Procreate: Step by Step Instructions for Revising a Painting

I have used PhotoShop Elements together with Procreate and they are very easy to use. I am particularly fond of Procreate because the application is more intuitive for artists, whereas PhotoShop Elements has a steeper learning curve.  I use Procreate when I am working on a painting and get stuck not knowing which direction to take.  I paint with molten wax and, when the surface hardens, it is difficult to make changes.  Trying a variety of ideas out on Procreate and not on the surface of my painting is much easier.   In this blog I take you through the basic steps of using  Procreate and then in future blogs show how to shift between PhotoShop Elements and Procreate.  I also will create some videos lessons on how to use Procreate and you can also follow those as well.

Beginning with an Art Work STEP 1

The first thing I do is take a photo of my artwork with my iPhone, camera or iPad.

Ok, here is the photo of the artwork that I took with my iPad.  I did this small painting in oil and cold wax and wanted to use it as a idea for a painting in encaustic.  Making  revisions in Procreate before creating a larger painting in Encaustic is so simple to do.

FullSizeRender 22

First step is to import my photo into Procreate.  Open Procreate first. (NOTE: you will have a blank black page with no images.)  When you look at the screen of Procreate you will see a small Cross in the upper right side

IMG_2842
Small Cross up at the top on the right side – click on that cross.  As you can see, I have other painting examples saved in Procreate.

Click on that small cross.  Another small screen will open up below that white small cross on the top right side which has Create at the top.

img_2849.jpg

On your screen you will only see Screen Size, New Canvas and Import.  Go to Import and click on it.  Your photo file folder will appear so I just click All Photos and then all of my Photos will appear, like on the top right image below.   Then click on the photo that you want to work on, I clicked on the one I wanted (bottom right) and then that photo automatically came into Procreate.

So Now I have my photo on my screen in Procreate.

Editing Tools: Sketching and Brushes Step 2

Click on your painting that you want to revise.  The painting will fill the screen. (Note: you can pinch the painting on the screen with your fingers to make the image smaller or larger.)   Now, in the top right side you see a row of tools that you can work with.  I will go through each one.  From the left to right, the first tool is the sketching/painting tools, the figure tool is the smudging tool, the eraser icon erases, and the double paper is the layering tool, and the green dot selects colours.  On the right side, down the side of the painting, are two small white squares and sliding each square up and down will change your brush sizes and the transparencies.  So, if you push the top square slider up you will get wider brushes and sketching marks and if you push it down you will get narrower marks.  The bottom small square is the transparency slider so up is more opaque and down is more transparent.

IMG_2851

img_2854.jpg
Above is a close-up of the slider bar to make your marks wider or narrower by pushing up or pushing down the top bar.  Transparencies are achieved by pushing the bottom bar up for opaque and down for transparencies,

Now we can begin with the basic painting and smudging techniques.  Now let me start by clicking on the small brush and an icon will pop up below the tool bar area.

IMG_2853
Tool bar with the drawing and painting tool, then the smudge tool, the eraser, the layering tool and then the colour picker.

In the following photographs from 1 – 6 starting from the top left to the bottom right are the different types of brushes you can use.  So, I can pick the first one which is the sketching tool, then the inking, painting, airbrushing, textures and abstract mark making.  Just click on the tool that you want and then use that tool on your painting.

In the above photo from top right, brush picker tabs from top left – right are sketching tool, then the inking, painting, airbrushing, textures and abstract mark making.

Painting with Colours: Step 3

Once you select the tool you will be using ,  the next step is to select the color that you want to paint or sketch with.  So, go to the top right small coloured circle, in my picture it is green and click on that.   You will get the first green selection of colours in the drop down menu. Take your finger or stylus and touch the area of the larger square and you can change the colour.  So, I can pick a lighter green and a darker green.  Below the large green square you have a color slider bar and I can change my color selection.  So, I changed it to blue,  or to turquoise.  I can pick any color just by moving the first slider bar to the left and right.  The second slider bar is for lighter and darker colours and then the black and white one is for different tonal values.  On the bottom in the small coloured square are other choices of colors.  Then you have the background color in the white square on the bottom which is white.

 

Smudging and Eraser Tool: Step 4  

You have the icon on the top tool bar that is a finger pointing to the left. It is beside the brush icon and this is your smudging tool.  You can use this tool to smudge and blend colours together.  The icon next to the smudge tool is the eraser.  This is for erasing areas on your painting.  You have to determine what the background color is so if your background is white then make sure the eraser shows white when you click on it.  Also, the eraser will erase in any type of brush that  you have selected.  For example, if you have clicked on the sketching tool then the eraser will act like a stitching tool when you erase  a section.  If it is a brush, it will erase like the brush.  So, make sure you have the eraser at the width, transparency or opaque style when using that tool.  I will demonstrate this smudge and eraser tool on my painting after I have finished this section.

Remember, the sliding bar on the right side that is for your brush width or length, or for transparencies or opaque considerations when revising the painting.  Below is a look at the bar to change your brushes when you need wide, narrow, transparent or opaque brush stokes.

IMG_2854

 

OK so let’s do some revisions.  I will just make some alterations on my painting using the basic tools and then you can see how it works.

NOTE:  When I hold my finger or stylus anywhere on the surface of my painting I will be able to select the exact color.  So, if I want the darker crimson I just touch that area with my finger and hold it there for a few seconds and that colour will pop up in my little color circle on the top right side.  Then I can click on the color circle and the color swatches come up so I can choose to make the maroon  darker or lighter by selecting another maroon colour.   The painting below is the original.

FullSizeRender 22

Also, if I pinch the painting with my fingers, I can make the painting smaller or larger.  So, can zoom into an area to work in that section.  The following is one revision using the colors in the painting and making revisions onto the surface.  I cleaned up some of the lines with the paint brush, I used the smudging tool to blend some areas.  Very small changes.

Untitled_Artwork-2

Also, if I don’t like a mark that I drew I can undo every mark from the most recent mark to the first mark.  I just click the undo arrow icon on the bottom of the slider shown below. I can undo the history of all of my sketching and drawing marks.

FullSizeRender 54
The bottom of the bar, on the right, is the undo arrow icon.

In the next few images I make more radical changes to three artworks.  I have the background of my painting in the first example that I imported to Procreate. I used the painting and smudging tools, and the wide and narrow slider tool to change the width of the lines as well as used the transparency bar to add different opaque and transparent colours.

 

The following painting on the left I felt was too stiff so I wanted to play around with it in Procreate.  Seeing what I could do by changing colors and getting rid of areas, adding lines etc. was exciting.

And finally, this is new painting that I did in Procreate.  I started with a new canvas in Procreate and then just played around with brushes, smudging, transparencies, and adding different line elements to this computer image.

Untitled_Artwork 14
An original design

In the next post I will explore how to do paint a new design using the New Canvas tool/section and then show more options like changing colours to the whole painting, cutting and cropping, etc.

 

Advertisements

Final Day at the International Encaustic Conference and a Post Conference Workshop with Karen Freedman:

The Art Fair 

Every year many participants bring works to exhibit and hopefully sell.  Each artist can set up his or her art display, either in the lobby or in his or her room. We begin the art tour on one side of the hotel,  then after 1 1/2 hours move into the lobby and then to the other side of the hotel and continued looking for another 1 1/2 hours.  It really is a way to see other works in encaustic and to discuss and share ideas.  I had my display in my room and many participants droped in and commented on my work.  I did get many visitors asking how I did the woven lines because my woven covering does look like I embed gauze into the wax. I assured them that I paint each and every line with a brush.   The art fair is a time to sell paintings and sculptures, but, more importantly, get feedback and ideas for future works.  Below is a view from the entryway.

IMG_2772

After lunch I signed up for the talk Curatorial Thinking.  Joanne Mattera gave a powerpoint presentation on the exhibitions that she had curated.  She went over specific points on what to focus on when planning and hanging a juried show.  The first focus she pointed out was to come up with a theme for the show and then how to select the artworks based on that theme.  Joanne talked about not over placing the works on the walls but managing the show so that one piece can complement another work.  That there is a  conversation between the paintings and with the viewer.  Joanne showed us examples from her own curated exhibitions such as focusing on the theme of “Colour” in a variety of mediums for the exhibition at the DM Contemporary in New York City in 2015.  Then another show called Textility, co-curated with Mary Birmingham.  The paintings were selected based on ideas and influences from textiles.  That show was in the Visual Art Centre of New Jersey in 2013.

After showing us other examples of her curated exhibitions, Joanne discussed the pros and cons of being a curator.   I was left thinking that curating is no an easy task.  So many considerations have to be made from thinking of the venue, visiting artists’ studios or doing a lot of web surfing and deciding on the theme. When you have a venue for the exhibition, the curator has to think of the logistics of hanging the artworks, invitations, catalogues, etc. Exhausting!!!  I think curating can be an amazing experience but I am not sure that I will follow the direction of becoming a curator any time soon.

The final Demo: Working on Soft Supports: Sherrie Posternak
Sherrie gave a demo on how to use soft supports like cotton quilt batting, canvas and a variety of other fabrics. These soft materials could be used as a base and the one can  stitch elements onto that surface.  The other method was to mount the finished fabric design onto a panel and then fuse your design onto that surface.  The quilt batting has an interesting surface when wax was applied.   Sherrie worked directly onto a thin plastic heat resistant baking sheet directly on the surface of the hotbox. She showed us how she layered tissue paper elements onto the surface of the waxed batting.  The waxed fabric surface became the background for the layering of collaged materials.  Then she discussed how to display the finished fabric mixed-media painting by using magnets, or adding grommets, sewing hangers onto the back etc.  This was a fascinating demonstration.

Post Conference Workshop: Two days with Karen Freedman 

I had been in love with  Karen Freedman’s work for a long time.  I had a stint of being a quilter for about 7 years and then found encaustic so I was drawn to Karen’s colourful designs that looked like quilt blocks.  I wondered how she did those designs and kept such a sharp edge. She also had this pristine surface and amazing layering of layers over each other.  I knew that I did not want to become another Karen Freedman, but I was wondering how to integrate some of her techniques into my own works.  I registered for her workshop and here is my diary of the 2-days in the class.

First of all, I was so impressed with Karen sharing all her secrets, she is not afraid of having anyone appropriating her design.  There can only be one Karen Freedman in the art world who does those exquisite paintings.  On the first day Karen gave us step by step instructions and started showing us how she did the first layer.  Well, one has to know how to build up a smooth coating of medium and then do a lot of scraping of the surface to get that smoothest layer.   I made my stencil design of narrow and thin lines.  Karen  does very intricate designs but I kept to the simple ones.  Once the first few layers of the wax medium looked like a smooth glass surface, I placed the stencils and filled each segment with pigmented wax, then scraped these down and applied another layer of medium over the whole surface.  Then the fun began, scraping and scraping and then more scraping.   This process of filling in a stencil, adding medium over the filled in stencils, scraping down again was repeated 4 times.  I guess one has to travel in a person’s shoes to appreciated what they are going through and I traveled in Karen shoes for two days.

The workshop was amazing.  Each artist taking the course did their own thing.  I did not see one painting looking like a Karen Freedman’s.  It was not easy.  I think this painting technique is one of the hardest that I have tried, but once you get it, the rewards come forth.  I did attempt to do two works and one I liked better than the other.  I will take the ideas to my studio and try to integrate the background layering of shapes into my own works.  Have an idea that I am dying to try.  Thank you Karen, you are a shining light.

IMG_2781
Scraping and then more scraping
IMG_2778
Fusing lightly.  Love that attachment for the heat gun
IMG_2773
Talking about the pros and cons of using a heat gun or the torch. Yes, Karen knows how to use that heat gun.  

The following are pictures of the works in progress by the participants in the class.

FullSizeRender 50
Works in Progress by Kay Hartung
FullSizeRender 49
AJ looking at Marie-Claude Allen’s paintings
FullSizeRender 52
Paintings in Progress by Julia Dzikiewicz
FullSizeRender 47
Nancy Natalie discussing her works in progress
B32114D7-991D-4E27-B336-6E22F04E9460
Susan Paladino’s works in progress
FullSizeRender 51
Anna Wagner-Ott’s works 

The conference is over and I am back in Canada.  I have met new friends and hung out with friends that I met at the 9th conference.  We had such good conversations and the sea food was delicious.   I look forward to attending the 12th International Encaustic Conference in June of 2018.  Cheers and have a great year working in Encaustic.

 

 

 

Workshops, Demonstrations, Talks at the International Encaustic Conference: Day 2

Keynote Address

This morning, at 9:30, I attended the Keynote address.  Sharon Louden  focused on the topic “Living and Sustaining a Creative Life.”  Sharon is a vibrant speaker and so generous in sharing her knowledge about her creative community  and how she has sustained her artistic life.  Then she shared other artists’ stories such as Julie Blackmon who lives in a small community and takes photographs of her surroundings. In Julie’s artist statement she talks about investigating the struggles she encounters between her role as a mother in relation to her passion for taking photographs of human cultural interactions in the community where she lives.

In her talk Sharon explored  how each artist pushed boundaries by creating their own community of like minded individuals and how this notion of “community”  helped sustain their creative voices.  Sharon stressed that an artist has to make the best art that he or she can, be consistent and never give up, do the research of what it is you need to sustain your practice, and never give up when one gets a rejection.  “Rejection is just a difference of opinions.”  And finally, be generous with your ideas, techniques, support, etc.  Artists need to establish a community of like-minded individuals that you support and then they will support you.   Such an inspirational talk and thank you Sharon Louden.

Canadian Gathering 

After this talk I arranged a Canadian gathering at lunch time.  Met fabulous Canadians who love working in encaustic.  A great time for networking and creating a community of liked minded artists.  Thanks to all that came to our luncheon meeting,

Michael David: Encaustic Theories and Practices

The first talk that I attended after lunch was led by artist Michael David.  His talk on Encaustic Theories and Practices: History of Contemporary was another passionate dialogue about famous artists who have used encaustic as a medium because not other medium could push their voice.  So, yes, Jasper Johns famous American flag paintings were show but other artists who have pushed the boundaries of encaustic such as Brice Marden, Linda Benglis, Anselm Kiefer, Joseph Cornell, and Joanne Mattera.  Michael David also included images of his own works.

Brice Marden, D'après la Marquise de la Solana, 1969. Oil and wax on canvas, three panels, 77 5/8 x 117 3/8 inches (197.2 x 298.1cm) overall    Brice Marden,  1969, oil and wax on canvas.

Lynda Benglis, Embryo II 1967, encaustic on panel

Detail of a Jasper Johns’ painting of the 3 Flags, 1958, encaustic and mixed media on canvas.
MatterUttar291Bask48x50.jpg
Joanne Mattera, Uttar 29 (Bask), 2006, encaustic on panel, 48″ X 50″

Michael David showed us his paintings and discussed why he chose encaustic.  He stated that he could not build up the surface in the same way with any other medium.  Pushing the limit of the liquid wax is his passion.  Burying the painting, burning it, adding found elements and then embedding these elements into the wax is a process that calls him.

2013-11-06-Michael_David_ClusterofBlessings_EncausticandMixedMediaonPanel_20082013_WEB-thumb.jpg
“Cluster of Blessings” by Michael David, Photo by Mike Jensen. Courtesy of Bill Lowe Gallery

Michael David is passionate and a powerful speaker.  I did not want his talk to end.    In my notes I wrote these questions:   “What am I doing with encaustic and why use this particular process?” “How do I manipulate the medium of wax in an unusual way to make it my own technique?”   “Do I go deeply into me and to no-one else?  “And how does my work reflect my life?”  I have a lot to ponder over the next few months.

In the Next Post I share Sunday’s events and Monday and Tuesday’s workshop experience with Karen Freedman.

 

 

An Amazing International Encaustic Conference: Post 1

Joanne Mattera,  had a vision to “raise the bar” in the area of painting in encaustic and to bring professional artists using encaustic together, first in Beverly, Massachusetts where the first International Encaustic Conference was held, and then to Provincetown, Massachusetts.  For 10 years Joanne has invited artists to share their encaustic processes through demonstrations in printmaking and encaustic techniques.   The history of artists using encaustic has been shown and the curatorial considerations in galleries have been discussed.  These artists, who have been leaders in the area of encaustic,  have pushed their paintings, sculptures, mixed media, and art prints out of studios and into galleries all around the world.  They have become mentors and teachers to many newbies joining the encaustic communities.     Joanne Mattera retired from her position in 2016 and gave the stewardship of the 11th International Encaustic Conference over to Cherie Mittenthal who is the Executive Director at the Truro Centre for the Arts at Castle Hill. She is also an artist who paints in encaustic. She will be the director of future International Encaustic conferences.

The 11th International Encaustic was fabulous.  I arrived on Wednesday and dropped off  one of my paintings at the Adam Peck Gallery  and the other painting at the Kobalt Gallery. Then I checked into my room at the Provincetown Inn.    Provincetown is beautiful.  Walking on the beach and taking a stroll down through the centre of town felt like I was in a lakeside village in Europe.  Beautiful architecture and stunning views of the ocean.

On the drive down to Provincetown I took a detour to the Cape Cod Museum of Art.  Joanne Mattera and Cherie Mittenthal co-curated an exhibition called “Depth Perception.”  They selected 18 artists and each focused on spatial layering of the design elements – from the very flat surface treatment with limited depth to building amazing textural surface treatment in a painting or in a sculpture. Then another artist used receding lines to get a sense of depth in the works and another artist used colors as a perceptual element.

IMG_2481
On the back wall from left to right are paintings by Joanne Mattera, Lisa Pressman and Steven Cabral

Thursday

On Thursday I attended Lisa Pressman‘s workshop and explored  painting with oil paint and cold wax. Additionally, we used pigment sticks with the cold wax.  This was an experience since I have never used pigment sticks or combined oil paint with cold wax.  I did find it very messy and  thank goodness I had baby wipes to clean my hands and my painting tools.  Painting with oil and cold wax does give a different effect.  I loved the class but my passion is with encaustic because I can achieve a quality of transparency by building up many thin layers and/or get sculptural painted lines which I can’t get with any other medium.  I enjoyed the gestural qualities of the oil/coldwax medium and working on canvas paper.  I hope to incorporate some of the ideas into my paintings.

 

img_2570.jpg
These are the works that I did in Lisa Pressman’s class in oil and cold wax

In the evening there was an Art Swap.  Each artist came with one artwork to donate and wrapped it in brown paper and put the package on a table.  Each artist would then get a number and the coordinator Sherrie Posternak would call the number and the winner would then pick an artwork.  This was my first time at the art swap and I won a wonderful piece of work by Deborah Winiarski and the winner of my piece was thrilled as you can see in her expression in the photograph below.

IMG_2836
Deborah Winiarski

 

IMG_2605

 

Friday

Early on Friday morning I registered for my demos and workshops.  This is a three-day event and packed full of events, such as gallery openings, pre and post conference workshops, demonstrations, art history talks, talks on marketing and ways to promote oneself, how to plan and organize curatorial exhibitions, etc.  The quality of workshops are amazing and the beginner as well as the advanced artist can take many ideas back home to their studios.

On Friday the conference began.  At 9AM the vendor room opened.   Of course I had to make a visit the vendor room.  I felt like I was in a candy store where the smells, colors and tools were so intoxicating.  I did purchase my wax medium pellets and some coloured pigmented wax.  I had made an order from Kama Pigments because they live in Montreal and I do buy from them during the year.  They really do have good products and great prices.   I also bought wax from the other USA vendors because their products are exceptional and the shipping to Canada is prohibitive.

After visiting the Vendor room, I attended the first talk by Patricia Miranda who shared her knowledge about “Professional Practice: Strategic Planning for Artists”  Patricia began her talk by explaining how each artist has so many jobs in their lives from being a “mini-corporation, entrepreneur, researcher, studio manager, creator, etc.”  Time is demanding, she explains, and if an artist does some planning and scheduling of his or her time, then one can achieve personal goals.  Patricia talked about creating 5 year plans.  Set a goal, research how to get to that goal and then plan to take tiny steps towards achieving your goal.

img_2617.jpg

After Patricia Miranda’s talk I attended a demonstration led by Laura Moriarty called “Making, Building, Monotype Prints.   She showed us how to make encaustic monotype prints using her discarded sculptural encaustic pieces.  She melts these works down by building up her layered design onto a hot plate.  Different Asian papers are used for the surface of her designs.   The final image looks like a blown-up cross-section of one of her thinly sliced piece of sculptures.

After lunch I attended Christine Aaron‘s talk called “Thinking Through Space.”  This was an art history session where Christine featured artworks that primarily considered space when exhibiting or installing installations within a gallery.  These artists planed the work in relation to where the work would be placed and how scale and lighting impacted their work.

Then the last session of the day was with Michelle Belto.    This was not a session where we looked at art for inspiration but participated in an exercise to find inspiration from our own history and experiences.  As an interactive presentation, we engaged in a meditative drawing exercise and, when the drawings were done, focused on answering Michelle’s questions about our doodles. The questions helped each of us find authenticity and personal meanings.   Finally, Michelle explained how that meditative drawing exercise could sustain us in our own studio practice and inform our artworks.

Gallery Openings

In the evening I visited the openings in the galleries.  I first attended the opening at the Castle Hill Gallery called “A Sense of Place.”  This was a juried exhibition and the juror was Patricia Miranda. She also was the keynote speaker at the conference.   I am posting artworks I felt stood out in the show.

The paintings from the top left is Steven Cabral, the top right  Diana Gonzalez Gandolfi, below is Nancy Natalie, continuing down the second row from the left is Julia Dzikiewicz, second left is Melissa Lackman, and then Dietland Vander Schaaf.  The third row from the left is Susan Delgalvis, next along that third row is Stephanie Roberts-Camello (Stephanie won the best in show),  then Christine Aaron and Patricia Dunsman.  The last line from left to right is Michelle Robinson and Marina Thompson.

 

After Castle Hill’s opening, I dropped into the Adam Peck gallery.  Their show was called “Black Tie, (optional).  I did have a piece in that show called “Ties that Bind”

Adam Peck Gallery Invitational.jpg

 

IMG_2654
Adam Peck Gallery (My work is on the top left)

After the Adam Peck gallery opening, I visited the Kobalt Gallery.  On the lower level of the gallery Cherie Mittenthral exhibited amazing artworks. That was the first time I had seen so many of Cherie’s works.  She has an affinity with the ocean, sky, plant life, and architectural structures.  Her Provincetown environment seems to influence her works.

IMG_2676
Cherie Mittenthral’s artworks at the Kobalt Gallery

The upper level held the juried exhibition called  “Alternative Wax – Layers of Facts.”  It was interesting seeing so many different paintings interpret the same theme.   I also had a painting in that exhibition.

IMG_2670
The top left painting is mine and called “Barriers go on Forever”

I was exhausted at the end of the day.  Came down with a bad cold and got laryngitis. But, that did not stop me from enjoying my day and looking forward to Saturday’s events.

In the Next post I will share the second day of the conference and talk about my experiences and the ideas I took home with me.

International Encaustic Conference in Provincetown, Massachusetts.

At the end of May I will be travelling to Provincetown, MA, and participating in 2 workshops and attending the International Encaustic Conference on June 2-4th.    Looking forward to renewing friendships, hearing professional talks by international artists.    I will be taking Lisa Pressman’s class called “Finding your Mark”.  This class focuses on using cold wax and oil paint.  The other two day workshop with Karen Freedman is called “Maintaining your Edge, The Art of Stencilling”.  I hope to learn a lot of new techniques and explore some new ideas.   Additionally, I plan on attending exciting talks and demonstrations so have registered for the talks that focus on curatorial considerations, thinking through space, and expressing meaning through materials, as well as viewing demonstrations on encaustic processes and techniques.  

The other exciting part of the conference is the hotel art fair; an event that takes place on the last day of the conference.  Participants display their artworks in the lobby or in their rooms.  It is a time to sell paintings, but more importantly, get feedback from the conference participants.  For the past three years, I have created new works just for this event.  The following paintings will be for sale at the conference. 

FullSizeRender 7
Encaustic on Panel, 8″ X 8″
FullSizeRender 11
Encaustic on Panel, 8″ X 8″
FullSizeRender 22
Encaustic on Panel, 12″ X 12″
FullSizeRender 5
Encaustic on Panel, 10″ X 10″

There also will be many gallery exhibitions in different locations in Provincetown.  I have been invited to participate in two gallery exhibitions.  The first one, the “Black Tie (optional)” is at the the Adam Peck Gallery.  The other exhibition is called   “Alternative Wax: Layers of Facts” at the Kobalt Gallery.  

Wagnerott_Wallsgoonforever
“Barriers that go on Forever, encaustic on panel, 12″ X 12”, will be shown at the Kobalt Gallery
C3D16905-DE6E-4A63-8103-E0A234F0CA87
“Ties that Bind”, encaustic on panel, 12 ” X 12″, will be shown at the Adam Peck Gallery

 

A New Series

In a previous blog I talked about not being able to paint with pigmented wax because I live in a condo over the winter months.  Painting with molten wax is safe unless the molten wax starts to get too hot and start to smoke.  The smoke can then become toxic when inhaled.  Because of the dangers of the toxic smoke one needs to vent the smoke fumes out of the area that you are working in.    Since I can not vent the fumes, I have switched to acrylic paint over the winter months.  When I get back to my studio in April I will use the acrylic paintings as inspiration for my encaustic paintings. 

I challenged myself to create a series of paintings based on revisiting the grid of intersecting lines.   So, I began painting backgrounds and then added another complementary woven structure over the top of the bottom layer.    The first painting  became the inspiration for the other paintings.  In this blog I post the first 6 paintings showing the bottom background grid system layer.  

dsc_0002
Background Painting for #1
img_1765
Painting completed #1

In the next painting I became a bit more careful when painting the background because I wanted to create these interlocking  and intersecting lines and they  suggested views through windows.  So, the next six backgrounds  focused on developing the window idea.

DSC_0006.JPG

DSC_0011.JPG

DSC_0007.JPG

DSC_0009.JPG

DSC_0005.JPG

DSC_0012.JPG

Once the backgrounds were finished I began the foregrounds.  It was important to add another layer to create an illusion of depth and also to integrate the interlaced patterning effect on the surface.    I did the sketch of each patterned surface treatment in ProCreate on my iPad.  The completed 9 paintings are shown below.

series of 9.jpg

 

 

 

Evolution of a Painting

When a painting is completed I stand back and analyze it.   When observing, I begin to see flaws.   My mind starts a conversation: “Add another line; Change the colour;  Take the white and block out that section;  This is a crappy painting and not working, etc.”  Impulsively,  I take my brush and change a line, add another color, block out a specific section with white and then the finished work begins to shift and change – sometimes drastically.  The original painting which I thought was finished starts anew and I rework it until I think the second version is finished.  At this point the original intent of the painting usually gets buried in the revisions.   When getting into this state of going against the flow from my original intent, the painting usually torments me.   At this point I should throw it in the garbage but another voice tells me to continue because the painting could become successful.   In this post I share the evolution of a painting.  

Before I left my summer studio I took photos of tree barks and rock formations.  I wanted to shift from the lake, sky and trees as my backgrounds, to painting rocky crevices and bark-like formations that integrate the woven structures within their openings.   I drew an abstracted rock formation on my iPad in Procreate.   This study became my muse. 

treebark-holes
The image of a rock formation that I drew in Procreate

I began the painting by adding plaster strips onto the canvas and then painted natural earthy tones onto the plaster surface after it had dried.  

fullsizerender-55
Adding the plaster strips and the foundation colors. 

Then, I blocked in the holes and painted the gauze-like painted weaving in the background.  My goal was to weave the black lines within the fissures.  I wanted the audience to get a brief glimpse of the surrounding areas between the solid masses of rocks.       

fullsizerender-56
Painting the open areas with the woven structure.  

After I blocked in the holes  and background colors, I decided it needed a light source going across the middle of the canvas.  

After the white was added, I saw the paint was too thickly applied, the white popping out too much, and the surface texture was not transparent so I calmed down the white.  I also removed some of the crevices.

fullsizerender-51
Was I finished? I  did not like the white around the top middle area.  
img_1678-3
My first finished version.  I liked the surface treatment and the copper woven lines.

I should have left the finished version alone and started another one.  At first I liked the painting and thought it was done but, after looking at it for a while, I started to have doubts.  The surface felt too flat, had no dimension and the woven area appeared not integrated.  Also, there was no spatial relationship between the solid mass and the background.  I liked the idea of a rocky crevice like surface but needed to expand that idea.    

fullsizerender-53
Painted the surface again. 

The painting went through another revision.  The surface was painted again and I added black and brown diagonal lines because I felt the composition needed foreground elements.    I also took away some of the openings and added others.  What a mess at this point. 

fullsizerender-52
Adding the tree branches across the surface to give it some movement and a foreground, middle ground and background.

 I felt the second version had more movement but it was too busy.  My eyes moved all over the place and the painting had no focus.  This painting just bothered me so I painted over it.   

fullsizerender-22
Finished Painting #2

When I feel frustrated, I take white or black paint and squeeze it right onto the surface and then take a brush and paint the whole surface with white or black.  For my painting, I squeezed white paint right from the tube and included browns and blues.

img_1718-4
Painted the surface again.  

 I continued defining the rock surfaces so that they had dimensionality, and blocked in the crevices.  The original intent was coming out from the painting.  Black woven lines were placed between the crevices.    This  version  I knew was finished.  It had a natural rocky surface treatment, the lines felt integrated.  I did not see anything that I wanted to fix.  It felt complete.  Now I just have to come up with a title.   

img_1728
Final Painting:  Acrylic and Plaster on Canvas, 30″ X 30″