Composition Continued: The Fibonacci Sequence

Happy Halloween! One thing that can be really scary for any artist is a painting that is seemingly missing something, it’s just WRONG and you can’t figure out what it is or how to fix it. Composition is a complicated, multi-faceted spooky mystery that baffles even the best of us. The Fibonacci Sequence is another tool for you to add to your composition toolbox and is the one I use most often in my own work. 

Happy Halloween, my lovely blog reading friends. No, I’m not going to talk about scary things in this post, but if you say Fibonacci in kind of a squeaky door, Vincent Price voice it does sound kind of scary : )

One thing that can be really scary for any artist is a painting that is seemingly missing something, it’s just WRONG and you can’t figure out what it is or how to fix it. Most of the time, these problems have something to do with design fundamentals like scale, color, proportion, etc, which all make up the COMPOSITION. Composition is a complicated, multi-faceted spooky mystery that baffles even the best of us, but knowing a few simple guidelines like The Golden Ratio and the Rule of Thirds can make all difference. The Fibonacci Sequence is another tool for you to add to your composition toolbox and is the one I use most often in my own work.

The Fibonacci Sequence is named after Italian mathematician Leonardo of Pisa, also known as Fibonacci. The Sequence, illustrated below, begins at 0, 1 then those two numbers added make up the next number in the sequence, which is 1, then those last two numbers added make up 2 and so on into infinity. In addition to being used extensively in other mathematical formulas, these versatile numbers are also proportionately related to the Golden Ratio, have been used in poetry and are seen in the growth rate of biological forms nature such as trees, sunflowers, pinecones and pineapples, even human skeletal growth. When these numbers are utilized in any kind of art or design, that design is said to be more pleasing to the eye-it just feels right.

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144….

I first learned about this Sequence as an undergrad in a class called Math for Design and I was fascinated. Later, when I was working as a textile designer, we applied these numbers to our stripe patterns, tile designs and anything else that required repetition. Last, I return to the Sequence again and again in my personal work whenever I have a question about repetitive elements or where an element should be placed within the painting.

To utilize the Sequence in stripe patterns, we applied the numbers to inches, mixed up the sequence and naturally applied color. Illustrated below is a stripe pattern (created in candy corn colors for Halloween : ) that is first shown in the sequence as it stands (1), then the numbers in the sequence are mixed up (2), then another stripe pattern in a random number of inches (3). Which is more pleasing?

Addendum: In response to Tess Stieben’s comment regarding which stripe pattern is more pleasing, I added repeat patterns below to illustrate my response. Thank you, Tess!

Tess: Interestingly I prefer #3, it is dramatic, #1 is boring, #2 ok but #3 has a bold punch in the way the colors are divided making the dark contrast with the lighter colors.

My Response: Thanks for your comment, Tess. I see what you mean. Looking at it as is, without repeating, as if we were looking at a painting is quite lovely and I see what you’re saying. Now, think of the stripe as a repeat pattern, floor to ceiling running across a wall or even on a large sofa. Still think the same? The Fibonacci Sequence and the other ratios are used in design because they make the design more pleasing, more comfortable. The dynamic quality of pattern #3 may be more exciting as a painting, but not necessarily if it was covering the four walls of a room. While making paintings, this is also something to consider.

1

stripe1

Screen Shot 2018-10-31 at 1.11.28 PM

 

2

stripemixed

Screen Shot 2018-10-31 at 1.11.46 PM

 

3

notfib

Screen Shot 2018-10-31 at 1.12.10 PM

 

According to the theory, stripe pattern 1 and 2 would be most pleasing. You certainly could have chosen 3, which is totally arbitrary and follows no compositional rules. Feel free to comment, I would be interested to know which stripe pattern is most interesting to you and why-the comment button is located at the top left of this article.

See the images below for examples of how you can apply this Sequence in your own work. I used this Sequence in grad school and beyond by applying inches to the spacing between repetitive elements as well as in the measurements of squares, circles and ovals themselves. Read this post for more about my early work as a designer and how/why I make the work I make today. When you begin to apply this sequence to your own work, please let me know how it’s working for you and if/how it’s made your compositional life easier.

It is important to keep in mind that all of these compositional tools I’ve been writing about in my last few posts are just tools and can be kept in your mental toolbox to use when you need them. As Francis Bacon is attributed to saying, “Knowledge is Power”, so learn what you can and use it wisely.

Addendum: In response to Shary Bartlett’s comment on this post, I created a gallery below where the areas in which I used the sequence are most prominent in the work. In the paintings below, the sequence is also used in the regularly spaced intervals of information in terms of measurement, however the sequential numbers are not used. Thank you, Shary!!!

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern. Register Soon, Limited to only 8 Participants!

Pattern is, essentially, a compilation of elements of design: line, rhythm, repetition…Not slavish duplication, but echoing, re-enforcing, reminding….~author unknown

WORKSHOP NUMBER TWO
Mixed Media Encaustic: Pattern
Limited to 8 participants!
Level: Beginner to Advanced
$400 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($200) is due at the time of registration with the remaining 50% ($200) due on the first day of the workshop. Please contact Lorraine for payment details.

When
April 5-7, 2019, 10am-4pm each day

Where
Dora Ficher’s Fabulous Studio at Scott’s Mills
3510 Scott’s Lane, #118, Philadelphia, PA

IMG_6308

Dora Ficher’s amazing studio at Scott’s Mills

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number Two Description
Repeated use of a shape, color or design element unifies composition, creates pattern, rhythm and movement as well as reinforces content. This workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include creating motifs, rust printing on fabric, organic and geometric form, realistic and abstract imagery, patterned collage, stencils, tjaps and candy molds. Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the content message will also be discussed.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are here, here and here.

WORKSHOP NUMBER TWO WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 3-6 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual or images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • sketchbook or drawing paper and drawing media of your choice
  • package of razor blades or scraper
  • smock (optional)
  • sharp scissors
  • any tool or material for any technique that you normally employ while working with encaustic
  • iwatani torch (optional)
  • textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax.
  • materials for collage (papers, magazine images, photos, etc.)
  • decorative stencils, mesh, doilies, etc-anything flat with open areas that can be used as a stencil.
  • rusty metal objects or objects that will rust
  • ½ yard, even-weave, white or light colored natural fabric for rust/compost printing and painting. RTD or PFD fabrics are preferred and are available from dharmatrading.com. Alternatives are old sheets and/or tshirts that have been frequently washed.
  • paper punches (will be provided, however, if you have favorites, please bring them)
  • Tjaps (will be provided, however, if you have favorites, please bring them)

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • wood burning tools
  • Disposable gloves
  • Extra drawing paper
  • Wax paper
  • Parchment paper
  • encaustic paints
  • 2 cups salt
  • masking tape
  • 1 gallon size plastic bags
  • Tracing paper
  • Graphite transfer paper
  • cups for mixing instant indigo
  • Extra razor blades
  • Pans and cups for paint and medium
  • Linseed oil
  • paper punches
  • 2 iwatani torches with extra butane
  • instant indigo
  • extra fabric
  • extra rusty objects

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and coffee machine in the studio for your use as well as a wonderful cafe area with tables in the adjacent galleries.

 

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Workshop Highlight: Finally! A Philadelphia Encaustic Workshop #1: Collage

Workshop Highlight: Finally! A Philadelphia Encaustic Workshop Register Soon, Limited to only 8 Participants!

If oil paint is the prose of painting, then encaustic is its poetry. -Chester Arnold

WORKSHOP NUMBER ONE
Mixed Media Encaustic: Collage
Limited to 8 participants!
Level: Beginner to Intermediate
$400 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($200) is due at the time of registration with the remaining 50% ($200) due on the first day of the workshop. Please contact Lorraine for payment details.

When
February 15-17, 2019, 10am-4pm each day

Where
Dora Ficher’s Fabulous Studio at Scott’s Mills
3510 Scott’s Lane, #118, Philadelphia, PA

IMG_6308

Dora Ficher’s Studio at Scott’s Mills

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number One Description
This workshop takes the exciting combination of mixed media, encaustic and collage to include innovative materials and mark-making techniques in which to explore narrative. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will combine and collage photographic images, marks and texture to explore, communicate, or entertain through personal narrative. This workshop covers basic encaustic techniques and collage as well as mark-making using horse hair, graphite paper and image transfer.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are here, here and here.

WORKSHOP NUMBER ONE WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 3-6 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual pieces OR images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 smallish-no bigger than 1.5” brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • sketchbook or Drawing paper
  • package of razor blades or scraper
  • any tool or material for any technique that you normally employ while working with encaustic
  • drawing media of your choice
  • Closed toe shoes for safety in the studio
  • sharp scissors
  • Various materials for collage (papers, magazine images, photos, etc.)
  • textured objects and/or incising materials to press into and make marks in wax
  • any small sharp-ended tool for incising/writing/drawing into the wax (sewing or knitting needles are great)

Optional Materials

  • basic encaustic colors will be provided, however if you prefer working with certain colors, please bring them with you
  • iwatani torch
  • smock

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • Extra drawing paper
  • Wax paper
  • Basic encaustic colors
  • Tracing paper
  • Graphite transfer paper
  • Extra razor blades
  • Pans and cups for paint and medium
  • Double sided scraper tools
  • horsehair
  • heat guns (one for every two people)
  • griddles (one for every two people)
  • 2 Iwatani torches with extra butane
  • carbon copies for transfers

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and coffee machine in the studio for your use as well as a wonderful cafe area with tables in the adjacent galleries.

 

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Workshop Highlight: Beyond the Basics

BEYOND THE BASICS ADVANCED ENCAUSTIC November 8-10
Big Dramatic Questions Studio, The Blue Mountains, Collingwood, Ontario
WORKSHOP WEB SITE

Basic Description
Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you! This three-day workshop will focus on mixed-media techniques, materials, mark-making techniques, color mixing, and building color relationships on the canvas. Students will learn progressive painting techniques including: the use of transparency and opacity, blending, gradations, pours and how to apply and manipulate layers and visual information. It is helpful, but not necessary to have had any previous experience with the encaustic medium to take this workshop.

Who should take this workshop?

  • You are a semi-beginner to advanced painter (encaustic or other) who often finds their paintings rife with color, paint, collaged, etc. information, but can’t put a finger on what is lacking or how to finish it.
  • You have great ideas but your compositions are scattered, nothing connects or works together to tell your story.
  • You are interested in what the grid can do for your work, but don’t want to make gridded paintings. NOTE: You won’t make a gridded painting in this workshop unless you want to do so, but understanding the concept of the grid as a foundational compositional structure will make your paintings stronger. Guaranteed.
  • You’ve worked in encaustic for a while and have never used it’s transparency and layering possibilities to full advantage.
  • You’ve worked in encaustic for a while and have never scraped your layers(!) to reveal the awesomeness underneath.
  • You want to express yourself in a more meaningful way with your work.
  • You want to create consistency, a personal voice, your own mark, in your paintings and body of work as a whole.
  • Your creative process is stagnating and you need to learn a new process, idea or technique.
  • You want to know what the heck Encaustic PaintSmash is and how it will benefit your work.
  • You love image and collage, but when you embed these elements into encaustic, the collage is blurred, burned or looks clunky.
  • You love painting with the intensely pigmented color of encaustic and want to learn how to effectively apply it-how to mix color, how and when to dilute, what brushes and tools to use.
  • You are frustrated with your current body of work, your process(es) and want to create consistency, and a cohesive portfolio.
  • You dislike drawing and/or you’re afraid of it.

What happens in this workshop? What will I learn?

  • What the concepts of good design are and how to apply these ideas to fine art.
  • Marking, drawing, making marks with fun exercises are sure to relax you so that you don’t even know you’re drawing and are designed for you to generate ideas, content and a personal mark.
  • Learn my technique for applying decorative stenciling into your work and how you can use stenciling to strengthen your compositions and content.
  • Learn how to apply encaustic paint in layers and in various levels of transparency, as well as how and when to scrape back to reveal exciting forms and patterns within the layers.
  • Practice the effective application and fusing of encaustic collaged layers so you aren’t tempted to give up collage forever in frustration!
  • The magic of fusing with a torch. NOTE: I will never make anyone use a tool that makes them uncomfortable, but you’ll be able to try a torch to see if you like it and most likely, you will!
  • Experiment with doodling, mark making and process to create a personal mark.
  • Learn how to use the transparency of the wax to allow pattern and information to combine and ‘talk’ within the painting.

What kind of work will I make?
Please enjoy the work example pics below from participants who have previously taken this workshop. Please visit additional blog posts here and here for more information related to this workshop. Scroll down a bit more to see what else is included in this workshop.

 

Included in all of my encaustic workshops

  • Color, composition, application, content-the basics, the intermediate, the advanced.
  • Using color relationships, proportion, scale as an effective foundation for other painterly information.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with me. My most favorite part of the workshop is this special time I spend talking one-on-one with each participant.
  • Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
  • Mark-making exercises-whether you are taking the line workshop or not, exercises geared toward making simple or complex marks to generate a personal voice.
  • Book-sharing-each participant brings their favorite art book to share.
  • Group sharing and discussion-always an amazingly helpful time for participants to share their victories and struggles.
  • A slide talk with examples of contemporary artists who apply the concepts discussed in the workshop is offered for inspiration.

Workshop Highlight: Surface Design & Layers at Madeline Island School of the Arts

If you are a fan of my early work and want to know the secrets of how I made it, then this is the workshop for you! Madeline Island School is ranked among the top five art and craft schools in the country because of the quality of instruction and loveliness of the surrounding area that inspires creativity.

If you are a fan of my early work and want to know the secrets of how I made it, then this is the workshop for you!

ENCAUSTIC MIXED MEDIA: SURFACE DESIGN & LAYERS
September 24-28
Madeline Island School of the Arts, LaPointe, WI
WORKSHOP DETAILS & REGISTRATION

Nestle in to the secluded Madeline Island in an absolutely gorgeous part of the world on Lake Superior. Madeline Island School is ranked among the top five art and craft schools in the country because of the quality of instruction and loveliness of the surrounding area which inspires creativity. If you’ve heard anything negative about the weather there, it’s a fib the locals spread so that they can keep the awesomeness to themselves!! I’m absolutely thrilled to be teaching at MISA this year and hope you will join me. See some lovely images of the school and read more about MISA and their location on their web site here .

Some of the materials, techniques and process we will cover include:

  • Creating patterns with shibori on fabric or paper using indigo, rust printing and bleach discharge.
  • Creating marks with heated metal and wood burning tools (pyrography)
  • Creating ornamental and repetitive patterns using encaustic with collage, stencils, tjaps and candy molds.
  • The application of thin layers of encaustic for collage-learn how to get rid of those blurry/bumpy areas when collaging into encaustic.
  • How to effectively mix, apply and fuse encaustic layers to best utilize it’s translucency and depth.
  • How to cover a panel with any fabric or paper and work back into it with encaustic.
  • How to incorporate line and drawing into your encaustic paintings using horsehair and other mixed media techniques.
  • How to incorporate stitch into your encaustic paintings for exciting textural surfaces.
  • How to make a perfect encaustic photo transfer.
  • How to create a flawlessly smooth encaustic surface.
  • The magic of the grid and how you can use it to create exciting compositions.
  • We will also discuss the conceptual use of layers, pattern and repetition with images, books and actual paintings for inspiration.
  • And so much more…just like all of my workshops, this one is taught from an experimental, alternative, hands-on approach…one never knows what other techniques and possibilities might pop up during the workshop.
  • Also in the spirit of all of my workshops, we will spend a lot of time exploring the surrounding landscape for found objects, photographs and inspiration.

See the gallery below for some workshop highlights and workshop work from a similar workshop I recently taught at RF Paints. For more information and highlights from workshops similar to this one, see this post, this post, this post and this post.

 

Essential Encaustic Paint Colors for the Beginner

Going to the encaustic Conference this week? Before you enter the wonder of the vendor room, be sure to read this post. This list is a great start for the beginning encaustic painter as well as advanced to find the color combination of your dreams.

Last year, I wrote a popular post listing the Encaustic Paint Colors I Can’t Do Without and as a result a reader requested I write a post listing some colors for the beginner. The International Encaustic Conference is starting this week with it’s overwhelmingly wonderful vendor room, so now is a perfect time for this post.

There are only a handful of colors one really needs in order to mix all colors; magenta, yellow, cyan, black and white or the primary colors Red, Yellow, Blue, Black and White…actually, you don’t even need black, you can mix that by mixing all the colors in equal proportions. But who has time for that, it’s just easier to have some colors at the ready and I developed this list with that thought in mind. I also thought about some colors that are just so luscious you might want them all the time without having to mix them. I started with a varied color wheel and branched off with a few oddballs you might find interesting. As a beginner, it’s important to start small and purchase some, rather than all. Buy the small sizes instead of the mega size, find what’s right for you and go from there. When I first started painting with encaustic, I only used 4 colors and slowly added more. This list is a good place to start for the beginner as well as advanced and I hope it helps you find the color combination of your dreams.

Other things I mentioned in the first post that I would like to reiterate. I never use colors ‘straight out of the tube’, all of my colors are mixed with 2-5 colors and yours should be as well. It creates a more personalized palette when you do this as well as a more interesting painting. Once again, this list is in no particular order and I photographed the paints on top of an in progress painting just as they are…messy, mushy, splashed with other colors, alluding a little to my process and looking like colorful little sculptures. If you’d like to see the paints pretty and clean, just click on the links to the paint distributor’s sites. If you’d like to learn more about encaustic color mixing, take a workshop with me, I discuss paint mixing in a all of my workshops.

If this post was helpful to you, please let me know, I invite your comments questions and suggestions in the comments section now located in the upper left sidebar of this post.

Stay tuned for my next post, Part Two of my Evolution of a Mark series of posts in which I trace back to my beginnings as an artist to where I am today. If you haven’t done so, make sure you read Part One so it all makes sense.

Enjoy the lovely flowers blooming everywhere.

R&F Paints

  • Alizarin Orange I LOVE this color, it will be on any list I make regarding paint colors. Bright and versatile, it can go from a light gold to a rich rusty orange in one swipe. When mixed with white or any other color, it retains it’s richness.
  • Payne’s Grey  Like Alizarin Orange, this color will be on any encaustic paint color list I make. I use this instead of black to darken any color. For me, black tends to deaden the color as it darkens, while this one allows the original color to retain it’s voice.
  • Warm Pink Like neutral white, I have used this color since I started painting in encaustic. It brightens any color and when mixed with a little and painted next to or on top of earthy blues, grays or greens, the eyes vibrate!
  • Brilliant Yellow Extra Pale I love to use this color instead of white as it not only lightens, it adds just a touch of yellow and whimsy as it brightens as well. 
  • Cobalt Blue A bright, clear blue, I use it more than any other blue.
  • Malachite Green I use this color way too much. It’s one of those colors that changes as it’s painted next to different colors. It makes any color and any painting sing.
  • Phthalo Turquoise Another color that looks dead in the package and like black when it’s melted, it is actually one of the brightest and most versatile colors. Add just a touch of any white and watch the magic happen.
  • Phthalo Blue Embarrassingly I just read what Phthalo colors actually are a few years ago and now buy anything described as such because of its unmatched intensity. There is a clarity to this blue that you will find in no other for water, skies, anytime you need blue. It mixes beautifully and always retains its voice.
  • Alizarin Crimson I do not have a Cadmium Red on this list, which may be odd to some, but quite honestly I have rarely ever used it because it always reads slightly orange to me. To be clear, Cadmium Red is the purest red and I would be remiss to tell you not to have it in your collection. However, I always find myself reaching for the Alizarin Crimson instead. It’s a cross between magenta and red and leans on the darker side of both. However, when it’s mixed with only a slight amount of white, it comes alive and is quite bright. It also makes a wide range of lovely pinks when mixed any light or white color.
  • Cadmium Green Pale  Not really true green, not really yellow, its a good mix of both, but I wouldn’t call it yellow-green. This is my go-to green, it can be lightened beautifully as well as darkened.
  • Zinc White Not having Titanium White on this list may also be a color faux pas but again, I rarely ever use it because it’s so uncomfortably white and a bit too pure for my taste-kind of like a bridal gown that almost looks blue it’s so white. Zinc white is a cross between Titanium and cream. Zinc is very white, but it’s just a degree off and lightens colors just as well as Titanium, yet keeps them just a degree to the left.
  • Cadmium Yellow Medium & Light We have to have yellow, it’s the indispensable color, which is why I have two on this list. I almost always go for the Medium yellow, but sometimes I just want less and pick up the Light. R&F also offers a Deep Yellow, but I wouldn’t advise going for it just yet, it’s a bit orange and may not be needed for your palette if you have the other two.
  • Cobalt Violet Light  I don’t use purple much and frankly, when I need it I mix it myself. However, this color is unusual, is difficult to mix and works well to add just a hint of pinkish-purple-violet to any other color.

Enkaustikos I can’t link directly to each color, so this link goes to all of the colors listed below, just scroll the list to see the color.

  • Opal Aquamarine I love this color so much I buy it in huge bulk and for all of my workshops. It makes any blue or green bluer and richer, like the most amazing, clear glacier water. 
  • Indian Yellow Bright, clear, not quite yellow, not quite orange. I reach for it time and again in place of yellow and mixing it with R&F’s Alizarin Orange is magical.

Evans Encaustics

  • Manganese Black The only black you’ll ever need, I was instantly smitten when I first used it. So creamy rich, so deep and consistent. It’s a true black, no blue or brown or gray cast. You only need a teeny tiny bit to darken any color. If you use black by itself, you’ll never find grayish spots or be a bit dissatisfied with this color.

IMG_1895

 

Kama Pigments I can’t link directly to each color, so this link goes to all their colors , just scroll the list to see the color I listed.

  • Rose Hornyak/Hornyak’s Pink Again, me and pink-I’ll buy any pink. This one is so Pepto Bismol its almost gross, but it does so many things that the average pink doesn’t do! It adds just that tiny bit of purple that makes other colors vibrate. Try mixing this with Alizarin Orange and/or Warm Pink and/or Brown Pink for a pink magic fest.

IMG_2330

A Desert Artist Retreat: Exploring Landscape Through Encaustic & the Mark

Awestruck, we found ourselves face-to-face with the rising sandstone cliffs of the Capitol Reef. The only comparable vista that I have ever seen is at the site of Petra, in the land of Jordan. However, the Capitol Reef is not only much vaster — extending over a hundred miles; unlike Petra — where Man had a major role in carving out its topology and architecture — the Capitol Reef owes its unique landscape and incredible array of multi-colored sandstone canyons, castles, pinnacles, and buttes — some of them reaching right up to the sky — to Nature’s rich endowment of evolutionary forces. Here, over eons, the rain, the snow, the sun, and wind have converged, employing all of their might to render a grandiose and unforgettable landscape.

Terry Tempest Williams

What
A Desert Artist Retreat: Exploring Landscape Through Encaustic & the Mark
Limited to 8 participants! 2 Spaces Available!
Level: Intermediate to Advanced
$755 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorigles@earthlink.net

When
August 21-25, 2017, 10am-4pm each day

Basic Description
Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Easy to moderate hikes exploring the high desert landscape of Torrey, Utah are led by Jeff and Lorraine and will provide the inspiration for which to develop ideas and provide areas of focus for series based work while also developing your personal artistic voice. Considerations of the use of the grid as a conceptual and compositional tool as well as its direct relationship to landscape will also be discussed. Optional individual critiques with both instructors will be offered to all participants.

 SCROLL DOWN TO SEE the images below of student work and fun scenes from hikes and studio during last year’s Torrey Retreat, 2016.

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Where Jeff Juhlin Studio, in beautiful Torrey, Utah located just outside of Capital Reef National Park in the heart of the southern Utah Red Rock country. (pictured above: Jeff Juhlin’s Torrey, Utah home and studio)

SCROLL DOWN TO SEE the pics below for more of Torrey’s amazing landscape and Jeff’s studio, as well as additional blog posts related to the Torrey landscape here, here and here.

Who A collaborative teaching venture with Jeff Juhlin & Lorraine Glessner

Jeffjuhlin.com
Jeff’s work is about discovery, the hint of possibility. It’s about the layers or strata of things substantive, imagined, physical and implicit. He accumulates layers of material, images and color that make up the whole of a painting, then goes back in and to explore, excavate, expose and obscure. The end result is a non-literal visual form, a translation of that experience and process.
Jeff uses various materials and mediums to create these works however encaustic incorporated with mixed media including paper, ink and oil paint are most often the primary mediums. Encaustic’s luscious luminosity; physical presence and translucent quality seem the ideal medium to explore this process.
Jeff has completed Residency/Fellowships at the Virginia Center for the Arts and VCCA France, Moulin Au Neuf, Auvillar France. He has been Artist in Residence 2010-2015 at the Hui Art Center in Maui, Hawaii. His work can be found in numerous private, corporate and public collections as well several public art commissions. Jeff holds a BFA degree from the San Francisco Art Institute. He maintains studios in Salt Lake City and Torrey Utah. He teaches Regularly at the Hui Art Center in Maui, Hawaii, the Kimball Art Center in Park City Utah and at his Studio in Salt Lake City.

lorraineglessner.net
Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, branding, rust, paper and more in her work. Lorraine is an Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, PA, a recently completed artist residency at Jentel Foundation and an acquisition by Kelsey-Seybold Cancer Center in Houston, Texas. Lorraine’s work has been exhibited locally and nationally in galleries, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.

What Else?

  • Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
  • Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
  • Mark-making exercises geared toward making simple or complex marks to generate a personal language.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with Jeff and Lorraine.
  • Daily hikes and meditations relax and open your mind and spirit to the land and to your own creative voice.
  • A slide talk with examples of contemporary artists whose applies the concepts discussed in the workshop is offered for inspiration.
Student work and other fun stuff from Torrey Retreat, 2016

Materials Included: the following is a list of materials provided for the student

  • All encaustic paints, extra medium, tools and equipment
  • Graphite paper, sumi ink & other misc. drawing media
  • Misc. drawing papers
  • Paper towels/rags
  • Extra encaustic brushes

What to bring: the following is a list of materials for the student to bring to the workshop

  • Sketchbook/notebook, pencil or pen for note taking
  • Smock (optional)
  • Closed toe shoes for safety in the studio
  • Lunch and beverage each day
  • 6-10 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) Experimentation is great! You must bring the wooden painting panels, but other suggested substrates are: stiff card, paper, masonite, board, plexiglass, etc. (nothing coated in acrylic or acrylic gesso!!) wooden panels will also be available for sale in the studio during the workshop.
  • 2-4 actual or images of your work
  • 5-10 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • a variety of pigment sticks will be provided, however, if you prefer certain colors, please bring them.
  • drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)
  • any tool or material for any technique that you normally employ while working with encaustic
  • iwatani torch with extra butane (optional)
  • textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax.
  • 1 lb encaustic medium (containers provided)

 Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • butt pack or small backpack
  • comfortable clothing
  • light rainwear
  • Hat
  • water bottle
  • Digital Camera or smart phone or point and shoot camera or DSLR
  • bag for collecting found materials

For Registration, Please Contact: Lorraine Glessner, lorigles@earthlink.net

Payment Payment of 50% of the workshop fee + materials ($377.50) is due at the time of registration with the remaining 50% ($377.50) due on the first day of the workshop. Please contact Lorraine for payment details.

Cancellation In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Accommodations  THE CABIN HAS BEEN FILLED. SEE BELOW FOR ACCOMMODATION RECOMMENDATIONS (Pictured below) The large cabin next to the main house and studio is walking distance to the studio and is available for $100 per night with each person an additional $25 (up to 6 people) and a $100 deposit. It includes one bunk bed (two beds) Rear bedroom, two single beds in a middle bedroom and one double bed in the other middle bedroom, (see images) one full bath, full kitchen. A group of friends could take the whole cabin or 3-6 people could stay there for very little cost. Please contact Jeff jeffjuhlin@yahoo.com if you are interested in renting the cabin on the Torrey property.

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Cabins and hotel rooms in town (less than 10 minutes away) Start at $60 and up. There is a tent camping and mobile home park in Torrey also. Please see the web sites below or contact Jeff for more information.

torreyutah.com
airbnb

Food Filtered water will be available for drinking and tea, however, you may want to bring other preferred beverages. There will be no food served during the workshop, you must bring lunch and snacks each day. There is a full supermarket 25 Min away located on Loa, Utah and a small market right in Torrey with local meat, some vegetables and basic food items plus a Deli that serves breakfast and lunch. Contact Jeff jeffjuhlin@yahoo.com if you have specific food needs and questions.