Process

Negative to Positive

(posted 05/11/2024)

Untamed is the best way to describe my process of creating cyanotypes. Sources for the images I develop outside with sunlight are quite varied, and the possibilities are so endless that I really have to reign it in every time I work on these. My cyanotypes are not just created with found objects like leaves and flowers, but I also create photo negatives from various digital images and then make the sun prints using the negatives instead. These negatives can start as photos I’ve taken with both my phone and digital camera, images of my finished art works, and some scanned images of antique ephemera. I also recently began to use photographs rendered with Midjourney Ai.

To make the process even more complex, each time a cyanotype is made from a negative, I usually change up the sun exposure time and/or the treatment of the paper. Manipulating the surface of the watercolor paper with additives like soap, salt, or vinegar can create really cool textures and effects. There is risk with additives though, since I don’t use them often I’m less sure of how the images will turn out. But that certainly adds to the fun of it all!

My creative process tends to be more intuitive than scientific, so I rarely keep detailed records when I change things up. “Mistakes” don’t bother me a bit. I’ve had several instances where I take a “bad” cyanotype and after adding beeswax and pigments it becomes a favorite Suncaustic piece. I scan most of my cyanotypes too, so that I can digitally alter them and use in other composite or mixed-media works. I’ve built up quite an interesting collection of digital images on my laptop over the years. You might even notice some of my favorite images show up time and again in different pieces.

Several of my recent cyanotypes began as digital negatives I made from Midjourney Ai images. I recently learned the technical term for creating these synthetic pictures using Ai: synthography aka synthetic photographs. My turning them into negatives and letting sunlight develop them gives them new life as cyanotypes. I like to think of it as a reincarnation of the Ai generated art when I take those images and put them through the age old cyanotype development process.

Here’s a sample piece I’m currently working on. It’s a self-portrait, inspired by how I felt as a young girl. Here’s the original photo I directed Midjourney Ai to generate:

Here’s the image after I digitally altered it on my computer. I flipped the image horizontally, cropped out some branches, added more cattails and the blue heron, and changed the whole color scheme.

This is the negative image I printed on a special translucent film:

And finally, the cyanotype image developed by the sun in 5 minutes just the other day.

The setting is similar to a pond we had on our property when I was young. It was always a big deal when we saw blue herons or cranes flying over the house on the way to the pond. I can still recall the stillness experienced whilst gazing up at the long, quiet flight of a crane over the meadow toward the welcoming water.

What Is Encaustic Medium?

(posted 02/22/2024)

I’m interested in finding a detailed answer to this question myself, actually. I’ve worked with encaustic medium for over 6 years now, and thought it’d be a well-deserved homage to my favorite art supply to delve into its history and how the medium is made and used.

Brief History of Encaustic

Beeswax is a preservative and has been used as such for thousands of years. We know the Greeks used it to protect and decorate their ships’ hulls as early as 500 BC. Going forward to the 1st-2nd centuries A.D., the Romans in Egypt used pigmented wax to paint portraits of the deceased, covering the faces and bodies of their affluent mummies. The 900 or so famous Fayum mummy portraits (one pictured below) are said to be very well preserved, retaining much of their brilliant color. Eventually, the use of encaustic in portraits gave way to a less expensive and easier alternative, tempera paint.


Mummy portrait of a young woman, Antinoöpolis, Middle Egypt, 2nd century, LouvreParis.

A resurgence of the wax painting came about in the 18th century, after archeological discoveries sparked interest in encaustic techniques. What ignited the use of the medium by artists even more in the 19th century was simply the invention of portable electric heat sources. Famous artists such as Jasper Johns, Diego Rivera, and Robert Rauschenberg are just a few who incorporated the medium into their work in modern times.

Encaustic Combinations

Since the 1990s, encaustic medium in art has become more attractive and popular as artists have discovered the myriad of ways to incorporate it into mixed-media processes and even into pottery and sculpture. This is what I personally find most fascinating about encaustic. It can be used with various other media to give an artist several paths he or she can take when attempting to master it.

Off the top of my head, I can think of a dozen different combinations to use encaustic in art:

1. Over a dried watercolor painting
2. Over a dried ink illustration
3. Over an inkjet print on matte paper (including photos)
4. Combined with cold wax
5. Combined with oil pastel
6. Combined with oil paint
7. As a ground for alcohol ink
8. Over fabric such as linen or silk
9. Over a collage
10. Over pottery
11. Over sculpture
12. Over a cyanotype (what I call “Suncaustic”)

The most important guideline I find when working with encaustic is the need to avoid pairing it with acrylics. But even that rule can be broken since I successfully use acrylic chalk paint as a ground at times.

Grounds for encaustic art vary widely according to artist preference. I usually use parchment or watercolor papers pasted to the wood canvas. Aside from that, I’ll occasionally paint encaustic gesso or acrylic based chalk paint over the wood surface before laying down the molten medium.


Encaustic Medium Sources

Image by CJ from Pixabay


I am pretty sure at most every art sales event, a beekeeper has kindly asked if I have need of beeswax. While I’m in awe of the beekeepers’ work and grateful for their care and service to the bees, I solely buy refined encaustic medium made by R&F Paints. It comes in tiny pellets which are easy to store and melt in small batches. The “refining” process filters out the organic matter left by the bees so the medium is quite clear.

Some artists create their own medium by mixing melted beeswax with melted damar (or dammar) crystals, then filtering out the organic matter manually. Damar resin (or gum) is a natural tree sap from lowland tropical trees in India and Southeast Asia. Adding more or less of the damar resin is known to result in a respectively harder or softer wax surface. I’ve never used a brand other than R&F, but will eventually to see if my surfaces end up more luminous with a different brand. I have seen some artists use only beeswax over a photo, and that works too, but the cooled surface won’t be as hard and resilient as when it contains damar resin.

While I use the clear encaustic medium in my art, I also use pigmented encaustic paints made by R&F and Enkaustikos. Very little of these go a long way since they can be diluted with clear medium. Combining pigmented wax with clear medium is also a great way to tone down bright colors or add translucency.

Care of Encaustic Art

Most of my art work made with encaustic comes with a label giving care instructions. Typically any fine art that has pigment will eventually fade in sunlight, so keeping all your art out of the sun’s rays will help them look their best for the longest period of time. Unfortunately, it seems encaustic has been avoided by some who fear it’s too fragile for them. I find it quite resilient once the wax cools and hardens. Sure if you take a sharp object and puncture or carve the surface, it won’t be the same. That would most likely be the case with an acrylic or oil painting too.

The worst thing in my opinion you could do with encaustic is leave it in a hot car. (Well, THE worst is to take a blow torch to it, but most people won’t accidentally do that.) Unfiltered sunlight can quickly cause the surface to glisten and perhaps even liquify, which is a good sign you should move it to the shade.

The melting temperature of beeswax is around 140F degrees, so I recommend avoiding storage in any area with such high temperatures. Encaustic medium (with the addition of the damar) melts closer to 200F degrees, so it’s a bit more resilient. Keep in mind some attics get very hot in the summer.

Avoiding storage in temperatures below freezing should be avoided too, some say. I’m not sure what will happen though. Right now I’ll stick an encaustic mini in the freezer overnight to see the results … I’ll share my findings with you at the end of this blog.

I’ve been asked if it’s ok to hang encaustic art in the bathroom – the short answer is yes since the beeswax acts as a protective barrier to whatever it covers. But that’s not the case with ALL encaustic art. For example, if you have a watercolor painting that’s only partially covered in encaustic, the humidity could do some damage to the unprotected watercolor. Rest assured, if I ever do make something that can be damaged by high humidity, I will note that on the label.

I believe wrapping encaustic art in tissue paper or wax paper and then bubble wrap is the best storage option, taking care that all the edges and corners are protected. I have seen a few encaustic artists on social media repairing chipped edges and corners for clients. Life happens, and maybe you end up accidentally damaging an encaustic piece. Chances are if you contact the artist or any experienced encaustic artist they can take a look and let you know if it can be repaired.

Cleaning encaustic art will really depend on the piece. As long as any art you bought from me was not covered with metal leaf, you can wipe it with a silky soft cloth (old nylons work great). Doing this can also bring back the shine on the surface should the piece lose its shine over time.

The results of the freeze test are in:

My encaustic mini looked the same as when it went in the freezer 8 hours before. I did a little more Google research on freezing encaustic art while I was waiting. I found that freezing them is a good test to see if the ground is compatible with the medium. If the surface easily chips or flakes off when frozen, an incompatible ground was most likely used. I think I can safely say that keeping them in a unheated area wouldn’t affect my pieces, but that can’t be said for encaustic art from all artists.

Sources:

Thanks to Wikipedia and R&F Paints web sites for many of the facts I shared above. Here are the linked sources I used, in case you want to read more. In fact, you can find many encaustic art teachers have very in-depth, interesting information about encaustic on their web sites.
Wikipedia: Fayum Mummy Portraits
Wikipedia: Dammar Gum
R&F Paints History of Encaustic

Making Encaustic Magnets

(posted 01/27/2024)

Over the past few months I have made several 1-1/2 inch encaustic magnets. I like to present them as gifts or a small items to sell at events, and a lot of people like them! I began with bee images created in Midjourney, then I added butterflies. I thought I’d share how I make these little pieces.

First the round images are digitally honed using Midjourney AI and Photopea (basically Photoshop). I like to change the backgrounds to showcase some of my other work, including landscapes, florals, and botanicals.

After printing them on plain white paper, the next step is to cut them out and adhere them to the round wood pieces.

Once dry, I carefully paint the edges and backs – usually black, but in this case I’m using gray chalk paint.

After the paint dries completely, it’s time to adhere the little magnets. I have tried a couple different brands and finally found some with good strength – weak magnets are no fun. One thing I didn’t think about when I did my first batch was that it was necessary to place them far enough apart, otherwise the magnets will travel a bit to get closer to one another until the glue dries.

The next day, the pieces are ready for the encaustic medium. It’s brushed on lightly twice, then fused with my heat gun.

Since I can put any image on them, you can see just how versatile these are. Contact me for pricing if you want me to make a custom set with a photo of your choice, or even a logo. Wouldn’t these make the most unique wedding and party favors? I think so!

Encaustic + Cyanotypes = Suncaustics

(posted 10/14/23)

You’ve probably learned one of my favorite combinations in the studio is cyanotype plus encaustic. I refer to them as my “suncaustics” since cyanotypes are images developed with sunlight. I dedicated one of my first blog posts (linked here) to the topic of cyanotypes. Over the last couple years I have successfully used a few different techniques I’d like to share. As with other encaustic mixed-media art, the variations of these two media put together can really be mind blowing!

This piece began as a photo I had taken looking up at some trees in the spring while on a Girl Scout hike with my daughter’s troop several years ago. I made a digital negative of it and printed it on a clear plastic sheet, then made a cyanotype. After covering it with encaustic medium, I applied some orange and yellow alcohol inks to the surface, then fused it with heat.

The next piece was created with another negative photo I had taken of some of the plastic net bags used to hold onions, of all things. After I rinsed the cyanotype I knew it had to be an aquatic image since it looked to be underwater. I added an image of a koi on top, layered with encaustic and here’s the result. The man who purchased it reacted with so much admiration for it, I’ll never forget that!

The above pieces were part of the Beachwood Arts Council Small Wonders show in 2021.

This little bluebird began as a watercolor painting I did, then scanned it to make a digital negative. I added some metallic copper PanPastels then fused with heat. I love the simplicity and contrast of the copper, white, and dark blue. It sold at the 2021 Holiday Market at Reithoffer’s Gallery in Auburn Twp., Ohio.

This next piece was sold at a former local gallery MC Studio in 2021. They put out a call for art with the theme of the moon, and I got to work drawing seed pods of a lunaria plant aka money plant. I printed a negative of my drawing to create the cyanotype. After the encaustic medium was applied, I carved some lines and added metallic pastel to give it a pretty moonglow to go with the plant’s name.

The next suncaustic had a very humble beginning. Every spring I like to take a day and create a whole batch of cyanotypes from botanicals I find walking around my yard. Here’s what the sun print looked like as I rinsed off the developing chemicals.

I really didn’t like the print, so I covered most of it with powder and oil pastel. The resulting blue undertones of the green background and vibrant flowers were a wonderful surprise to me when I was done. It sold at the last Nature & Arts Fest at West Woods in Novelty, Ohio.

And this one was pushed a bit farther. I painted over the wax with some pink, green, and gold set in carved lines, then mounted it on another cyanotype image to give it a unique backdrop in the frame. The acid wash blue effect in this piece also keeps it really interesting!

My latest suncaustic was made from one of my backyard prints. I covered the white leaves and some of the background with oil pastel – I love the blue and green combo. Then to put more life in it, I painted some yellow leaf stems on the surface. The final framed piece is listed for sale on my Etsy site linked here.

I can’t wait to see what my mixed-media experiments in the studio will bring in the future – stay tuned!

Preservation

(posted 08/19/2023)

Encaustic medium is made from beeswax and damar resin. When working with the medium, I’m reminded of the connection to nature just by the sweet scent of it. I don’t keep bees, but looking at a photo similar to this one inspired me to pay some homage to the work of the bees.

Photo by pagala on Pixabay

I was not only struck by the beautiful pattern, but by the tones and contrast created with the empty and full cells. It got me thinking how the honeycomb itself embodies so much work and history of the bees that is so beautifully preserved by the structure and the beeswax.

In my studio, I keep boxes of antique books and periodicals which were left in our attic in our house in Windsor, Ohio. My dad’s family were descendants of the original settlers (Griswolds) that came from Connecticut to the Western Reserve in Ohio after the Revolutionary War. My late great great Aunt Sarah (Sade) Griswold was an active member of Windsor’s Historical Society and collected and donated many artifacts to the museum there. She also collected newspaper clippings which look as though they were gathered when she was quite young. She was born in 1886, became a nurse who never married, and lived to be 100! When I was a kid I used to poke around the attic and remember seeing many dusty letters, postcards, books, and photos but never really studied them. Now I take the time to really look at what Aunt Sade and my grandparents collected and think about why they thought them valuable enough to keep. Perhaps they were just hoarders? Perhaps they wanted their descendants like me to find and study them? I’ll never know.

So this piece began with some of the antique clippings from our attic. I scanned them to create digital copies which were then printed. As I cut the images from the copies, I was immediately placed in Aunt Sade’s shoes, looking closely at each clipping, literally reenacting her process. Once they were cut out, I decided to randomly paste them onto my wood canvas with no organization or reason – I suppose that represents the mystery that exists between her life and mine since I never knew her. I did not take a photo of this part – I really wish I had – but alas my composition will always remain a mystery as well since my next step was to cover the clippings in encaustic medium.

Once covered in the milky, slightly pigmented beeswax, I dusted areas of the surface with oil powdered pastels called PanPastels. I liked how they added to the mystery of what was hidden beneath the wax.

To apply the honeycomb pattern, I had first printed it onto paper then poked hundreds of holes with my needle tool into the surface, as shown in this process video.

The final step in the process was to choose some cells to carve out and reveal parts of the clippings underneath. Even though revealed, the images are still highly unrecognizable, strengthening the veil of mystery.


I called it “Preservation” since the beeswax will help to further preserve the history my Aunt Sade so fervently valued. I’m very happy this piece was awarded by the Geauga Arts Council, placing 3rd place in the Other Media category. It’s currently being shown at the West Woods Nature Center in Novelty, Ohio until October 3, 2023.

Neighbors

(posted 05/20/2023)

I painted a piece inspired by one neighbor who happens to be a horse. It’s interesting to me that “neigh” is part of the word “neighbor,” and I have a horse as a neighbor. I’d like to know the connection between the two words if there is one. But that’s not very important to this story.

When I was a kid, I used to walk along route 534 and other roads in Windsor, Ohio, quite a lot. One of my earliest memories is when I ended up one early morning at our Amish neighbor’s farm up on a hill, west of our place. I was probably 4 or 5. The kids must have taken me on a tour of the farm because I remember coming very close to a massive bull behind a fence – I can still picture his huge head and the shiny bull ring in his wet, fleshy nose. I also remember being in their dawn lit kitchen and seeing a few of the young Amish girls. They were standing in a row at the sink in gauzy white gowns with their long hair draping their backs. They must have been washing the breakfast dishes. It was like seeing a row of angels in real life to me, and I’ll never forget it.

We had another neighbor down the south side of the road who was a retired history teacher, Mr. Loomis. He and his wife lived in a beautiful brick century home. On days I roamed, I would end up at their house more often than they probably liked. I sat next to Mr. Loomis in their front room while his wife made dinner. I even stayed once and ate with them, although it could have been more than once since I barely recall. He would mostly talk to me about history of course, especially local history since he was a descendant of a pioneer family in Windsor; my family were original settlers there too. Across the road was a barn where they kept a horse – a white pony actually – named Starfire. It was a real treat if he took me to the barn to see Starfire, and I would often stop to see her when I was older riding my bike past their place to Mespo.

I had some other neighbors who caught my curiosity as well. A teenage girl invited me to play with my Barbies while she smoked and played records in her room. To this day when I hear “Tiny Dancer” I think of her. Another Amish neighbor gave me ripe strawberries from her garden when I walked by as she was weeding. I barely ever see my neighbors now. I need to get out more.

When I lived in Hudson a decade ago, I craved living in the country again. We lived in what I call a fish bowl since all the back yards faced each other. One neighbor seemed friendly, but became less liked when he reported us for having an uncontained pile of yard debris. A teenage girl behind our house spent some time with my daughter, which gave her some fond memories. I would often drive by areas with pastures and farms longing to live among the peace and beauty, raising my daughter in a more laid back community. We finally found the perfect place in Auburn Township in 2014. And to make it even better, our neighbors happen to have two horses. For years I’ve been able to look out my window and see horses grazing behind the white fence – it’s quite picturesque.

Earlier this year, I noticed our neighbor across the road was putting up a fence. I figured they might be adding livestock or maybe even goats or llamas. But, I was so happy to see a few weeks ago a new horse was there behind the fence. This horse seems very friendly though. Every time we are outside with the dog he stops eating and comes to the fence to watch us, like he is saying hello. One early morning I saw a man walking down the road stop to interact with the new horse, most likely feeding him too. Even though he’s a tall chestnut colored horse, he reminds me of Starfire in his demeanor.

This new neighbor has been my obsession the last couple weeks in the studio. I set out to make an image that is simplistic with the calm, country feeling you have when you’re in the most beautiful parts of northeast Ohio. The piece began with encaustic medium over an encaustic gesso base. I then did most of the image in oil pastels and a bit of walnut ink.

As you can see, it has taken me a lot of time and trials but I’m happy with the result. The encaustic painting “Country Neighbor” represents my gratitude for all the farmers, horse and other livestock owners that are in our community. They make our surroundings so much more enjoyable, tranquil, and serene. I hope by painting this it will bring that same feeling into someone’s home. Follow this link to my Etsy Shop.

I’m excited to paint more horses. I drew them a lot when I was a kid. When I sit at my computer in my studio, I have a great view of my new neighbor – I can see him right now grazing between the trees. One of these days I’ll have to go introduce myself.

AI Meets Encaustic, Part III

(posted 05/14/2023)

If you have followed me at all lately, you can tell I am having a lot of fun working with the AI system called Midjourney. I’ve “conjured” well over 200 images using it. I’ve had it create patterns, botanicals, landscapes, round images, abstract art, portraits, and the list goes on. Quantity over quality is definitely where I’m at in the process. I have experimented enough to find a niche of a certain style that feels right, for now.

Painting with words is how I can best describe the process. You type in descriptive words on your own or copy those of the art pieces you like – they are constantly being produced by other subscribers out of the general system. Most of what I see on Midjourney when I scroll through other artists’ work has a futuristic/science fiction look similar to the first one below, but I do my best to avoid those results because my goal is to be unique of course. Overall, Midjourney is to an artist a brilliant way to quickly draft an image of a piece one is thinking of, but can be frustrating when the words aren’t interpreted the same way by AI.

Midjourney Images

What makes AI fun, but like a roller coaster, is the rapid pace at which I can create images. But, to make art that truly represents my purpose and aesthetic has taken me a very long time and quite a few errors. I’m excited to continue to share what I’ve conjured using AI. The work I’ve done lately has a strong visual presence. I don’t like these enough to use them in my encaustic, but they’re quite appealing and show yet another avenue of my individual creativity.

Related Stuff

Midjourney AI Meets Encaustic Wax Part I
Midjourney AI Meets Encaustic Wax Part II

Midjourney AI Art Meets Encaustic, Part II

(posted 05/11/2023)

A few months ago I forayed into using an AI art generator called Midjourney. I tread very lightly into it, using basic image prompts and then referencing the output for three encaustic art pieces.

In this post I highlight the first which came from an AI image that is a watercolor of a pond in a field. When I was a kid, we had the most beautiful, tranquil pond in the acreage behind our home. This is the best I could get from AI to render an image of my memory.

Midjourney Art

Midjourney Art by Rachel Rivas-Plata

So I went to work covering a wood canvas with white pigmented encaustic medium. Then as you can see I carefully added powdered oil pastels called PanPastels. I also added some more white medium to bring texture and movement to the clouds. I wasn’t happy with the cattail-like weeds in the foreground, so I dropped in a great blue heron. In an attempt to render a more peaceful, quiet feeling I opted to remove the bird and went back to the blurred, blowing weeds.

Encaustic Process Photos

The last photo above shows how easily you can rework the wax once it cools. Scraping it off and then applying new layers has saved many pieces in my studio, and that’s another reason to love working with this medium. On one had one has to work very quickly while it’s melted, but after it cools it can be changed.

Encaustic Art

The final product is called “Adrift.” It’s on an 11×14 inch wood panel and if you don’t find it listed on my Etsy shop linked here, that means it has sold.

Related Stuff

Midjourney AI Art Meets Encaustic, Part I

AI Meets Encaustic, Part I

(posted 02/11/2023)

I do live in somewhat of a vacuum, or bubble as some call it. I work at home, do my encaustic art at home, and most of my social interactions nowadays consist of texting friends and hanging out on Instagram. I get quite a lot of social stimulation through observation. I suppose the reason I bring up my limited social interactions is to let you know how seeing one post by an artist on Instagram has led to a vast opening up of art that never would have imagined. Literally.

I was looking on Instagram one day in January and came across a beautiful image uploaded by an artist I follow. Her name is Annemarie Ridderhof and you can see her art on Instagram: @annemarie33. It had a futuristic, surreal quality that was very intriguing. Her post mentioned that she created it using AI (artificial intelligence), particularly a program called Midjourney. Well, I have just enough spontaneity and curiosity in me that led to my downloading and playing with that program within a few hours. Within days I had created a reference photo using AI, and over the last few weeks have finished an encaustic work based off that interaction.

The first few images I prompted Midjourney to create were some memories from my childhood I wanted to solidify in 2D. I put brief descriptions of the scenes I wanted portrayed and in less than a minute, four mockups show on the screen. At that point, I had the option of creating different versions of the four, or creating higher resolution versions of them which are suitable to download.

After spending a day or two on those types of images, I ran out of my freebies. By then I was hooked, so I bought a limited subscription.

My next experiment was having Midjourney take elements of images I had created to see what AI would come up with. Here are side by side comparisons of my art vs. Midjourney.

Next I uploaded some 19th century images that I scanned several years ago.

As I became more comfortable with the program, I decided to upload a few of my own images to see if I could make something more of my own from them. I wanted AI to make new or stylized versions of them. This didn’t quite pass my gut test though, since uploading the photos pretty much gives the copyright away to Midjourney. I made a few images by combining some, which turned out very interesting, I think. See below.

Then things began to get a little weird. I was using the terms like “realistic photo” and some creepy images were born. If you peruse many of the images AI creates, they have a darker mood than I prefer. I know my images aren’t all that “happy” but I noticed AI seems to default to the macabre on its own.

To incorporate AI into my art, I decided to use Midjourney to create a reference photo which I would then use to create an original encaustic work. You’ll have to read my next blog post to see what transpired.

I have read more about AI art recently and found there is quite a lot of controversy surrounding the whole idea of AI in art. If people are using it and not sharing the fact an artwork is mostly made by AI, that is simply fraudulent. I might have a stronger opinion if I made a living as a professional artist, but I really don’t see it as a threat but a dynamic new tool to help with visualization. I look forward to seeing how it moves contemporary art in a new direction.

To be continued.

Related Stuff

Midjourney AI Art Meets Encaustic, Part II

Moreland Meadow 2020

(posted 09/11/2022)

In spring of 2020, when society contracted and we eliminated in-person gatherings, I started a habit of walking each morning at dawn before work. My job in data analysis was sitting at a computer for eight hours or more, so the walks really helped me mentally and physically feel energized each day. In every direction from my house there is beautiful scenery, since I’m lucky to live in a rural community. My route quickly became ingrained down a side gravel road with overhanging tree limbs that provided some pretty canopies as I approached.

What I loved most was catching glimpses of creatures I don’t usually see or hear. An occasional car would drive by, but often times it was just me on the road with busy birds, camouflaged rabbits, and the occasional running deer. One day I found this young orange newt crossing the road and so I helped him to the other side.

I vaguely remember watching for a solar eclipse over the tops of the trees once. I sometimes would see a cat crouched by the side of the meadow on his early morning hunt.

Early last year, I was devastated when tree cutting services swept down the road and cut many of the beautiful trees lining each side. On one walk, a little bird became very aggressive with me, swooping over my head several times. I can’t help but wonder if it thought I was what took down those trees. This year, some homes were built on the meadows of Moreland Road where I often stopped to snap photos of wildflowers, sunrises, morning mist, and dewy spider webs. Now the gravel road is paved, and I stopped the walks.

I am fairly certain the lot where my current home is was once a meadow or forest. I am not guilt-free of this encroachment on nature, but it has been very sad to experience the loss. What I do still have though are many photos I took on my strolls in 2020. Here are a few.

I made several encaustic art pieces from them and have sold a few. The ones in frames are my favorites, and I don’t plan to sell them. As I look at these and enjoy the beauty of the photos and the memories they hold, I can’t help but be grateful for this silver lining to the cloud that came over us in 2020.

Art History 101: Imposter Syndrome

(posted 05/26/2022)

I thought I’d share some of my history just to let you know where I’ve been. I think it also helps me close the chapters for good and continue forward into my next art phase. In my last blog I told the story of how I spent a lot of time in the art room in high school and why. The art teacher had suggested I could get a scholarship to Cleveland Institute of Art but I looked at him like he was crazy thinking my grades were too good to “waste” on art school. So, I was not intending on being an art major when I applied to Allegheny College in Pennsylvania. I wanted to be an art therapist. Looking back I clearly see I didn’t pick the right college, but at the time I had no clue how to pick the best school for my intended major. It was a good “liberal arts” college so I was assured no matter what I majored in I’d be guaranteed a career in whatever I wanted to do after I earned a Bachelor’s. I’m not sure if I was misled or had no common sense at the time, but that’s how I perceived my options. The campus was pretty, the tour guide seemed friendly, and they gave me hefty grants based on my grades. I was wait listed at Oberlin and Dickinson, so I accepted my fate and matriculated at Allegheny in the fall of 1988.

College was difficult for me to say the least. They expected me to show up early in the morning, do lots of reading, participate in class and spend hours studying. I will let you in on a secret, I didn’t do much of that in high school at all. I would study the night before tests since the teachers usually told us what would be on them. I did like to read a lot, but was more interested in Anne Rice and Stephen King novels than Immanuel Kant or Thomas Merton books. Then there was my new social life. I went from talking to literally two people in high school to having a nice group of friends in college based on our mutual love of loud keg parties and drinking any form of schnapps we could get our hands on.

At Allegheny I felt some support of my new friends, but did not have any connection with my advisor or my professors. I avoided them as much as possible, certainly because of the shame I felt in not attending classes and not doing well on tests. I had never struggled in school so I didn’t realize I should have reached out to them for help. I didn’t even know a tutor was an option. It did not improve either when I spoke with my advisor in the middle of my Freshman year and she said “Maybe Allegheny isn’t the place for you.” I’m still angry about that after all these years, but writing this does help get it off my chest. She was probably right, but she never offered me help or ways to improve my situation. I think that’s when I first developed my tendencies of imposter syndrome.

I spent the next three years feeling like I wasn’t good enough to be there. I went through some very tough emotional and financial struggles my junior year and considered dropping out after I failed an 8 am class I rarely attended – Geology. Quite honestly college was boring me too. It just seemed like work, and I was having too much fun with my new friends for that. With encouragement from my good friend and roommate, I decided to bite the bullet and take an extra course my senior year to finish my degree. By that time I had a few art courses under my belt including a multimedia class where I hand built this clay piece modeled after a glass bottle with candle wax dripping off the sides. It was about 18 inches tall.

I thought my choice of majors was between English and Studio Art based on the classes I had done well in and felt encouragement from the professors when I did show up and do the work. I learned to mix the clay and glazes and how to fire pieces in an enormous gas kiln. I can’t say I felt like an expert after those classes, but I knew I loved it and enjoyed the process more than anything else. Here is a piece I did in beginning ceramics course when we had to depict the fortune after opening a fortune cookie in class.

I never felt connected with the other art majors. They seemed weird to me ha ha. Now I realize I would have fit in perfectly with my own weirdness if I had just accepted my differences rather than try to hide them. I did not spend a lot of time at art events, but I do vividly recall when the art gallery receptionist bought a raku fired cup and saucer I had made. I was in shock since I had always given my pieces away for free to family and friends.

Here are a couple of the pieces that were part of my senior year project. Some lost soul broke off the points of the yellow triangles in the top piece, so I had to just go with it when I discovered the damage in the studio the next day. The platters are about 20 inches wide and I still have some of them.

That senior project was another experience that added to my imposter syndrome. We were supposed to find an artist that inspired our work and I had settled on Wassily Kandinsky. I read a little about his work and was inspired by the bold shapes, colors, and lines. His use of the abstract to transcend the physical world resonated with me. I was not able to convey this to the art history professor though – he quickly shot me down and said my work was no comparison to Kandinsky. True, but I don’t know where these professors come off being so mean to young people.

Fast forward to early 2000s when I enrolled in pottery courses at Lakeland Community College. Once again I was in my element spending hours in the studio each week. Throwing pottery was very fun and was something I was ok at, but never mastered it. I lacked a lot of the strength needed in my hands and it is very hard on your skin. Hand building came much easier to me. Here are some of the pieces I made at Lakeland. The teacher was very good, and I loved the classes. He showed us the technical nuances but let us run free with our own ideas and projects.

I have not done ceramics or pottery for roughly twenty years now. I don’t really miss it since I found encaustic to be very satisfying, inspiring, and full of possibilities. If you’ve read this far, thank you so much for your interest. I don’t spend too much of my time looking back, but I needed to chronicle and appreciate the learning experiences that brought me to where I am right now.

Heavy

(posted 05/19/2022)

I’m very pleased to announce that my encaustic piece “Heavy” has been accepted in to the 12th May Show at Lakeland Community College in Kirtland, Ohio. The show runs from May 19 through July 15. Here’s a link to the Lakeland CC web site where you can see gallery hours along with the option to purchase the pieces in the show that are for sale.

Once in a while a piece will take on a life of its own, and that was really the case here! It began as a playful portrait sketch I did after watching Eschwan Winding create one of her beautiful figure drawings. I did the sketch with white pencil on a black background just to try something different. I liked it, but was not nearly satisfied – I continued to add some oil paint, then encaustic medium. I mounted it to a larger wood canvas, then covered it more encaustic medium, a crazy amount of texture, and then some panpastel matte and metallic pigments. Once the wax was slightly heated again, the oil based paint and pigments set in and became part of the medium.

“Heavy” by Rachel Rivas-Plata. Encaustic on Wood, 11″x14″ (2022)

The results incessantly interest me – the mysterious expression, various textures, bright orange hair against the dark, weathered background. There is also a subtle contrast between smooth and rough wax, and matte and metallic finishes seen as you move left or right of the piece. I deliberately compounded the 2 pieces of wood with the medium to seem as though they were one. She’s a bold and bright figure, and forever bound to some darkness and wounds, both physically and in her neutral gaze. 

I paid close attention to how the piece made me feel rather than how it looked as it progressed, which I find very interesting and gratifying. That signals to me that the art work transcended its physical state.

Here are some process photos and videos.

The initial sketch

The painting in process

After mounting to second wood canvas

Covering with encaustic medium

Texture in the cooled medium from brush strokes

“Heavy” by Rachel Rivas-Plata. Encaustic on Wood, 11″x14″ (2022)

The show at Lakeland’s Gallery in Kirtland, Ohio, runs through July 15, 2022.

January Blues (and Reds and Yellows, etc.)

(posted 01/23/2022)

January is not one of my favorite times of year as a resident of the Snow Belt in Ohio. Cleaning up the holiday decorations, shoveling snow, and struggling to zip up my pants are just not very uplifting moments in my opinion. Observing nature has always been my respite for when I need a boost. A walk in the park, a drive down a country road, looking out the window at the birds or even just watching the snow drifting and falling as the sun rises brings a sense of wonder and excitement to my hibernating state.

I bought a nice digital camera many years ago. I also bought several books on how to use it but honestly never learned about all of its functions. I do like taking photos with it and manipulating them digitally, though. Photopea is an excellent, free web-based photo editor. Since I discovered it, I’ve used it dozens of times. Try it out if you are ever looking for basically a free version of Photoshop. It even has templates for creating banners for social media sites which is always a help when you need to create the best size image for those platforms.

Here are some examples of the types of changes I make to my photos. These pictures were taken from my kitchen window over the last few days. I keep my camera on the counter in case I see some interesting birds when I’m there. I cropped and slightly edited the photos, adjusting mostly size, hue and color saturation. The picture with the black and white bird had a branch in front of the bird’s head, so I used the clone tool to cover the branch with pieces of the surrounding image.

In the next example, I cropped the bird so it was in a more interesting position on the canvas. I also played with saturation and brightness to make it more appealing to my eye.

I plan to use these in encaustic pieces, so you’ll probably see them again in the future. Thanks for looking at one part of my artistic process!

I hope you enjoy the season in whatever way you can. I’ll continue to take photos from the window until the temperature is above freezing.

Lessons from Birdtober

(posted 10/30/2021)

I am happy to announce I have completed my final bird of Birdtober 2021, a chance for artists of Instagram to show off and/or improve their bird art skills for each day of the month of October. This challenge came from a super talented Texas artist who has my gratitude for the inspiration and education: Andrea Holmes, whose web site is linked here. She brought awareness to the TCA Texas Lights Out for Wildlife campaign, which encourages turning off non-essential lights from overnight during the four months of peak migration, September, October, April, and May. More information can be found at tcatexas.org.

If you are interested in purchasing any of my encaustic birds done on 3 inch wood ornaments, you can find the remaining few in my Etsy shop linked here. Encaustic is something that is far more interesting to experience in person. It has a glow, texture, and scent you obviously don’t glean online.

Here are the 31 birds, keep in mind the photos are in descending order:

Artist choices: 2. Painted Bunting; 9. Short-Eared Owl; 16. Oriole; 23. Piping Plover; 30. Cardinal

Thank you for looking! This ended up being a super rewarding challenge, and I will probably do another one next year. Here are some of the valuable lessons I took from the month’s work –

Work at art. I often create new pieces just as experiment or “playing” in the studio. It’s quite different in a good way for me to have assignments. I’m not often motivated to create lots of art, so this has helped me generate a lot more items to sell than I normally would in a month’s time. I think I should pay attention to that and set more goals for myself in order to bulk up my inventory.

Don’t rush. I didn’t make many mistakes, but I did when I rushed through the work and/or was not “in the moment” but thinking of something else. This proves the fact for me once again that multitasking does not work, and the ability to focus is a wonderful asset. Lists help me stay on track and not forget steps such as signing my drawings. Yes, I forgot to sign one before applying the wax – hopefully just one. I also forgot to paint the edges black on a few.

Be prepared. This was probably my biggest lesson learned. In order to post daily, I created a system to work on groups of birds, usually four at a time. The encaustic ornaments required several steps, including drying time for the paste, so it was always better for me to repeat each step four times in a row rather than work on the entire process at once. My brain is wired that way and I work efficiently like this at my day job, so it was easy for me to create a system and follow it. Giving myself the time to do it was the challenge. I had to look at my calendar weekly and plan which days were available to spend a few hours at a time in the studio.

Don’t compare. If you search the hashtag #birdtober or #birdtober2021 you can see the beautiful work posted by all the participating artists. I’m not the best and I’m not the worst. Where I fall in the middle does not matter to me because when someone looks at the work I create I know mine stands out as unique. Encaustic medium also gives the pieces distinction. I think most encaustic artists have their own unique style and process and that’s one of the reasons I love the medium. My pieces are truly one-of-a-kind.

Hibaku

(posted 08/14/2021)

I am so pleased to announce this piece along with the sailboat painting I did a few months ago have been accepted into the Geauga Arts Council’s West Woods juried exhibit opening on August 20, 2021. It’s called “Hibaku,” and it’s a 12 x 12 inch encaustic on wood canvas. I made a smaller version of it initially titled “Beyond,” then decided I liked it so much I wanted to make a larger one. I think it could be translated into an even bigger piece some day. It’s basically a representation of some gingko branches with a cloud filled, sky blue background.

I’m sure many artists have pieces related to or depicting how they feel about the pandemic. I knew I wanted to document some of my feelings about it, but never sat down and planned something out. This piece came as a surprise from a stream of consciousness. When working on the study, “Beyond,” I made a conscious choice to keep the leaves equidistant, incorporating my feelings on social distancing. Showing that while we are distant, we are still largely connected via lines of communication. I also wanted the hard, straight lines to boldly contrast with soft organic lines inside the leaves – depicting contrast of science and nature. The deep cuts represent our illness, the beautiful sky beyond is our hope.

The title “Hibaku” came from my research of the ginkgo tree. I like to incorporate symbolism into my work – sometimes overtly, sometimes subtly, but it’s usually there. Ginkgo trees are largely symbolic of strength and longevity. You can read an interesting web page about it linked here. I read there a shocking yet wonderful fact that after the atomic bomb was dropped on Hiroshima, “Even though scientists predicted that nothing would grow at the site for 75 years, the ginkgo trees and several others fully recovered, and ginkgo is now regarded as a symbol of endurance and vitality.” I knew when I learned that fact, I had to reference the history of the horrific bombing along with our own struggle with this “bomb” of a virus that has been dropped upon the entire world. I am an optimist, and I needed to share this amazing fact through the title of my work. In the words of Peter Del Tredici who published a paper on the subject linked here, “Hibaku is a Japanese word meaning ‘something that has experienced a nuclear bomb.’ Typically it is used in the form hibakusha meaning ‘people who have survived a nuclear bomb.’ ” While I never want to diminish the pain and suffering of the victims of the bombing in 1945, I am a firm believer in the importance of learning from history.

Now turning to the actual process, unlike most of my prior works, this one began with charcoal gray chalk paint on the surface of the wood canvas. Having a dark base, allowed me to carve into the top wax layer to reveal that base color later in the process. I really like this effect and plan to continue using the dark base in the future. It pretty much guarantees there will be some depth to my work.

Next, I coated the canvas in white pigmented beeswax. I believe I built up four layers or so, fusing with the heat gun between each layer. I then lightly carved the outlines of the branches and leaves onto the cooled wax. After that, it was time to add the blue sky color in the form of PanPastels. I love working with them, but they can be a bit unpredictable. It’s always best to test the color combinations on a separate piece of paper before using them on your work. As you’ll see in the following video, the coolest thing happens when you add the pastels – the pigments get caught in the carved outlines and accentuate them.

When I was satisfied with the addition of blue, I went on to brush the green pastels onto the leaves. Here’s what it looked like after the above steps.

Then it was time to carve lines into the leaves, tedious work but it can be meditative.

Next two photos, you’ll see me struggle with the background. Initially, I was unable to mimic the floating clouds that I had loved so much in my original study, “Beyond.” I even erased the entire background at one point.

Even when you erase something on a wax surface, there are remnants left, so it can add to the overall worn feeling and patina of the piece. I was able to get the desired background eventually after a couple more applications. I also added some red and warmth to the ginkgo stems and leaves which helped contrast them with the sky even more.

This final photo is of the initial 8 x 8 inch study I called “Beyond.” It’s currently for sale in my Etsy shop – linked here.

To see both of my accepted pieces, along with several other local artworks, visit the Geauga Parks West Woods Nature Center from August 20, 2021 through October 5, 2021. Center is open daily 10 am – 4 pm. “Hibaku” is 12 x 12 inches and priced at $88.

Renaissance by Fire

(posted 07/02/2021)

I love to experiment in the art studio. If you have seen much of my work, I’m sure you can tell by now I have multiple artistic personalities. One day I’m focused on abstract pieces, the next I’m working on a sketch of a beautiful butterfly. I used to feel bad that I don’t have one “style,” until I saw a TED talk from an artist who capitalized on that ability (rather than considering it a disability) when he made up a hundred artist personas with bios and created art pieces for them all. Genius. I found the link! Here is Shea Hembrey’s TED talk.

I. LOVE. ART. (in most of its forms), so I easily become distracted and inspired by new materials and techniques. I have seen many encaustic artists use alcohol inks to create these interesting floral-like pieces by blowing the inks through a straw. As you can see below, I tried one of these straw-blown flowers myself. I like it, but it’s probably not something I’m going to pursue. There are artists like Alicia Tormey and Shary Bartlett who do a fantastic job at making them if you want to see some really amazing ones. Check out their work!

So, when I went about creating “Renaissance,” I knew I just wanted an abstract form. I was experimenting with color, mixing the warm pinks and reds with blue. Alcohol ink is VERY vibrant. I can see why people love to work with it. The colors are supersaturated. The control or lack of it is another beast altogether. It’s nearly impossible to dominate it as a beginner. You really need to work with it for hours to get a sense of how to manipulate it to your liking. If you want to regularly work with alcohol inks, you’re going to need lots of time and/or instruction.

I began the piece by coating an 8×10 inch wood canvas with white pigmented encaustic medium to get a clean, white surface. I then added drips of the inks, letting them dry for a half minute or so before blowing them around with a straw. I have read suggestions to use an alcohol ink blending solution, but I didn’t have one so I used isopropyl alcohol to dilute it.

I found that adding lots of the alcohol gave it a much nicer flow, so I went with it.

These were made over a period of two days. I would add the ink and alcohol with an eye dropper, blow it around, let it dry, then come back in with more ink or alcohol to get the desired gradations of color. I think it necessary to mention the main reason it took me a couple days is because the fumes can be overwhelming. I found that if I spent up to about 5 minutes manipulating the inks, I needed to leave the room to let the fumes dissipate before coming back in a couple hours later.

When I fatigued of this process, feeling as if I should somehow elevate the image a bit, I decided to catch it on fire.

Here’s what it looked like after the initial burn or two of wet alcohol on the surface. (The colors aren’t as bright in the following photo because of poor lighting.)

You can see why the process is so intriguing. The colors seized together in places and also created some circular melted areas from the heated beeswax surface. The next thing I did was add some shellac. In order to get the webbing that is so often loved in encaustic works, you need to lightly torch the briefly dried shellac. I have taken one of Alicia Tormey’s workshops on doing such torch fuses. I’d like to use clear shellac pigmented with white or another color to achieve more dramatic effects in the future. The following image is showing the painted amber shellac just before the applying the flame.

And here is the final piece. You can see where the amber shellac separated to create the cells/webbed effect. Also note, I added (and scraped away) some rose metal leaf on the surface. With the vibrancy, effervescence, and viscosity, I think it’s what a brilliant star or divinity might look like if it were to die then be reborn into the universe. Hence, the name.

Yesterday on Auburn Road

Yesterday on Auburn Road, 8×8 in. mixed media encaustic by Rachel Rivas-Plata

(posted 06/19/2021)

This is one of the very first deliberately planned encaustic pieces I ever did. It began with a very old photo of my late grandparents’ home. I digitally altered it, then pasted the print onto a wood canvas. Then came the most difficult part – painting forsythia with beeswax. I knew I wanted to paint these particular flowers with the house. It is a long held memory of mine that when we used to visit my grandparents at Easter, my grandpa would cut a few branches for my mother to take home. It was such a small, sweet gesture, but it is one of the only memories I have of my late grandfather. We did not go to see them very often. We lived only about thirty miles away, but since my father (their son) had died when I was only two, we saw them only twice a year: Christmas and Easter. I pass the house every now and then, wishing I could stop in to see my grandparents to ask the dozens of questions I never had when I was young, but only the shadows of memories live there now with the new owners.

I had to look back in my Instagram posts to find that my first draft of this piece was in May of 2018. I had originally drawn the home on a blank canvas, then added photos of the flowers over the top. It wasn’t until I reversed the process and painted the flowers over the photo, that it looked to me more like my memory. I labored over the flowers, painting and removing them several times. This process actually ended up adding a worn, gouged layer that I really like. The flowers are close, but still unclear in their detail. The home is far and unfinished, but some details remain. Dreams and memories are so difficult to capture, but I think I did grasp much of what I wanted to portray. Below are images of the first drafts in process.

Fast forward to a few months ago, and I saw the call for art for Lakeland’s May Show. I had never entered an actual show and I decided that even though it was not finished in my mind, that I should just throw my hat in the ring. It cost $15 per entry, and I entered this piece as well as an abstract. Neither got into the May Show, but this one did get chosen for the Extended Show at Stella’s Art Gallery in Willoughby, Ohio. I found out after I entered the pieces that the juror was American postwar and contemporary artist, Jae Jarrell.

Yesterday, I browsed both the May Show at Lakeland’s Gallery and the Extended Show at Stella’s Art Gallery. I saw some works from local artists I have befriended on social media and was very happy to see they had been chosen. I saw many pieces that I thought were phenomenal, and others I thought were not nearly as good as mine. I have a feeling I’m not alone in this regard, and I learned that I need to develop more of a callous when it comes to being judged. For many reasons, it took a lot of nerve to start calling myself an artist. Now I have to really act like one and roll with the punches.

I have come to realize why this creative/artistic aspect of my being is so vital. It unlocks much of the confidence within myself. I also learned that how I see my work is often not nearly how others see it – For good or bad. I need to further research who my audience is and see more art shows to better understand what is expected and accepted in particular venues. And above all, I should not hesitate too much when putting my work out there. The more irons in the fire, the easier that rejections get and the more chances I have of getting my work and name recognized. No magic nor rocket science required. I believe hard work and gratitude will carry me along this artist’s journey.

Wings

(posted 05/22/2021)

I keep a list of ideas on my phone and it seems I never have problems coming up with ideas, but I do have problems deciding on the size of my work. I have this nagging urge to go much larger, but at this point I’m still not sure which pieces I want to take to a more attention-getting scale. I have a real affinity for abstract pieces, and will most likely end up doing some larger ones soon. But, the reason I bring this up is that two butterfly pieces were actually inspired by the size and shape of the canvas. I looked at the two old pieces of wood my aunt gave me and thought: “Two butterflies would look great on there.”

In December of 2019, I did a series of four small butterfly collages to enter into the insect art show at the local nature center. I sold two of the pieces and they were really fun to do, so I went ahead and used the same process for the two panels, “Wings No. 5” and “Wings No. 6.” I have a vintage copy of the children’s book “Five Children and It,” by E. Nesbit. I bought it at a used book store when my daughter was very young. She’s thirteen now and I can’t get her to read “Harry Potter,” let alone a vintage book, so I put it to better use and ripped it apart for this and other projects. I think what makes it even more cringeworthy , as a lover of books, is that I never read the book myself. I mean I may have unknowingly destroyed a masterpiece, but hey, I’m sure there are other copies out there.

I learned in a recent Painting with Fire course from Essence of Mulranny that encaustic can be done over a chalk paint surface. There was much discussion and a little debate over the type of chalk paint, but I went ahead and used the old can of Rust-Oleum Chalked I’ve had around for a few years. It worked just fine as the base, and I actually liked starting with a dark background instead of the usual white. I made some templates for the butterfly wings and flower petals from drawings on tracing paper. This allowed me to see through to the book page to make sure the lines of the pages lined up at decent angles on the wings.

When I created my first set of the wings series collages, I didn’t pay much attention to symmetry. The two pieces that sold were lined up symmetrically so I think that did help their overall aesthetic. I hand tore each piece from the book pages, taking care to not include inappropriate words and phrases, and excited to find some interesting ones.

After I glued down the pieces with Yes paste, I applied black ink lines and designs on the wings.

Next, I covered the piece with two layers of clear encaustic medium and fused them with heat. Once smooth and cool, I applied several coats of PanPastels to achieve the soft colors. The pastels need to be blended and fused after each layer. It’s really quite magical how the pastels from the bottom layer come to the surface when heat is applied.

Wings No. 6, Encaustic Mixed-Media by Rachel Rivas-Plata

For the following piece, I took photos of two of the collages and made negative films from them. This allowed me to create cyanotype images on wood, after prepping the raw wood with a couple layers of absorbent ground. The leaf in the middle is the cyanotype of an actual leaf, and the butterflies were done using the printed negatives. The image of the words on the pages came out quite faint, so if I do this again, I will want to experiment with that to see if I can create more contrast.

Wings No. 5, Encaustic Mixed Media by Rachel Rivas-Plata

So, as you can tell by now, I’m very resourceful in my studio. I often use and repurpose old items to give them new life. Reusing my favorite images in creative ways is something I plan to do more of in the future. To see what pieces are available for sale, see my Home page for the link to my shop.

Color

(posted 04/30/2021)

Today is the first day of a year long encaustic workshop I signed up for at Essence of Mulranny Studios in Ireland. The classes are online so I get the benefit of the classes without having to travel. Although, I’m sure it would be an amazing place to visit someday! The instructor this week is Kathryn Bevier and the first lesson focused on “a la prima” techniques.

I must admit I am not a wiz with color. My earliest art pieces were mostly done with pencil or charcoal and paper, not paints. I was more of a paint-by-number-kit kind of kid. I was so intimidated by painting in college that I dropped the class after the first one. The teacher was a bit too amused by my first go at it and I, being a 20 year old newbie, crumbled at the slightest hint of negative criticism when it came to my art skills. I was obviously not ready to come out of my comfort zone. Fast forward to 30 years later, and I am all about making mistakes in my studio. It really is the only way to learn!

So, for this lesson, I chose to use 3 colors (black and white don’t count). Enkaustikos was so very kind to send me these samples. As you can see, I ended up having to add a touch of red – that was in order to get brown. The object is to keep the color palette cohesive and work from the darkest values to light, adding grays in between. I think I need to try this like 1,000 more times! It is amazing how much you can learn just by mixing colors together and placing them next to each other. The eyes really do fill in the gaps and the colors work together magically at times.

Here are pics of my work from today. I am somewhat satisfied with the results, but realize I do need to control my color choices and plan more on future pieces. This pond study will be one of many before I get it right, I’m sure.

I loved this lesson. I had been meaning to paint a landscape that was reminiscent of the pond we had on our property when I was a kid. My father had the pond started but never saw it filled up because he died in a car accident soon after it was dug. It ended up being a very special place for my family as well as our extended family and friends. I doubt my father knew putting that pond in was going to such an enhancement to so many lives. I’m so glad he left it for all of us to enjoy.

The Battery Frame

(posted 04/10/2021)

I am truly intrigued and inspired by this image. My great-great Aunt Sade was the keeper of books and periodicals in our family, and she had cut it from some old newspaper or magazine in the late 1800s. I am certain, when she did that, she never in her wildest imagination thought that it would become part of some encaustic art pieces done by her sister’s great-grandchild.

Some of my first abstract encaustic pieces began with this image. I scanned it, then cropped it in Photoshop, and printed out some variations. They were then pasted onto wood panels and subsequently drenched in molten beeswax. The first two I did were called “Suspension.” When I look at the original image, it makes me think of the cross-section view of a building. I ultimately chose the name because to me the word “suspension” connotates some stress, but also a lot of strength. The paintings sold long ago, but the images still show the amount of labor that ensued by applying layers of wax, pastels, and carving and scraping the wax to reveal pieces of the image underneath.

Fast forward to roughly seventy artworks later, I revisited the old battery frame image and created a series of four from it. These were a bit smaller, and a bit simpler. I wanted the original image to take more of the limelight, and the texture created by the beeswax medium was a lot subtler. I found, however, they were just starving for some color. I added swipes of rust and golden yellow and looked at them for a few months, still unsatisfied with the surface. I recently purchased some metallic PanPastels in beautiful copper, bronze and gold shades. The minute I thought of using them, I knew it would give me just the right contrast I wanted. The illustrations are encased/preserved in the wax and the molten metallic liquid is floating on the surface. This changes how we see them, but does not overshadow the original antique drawing. To me, it speaks of the treasure that these images are to me. I named them “Articulation” in order to evoke a scientific feeling to my creative process that is quite unscientific and full of emotion and intuition.

Thank you, Great Aunt Sade.