’s not the way these artists work. There is no “yours” and “mine” when it comes to the art they create together, and they are determined to collaborate, no matter how difficult the logistics. Smallwood is in the midst of a five-month stint peddling Zendik magazine on street corners from D.C. to San Francisco. Although far from Frederick, he’s still a fountain of ideas and texts sketches, photos and web links for Kemp to toy with and send back to him. When he returns this spring, they’ll start setting their ideas to canvas.
Still, being apart can be difficult, as Smallwood recently told his girlfriend: “I’m never going to like you more than I like art, and I’m never going to move too terribly far away from Cheezer.”
Get an Eyeful
You can see more art, videos and theories about human consciousness on Smallwood and Kemp’s website, www.ArtAlchemyCircle.com.
By Adam Kulikowski
A boyhood spent in Frederick mastering magic tricks encouraged Richard Jefferies to build a Hollywood career creating cinematic sleight of hand like ‘Elf-Man’
The young man loved the art of illusion even at an early age, spending countless hours in the basement of his parents’ Frederick home mastering new tricks. Besides just impressing family and friends with his conjuring, the boy went to work with his magic act, performing at birthday parties. His business card read:
“It is fun to be fooled by Richard Jefferies, magician.”
Then, Jefferies recalls as a teen how he discovered “a better kind of magic.” He remembers watching with fascination a CBS special hosted by Walter Cronkite on the subject of optical illusion. Beginning with animated films, over time, he grew enthralled with the technical side of movie production, devoting hours to learning how the illusions were performed and then replicating them on his own.
He was hooked. Making cinematic illusions became Jefferies’ passion — his calling in life. In 1974, the Frederick High School graduate headed west, enrolling in the California Institute of the Arts.
“It was like doing magic; it was all about illusion. Even a dramatic movie with no special effects, it is still illusion,” Jefferies explains about his desire to become a filmmaker. “It’s actors in a room with lights and microphones. It’s not what you think it is in the final movie. You forget that there were actually cameras and crews standing around. The actors convince you of that. The way the movies are put together — it creates an illusion. So it’s kind of the best kind of magic because you are taking someone into a world, and if you do it right, they completely buy it. They completely lose themselves in the illusion you are creating.”
After earning his bachelor’s degree in film and video from the institute, Jefferies spent more than two decades as a professional screenwriter, director, producer and editor in Hollywood. He delivered 28 feature film-writing assignments to major studios, including TRON: Legacy, Man of the House and Cold Creek Manor at Disney, Fantastic Four: Rise of the Silver Surfer at Fox and Searchers at Warner Bros. His client list also boasted some familiar names in the industry, such as Mel Brooks, Ridley Scott and James Cameron.
But something was missing.
“At a certain point, I just said, ‘OK, this is enough,”’ remembers Jefferies. “I can’t keep doing this — either seeing the thing I write get made in a way that I had not intended at all or not getting credit for things that are up there on the screen, or writing something and putting all my passion into it and getting a check, but it never gets made.”
Jefferies launched himself into the independent film world. He directed a movie that ran on the Syfy channel called Living Hell (aka Organizm) and developed a film, Twice as Dead, with several friends in the Mojave Desert.
“I found that this sidestep into the independent world was very satisfying to me because I could use my full range of skills that I had and professional experience that I had seeing other people [who] did things really well and how they made mistakes,” Jefferies says. “I had a deep professional reservoir of knowledge that now had someplace to go.”
It was only the beginning. What he didn’t know was that he had already met the man that would help Jefferies fully unleash his creative ambitions. It was a story fit to be written by a screenwriter — only it was fact.
During the 2007-2008 writers’ strike, a large man, Ethan Wiley, attempted to block a Bentley from driving across the picket line. Jefferies joined him in the effort. A friendship formed between the two and then grew into a business partnership in 2010.
“Richard is a great partner — very focused, disciplined and collaborative,” says Wiley, founder of and partner with Jefferies in their production company, Wiseacre Films. “As a leader, he knows what he wants. He’s not someone who’s unsure or wishy-washy. If he has a goal, he focuses on accomplishing that goal and doesn’t let obstacles deter him. Yet, he also has integrity and takes loyalty very seriously. I think we have the same core set of values in that way. With Wiseacre Films, we want to build a company that rewards creativity, talent, loyalty and performance excellence.”
It was a risky financial decision to make the jump to independent films, but it was one Jefferies found rewarding. “I had gotten tired of Hollywood before it got tired of me,” he says. “I just couldn’t keep doing it. I was going to kill my own creative faculties. And that is a really bad place to be.”
But with Wiley, the creativity flowed freely.
Elf-Man, which premiered Dec. 1 at the Weinberg Center for the Arts in Frederick, is the perfect example of their creative collaboration. The family comedy features an elf enlisted to help thwart a pair of spies and save a kidnapped father.
“We sat down in this house and wrote the script together,” Jefferies says of his Old Frederick Road home where he and his wife now reside. The farmhouse, once owned by his parents, doubled as the set for Elf-Man. “This scene could be in here. We were literally writing to the house. We were scouting and imagining the movie while we were writing it. We wrote it fairly quickly.”
The working style of Wiley and Jefferies fit perfectly. “Ethan and I were amazing writing partners and amazing producing partners,” Jefferies says of Wiley, who is now in China working on their second film, China Bigfoot: Legend of the Yeren. “We agreed on just about everything but brought a slightly different point of view. There was no disagreement. It was amazing.”
It has been amazing for the area as well. Much of the talent featured in the film — both in front of and behind the camera — is local to the Frederick area.
With major cities such as Baltimore and Washington, D.C within arm’s reach, Frederick proved to be the perfect location for Elf-Man — and a location that Jefferies believes can be a hub of film production in the coming years.
“We found that other Christmas movies were shot in Southern California and they look like suburban anywhere with palm trees,” Jefferies observes. “That didn’t look or feel like Christmas. Around here, older houses and mature trees and roaming countryside, it just feels like Christmas. It is cold outside. It looks cold. It lent itself to telling a Christmas story in ways that our competition wasn’t. We set ourselves apart in the look and feel of the movie.”
The political and economic aspects of filmmaking made Frederick a fit as well, according to Carl Glorioso, director of the Frederick Film Office. “The government gets it,” he says. “The city gets it. The businesses get it. The people get it. No one is looking to get their backside kissed. It isn’t that. It is, ‘Be nice to us and we will be nice to you.’ Everyone is treated with respect and people make some money. It can be a win-win for everyone.”
It certainly has been for Jefferies and Wiseacre Films.
Frederick County is home to several filmmakers and motion picture productions filmed here. Here are just a few:
Director Ed Sanchez of The Blair Witch Project
America’s Most Wanted
By Chris Little
Photos by Noel Kline
The Potters’ Guild of Frederick dishes up professional support along with potluck dinners and fun for local clay people
Back in the days of knights on horseback, craftsmen formed trade guilds to share their knowledge, sell their work and provide mutual aid and support. While far from medieval, the Potters’ Guild of Frederick, which traces its history back only to 2007, preserves some of those feudal functions.
Its monthly meetings focus on sharing clay-working tips and techniques, including demonstrations by well-respected potters, and the group sponsors several workshops a year. Guild members cooperate in staffing and showing their pieces at their popular gallery at the Frederick Cultural Arts Center, which gives those interested an easy way to market their work. All well and good, but it could be that the sense of community the Guild fosters — not to mention the post-meeting potluck dinners — is what provides the real attraction for area potters.
“As a full-time potter, you wind up spending a lot of alone time in your studio,” says Michael McIntyre, who joined the Guild five years ago as a way to balance long days in his Leitersburg studio, FireRobin Farm Pottery. “It’s really nice to be able to get out and do the monthly meetings and be a part of the gallery.”
Local potter and pottery instructor Ann Hobart was the driving force behind forming the Guild. As a newcomer to the Frederick area, she wanted to meet other potters and find ways to get together to share ideas and techniques. Over the years, the Guild, which is non-juried, has grown to more than 40 members. The gallery serves as a creative outlet and a source of income for about half the membership. It’s also an important way for the Guild to introduce ceramic art to the community.
“The community has been very, very supportive of the gallery,” Hobart notes. “It’s fun to buy pots from people you can meet and people you know. We keep a very active book with everybody’s picture and their pots and their biographies, and we give out a biography with every pot we sell.”
Guild President Jerry Dathe is one of many members whose day job isn’t clay related (he works full time in a biotech lab) but who enjoys showing his work. “As long as I have pieces that I’m proud to have in the gallery, I put them in,” he says. “Some of them sell, and some of them just languish on the shelves. And after they’ve done that for a while, I pull them out and do something else.”
Dathe emphasizes that the gallery is not the Guild’s main focus. “The Guild is here to provide a community for artists so that we can promote the highest quality of ceramic art that’s possible,” he explains, adding that the Guild serves primarily as a social group and a networking opportunity. “It’s a great community of ceramic artists and a great group of people in general.”
Last August the group sponsored its first fundraiser, an event it dubbed the Brain Freeze. Guild potters sold hand-thrown clay bowls, into which they scooped ice cream donated by South Mountain Creamery, with all $1,900 in proceeds going to the Frederick Food Bank. This initial effort was so successful the group plans to make it a tradition. “It’s a fun way to interact with the public, and it’s a good way for our members to get together,” says Hobart.
Fellowship seems to be the reason the Guild exists. Guild members stress that you don’t have to be a skilled potter — or even a potter at all — to join or just sit in on meetings. “Our meetings are open to the public,” says McIntyre. “Anybody who’s into the arts or has [an] appreciation for ceramics is welcome to join us. It’s really a wonderful opportunity.” And then there’s the feasting. “Clay people have wonderful potluck dinners,” he adds. “The food is fantastic.”
Where You Can See Feats of Clay
The Potters’ Guild of Frederick meets the first Monday of the month at 6 p.m. at the Frederick Cultural Arts Center, 15 N. Market St. in Frederick.
The Guild’s gallery, located at the Cultural Arts Center’s West Patrick Street entrance, is open Thursdays, 10 a.m. to 6 p.m.; Fridays and Saturdays, 10 a.m. to 9 p.m. and Sundays, noon to 5 p.m., with extended holiday hours and inventory planned for November and December. For more information, visit www.pottersguildoffrederick.com.
by Liz Williams
This issue’s cover artist, Jane Dunsmore, is a key contributor to the art scene in Frederick County. She is widely known for her work with ceramics but is talented in several other art mediums as well.
After receiving her bachelor’s degree in art from Hood College, Dunsmore went on to study ceramic training at the Visual Art Center in Columbia, Maryland. Since completing her education in art, Dunsmore has taught in Frederick County Public Schools and currently teaches at The Delaplaine Visual Arts Education Center, located at 40 S. Carroll St. in Frederick.
She recalls her time serving as a ceramics teacher at Middletown High School with fondness. “That was a very big learning experience for me,” she says. “The kids taught me a whole lot about being an artist.”
Dunsmore’s classes at The Delaplaine give her a completely different experience, as most of her students there are adults with some background working with the art form. This fall, she is teaching a ceramics class.
Although originally from Washington state, Dunsmore has lived in Frederick County for 40 years and has used her surroundings in this area as inspiration for her artwork. After growing up in a desert town, the vibrancy of Frederick County’s landscape was especially influential for her.
“When you grow up in the desert, Frederick County’s natural beauty is intoxicating,” says Dunsmore. “Water that flows, earth that will grow flowering plants — these are rare out west. Frederick County doesn’t know how lucky it is.”
Although she enjoys working with a variety of art forms, Dunsmore’s favorite medium is sculpture. “Sculpture that flows in three dimensions is more fun than anything else I do,” she says. “Being able to turn a piece and get a new spatial message at each angle is wholly satisfying.”
Another art form Dunsmore excels at is the ceramic mural. For the past 15 years, she has been making ceramic murals, many of which can be found at private residences throughout Frederick County. She is commissioned on an individual basis to create the murals, and their intricate designs have helped contribute to her prestigious reputation among the artistic community in Frederick.
Dunsmore’s artwork has been exhibited at The Delaplaine and other venues within Frederick County, including the gallery at the Potters’ Guild of Frederick, located at the Cultural Arts Center, 15 N. Market St. in Frederick. For more information on Jane Dunsmore, or to view samples of her artwork, visit her website at http://home.comcast.net/~giclier/.
Woodsboro Vintage Sign Maker Brian Laurich Creates Antique-looking Signs Using Salvaged Wood as His Canvas
By Adam Kulikowski
Photos by Noel Kline
When Woodsboro’s Brian Laurich reflects on his start as a vintage sign maker, he bluntly states his humble intentions.
He simply thought it was a good idea.
He was right.
“It seemed so simple looking back,” Laurich says. “I thought it would be neat to make a new sign but have it look old. It doesn’t seem like a tall order. A lot of other people try it.”
But few have found the success Laurich hasachieved. Since he made his first vintage sign for his father as a birthday present in 1996, his sign art has grown into a full-time job.
His works, including a campaign poster sign of Abraham Lincoln and a 20th Maine Volunteer Infantry Regiment flag sign, are just a few that grace his small shop in Woodsboro.
Piles of antique wood — hand picked for the look and feel — are stacked orderly in one corner. Letter stencils sit on a large table where the “magic” happens, awaiting the next project.
As Laurich sits at his computer, he talks about his work.
“Everything starts on the computer,” Laurich says. “I wouldn’t have known how to do it [make the signs] otherwise.”
It is there that Laurich takes advantage of his art degree from Slippery Rock University in Pennsylvania to sketch out his designs in Adobe’s Photoshop software.
It is there that the intricate detail used to position his designs are determined, plotted and developed.
And it is there that Laurich determines the color combinations that will match the handpicked planks used to form the base of his signs.
As the 48-year-old walks into his shop, he picks up a green plank. He selects the lumber for his projects with care — with precision.
“This has character, imperfections,” Laurich says. “The color is faded. It is dark and light. There is all that built in and it is real. So if you start there, it makes my job a lot easier. What I put on it has to do it justice. And that’s what I saw a lacking. I didn’t see anyone taking this to another level. That’s what I set out to do.”
With painstaking detail, he transfers the designs created on his computer to the wood surface — a process that provides Laurich with the outlines needed to hand paint the signs.
“Basically, what this is is a canvas,” Laurich says. “And you have one shot, and it is my goal to use and cover as little as possible — to keep as much of this [the wood] … to exploit as much of the good qualities of the wood as possible.”
Often that means showcasing history. The wood used to produce the 20th Maine battle flag, for example, came from the Jacob Weikert Farm where the 20th Maine Volunteer Infantry Regiment went right after the battle action at Little Round Top in Gettysburg, Pennsylvania in 1863.
“He takes on a project and he doesn’t stop on the surface of what he’s painting,” says Laurich’s sister Lisa Donovan. “He is reading about the history of the place he is portraying. He is reading about the history of the wood, the type of paint he is using. What comes through then is something that looks — and it is a bit of an oxymoron — it is new but authentically old at the same time.”
And as for how he gives his work an aged feel? Well, that’s something that the Greensburg, Pennsylvania native just won’t share.
“That I can’t tell,” Laurich says.
It is a secret process that produces signs with a remarkable feel from time long past.
“He has a sense for the original look,” says Donald Buck, a customer and admirer of Laurich’s work. “In our evaluation, there is no one better at his craft.”
And after all, that is the goal.
“If I’m going to do something, I want to get it right,” Laurich says. “I have this thing built into me. I don’t want to wing it. I want it to be right.”
About the artist
Name: Brian Laurich
Birthplace: Greensburg, Pennsylvania
Awards: Chosen as a member of the Country Living magazine Artist Guild
Children: Amalie, 21, and Hannah, 18
Where His Art Is Displayed: Studio 30, Gettysburg; www.vintagesigns.com
Contact the Artist
Brian Laurich Vintage Sign Co.
4 Creagerstown Rd.
Woodsboro, MD 21798
Plein Air Painters Arrive in Frederick with Plans to Paint the Town
By Michael Vyskocil
Images Courtesy of Harriet Wise for Easels in Frederick
They battle wind and wet weather, sun and summer heat — plus unsolicited advice from sidewalk art critics — all to capture moments in time on canvas. Painting “en plein air,” a French expression meaning “in the open air,” can test the mettle of any artist accustomed to the comforting confines of his or her studio space. A style favored by French Impressionist artist Claude Monet, plein air painting still remains popular today with a growing body of artists and even entire events devoted to the art form.
You’ll have a chance to watch 30 juried artists brush up on their outdoor painting skills at Easels in Frederick, a plein air festival that runs June 20-24. They will be working throughout downtown capturing the city’s scenes and streetscapes on canvas in a competition for more than $15,500 in awards.
The event is organized by an all-volunteer committee of The Delaplaine Visual Arts Education Center, which sponsors the program. Now in its second year, Easels in Frederick has attracted the attention of artists both local and from around the country, including Tennessee, New York and even as far as Washington state.
Artists Mark Hiles of Eldersburg, Barbara Nuss of Woodbine and Mick Williams from New Market are three local artists participating in this year’s event.
Hiles appreciates the connection between the art of plein air painting and the role of the artist in the process. “I recognize the importance of artists recording history in time,” he says. “The artwork we create show what a person or place was like in this particular time. As things in life and nature constantly change, the artist is there to record that moment in time as it may never be the same ever again.”
Nuss, an accomplished still life and landscape painter, believes that Frederick’s architecture and picturesque streetscapes lend themselves to a rich outdoor painting experience. “I’ve painted a lot of the facades of the historic homes in Frederick, and I’ve painted in Baker Park. I just like painting the historic houses and homes, and that’s why I wanted to join Easels in Frederick.”
Painting plein air is as much a physical challenge as it is an artistic one. First, there’s the matter of bringing tools and equipment from the studio into nature. And for oil painters, that means carting canvases, paints, knives, brushes, easels, water and solvents to the painting site.
Then there’s the issue of adapting to the outdoor elements, learning ways to fend off bugs, breezes and precipitation.
Above all, these artists also must be adept at capturing a scene and its lighting. “When the light is changing, I feel like I have to hurry to capture the light at the moment. It’s intense, but I say to heck with the mosquitoes and the fact that my feet hurt from standing,” Nuss notes.
Williams agrees and says that an individual has to be quick to adapt to changing lighting conditions. “When you’re painting plein air,you’re supposed to be capturing the immediacy of the moment. For me, morning is a fantastic time to paint and sunsets at night are just dramatic.” Patrick Street and Market Street, he says, are some of his favorite spots for painting in Frederick.
Plein air painting has the connotation of being a solitary, leisurely pursuit. But the Easels in Frederick event may just dispel that notion. On Saturday, June 23, from 10 a.m.-2 p.m., a Quick Draw competition will pit amateur and professional painters against one another and the juried Easels in Frederick participants in a two-hour painting frenzy culminating in cash prizes totaling $1,000.
Williams says that events like Easels in Frederick and the Quick Draw competition help to put Frederick on the map. “It helps the art community. It brings a lot of people into town and it’s good for businesses,” he says. “To me, competition is more fun than just going out painting. You’re going to see people working in all types of mediums — acrylic, oil, pastel and watercolors. It’s amazing that people can look at the same subject and render it differently.”
Perhaps it’s these diverse viewpoints on the natural world that continue to inspire people to pick up paintbrushes and palettes, leave the security of their studios and brave the outdoors in pursuit of painting en plein air.
To learn more about plein air painting, visit the Mid-Atlantic Plein Air Painters Association’s website at www.mapapa.org.
Easels in Frederick
Wednesday-Friday, June 20-22
Stroll downtown Frederick and watch the artists at work. Maps of the artists’ locations are available at The Delaplaine Visual Arts Education Center, 40 S. Carroll St., or the Downtown Frederick Partnership, 15 E. Church St. Quick Draw Competition Saturday, June 23, 10 a.m.-2 p.m. The Quick Draw painting location will be announced on Friday, June 15 at www.easelsinfrederick.org. Registration is available on the Easels in Frederick website. All registrations must be received by noon, Wednesday, June 20. The cost is $10 per participant.
E-mail QDinfo@easelsinfrederick.org for more information.