Archive for encaustic

New encaustics: Party Girl, Steady as she goes, and Let Go

A few new pieces, with more to come as I get them posted to the portfolio site. The first two actually came out of experiments with two new techniques: incising text with metal stamps, and trying to make a smooth surface via pouring.

Steady as she goes (tortoise), mixed-media, Jeliza Patterson

Steady as she goes, mixed-media, 2012

Let Go, encaustic, 2012

Let Go, encaustic, 2012

This one has been in progress, on and off, for at least 6 months. The changes since I last posted it are not huge, but finally made it feel complete for me. (And then I got some more feedback, so it’s going back to the painting table for at least one more round)

Party Girl, encaustic, 2012

Party Girl, encaustic, 2012

Comments off

Incredibly slow painting

In 5-20 minute chunks over the last 4 weeks, I have been working on a series of small encaustic paintings. 2 might be done. A few more are interesting enough to show “in progress” (well, interesting to *me*)

In Process #1, encaustic

This is the painting I was talking about in the post about watercolor layers:

In Process #2, encaustic

In Process #3, encaustic

In Process #4, encaustic

In Process #5, encaustic

Comments (1)

Wednesday’s unexpected encaustic tip: watercolor layers

I continue to learn through mistakes in my current “encaustic painting in 15 minutes a day” method of working. Today, I spent most of my energy (in my three 5 minute breaks to paint) on a piece where I am:

  1. incising
  2. filling the scratches with watercolor or oil paint from the tube
  3. scrubbing off the excess
  4. layering a coat of clear medium
  5. return to step 1

And it has gone from good, to bleah, to ok, to good, and so forth. But this is the interesting part

If I apply the watercolor/oil to the piece when completely cool, it’s easy to just wipe off the part that goes outside the sgraffitto.

If I apply the watercolor/oil to slightly warm wax, the wax surrounding the incised part will hold on to some of the color as a fairly even layer of transparent stain. Which, as a way to continue adding depth to the color, is fantastic.

Also, it’s a fairly easy way to completely mess up your intended color balance if you do this unintentionally. This staining effect can be scraped off, but I think I just spent as much time removing unwanted red from my mostly green-teal painting as I had on the previous 5 layers, and I couldn’t quite get it all off.

But I am hopeful that this is turning into a painting I will actually be happy to show the world, eventually.  Other experiments on the table including more including of pieces molded from impasto wax, and my first forays into encaustic over photographs glued to panel (I fear glue, though less than I fear exacto knives. And I now have official “painting pants” since PVA doesn’t really want to come out of denim.)

Comments off

Today’s useful studio tip

If, like me, you didn’t clearly label the “encaustic medium” and “pure beeswax” tins on your palette, head your palette up to not quite 200 degrees; the beeswax will become liquid enough to paint with well before the encaustic medium.

No, I didn’t figure this out on purpose, but it is handy.

Yes, am painting. No, still nothing to show.

Comments off