Workshop Highlight: Encaustic Collagraph & Line

This is an experimental, fun, why-not-try-it workshop exploring printmaking, line and encaustic.

When

August 1-3, 2019, 10am-4pm each day

Where

Elise Wagner’s Studio in Portland, OR

WHERE CAN I SIGN UP!

Please visit this link to sign up for the workshop. I look forward to working with you!

Basic Description

This is an experimental, fun, why-not-try-it workshop exploring printmaking, line and encaustic. Utilizing the natural luminosity, textural and layering possibilities of encaustic in combination with creating collagraphs utilizing found linear materials on fabric, Encaustiflex and paper, participants will experiment with a wide variety of innovative materials and exercises to inspire expressive marks while also developing a personal artistic voice. The application of thin layers of encaustic for collage, covering a board with fabric, drawing with horse hair, branding (creating marks with heated metal and wood burning tools), the use of stitch as a mark as well as the conceptual use of transparency and layers is also discussed. A bonus in this workshop is the opportunity to create your own grids, laces and lace like forms using free motion sewing machine embroidery on water soluble stabilizer-these sewn grids may also be basis for creating a collagraph. Optional individual critiques with Lorraine will be offered to all participants.

Who should take this workshop?

  • You are a semi-beginner to advanced painter (encaustic or other) who loves experimenting with materials, mixed media, alternative processes and line.
  • 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 structure will make your paintings stronger. Guaranteed.
  • 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 love materials and innovative ways to use them.
  • You dislike drawing and/or you’re afraid of it.

What happens in this workshop? What will I learn?

  • Marking, drawing, making marks with fun exercises involving music, text, folding/cutting paper, collage, fire, found materials 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.
  • Experimenting with the new, fun material, Encaustiflex.
  • Utilizing a printing press to experiment with the magic of the collagraph utilizing found and alternative materials, etc.
  • Experiment with line ideas using innovative techniques and materials such as horsehair, pyrography (making marks with heated metal and tools), stitching by hand or machine, Solvy (water soluble embroidery stabilizer) in combination with encaustic.
  • In depth discussion, brainstorming and slide talk about line and the grid-what it means in art, what it does, how to generate it, how to use it.
  • What the concepts of good design are and how to apply these ideas to fine art.
  • Effective and productive doodling.
  • Experiment with encaustic tools such as a tjanting, incising into the wax, creating grids and lines using masks, paintsticks and encaustic friendly drawing media.
  • How you can create your own process to make a cohesive body of work and how that process can relate to and enhance content in that work.
  • Learn what found drawings are and how you can use them as a tool for inspiration and content generation.

What kind of work will I make?

Please enjoy the work example pics below from participants who have previously taken this workshop as well as images from Elise’s fabulous studio. Please visit additional blog posts here and here and here and here for more information related to this workshop.

WHERE CAN I SIGN UP!

Please visit this link to sign up for the workshop. I look forward to working with you!

The Evolution Of A Mark, Part Two

Drawing is not what one sees but what one can make others see.
-Edgar Degas

Just about this time last year, I wrote The Evolution Of A Mark, in which I trace back to how and why I make the marks I make today…specifically speaking to the gouache paintings I’ve been developing on and off for many years and just recently got back into working again. Not just contemplating my navel, I’m hoping that by retracing how I got from there to here, I can help other artists look at their own work histories and trace back to what it is that sets their work apart. Once that thing is recognized, it can be developed.

My first post left off at gracefully closing the door on my textile design career and   blessedly opening a window into my fine art career at about my mid-20’s. I wanted a career in fine art, but I wasn’t a painter yet so I started by going back to my roots in textiles. I began by making art quilts that combined all of my loves at the time-photography, hand/machine sewing, found objects, beading, drawing, painting-pretty much everything but the kitchen sink. My modest success making and showing them got me into graduate school with a fellowship no less! I included some detail shots below…be kind, these quilts are OLD and so are the images.

Celebration detail, Portrait, Flower detail, Portrait detail, Flower detail, All: Hand and machine embroidered, quilted, beaded, fabric paints, found objects, photo transfers, fabric/paper collage, found fabrics

My work in grad school was (and still is) rooted in drawing connections between the earth and body. How I make these connections changed many times over the years with various explorations, but back then I was interested in making those connections through visual patterns. I started with art quilts but quickly dove into line work and using the sewing machine as a drawing tool. I was captivated by the sewn line as well as by the thread itself. There was something so simple and lovely in the pile of cut thread scraps on my sewing table that I started to use them in the quilts and as inspiration for drawings. So enthralled was I by the thread, I eventually abandoned the fabric base and just focused on making quilts out of the thread alone. My explorations led me to discover the magic of Solvy, a water-soluble embroidery stabilizer and I was hooked. My process was to cut threads from many spools and place them in a pile, then sew them together by following the flow of the clumps as I arranged them. I was so excited that this process developed from the basic process of sewing and this is where my interest in process as a form of art making was born. The sewn thread pieces resemble pelts, grass, hair, skin, which to me, spoke visually of both earth and body…another exciting thing that told me I was on the right track to combining process, materials and content.

Purity detail, Eleuthera, 12×12 inches, Purity, 6×4 feet each panel, Purity detail, White, 9×12 inches, Beginning, 2×3 feet, Rise, 4×5 feet, Beginning detail, Rise detail. All: Rust and Eco Stained fabrics, paint, machine quilted, embroidered, silk and cotton fabric, rayon thread.

From here, I made three 4×6 foot quilted ‘paintings’ for my thesis show that were comprised of the thread pieces, stained and painted fabrics, drawing and painting (pictured above). At the same time, I was also working on a series of drawings that started by manipulating and photocopying the threads, then using graphite paper to transcribe the photocopied images to another paper. The photocopy was placed on top, and the graphite paper underneath, I would then trace the photocopied image over and over without seeing the drawing I was creating underneath. The drawing created resembled a dense tangle of clumpy swirls, which referenced roots, veins, water systems and various other underlying channels integral to life.

Thread drawing photocopy detail, Clump 1, graphite on print paper, 22×30, Thread drawing photocopy, Thread drawing photocopy detail, Clump 2, graphite on print paper, 22×30

The repetitive act of tracing and sewing the threads embedded in my psyche and I found myself instinctively using it whenever I was drawing. I’ve created many series using this mark and it has varied over the years as you can see in the gallery below. Even with its variations, I’m pretty much stuck with it…or it’s stuck with me. See more of these paintings on my web site here and paintings on plexiglass here.

January in the Rockies 5, 9×12 inches, One Dark Cloud, 20×16 inches, January in the Rockies 3, 9×12 inches, Rain Over the Hill With Lake, 20×16 inches, Frost Fog, 16×20 inches

I hope you enjoyed this article and it’s helped you in some way. I always love hearing from you, so please feel free to comment (comment section is located in the upper left sidebar of this article). If you’re intrigued by line, want to find your personal mark or are just searching for some cool ways to add line to your encaustic paintings, my workshop at the encaustic conference is just for you! Read about it here and please feel free to contact me with any questions.

Stay tuned for my April blog posts-a two part series on the self-made residency I completed in January-February. I’ve gotten loads of questions about how to start one, where to stay, what to take, etc. and I’ll explain it all. I look forward to sharing this information with you and also sharing the work I produced during my residency. If you can’t wait, visit my Instagram for a sneak peak. See you in April, Happy Spring!

Workshop Highlight: Fiber and Structure

Since 2001 I have been combining encaustic and fiber or fiber related techniques in my work. In fact, I actually initiated the practice of combining these two highly compatible and versatile mediums. With an emphasis on mixed-media, this workshop is specially created to address the interests of artists working in fiber and fiber related techniques.

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Since 2001 I have been combining encaustic and fiber or fiber related techniques in my work. In fact, I actually initiated the practice of combining these two highly compatible and versatile mediums. The techniques I used in my work at that time and continue to use are all self taught and/or innovated by me. I continue to experiment, mix it all up and encourage exploration and a ‘just go for it’ attitude in all of my workshops. For more about my early work and other blog posts in which I reference my early explorations see (in order of relevance) this post, this post, this post and this post ..or just scroll down for more information and to see some of my paintings employing the techniques and material explorations covered in this workshop. See this post for student work from this and other encaustic and fiber related workshops.

Updated Workshop Description: With an emphasis on mixed-media, this workshop is specially created to address the interests of artists working in fiber and fiber related techniques such as quilting, weaving and surface design. This workshop will cover the basics of working in encaustic as well as encaustic application techniques to enhance or create structure and texture, color mixing, layers, surface manipulation, and the creation of pattern using stencils, candy molds and tjaps. Participants will also be introduced to alternative materials such as drawing with horse hair and water soluble embroidery film combined with machine and hand stitching. Innovative surface design techniques such as deconstructed screen printing (without harmful dyes), rust printing and indigo will also be introduced. Working two or three dimensionally, participants are encouraged to develop a personal vocabulary and explore current content interests by combining the infinite possibilities of encaustic in combination with fiber structures, surfaces and stitch.

What You Will Learn

See this post and read both workshop descriptions in the post as well as see lots of additional eye candy of the techniques covered in this workshop.

Additionally…

  • Because Jeff has generously offered the use of his printing tables, we will explore the innovative technique, Deconstructed Screenprinting..a very loose, super fun printing method that creates multi-layered, multi-colored textures on fabric. I have practiced this technique and have adapted a way to do it without using harsh textile dyes and chemicals. These fabrics are works of art in and of themselves, but can also be used as a wonderfully inspired basis for your encaustic paintings. Scroll down for images of my paintings utilizing these fabrics as a base.
  • Covering a board with fabric or paper..not just applying to the front of a board, but wrapping all the way around..activating the sides of a cradled board and utilizing book corners so that your painting becomes an all around beautiful object.
  • We will create 3 dimensional sewn drawings using the amazing water soluble embroidery stabilizer, Solvy. These sewn constructions can be used to collage into paintings, stiffened with wax for sculptural possibilities and much more.
  • The application of thin layers of encaustic for collage and a discussion of the conceptual use of layers, pattern and repetition.
  • Much more…if you haven’t done so yet, be sure to visit this blog post for more of what will be covered in this workshop. I look forward to working with you!

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Images of My Encaustic Work and Additional Student Work

Encaustic PaintSmash: Tips, Composition & Things to Think About

I hope you’ve been getting into the last two Encaustic PaintSmash How-To’s and having some fun with it. In my last post I discussed a bit about how to carve out a composition from the hot mess slather of paint. Here, I get a bit more detailed regarding composition, plus some tips and things to think about while you work.

I hope you all had a great summer and are getting into my favorite fall season. I love feeling the crisp air, moon and star gazing through clear skies and being inspired by those amazing fall colors.

Fall also inspires new ideas, techniques and methods. I hope you’ve been getting into the last two Encaustic PaintSmash How-To’s and having some fun with it. In my last post I discussed a bit about how to carve out a composition from the hot mess slather of paint. Here, I get a bit more detailed regarding composition, plus some tips and things to think about while you work. For a review of Encaustic PaintSmash, visit this post for a How-To to making an alternative encaustic brush from flashing material and this post for a How-To and video link on how to use it. Also, visit this post for my favorite tools in which some of the tools I mention in this article are highlighted.

Go to my YouTube Channel for fun PaintSmash videos demonstrating scraping, carving, color use and using alternative brushes.

  1. Some tips to keep in mind.
    • Glide, don’t scrape with the razor blade. Make sure you hold your razor blade at a 45 degree angle, not straight up and down. Resist the urge to dig in, rather think of the word GLIDE and not SCRAPE, as you work with the razor blade.
    • Focus on small areas. As you begin to scrape all that slathery paint may be a bit overwhelming so make sure you focus on a small area and then another. Don’t try to scrape it all back at once. Some areas may need a lot of scraping while others may need very little.
    • Frequently evaluate your work. Take it from the table and hanging it vertically. The work changes with every scrape and changes drastically when you hang it vertically. If you’re confused about where to go next in the scraping process, hanging the work vertically will help you see more clearly.
    • Clean your tools frequently. Heat the metal slightly and wipe clean with paper towel. Cleaning your tools keeps the blades sharp and you in more control over what you’re doing by cutting down on that annoying gunking up thing that sometimes happens.
    • Save your scrapings. Use scrapings as color and/or add to paintings for more texture. Some of your scrapings will come off in a colorful ‘ribbon’. Add this form right back into the painting, use it like collage to add a small amount of color elsewhere in the painting. Fuse it with the torch, use your fingers or brayer to flatten it down. Leave it as is or scrape it back with the loop or Sculpture House tools.
    • Take a risk. Don’t be afraid to remove too much or try to “save” certain areas. The worst is not taking enough off in one area in order to ‘save’…if you do that too much, all that deliciousness underneath will never be revealed! You have to be able to take that risk and if you do remove something amazing, you’ll just as soon find something else just as amazing.
  2. Composition in any painting becomes stronger with color contrasts. Be open to these contrasts as you scrape. Look for (in no particular order):
    • Complimentary color combinations. Get yourself and nice big color wheel and hang it in your studio for reference. Even though I have color wheel burned into my brain from design school, I still reference my studio color wheel constantly.
    • Quiet next to busy. You will find many busy areas when you use the PaintSmash method of painting. Make sure you are balancing these textured, busy areas with solid, quieter areas of color. If you find you have too many busy areas, add a solid area with a brush.
    • Neutral tones next to brights. Use your grays, whites and earth tones next to brighter areas to make those bright colors vibrate and the composition dance.

Encaustic PaintSmash: Basic Scraping Methods

After my last PaintSmash How-To explaining application of encaustic paint with your flashing brushes, you likely think I’ve gone completely mad, creating hot mess paintings with no rhyme or reason….maybe…but my madness is only temporary. Now I’m going to show you how to reel it back in, gain control of the madness and pull an interesting composition out of those colorful layers using several tools and methods.

After my last PaintSmash How-To explaining application of encaustic paint with your flashing brushes, you likely think I’ve gone completely mad, creating hot mess paintings with no rhyme or reason….maybe…but my madness is only temporary. Now I’m going to show you how to reel it back in, gain control of the madness and pull an interesting composition out of those colorful layers using several tools and methods. For a little review, visit this post for a How-To to making an alternative encaustic brush from flashing material and this post for a How-To and video link on how to use it. Also, visit this post for my favorite tools in which some of the tools I mention in this article are highlighted.

Follow the methods below to pull out, reveal and carve a composition. Use a combination of all of the methods and tools described below. Look for contrasts; solid, quieter areas of color next to busier areas, complimentary color combinations, grays, whites and earth tones next to brighter areas of color. Stay tuned for my next blog post in which I delve into composition a bit further.

What You Need (Visit this post for a comprehensive explanation of the razor blade, clay scraper and double-sided scraper tool)

  • Razor Blade
  • Clay Scraper
  • Double Sided Scraper Tool
  • An Encaustic Painting Preferably on wood with at least 8-15 layers of paint.
  • Iwatani Torch and/or heat gun
  • Time & Patience Yoga breathing, Zen

Methods (Go to my IGTV channel or to my new YouTube Channel to watch me begin to transform a chunky hot mess, PaintSmashed painting using the techniques below) Watch this video to see me demonstrate scraping using all three tools I discuss in the last blog post.

  1. Cold Scrape Best done at the start of your studio day before heating the board and by using the razor blade as your main tool. Scrape slowly without digging or gauging, taking off thin layers, little by little. Observe the subtle changes taking place on the surface of your painting. This method requires lots of patience, do not rush the process, you will be pleasantly surprised at what you find.
  2. Warm Scrape Your surface should be warm, tepid, NOT HOT, which may cause unwanted smearing and smushing. Slightly warm the surface with your heat gun or torch and scrape slowly without digging using the clay scraper or razor blade.
  3. Soft Scrape Self explanatory, but must be mentioned and must be practiced. Most people start scraping way too aggressively and way too hot. Make sure you’re not overheating and if you find you’re taking too much off or gauging, practice lightening up your pressure.
  4. Hard Scrape This method is to be used only in the event that you want to remove lots of layers at once using the loop or Sculpture House tools. I usually do this in only one section of a painting when things get a bit too busy and I want to add a chunk of a solid color. This method can also be used when you want to completely scrape back or ‘murder’ one of your paintings.
  5. Carve Use the double sided scraper tool, needles and other pointy tools to incise and carve shapes into the layers. There is no limit to the fun you will have revealing the layers and shaping a composition by digging out lines, marks and carving shapes. Watch me carve out a form (short version) OR (long version) using the double sided scraper tool.

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.

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)