Encaustic PaintSmash: 3 Must-Have Scraping Tools

If you aren’t scraping your encaustic paint layers, you’re missing out! The first of two parts on encaustic scraping, this article covers 3 basic must-have tools for scraping and revealing amazingness under your encaustic layers. Also included, are some luscious eye candy inspiration images.

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If you’re working in layers of encaustic paint and not utilizing scraping as part of painting, you are missing a tremendous amount of creative opportunities. Encaustic is unmatched by any other medium for many reasons; luminosity, depth, translucency, tactile qualities, just to name a few. Certainly, other mediums offer these qualities, but to my knowledge, encaustic is the ONLY medium that offers painters the ability to work in layers with the option of scraping them back to reveal hidden treasures. Once you begin doing this, you won’t want to stop, it’s absolutely addicting! Depending on how you have applied the paint, the amount of texture and the colors used, you will reveal layers resembling geologic forms, water bodies, aerial and satellite views of earth. Or moving toward the smaller end of things, you will find forms resembling layers of skin cells, bodily forms, rocks and minerals, etc. I’ve included a small sampling of inspiration eye candy images below that resemble scraped encaustic paintings painted with the PaintSmash method. The images are from my Aerial, Micro-Stuff, Rocks and Layered Pinterest Boards. To see each individual board, follow the links with the images below. Also, see this related post for more Texture and Layers inspiration.

Stay tuned for my next post which is a Basic Scraping How-To, complete with videos and images of various scraping methods. I show you how to use the tools mentioned in this article as well as discuss a bit about what it is you’re looking for under the layers and how to carve out a fabulous composition from your PaintSmash hot mess!

Please note that this post is an introduction to basic scraping tools, there is much more to learn and many other tools to experiment with to find your favorites. If you try the tools mentioned here and the methods for using them I discuss in my next post, you might want to delve deeper by taking one of my upcoming encaustic workshops. I discuss scraping in all of my encaustic workshops, but dig deeper into the subject (no pun) in my advanced Beyond the Basics workshop.

The Tools

  • Razor Blade With Holder When you are using a razor blade, you definitely need one of these holders. Make sure you buy one like this and not one of the bulky versions. This smaller does the job to keep your hand from cramping as well as keeps your hand close enough to the surface to ‘feel’ it. Also, if you’ve been avoiding razor blades because of those unwanted marks the corners cause, invest in a metal file and take a few seconds to round out those edges. Razor blades definitely serve a purpose and shouldn’t be left at the bottom of the tool box because of those marks.
  • Clay Scraper My favorite is the Loop Tool  and/or the Sculpture House Scraper-read about it here. We all have our favorites, but I would advise avoiding the triangular shaped scrapers with very angular corners because like the razor blade, they tend to leave undesirable marks but are difficult to file down. Not mentioned in my previous favorite tools article is a Loop Tool (#510) I just discovered from Dolan Tools. It’s compatible to the Sculpture House Scraper in quality, but it’s easier to find and is slightly less expensive.
  • Double Sided Scraper Tool (A MUST have…Read more about and where to get it here) There is no limit to the fun you can have with this tool, making lines, marks and carving shapes. See a sneak peek of me using this tool to carve out some shapes on my Instagram Feed @lorraineglessner1. The complete video is included in my next post.

Aerial/Satellite Images

Layered Images

Microscopic

Rocks/Minerals

Encaustic Paint Smash 101: A How-To Using Alternative Brushes

Whether you consider yourself a professional artist or not, you still need to loosen up and get back to your inner infant artist–this is how I arrived at Paint Smash. This is the first of a series of tutorials on the subject and covers the use of alternative brushes for encaustic painting.

I have been developing a new method of encaustic painting called Paint Smash–the method is not so unlike the same term used to reference infants playing with paint–but I’m a real artist, you see ; ) Real artist or not, I still need to loosen up and get back to my inner infant artist and this is how I came to Paint Smash. In my last post I confessed that I have slowly been giving up the use of traditional brushes for DIY alternatives when painting in encaustic. I shared with you one of my brush making techniques using flashing to form any brush shape and size your waxy heart desires. Using tools like my flashing brushes in conjunction with other tools like mallets, brayers, rolling pins, fists, fingers and whatever else you can find, I’m pushing, smearing, slathering, punching, modeling the paint onto the substrate instead. Encaustic is a unique painting medium in that it can be worked as a liquid, solid and semi-solid, which lends itself fantastically to paint smashing. This tutorial is the start of a series of Paint Smash techniques that I will share with you in subsequent blog posts.

Please stayed tuned for my next post, another segment of Paint Smashing in which I show you the amazing things that are revealed when you scrape back your Paint Smash. Super fun!

But before we discuss scraping, you have to learn how to use your new amazing flashing brushes, it’s truly deceptively simple.

What you need

  • A variety of DIY flashing brushes and/or metal clay scrapers and/or Venetian Plaster applicators (see this post for how to make flashing brushes and/or prepare clay scrapers for encaustic painting)
  • Encaustic paint in a variety of contrasting colors AND lots of white-a variety of whites is best.
  • A variety of traditional encaustic painting brushes-hog’s bristle or hake.
  • A torch or heat gun for fusing (torch is best for this technique)
  • 2-6 painting panels prepared for encaustic painting

 

How To Do (Scroll down for video links)

  1. Line up your traditional and alternative brushes on your griddle like you normally would for encaustic painting.
  2. The griddle should be nice and hot (up to 200-215 degrees, check your surface temp) the paint should be swimmingly melty.
  3. Line up your boards (at least 2-4) side by side or in a grid. Prepare them with a few solid areas of color that you can apply using any brush you like, but this part is easier with a traditional encaustic brushes. You can also pour the paint instead of painting and not use a brush at all.
  4. I always begin with a patchwork of blocks or a loose grid of overlapping strips of color in a variety of sizes, but you can paint anything you want. Whatever you paint, make sure you are painting over all of your boards with continuity and not making a distinction between separate boards.
  5. Fuse with a torch. Your painting surface should be nice and hot (but not smeary) after this fuse.
  6.  Using one of your alternative brushes, scoop/lift the paint from the griddle surface-you can use one or both sides of the brush. Your brush should bend/flex a little as you pick up the paint.
  7. Transfer the paint to your painting surface by slowly slathering it on sort of like frosting a cake. Flip your brush from front to back as you transfer the paint. Again, your brush should flex a little as you paint. These early layers will go on relatively flat, but subsequent layers will cling and this is where it gets interesting.
  8. Change to a contrasting color and repeat the alternative brush painting process several times.
  9. Fuse every 2-3 layers.
  10. After a few uses of your alternative brush, add some areas of solid color with your traditional brushes. Preferred colors at this stage are white or lighter colors or very dark colors that will contrast and visually ‘clean up’ the chaotic mess you’ve seemingly made.
  11. Continue painting in this way until you’ve built up 10-20 layers–10 being at the lowest points (the valleys) and 20 being the the highest points (the hills). In other words, your paintings should be highly textured and multi-dimensional, ready for their first scrape.

Want to see a video demonstration of these techniques?

To see a video of scooping the paint from the griddle and applying it to the substrate, go to my new IGTV (InstagramTV) channel (@lorraineglessner1)

 

 

Encaustic Flashing Brush How-To

Tired of spending tons of money on traditional encaustic brushes? Learn how to make your own alternative encaustic brushes using flashing with this simple how-to.

Last week I posted on Instagram an encaustic ‘brush’ I made out of flashing. Well, I got so many questions and comments on both Insta and Facebook, I decided to postpone my original plan for this blog article and write a Flashing Brush How-To instead.

I first began using alternative brushes about 2 years ago and have gradually almost given up traditional brushes altogether, although they still serve a purpose for now. With the alternative brushes the paint is scooped off of the palette and applied like frosting a cake. The painting process is much more free, fast and FUN! I’ve even renamed my paint process, ‘Smashing Paint’ or ‘Paint Smash’…stay tuned for my next post when I’ll discuss this process in detail. Since using these brushes, I don’t stress over painting like I used to and I uncover the most fascinating forms and patterns when I scrape away the layers after the wax is applied this way. It’s amazingly fun!

I’m always looking for new and innovative ways of working and I first experimented with alternative encaustic brushes using flexible paint scrapers, but soon found them clunky and difficult to handle. I then moved on to Venetian plaster applicators, which I still use, but I find them a bit stiff and I really only like the medium and small size ones. Many years before this, I had purchased flexible clay scrapers-the real thin ones. I had originally purchased them to use as scrapers, but they were way to flimsy so I just threw them in my tool drawer and there they sat for years until I was looking for some flexible metal. To protect my fingers from the heat, I created a thick padding of duct tape and Viola! I finally found a use for those scrapers! They are perfect brushes in that the application is direct-there is no handle, no separation between your hand and the brush itself, which gives you both more and less control….more because its direct and less because the brush doesn’t hold the paint the way a traditional brush does. This may be frustrating for some, but it is kind of the reason for using alternative brushes.

After using the clay scrapers for a while, I became frustrated with their limited size and shape so that’s when I started making my flashing brushes. I can make any size or shape with some tin snips and a little duct tape, which averages less than a dollar per brush. Just a warning, that these brushes are crude and rude. I haven’t been making them for very long and I’m open to improvement suggestions. But…I’m saving tons of money and making cooler work! Now you can, too, by following the simple instructions below. Scroll down below the instructions to see some brush images, works in progress and finished work made with these brushes. Have fun making and please share images of the brushes you’ve made!

What You Need

IMG_2271

 

  • A small sheet of flashing material available at any home improvement store
  • Sharpie
  • Thick work gloves
  • A metal file
  • Tin snips
  • Duct tape


How To Do

  1. Work on a clean surface so you can keep an eye on any tiny metal shards.
  2. Draw out your brush shape on the flashing with the Sharpie. You could also cut freehand, but the tin snips are clunky so it’s best to have a guide. Start simple, you can get more complex as you make more brushes. Also, make sure to leave an inch or two at the bottom of the brush for a ‘handle’.
  3. Put your work gloves on to protect yourself from sharp edges
  4. Use the tin snips to cut the brush along your drawn lines. Watch those scraps, they are sharp!!
  5. File the edges of your brush down a bit so they aren’t so sharp and you’re ready to make your handle.
  6. Wrap the bottom of the brush several times with duct tape-at least 3-4 layers and you’re ready to paint!
  7. Make sure you clean up those tiny metal shards with a dustbuster or something that picks up teeny things, they really hurt if they get into your skin.

Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat

Jeff Juhlin & Lorraine Glessner take their collaborative teaching venture to Maui! Register now for this exciting opportunity!

Other things leave me, but it abides; other things change, but it remains the same. For me the balmy airs are always blowing, its summer seas flashing in the sun; the pulsing of its surfbeat is in my ear; I can see its garlanded crags, its leaping cascades, its plumy palms drowsing by the shore, its remote summits floating like islands above the cloud wrack; I can feel the spirit of its wildland solitudes, I can hear the splash of its brooks; in my nostrils still lives the breath of flowers that perished twenty years ago.

Mark Twain, (Written after his stay in Maui)

What
Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat
Limited to 12 participants!
Level: Intermediate to Advanced
$1200 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment Payment of 50% of the workshop fee + materials ($600) is due at the time of registration with the remaining 50% ($600) due on the first day of the workshop. Please contact Lorraine for payment details.

When
October 21-25, 2019, 10am-4pm each day

Workshop Description
The mark of nature combined with encaustic painting creates timeless works which reference memory, change and time. 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 lush, verdant coastal areas of the North Shore, Maui are led by Jeff and Lorraine. Along with daily journaling, meditation, readings and expressive mark-making exercises, these immersive hikes 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 our body’s connection and it’s direct relationship to landscape will also be discussed. Optional individual critiques with both instructors will be offered to all participants.

SCROLL DOWN TO SEE images of student work and fun scenes from hikes and studio time during Lorraine and Jeff’s 2016 and 2017 Artist Retreats in Torrey, Utah. Additional blog posts related to other artist retreats co-taught by Jeff and Lorraine are here, here and here..

Where  The Uaoa Art Barn located on Carla and Steve Thistle’s lush, rugged paradise on Maui’s North Shore. (pictured above: Uaoa Art Barn and surrounding property)

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.
  • The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Jeff and Lorraine.
  • Some guided meditation time, planned hiking and beach walks will relax and open your mind and spirit to the ocean and land, helping to support and nurture your unique creative voice.
  • A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.
  • Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.
Images of the Maui, North Shore and areas near The Uaoa Art Barn

Who A collaborative teaching venture with Jeff Juhlin & Lorraine Glessner

Jeffjuhlin.com
Jeff Juhlin’s work references his experience of time and place. He explores the horizontal line and the layers and strata of things substantive and imagined. HIs work alludes to the vast space and geology of the western landscape where he lives. There, time makes itself present in horizontal layers evidencing the past, both building up and wearing away in a continuous process. Jeff’s methodology typically includes many layers of translucent strata composed of pigmented wax, oil, paper and other media, that are built up and worn away similarly in a compressed period of creative time. He accumulates layers of material, images and color that make up the whole of a painting, then goes back in 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, Moulin Au Neuf, Auvillar France. He has been Artist in Residence 2010-2017 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, wax, pyrography, rust, paper and more in her work. Lorraine is a former 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 is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, 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.

 

Student work and other fun stuff from Torrey Retreat, 2016-2017

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

  • All encaustic paints, encaustic medium, tools and equipment
  • a variety of pigment sticks
  • Sumi ink & other misc. drawing media
  • Misc. drawing papers
  • Paper towels/rags
  • Extra encaustic brushes
  • 8×8 & 10×10 1″ cradle birch painting panels for sale

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
  • 1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)
  • 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) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, 3-ply matt board, whatever you bring, it must be rigid, but nothing coated in acrylic or acrylic gesso!! NOTE: There will be 8×8 and 10×10 1″ cradled panels for sale in the studio, so it is not necessary to bring panels if this presents a hardship due to travel.
  • 2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
  • 5-10 hake or hog’s bristle natural hair brushes in 1-2 inch 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)
  • Optional Materials Smock, any encaustic paint color or pigment stick color you favor, iwatani torch with extra butane, any tool or material for any technique that you normally employ while working with encaustic, textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax, 1-2 inspiring books to share with the class.
  • For a helpful list of portable art materials for traveling and hiking, read this recent blog post. 

 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

Cancellation In the event that you need to cancel your workshop, please notify Lorraine at least 45 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 45 days from the start of the workshop.

Accommodations  This web site offers a full list of air B&B’s along the North Shore in Haiku. Book early, they fill up quickly!

Two Within walking distance…

  1. Holomakai   Look at images on the Airbnb site, but email Carla Thistle for discount info-DO NOT USE THE AIRBNB SITE.
  2. Queen bed, small kitchen, bathroom, beautiful ocean view, clean and safe:
    100.00 cash a nite, 7 day minimum, 2 persons only. Email Jen Shannon for details and mention Carla Thistle.


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 are a number of eateries, cafes, restaurants and markets nearby. A full list will be provided to registrants a few weeks before the start of the workshop.

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

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.

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The Evolution of A Mark

How does an artist acquire a consistent style or voice? In this post, I trace how and where from my personal mark evolved.

Happy first day of Spring, my Art Bite Blog friends!!

Continuing from my last post on the topic of marks, as I sit down to write this post about the process of my recent acrylic and gouache paintings, (and pictured above) I realize I can’t write about them without first thinking about where and how the marks in these paintings originated. I also took into consideration the many conversations I’ve had with students and workshop participants regarding approaching galleries with a consistent ‘style’ or ‘voice’ and how an artist acquires such things. I look at my work from five years ago and it’s so drastically different from what I do today, yet when I look at the total evolution across the span of twenty years, I can see why the total body is related and it’s an interesting path. Giving lectures about my work has enabled me to chronologically trace back to where I am today, but I only go as far back as grad school and rarely go back that far anymore. I’ve recently started a huge studio clean-out and as a result I’ve come across work that I’ve long forgotten about. Seeing this work again is what prompted me to go back even further, to delve into some of the reasons why I do what I do today. I would like to explore that path a bit in this post and in a few future posts. Perhaps reading about my journey will help you to develop and/or trace your own.

I first considered art as a career in high school with the discovery of Hieronymus BoschGeorgia O’Keefe and Wassily Kandinsky, not necessarily at the same time or in that order. My high school boyfriend’s father had a huge book of Bosch’s paintings and we would stare at it for hours. I loved the tremendous detail, the chaotic imagination and narrative. These paintings taught me to spend time, look further, to notice the small things not overtly apparent at first glance. I hope to encourage the viewer to do the same with my work by my adding camouflaged details one has to look to find. I was intrigued by O’Keefe’s voluptuous, sensual and simplified forms, use of color, subtle shading, smooth brushstroke and feminine subject matter. At that time, I had never seen any work similar to hers-mine was a more traditional exposure to art with pastoral landscape, tight still life and other popular art/craft of the 70’s, like scary clowns, bull riders and macrame owls…but I digress. I read everything I could about O’Keefe, poured over her work and even taught myself to successfully draw value, light and shadow by copying her drawings. I discovered Kandinsky around the beginning of undergrad and was literally blown away by the abstract expressionist ideas of communicating emotions through marks, patterns, gesture and color and that one could make a whole painting by simply being inspired by the emotions and melodies evoked by music. This approach to art making was totally foreign, yet it resonated with me almost immediately and I saw in my mind the art I wanted to make. Even though it isn’t obvious, I see the influence of O’Keefe’s wonderful forms and Kandinsky’s rhythmic marks in almost all of my work of the past 30 years. See the images below for some of my favorite paintings by these artists.

Although it was not my choice, I went to design school instead of art school…Philadelphia College of Textiles and Science, now Philadelphia University and my major was textile design. Throughout my schooling and subsequent ten year career as a textile designer, I learned the fundamentals of design..composition, color, scale, repetition, etc. and acquired a detailed painting hand by countless hours of DOING. My first job out of school was as a jacquard designer for home furnishings. The company was unique in that I could take on a line of fabrics and design everything from start to finish-from the painted designs, to choosing the weaves and colors, to correcting errors in the weaving mill and on the computer. I learned an exponential amount about all aspects of design and because I had to spend hours correcting the shape of a flower on the computer if I painted outside the lines, I developed a very tight painting hand and eye for detail. The mill had been a former tie manufacturer and my bosses, the new owners, had kept within the traditional style of florals, damasks and allover patterns, small to large scale. Designing fabrics for a large scale area like a wall or sofa presents certain problems in that the design must ‘flow’ evenly without certain elements creating a distracting line. Looking out for these kinds of design no-no’s helped me develop an excellent eye for balance and placement as well as that continuous flowing line still so prevalent in my work today.

After nostalgically writing that last paragraph, I must confess that I hated that textile designer job, I found so much of it creatively stifling and perfection seeking. Thirty years later, I am grateful for certain aspects of working as a designer and I’m certain I wouldn’t be the artist I am today without that early training. See the second group of images below where I have included some of my hand painted designs from that job. Keep in mind that the colors in the paintings only represent different weaves and not necessarily the colors used in the final fabric. It’s fun to look at these designs and see how my textile design background influenced my early encaustic paintings (and pictured below) as well as a tiny flicker of my recent acrylic and gouache series. If you don’t yet notice that tiny flicker, I will fill in the blanks as to where the marks in that series come from in a near future post.

Please don’t be discouraged if you don’t have thirty years to devote to developing your voice, or if your first career choice wasn’t a creative endeavor as mine was, a lot can be achieved with determination, maturity and persistence. As I have mentioned in many previous posts, drawing a little bit everyday is the road to developing your own mark. One of my favorite quotes from my favorite book, Art & Fear tells it like it is…What you need to know about the next piece is contained in the last piece. The place to learn about your materials is the last use of your materials. The place to learn about your execution is in your execution. The best information about what you love is in your last contact with what you love. Put simply, your work is your guide. In time, as an artists gestures become more assured, the chosen tools become almost an extension of the artists own spirit. In time, exploration gives way to expression. If you’re determined and persisting in working everyday, even if it’s a 15 minute drawing, you will achieve your artistic goals…guaranteed!

I hope you have enjoyed this post and it helps you in some way. As always, I look forward to your comments, questions and suggestions-the comments section is located at the upper left sidebar of this post. Stay tuned for an exciting April-a two part series focusing on inspiring hikes for artists with contributions from some of my artist friends. Covering hikes from all over the world, remote and urban, these hikes range from other-worldly to tranquil to transcendental.

Enjoy the first day of spring, see you soon.

Image Descriptions (From left to right, top to bottom)

  1. Georgia O’Keefe, Black Iris, 1926
  2. Georgia O’Keefe, Drawing XIII-I copied this drawing over and over, obsessed with learning to draw this way.
  3. Georgia O’Keefe, Drawing X, charcoal on paper
  4. Georgia O’Keefe, Blue and Green Music, 1919
  5. Georgia O’Keefe, Music, Pink and Blue, 1918-I had a framed poster of this painting in my room through high school, college and my first apartment.
  6. Georgia O’Keefe, Special Drawing No 9, charcoal on paper, 1915 -I remember reading in her biography that this drawing was done while she had a headache, I found it fascinating that she was able to capture such a thing.
  7. Wassily Kandinsky, Yellow Red Blue, 1925
  8. Wassily Kandinsky, Composition VII, 1913, one of my all time favorite paintings.
  9. Wassily Kandinsky, Blue Circle, 1922
  10. Hieronymus Bosch, Concert in the Egg
  11. Hieronymus Bosch, detail, Garden of Earthly Delights
  12. Hieronymus Bosch, detail, Garden of Earthly Delights
  13. Wassily Kandinsky, Composition IX, 1936
  14. Hieronymus Bosch, detail, Garden of Earthly Delights
  15. Hieronymus Bosch, Garden of Earthly Delights
  16. Wassily Kandinsky, A Center, 1924

 

Image Descriptions (From left to right, top to bottom)

1-7.  Lorraine Glessner, home furnishing textile designs for Jacquard Fabrics, Inc., gouache on Bristol board, circa 1991-94.
8. Lorraine Glessner, Sprawl, encaustic, mixed media on rust printed silk on wood, 12x12x1, 2006
9. Lorraine Glessner, Seed, encaustic, mixed media on rust printed silk on wood, 12x12x1, 2006
10. Lorraine Glessner, Misguided Angel Redux, encaustic, mixed media on rust printed silk on wood, 36x36x1.5, 2010
11. Lorraine Glessner, Flaupher, encaustic, mixed media on rust printed silk on wood, 12x12x1, 2006
12. Lorraine Glessner, Aggregate, encaustic, mixed media on rust printed silk on wood, 24x42x1, 2006
13. Lorraine Glessner, Crush, encaustic, mixed media on rust printed silk on wood, 24x2x1.5, 2010
14. Lorraine Glessner, Perfect Timing, encaustic, mixed media on rust printed silk on wood, 12x12x1, 2006

My Encaustic Fairy Tale: 3 Lessons Learned

3 Lessons I Learned as an Artist by Lorraine Glessner

While writing my last blog post chronicling my early journey with encaustic, I realized that I learned many valuable lessons through it all. Three lessons stood out as being most important while at the same time being those lessons that I’m constantly re-learning as I go.

When I’m teaching, I always begin each day with a quote that works to set the tone for that day and almost always it’s a quote from Art & Fear by David Bayles and Ted Orland. If you haven’t read it, go get it NOW, read it once and then turn around and read it again. I quote from it often because I read it often, roughly once a year since it was first introduced to me in graduate school. My copy is highlighted almost all the way through because each time I read it I find another valuable snippet that seems to speak directly to me and the struggles I may be going through at the time. All of the quotes from this book were used to write this post unless otherwise noted .

  1. Experiment often with current and new materials, make lots of samples, document and save them. What you need to know about the next piece is contained in the last piece. the place to learn about your materials is the last use of your materials. The place to learn about your execution is in your execution. The best information about what you love is in your last contact with what you love. Put simply, your work is your guide.
    I can’t recall where I first heard the 40/60 principle or even if I’m getting the percentages right, but it’s something we all must strive to do. The principle works something like this…60% of your studio work should be spent making work you are known for and/or work you are ‘comfortable’ making using materials, processes and ideas you know well. The remaining 40% should be spent experimenting with new materials, processes and ideas which will generate new work. If you keep doing this, sooner or later the ‘new’ work begins to seep into the current body of work and eventually it becomes your current body of work. If you apply this principle, your work and you as an artist, will continuously evolve and grow. This sounds great, but many artists may find it difficult to work experimentation into their busy and sometimes, very limited, studio time. What I’ve done to keep experimentation alive in my studio is average my daily hours and experiment for a percentage of that time-usually about 30 minutes to an hour for every 6-8 hours. I call this work my warm-up drawing time and sometimes will work on the same drawing all week, applying new layers each day (see the featured image above). I have so much fun just playing around with materials in the studio that I’ve forgotten about. Many times, this experimentation has generated new bodies of work that I would have never conceived of without first experimenting.
    Vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue. I don’t mention this in my last post, but my first year of graduate school was very difficult for many reasons. My first review was at the end of my first semester and it was coming up fast, so fast that I was in fear of not having anything to show. One of my committee members suggested just having a wall of samples for my review. I had a few samples, but not nearly enough so I spent 3 straight weeks barely coming out of my studio to make hundreds of samples. Only having limited time as well as keeping in mind that these were just samples prevented me from being too precious and worrying about making a ‘finished’ work. Those three weeks were perhaps the most painful but most prolific of my total two year experience-more importantly I learned so much about what my materials could do and what I, as an artist, could do. I saved almost all of those samples and I still use most of them as teaching tools today, both in workshops and in my own studio.
  2. You don’t always have to know what you’re doing. This lesson could be read two-fold: a) You don’t always have to know HOW to do what you’re doing and b) You don’t always have to know what you’re going to make-what it’s going to look like.People who need certainty in their lives are less likely to make art that is risky, subversive, complicated, iffy, suggestive or spontaneous. What’s really needed is nothing more than a broad sense of what you are looking for, some strategy for how to find it and an overriding willingness to embrace mistakes and surprises along the way. Simply put, making art is chancy-it doesn’t mix well with predictability. Uncertainty is the essential, inevitable and all pervasive companion to your desire to make art. And tolerance for uncertainty is the prerequisite to succeeding.
    This is likely my favorite quote of all time and I read it in every workshop. It is absolutely essential to keep experimentation, the idea of imperfect perfection and  the element of chance in the work at all times. This doesn’t mean I’m encouraging you to make sloppy or ill-conceived work, rather, allow for a symbiosis to occur between you and your materials. Allow your materials to do what they do and you to push them gently in a certain direction. Full control and technical perfection is the death-knell for any work of art. It’s in the imperfections that true art is made and is the predominant concept behind the Japanese principle of Wabi-Sabi–an awesome subject for any artist to know, but far too complicated to explain here. The best book I have read on the subject is Wabi-Sabi: The Japanese Art of Impermanence by Andrew Juniper and Wabi-Sabi for Artist, Designers, Poets and Philosophers by Leonard Koren is also good.
    When I first started working in encaustic, there were no books to refer to, no workshops and barely any information online, so I was basically on my own. I used tools that I already had in the studio, combined encaustic with other materials, basically developed my own processes and ways of doing things with this medium. The result was that I developed a truly original body of encaustic work. I absolutely believe that if I had taken an encaustic workshop, I wouldn’t have developed this work or perhaps it would have come much later. On the other hand, taking an encaustic workshop would have saved me two years of improperly ventilating wax fumes as well as understanding the importance of fusing and the reasons why Damar resin is added to the beeswax. While it’s okay not to know too much, ALWAYS work safely and technically accurate with your materials. Once you know those things, have fun and let things happen!
    Last, a great story illustrating the woe in striving for perfection comes from Art & Fear….The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio would be graded solely on the quantity of work they produced, all those on the right, solely on the quality. His procedure was simple: on the final day of class he would bring in his bathroom scale and weigh the work of the quantity group: fifty pounds of pots would get an ‘A’, 40, a ‘B’, etc. those being graded on quality needed to produce only one pot-albeit a perfect pot to get an A. Well, came grading time and curious fact emerged: the work of highest quality were all produced by the group being graded for quantity. It seems that while the quantity group was busily churning out piles of work and learning from their mistakes, the quality group had sat theorizing about perfection, and in the end, had little more to show for their efforts than grandiose theories and a pile of dead clay. Remember this story every time you strive for perfection and find yourself overworking a piece into oblivion.
  3. Don’t start working on a white background.  Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that’s almost never the case. –Chuck Close
    The fear of the white canvas isn’t new, we’ve all experienced it in one way or another and have developed our own methods of fighting it.I always tell my students that art begins in the head with an idea, flows through the heart, which makes it personal and out through the hand, which makes the actual work. Too much emphasis in any one of those places creates an imbalance in the process. Whenever I have developed a finished work in my head and then tried to make it, I almost always fail due to the frustration that it isn’t coming out ‘right’. The same thing happens when I try to plan too much before beginning a piece, I get mired in the planning stage and never actually DO anything. The best method for me and one that I suggest to students is to develop a step by step process that will generate a mark, then follow or respond to that mark. The less control you have over that initial mark, the better.
    Covering a board with a stained or rust printed fabric and then responding to those marks was the process I developed in grad school. This process enabled me to create subsequent marks to generate paintings I never would have had I started with a white board. It was also important that I didn’t have total control over the initial process itself-in a sense the process controlled me and that was just fine.
    To see some of the stained fabrics and paintings I created using them, go to my last blog post. I have also presented a talk on generating process and artists who use process in their work-for artist links and a presentation outline go to this blog post.

While we’re on the subject of mistakes, learning and re-learning, be sure not to miss my next blog post listing 10 mistakes I have made as an artist.