A Tactile Experience

A Tactile Experience

I read years ago that we learn to see through our sense of touch. That sentence created such a profound awareness for me. Since reading that, I have come to understand more fully what the attraction to working with wax holds for me, and I think I can speak for many artists who work in the encaustic process. There is something so wonderful about wax and what it can bring to our senses, especially our sense of touch.  Being able to actually handle an object, touching and feeling it creates an immediate connection and not just for our ability to see. It brings an understanding that cannot be otherwise known.  

I travel a bit and have the fantastic opportunity to demonstrate the wonderful products that I have helped to make. One of the by-products, if you will, of these presentations is that I generate a lot of "samples." As soon as I have finished creating these samples, I send them off into the audience so people can see them, but that isn't all they do. After close inspection, they will smell them and then closing their eyes they feel them. 

Many of my demo pieces are done on paper. Sometimes I paint on the paper, other times I will make a print.  As time has gone by, I have come to have quite a collection of demo samples. I have chosen to fashion many of these into books. It is through creating these books that people are further encouraged to touch and feel and become a part of the art experience.   

Attracted to Anthraquinone Blue

Anthraquinone Blue

PB60

Anthraquinone Blue has become one of my go-to colors and I’ll tell you a little about it and why that is. It is a transparent blue with an excellent lightfast rating. It is very dark in value, an optical black unmixed. It has a strong tinting strength, yet is easily controlled when creating mixes. There are several manufacturers of this pigment and within each manufacturing company there can be options on which PB60 to choose from. Anthraquinone Blue pigments have a reddish cast, which can almost give the impression of a blue violet, some more than others. I had the privilege of helping in the selection of this pigment when Enkaustikos added it to their paint line. It has a balanced reddish cast in mass, but there is a slight hint towards green in the undertone, making it a nice choice for mixing with yellows, even Indian Yellow PY 110 for those deep and lustrous greens. 

The name Anthraquinone is perhaps better known by the name of Indanthrone Blue especially with oil paint manufacturers. Other names you might recognize for this pigment in the art industry are Delft Blue, Indian Blue and Faience Blue. This blue is more commonly associated with a deep indigo due it’s dark hue. 

Have you ever looked up to the midnight sky and are still able to see blue? That’s what  Anthraquinone Blue looks like when extended with wax medium. It maintains a lot of depth and richness without becoming dull.  When I was first in art school, I used to wonder how artists could paint the night sky and have it look so luminous. Once, when in Leon, France, I looked up at the sky and saw the exact color I had in my minds eye. Later in that same trip I was visiting Notre Dame Cathedral and was surprised to see the same color used in the interior of some of the annexes. I’m not saying that France is the only place to experience this color, but let’s just say I was at the right place to be so imprinted. 

Anthraquinone Blue has completely different properties than Phthalo, Ultramarine, or Prussian Blues. Some artist say it resembles Ultramarine Blue, but I can not agree with that statement at all. It mixes completely differently, it is much darker in value, and does not have near the red cast that Ultramarine Blue has, nor its bright clarity. It is not nearly as vibrant with the green undertones as Phthalo Blue. Anthraquinone Blue is most similar in nature to Prussian Blue (PB27) without the intensity of chroma that Prussian Blue has or the strong green undertone of the Prussian Blue. When mixed with white though, it tends to grey out quickly to a "navy", and if bluish grey is what you are looking for, try mixing it with any of the umbers. Other colors you might consider optimal for mixing with Anthraquinone Blue are Alizarin Crimson PR177 for a nice range of purples, Anthraquinone Orange PO43 for an intense transparent chocolate brown, and any of the Phthalos to make it more brilliant. 

What does this all mean to you and why might you want to incorporate Anthraquinone Blue into you palette? First, if you tend to work with darker values or paints with less intense chroma, you might find Anthraquinone Blue a nice alternative to other blues. If you like to extend your paints with a lot of medium to get soft glazes, this blue will maintain its richness and give you the depth you are looking for without being overpowering. This color is a must have if you like to do any kind of encaustic printmaking. It is an exotic, sensuous blue, sure to seduce you with its charms. 

The Horizontal Line

The Horizontal Line
I won't go into detail or elaborate on these paintings. I simply want to make a brief comment on the simplicity of the horizontal line and the direct association 'we' make to the horizon line of our world; land or water. Regardless of colors, values, or where the line falls on the picture plane it is hard to escape the connection. 

Years ago, I read "All you need is a horizontal line to make a landscape". I enjoy this thought so much because it is in understanding the core elements that help me decide how I want to embellish or proceed in my own art. 

I am flipping the images because it reiterates this point well. 


    

   




     





    





   

These are all pigmented wax on 8x8 cradled boards. Below is shown in a large format to reveal subtleties and texture.

Summer 2015 Series

Here are the images of the finished Summer 2015 Series, an intuitive journey. I allowed for shapes and patterns to emerge and submerge, embracing the "not knowing". Aside from a dedicated color palette and the 10"x10" format there were no preconceived ideas. 

The summer of 2015 has been a wonderful summer for me. A huge transition from working full time to taking that leap of faith in myself and in my art to go deeper into the journey of exploration: a true sense of not knowing. It is interesting to me that this series is a reflection of me at this particular time in my life. 

#1 - Beach Revisited

#2 - Walkway

#3 - Pillars

#4 - Tangents

#5 - Ties

#6 - Me

#7 - Me, too

 

#8 - Cloud Quilt

#9 - Walking

#10 - Lighthouse

Working in a Series

A few weeks ago I started several paintings at one time and decided to work them simultaneously as a group. Ultimately, I began working on them as individual paintings, while also wanting them to have a cohesive quality to the whole unit. This is not how I typically work at all. What prompted this approach for me was the idea that my work feels somewhat fragmented with a lot of different styles. I am not saying that I am dissatisfied with the variety, more that I wanted to explore the intentional making of a body of work. I enjoy seeing series that other artist develop, and some artist I know have been working a series for years. It is fascinating to see how one concept evolves and grows richer. 

I'm not done with these paintings quite yet. One thing I do know about my more recent art using the encaustic technique is that I am attracted to rectilinear quilt like compositions. I did not have a plan or idea of what I was going to create, only that I wanted to work with certain colors. Everything else has been very intuitive and letting one thing lead to the next. 

Starting out there are ten 10x10 panels

Most of the colors I am using are custom mixes using
Naphthol Red. Cobalt Aqua, Midtone Grey, Red Earth Pale,
enhanced Naples Yellow Hue and Titantium White
(all Enkaustikos encaustic paints)  

Layers and layers

This is were I lefts things for about a month.
I needed to get brave about taking them to the next level.  

I was overwhelmed with the business of them and felt the
need to start minimizing all the patterns.

I also love using white paint. 

It was with this one that I began to contemplate the white halos,
 they are  symbolic, but I don't want to over use it, ether. 

Then I realized I was in essence referring to the landscape
so I decided to begin suggesting it more boldly in some.
I also added another color to the mix, Anthraquinone Blue.
I actually think I am in love with that color. 

I really enjoy the quilt look to this and it actually
make me want to pull out my sewing machine.
I also added Cobalt Green Light, a color I would like to
paint my bedroom. 

So this one refers to the landscape and the little dark
patch represents the night sky. Here the white halos take
on more presence, like five figures. 

My Palette

Okay, the idea is for me to take a look at the colors I tend to reach for most often. I think it is fairly obvious that I approach paint with the idea of color mixing. I also am intrigued with the way I interact with color in regards to the different mediums that I use. Coming from an oil painting background, then moving onto pastels, and now working mostly with encaustic, it is fascinating how I tend to use the same paint colors but in very different ways. In oils, I mixed on a palette, in pastels I created optical mixes and with encaustic I am enjoying using the paint as is. Sometimes I extend with medium, sometimes I don't. Sometimes I mix and sometimes I don't. What I find most interesting is that it really doesn't matter what medium I'm working in, I tend to go to the same colors and I believe that speaks to the uniqueness of the artist.  Here is a list of the pigments I have enjoyed working with in the various mediums, but most especially in encaustic. 



Alizarin Crimson 
PR83
Transparent
PIGMENT: Anthraquinone Aluminum Hydrate Alizarin Crimson is a deep transparent red much like a bordeaux with a warm undertone. Alizarin Crimson has a moderately strong tinting strength. While Alizarin Crimson leans to the bluer side on the color wheel, I enjoy the warm undertones are revealed when extended with medium. Alizarin Crimson does not have an excellent lightfast rating, so just be aware of that. 

Anthraquinone Blue
PB60
Transparent
Lightfastness: I
PIGMENT: Indanthrone

Anthraquinone Blue is a very dark, transparent blue pigment. It has a moderately strong tinting strength, yet is easily controlled when creating mixes. Also known as Indanthrone Blue, this blue is more commonly associated with an indigo. This blue is reminiscent of the night sky when extended with wax medium, maintaining lots of depth and richness as well.  Even though it has a slightly reddish cast it is equally suited to mixing deep purples as well as deep greens. When mixed with white it tends to grey out quickly to a "navy", and if bluish grey is what you are looking for, try mixing it with any of the umbers. It has completely different properties than the Phthalo Blues, Ultramarine or Prussian Blue.


Anthraquinone Orange

PO43
Semi-Transparent
Lightfastness: I
PIGMENT: Anthraquinone Orange

Anthraquinone Orange is a deep, cool, semi-transparent orange with a very high tinting strength. This pigment is an excellent addition to the palette where the desire is to mix vibrant transparent colors. Because of the transparent nature of this pigment, glazing is easily achieved. Mixing with other transparent colors such as Bismuth Yellow, Alizarin Crimson, and Quinacridone Red will result in extremely intense warm hues. Add a touch of white for instant cooling effects. Mixed with it’s compliment of Phthalo Blue Green Shade will result in the darkest chocolate tone, an optical black.

Bismuth Yellow

PY184

Semi-Transparent

Lightfastness: I

PIGMENT: Bismuth Vanadate Yellow

Bismuth Yellow is a very clean, vibrant yellow with a high tinting strength and it is semi-transparent. Bismuth Yellow is great for mixing because of its natural clarity. It is an alternative to Cadmium Yellow Light, which it is most similar. The difference being that Cadmium Yellow Light is opaque and Bismuth is slightly cooler and when used to mix with other transparent paints you will maintain translucency suitable for washes of color.

Cadmium Red Vermilion

PO20

Opaque

Lightfastness: I

PIGMENT: CP Cadmium Sulf-Selenide 

Cadmium Red Vermillion is an intense and vibrant orange-red. It is opaque and has a strong tinting strength. This same pigment is used in other art mediums and frequently referred to as Scarlet Red or Scarlet Vermillion. Cadmium Red Vermillion is a single pigment that fits naturally between Cadmium Orange and Cadmium Red Light. I love to use this paint especially when I am printing with encaustic paint. 

Cadmium Yellow Deep

PY35

Opaque

Lightfastness: I

PIGMENT: CP Cadmium Sulfide

Cadmium Yellow Deep like all other cadmiums is a dense pigment.  It is right on the cusp of being referred to as an orange. It has a strong tinting strength, but is mellow enough to use straight. It is an opaque pigment, even still, it can make a clean glaze where it tends more towards a yellow hue than orange.

Cobalt Green Light

PG50

Semi-Transparent

Lightfastness: I

PIGMENT: Cobalt Titinate Green Spinel

Cobalt Green Light is semi-transparent and has a low tinting strength. This is one of my all time favorites. A very mellow green that is perfect just the way it is, no need to alter this color in my book. This is a single pigment that is lighter than the Cobalt Green, in other words, no white added. It is also a slightly cooler green. I think green is one of the harder colors to mix and also to use with success in my own art and yet I am so attracted to it as a hue. Cobalt Green Light is soft and not high key at all so when I paint with it in encaustic I use it straight. 

Graphite

PBK10

Opaque

Lightfastness: I

Pigment: Graphite 

Graphite in encaustic paint is the perfect choice for printmaking. It is very dense, deep grey-black and has a slight sheen that gives it a velvet like effect. I have experimented with mixing it with other pigments and can say that the best results for me were when I mixed with the high tinting strength transparent pigments such as the Phthalos and Quinacridones. 

Indian Yellow

PY110

Semi-Transparent

Lightfastness: I

PIGMENT: Isoindolinone

There are several pigments that get the common name Indian Yellow. The pigment I really like is PY110. It is a semi-transparent pigment that has a vibrant orange mass tone, when extended with medium it yields a truly unique, glowing and vibrant yellow undertone. Even though it is semi-transparent, it has a very high tinting strength. I never use paint made from this pigment full strength since the undertones are what is so special about it. 

Phthalo Blue Green Shade

PB15:4

Transparent

Lightfastness: I

PIGMENT: Copper Phthalocyanine

All Phthalo pigments have and extremely high tinting strength. In mass tone they are extremely dark in value, often overlooked on the shelf since they appear black. They are also transparent in nature. Therefore, they are an excellent choice for extending with medium for glazing. When used for mixing other colors, only a small amount is needed.  Phthalo Blue Green Shade makes a stunning turquoise blue when mixed with either Zinc White or Titanium White. I tend to use this color a lot encaustic printmaking. 

Titanium White

PW6

Opaque

Lightfastness: I

PIGMENT: Titanium Dioxide Rutile

Titanium White is a brilliant, opaque white. It also has superior tinting strength, which means that it takes just little Titanium White to make a shift in color value when mixed with other paints. However, while Titanium White is an excellent choice for custom color mixes, it is also perfect for direct painting. Its excellent covering power makes it extremely useful. I really enjoy what I call a “blonde” palette, so for me have to be careful not to over use Titanium White.

Ultramarine Blue

PB29

Transparent

Lightfastness: I

PIGMENT: Complex Silicate of Sodium & Aluminum with Sulfur

Ultramarine Blue is a transparent deep blue with moderate tinting strength. It has reddish undertones. Ultramarine Blue is probably the most versatile blue and therefore a classic color for the palette. The word ultramarine means “over the sea.” In ancient times, ultramarine was made from lazuli otherwise known as the mineral lazurite. Obtaining ultramarine from lazurite was so costly that it has been artificially manufactured since the early 1800’s. One of these days, though I would like to paint with lazuli. It just sounds so exotic.

Naphthol

The red I tend to go to most often is Naphthol Red PR112. 

However, I am learning about Pyrrole Red PR254 now and I might have my new favorite. 

Both of these reds are high tinting and transparent. Naphthol is a little cooler than Pyrrole, both are vibrant and great for color mixing. It’s not that I have to decide, but I really enjoy knowing what I can expect out of a color so I tend to work with a limited palette till I am really confident with the personality of a specific pigment. 

In Finding My Voice with Encaustic

One of the hats I wear at Enkaustikos, where I work, is the demo artist hat. I like demonstrating the encaustic medium and explaining to people the various ways in which you can work with it. I like teaching and sharing what I know.  Usually, in a demonstration I will start with the basic set up and introduce the fundamental principles of applying encaustic paint. As the questions come from the audience, I demonstrate a technique that supports the answer, and then another question, and then another demonstration, and so on.  

Next thing you know, I have what I would call a story board. I have lots of story boards and each one has a certain something about them that is both planned and yet random. 

I find that I am really attracted to the story board, they are sort of quilt like, which is very appealing to me, same with old game boards or anything that has a strong pattern that is softened in some way. I like the structure and the organic nature, simultaneously. 

I tend to run my workshops in the same way, where I start with a demonstration and as the workshop evolves I demonstrate another technique, usually on the same piece. When the workshop is over, I will sit down to my palette and put the finishing touches on that story board. 

There are times when I come to my palette and I really don’t know where to begin. In ways, it is hard to know what my art might look like if I weren’t demonstrating or teaching workshops. I am reminded of the way I used to study for tests when I was growing up. I would stand in front of my chalk board, and I became the teacher explaining to the imaginary class before me how to solve the math problem, or what the sequence of historical events were. It helped me learn, and maybe in that same way, it is the way in which I am finding my voice with encaustic. 

Here are some more recent story boards I’d like to share. 

Sampler Series #6

Sampler Series #3

Latin Series #2

Map Series #2