Hot for Cold Wax Oil Painting Art

One of the joys of being an artist is the opportunity  for life long learning, discovery and play (to misquote Hamlet "The play's the thing!"). Artists are probably one of the poorest (financially) of the professional demographics, but the reward of infinite growth is priceless.

For a while now, I have been curious about the encaustic (from the Greek word "to burn in") or hot wax painting process.  I had a series in mind that I envisioned with the built up, molten, textured, luminous look that results from painting encaustically. However, upon research, I discovered that the traditional hot wax process,  with its fumes (as well as potential toxicity) of melting bees-wax, carnauba wax, damar resin, and pigment, was out of the question in my poorly vented studio which shares air space with 6 other artists.  So recently, when Canadian painter Janice Mason Steeves http://www.janicemasonsteeves.com/ promoted her workshop in the "Cold Wax Process" -no heating wax, no excessive fumes- I enrolled.

Things to find out. How would this process differ from hot wax? How could I apply it my portraiture painting? Would it have the luminous and texture potentials of hot wax? (FYI I have noticed in word searches that bring readers to this article that it is wondered if canvas can be used as a surface. No. You want the solid surface of a panel os some sort so the wax doesn't crack when the canvas bends.)

Jan has a beautiful studio in Rockwood, Ontario, that was large enough for 8 of us to each work at a table of our own. Our goals were to play, experiment with colour, texture, and application on our prepared panels. My biggest challenge was "to play" with the medium. I am goal and product oriented, and any attempts to "play"  resulted in one question "what if I did...?" branching into multiple more. I knew I was hooked when 10 prepared panels just weren't going to be enough!

Dorland's generously supplied the cold wax medium needed. This is the most remarkable product with a multitude of uses. (Sham - Wax!!  :D) Check it out here http://www.paintspot.ca/cgi-bin/advice.pl?s=98 For our purposes we mixed it 50:50 with our oil paint and then squeegeed the resulting colours on in layers. Then the creative exploring started - wiping away, scraping, scratching, writing into, lifting off,  blending, brayering in textured pattern from material, lifting off with newspaper, stencilled into - whatever this creative bunch thought to do.

On the second day, Jan instructed us to make ugly work, i.e., no thinking about finished products. Explore, experiment and play were the order of the day. But at the end of the workshop, when we took a look at each other's work, it seemed, we all failed ! Every piece - and we were a productive group -  had a fascinating element. Eight very tired (playing can be exhausting)  but very happy cold wax converts drove off into the sunset.

Encaustic Painting with Hot wax: Artist Jessie Fritsch has a nice explanation here http://www.jessiefritsch.com/encausticinfo.html

Great explanation here about is cold wax "encaustic". AMIEN stands for Artist Materials Information and Education Network http://www.amien.org/forums/showthread.php?2054-encaustics-with-no-heat

Here's another example of my cold wax work.

Taking Shape: New Cat Painting Begins

A new giant cat is emerging from the dark in my latest oil and oil stick painting - seen here in my studio at the Williams Mill.

The Colour Shaper tool is again proving useful to both add and remove paint creating great fur texture. Read all about the Forsaline & Starr Colour Shaper & how to use it here.

Finished Big Cat Painting Today

I didn't want to leave the studio today until I finished this painting - I was so anxious to see it completed. Although I adore painting in oils, drawing was my first love, and so, it was exciting for me  to both draw (oil sticks) & paint (oils) in this art work. This piece also combines my love of portraits, my love of animals and my love of black (I am only painting in black until they invent something darker). Equally as fulfilling was my use, for the first time, of silver oil paint as my "white" - although its reflective values proved a little trickier to photograph. My iphone camera, couldn't quite do the trick.

Do you know that many artists give a lot of thought to the placement & appearance of  their signature on their paintings? Well, I am one of those artists. This new work called for a different look to my signature. Traditionally, on my carefully rendered, realistic paintings, I carefully print my full name in block lettering. I don't like my signature to distract from the work, and even will use more than one colour to print it so that the signature  flows with the work. This painting called for something more expressive. Artist Carmen Hickson of www.theredpigstudio.com lent me a nifty colour pushing brush* ( a rubber chisel tip instead of bristles). It was perfect for carving out a cursive signature with values that suited the painting.

By the way, "Big Cat Painting" is not the official title of the painting...

* I don't know the official name of these rubber tipped brushes, and tried unsuccessfully to  google them for this post. My son, who used to work at Curry's Art Supplies, informed me they weren't big sellers, but I sure found it terrific to use.  Do you know what this type of brush is called?  I did however find this new neat little cleaning gadget while trying to find the rubber brush name https://www.currys.com/catalogpc.htm?Category=A021B006823&Source=Search. I could have used this when washing piles of black oil paint out of about 8 brushes this evening :D

New Art - Giant Cat Portrait Painting Continues

Yesterday I mentioned I used Tri-Art's sludge as the preliminary step (the canvas was already gessoed in white)  to starting this 60" x 48" cat painting. I was quite enamoured of the taupe, neutral colour of the sludge, and began the day by ensuring areas had the sludge show through. This was not my original vision for the painting. Sometimes it pays to go with one's instincts, but in this case it was keeping me from connecting with the portrait. If I don't fall in love with the face, I know something is wrong.

So back to the plan - Black and silver oil paint for this silver tabby. What appears white in this painting, or light gray is actually silver. The painting is not done yet. But the concept that one side of the cat disappears into the darkness, and the other side is awash in silver light -  is becoming clearer.

This oil painting incorporates the use of oil sticks as well as oil paints.

New Painting Begins: Giant Cat Portrait

I just finished a series of 8" x 8" paintings  - Scotsdale Farm: Snow & Shadows. I needed to stretch my wings after painting so small.

A larger than life portrait painting of a Maine Coon cat in silver, black, and white oil stick and oils seemed the natural next step.

What I have done so far -

• It is the first time I have used Tri-Art "sludge". I used it to cover the white canvas and add some texture.
• After applying the sludge, I saw a large cat eye, ear &  head looking right in the swirls of the paint.
• Decided to go with my instincts. Found a photo of my silver tabby  Main Coon cat to use roughly as a reference.
• &  voila ... the painting begins. The face emerges some more out of the darkness.

An Art Full Day in Mississauga- A show, Plein Air Painting too

This weekend, I had the unique opportunity to exhibit my paintings during the South Side Shuffle Jazz Festival. Five other Mississauga artists and I put on an art show in the historic St. Lawrence Starch Company, on Lakeshore Blvd in Port Credit, Mississauga.

The location was terrific, the venue attractively set up, and the atmosphere, with the Shuffle's live music drifting through the doors, made for a really pleasant experience. The positive remarks on the artwork displayed, as well as the overwhelming appreciation for an art venue in the area was very encouraging. The show reaffirmed just how much an art gallery for Mississauga artists is needed.

This weekend was also World Paint Out Day, a day that individual artists and plein air groups around the world make a special effort or host special painting on location events. Ontario Plein Air Society was too recently formed to organize an official plein air event. Instead OPAS, asked its members to  make an effort to paint and to then post the work on its blog site.

My very full weekend - TIFF (The Men Who Stare at Goats gala ( yes - I saw George Clooney and Jeff Bridges) a street garage sale, and the art show, left me with only a short time to dash out a painting, while working the show at the Starch Building.

A beautiful day to paint! This 6" wide x 12" high oil painting is from the viewpoint of Fram's St. Lawrence Starch Building, looking east, past the iron fence, to Lakeshore Blvd.

Although I prefer not to touch up my plein air paintings, I chatted too much to inquisitive & friendly passers by, and so need to clarify and brighten up a few parts. This includes defining the words "Port Credit" (the focal point) on the red and white banner.

A New Plein Air Painting

Today was the third gathering of the new group Ontario Plein Air Society.  Nine of us met at the Williams Mill Visual Arts Centre in Glen Williams.  We used my former studio in the beautifully restored old yellow mill - which can now be rented by the half day - as a home base, but painted down the road by the Credit River.

In my secluded little spot on a couple of feet of eroded shoreline, and only a foot from the water, I painted the tree line that stood at my eye level, resulting in the oil painting on canvas above "Spring Growth by the Credit River. A Glen Williams, Halton Hills scene) . The day was hot, and very bright, but in my tiny shady oasis, I was cool and relaxed by the lapping water. That is, after I decided to ignore the huge yellow jacket that buzzed in front of my eyes every 20 minutes, and the clouds if midges that wafted above now and then!

Some terrific paintings were produced by all, and it is always fascinating to see each artist's interpretation of  the same location.  I am always surprised how  3 hours of painting outdoors feels like a happy day away! (Please note: this plein air painting is now sold)

Today we were honored that J. Bandini, President of the International Plein Air Painters Worldwide Organization drove all the way from Niagara Falls to join us.

And for those of you who think you might like giving painting out doors a try - the following is info on OPAS. By the way OPAS is free, and anyone is welcome. It is a way for plein air painters across the GTA and beyond, to link up to paint.

http://ontariopleinairsociety.blogspot.com

Find us on Facebook Ontario Plein Air Society(OPAS)

Follow us on Twitter twitter.com/O_P_A_S

New Oil Painting: Lake Huron Afternoon

Just finished this painting today, and have another small one almost done.  With my first art fair,  Art 2009 , drawing near, the crunch is on!  I am quite excited about this painting as I made a conscientious effort to apply more paint to the canvas.  After looking at a detail of the brush work of Australian artist Wayne Haag on his blog, I had a Eureka! moment. I am too stingy (not deliberately) with my paint. Although I am a confident painter, and my past paintings have definitely met with success, perhaps I am still caught up in my watercolor roots. Although the painting above  is not textured, the paint is quite loaded on, in comparison to most of my other paintings. I really enjoyed painting this piece - and it wasn't just because I got to paint a scene of my daughter  reflecting in the summer sunshine by Lake Huron.

Note: this is third of a a series I am tempted to call  "The Reluctant Tourist" .  Any one out there who has "forced" their  children or teens to vacation or day trip will relate. Although I am not without sympathy - I certainly remember teen age trips  with my parents, where I spent my time ducked down in the back of the car . Who knows who might have seen me?!

Art: See Gull painting. New Acrylics Golden.

I finally finished this 20" x 20" inch canvas of a sea gull by the steps of Gairloch park in Oakville, Ontario.  This is the second painting I have completed using the relatively new Golden Open Acrylics.

Having concentrated on teaching myself oils this past 6 years, I have very little experience with acrylics. I do know that I found the actual process in my traditional acrylic work too different from how I now naturally paint in oils.

What lured me to try the new Golden Open Acrylics, however, was the promise of a longer drying time. As well, the colours stay quite true when they dry to how they looked when applied. I have been told that traditional acrylics dry darker (imagine thinking of acrylics as traditional).

I had some technical difficulty at first with my brushes as they were meant for oils - easily solved with a few more dollars spent.

The slow drying time of the paint really does lend itself to my method of applying paint and as I got into my painting "zone" I easily forgot I was working with a new medium.  The paints are looser than oils (thinner?) and so I missed the feeling of "carving" into the canvas. As well I haven't really figured out how to glaze.

Thanks to twitter buddy, Bernard Victor, I learned that Winsor and Newton , now also have a line of slower drying Artists' Acrylic , not yet available in Canada. Here is a terrific area on the  Winsor & Newton site with videos on featured artists - all who have very different methods of using acrylics, and a contest (you can rate the entries- Bernard has entered this) for acrylic painters- http://acrylics.winsornewton.com/en/.

Speaking of  Winsor & Newton, have you heard of their North American rep, Canadian artist Doug Purdon? The extensive and fascinating knowledge  this artist has  on the history of materials, technique, and more, is an experience not to be missed. If you ever can hear Doug speak, go for it, he is  a treasure trove of educational and entertaining anecdotes.

Have you tried the new Open Acrylics? Let me know what you think or any tips you have to share.

Grey Paint. Phenology. Where's the link?

Today I was going to talk about painting greys, that is until I did a look see at  The Riverwood Conservancy new web site- here. Formally the known Mississauga Garden Council, this non profit organization has chosen a new name more suitable to  their role as steward (and much more)of this amazing urban wilderness - that in their words, to which I fully concur-  is both "beautiful and wild".

There is much to explore in this 150 acre old growth forest that is the most ecologically diverse in the Credit Vally watershed. Do you know that the salmon, yes salmon, are working their way through the 6th largest city in Canada, right about - let me check my watch - now?

But what I really wanted to let you in on is the niftyRiverwood web feature, the Phenology Database . At this link one can search for the time and place of the sightings of specific animals and birds. I think this is a great tool for nature lovers, artists and photographers alike.

As well, one can return the favor and enter the location, time etc. of the wildlife seen. I think this would be a nice participatory thing thing for the kids to do, too.

You don't have to be an artist to enjoy a visit to Riverwood... but I strongly suggest you'll regret not bringing your camera.

So much  talk about Riverwood on such a sunny spring day. The greys can wait. Guess where I'm heading?

Riverwood, Mississauga crocus Copyright Christine Montague 2009

Mini Lesson Continues: Light, Dark, More Birds in Painting & at Riverwood too

Next Step:  I have mentioned in the previous blogs how I did not have the foreground with the figure of  Wishing it was His Turn to Go as dark as I like.  I dropped a glaze of burnt umber over the figure, the door, and deck  posts.  Brilliantly, I forgot I had been painting the screen door earlier and so the paint pulled down through the opening in the door. This accidentally gave a "screened effect" and although the painting is still young I am hoping to  use this to some advantage.  I did not glaze over the hand holding the door. You can see the contrast between the hand and the neck define the right side of the head.

I simplified the sky, "carving" out the ear and jawline on the left side when I did so.

I also added the birds back into the painting.

In contrast to this early fall painting, was this very glorious day just before spring. This afternoon I spent a couple of hours exploring Mississauga's  wonderful urban wilderness, Riverwood Park & returned home 300 photos richer.

I do not have a quality lens, and must remember to get a monopod, to help with those darker wood scenes and bird shots.  Out of focus, I know, but this was such a darn pretty woodpecker, and the happy little thief of a  squirrel was sweet to watch as well. Who can resist animal shots?

Mini Art Lesson Next Step Underpainting to Blocking in Colour for Oil painting

"Wishing It was His Turn To Go"Christine Montague 2009

"Cat Mysteries- The Visitor""Blocking in Color Copyright Christine Montague 2009

"Wishing it Was His Turn To Go" At this stage, I am adding color to the monotone under painting (see previous blogs). Some artists complete small color studies before they begin their work, but I am figuring out my palette as I go. The teal in the screen door at the right will compliment the  with the yellowish bricks on the right. The reddish brown of the upturned picnic table and houses across the street will compliment and play against the greens of the grass and figures t- shirt. Because I didn't have the tonal values properly worked out in the under painting (remember I forgot to stain the panel for my mid  tones)  adding this light layer of colour did not improve the situation. As well as I painted quickly I have lost a lot of detail - like the birds and fence posts. Not to worry- details are like the cherry on the cake - saved for last, rather than first.

Tomorrow, I will add some more detail to the person- I want to start "connecting" with him by bringing him into more into focus, & making him more real to me (like developing a character when you write). I also want to get that division of dark and light in there. When i squint at the painting the "L" shape (an L on its back) of the deck railing , t-shirt and screen door should be very dark - in shadow. The band of fencing should be lighter- more mid tones. The "L" (and L facing down) of the brick wall and sky should be light. I also want to get the birds placed back in .

"Cat Mysteries- The Visitor" Still in the mood to paint, and should be removing my artist cap for chief cook and bottle washer with four hungry people arriving home expecting their dinner, I quickly dash out the darks and some of the colour for Cat Mysteries. More fun than more serious subject and detailed work, that's for sure!

Mini Art lesson: Drawing to Underpainting. Christine Montague Oil painting "Wishing.." Begins

Do you ever wonder how one begins a painting?  Here are the first steps of my  painting  in progress now. Anxious to start painting "Wishing it was His Turn to Go" ,    and not interested to make my own canvas (the image is a not to standard canvas size), I ordered a Fredrix, artist museum quality primed linen board that I could cut to size.  Bought online, the statement "hand-primed pure Belgium Linen sounded good to me.  But when they arrived approximately a day later, I was surprised to see the warning, in caps,  that includes .., EXPOSURE MAY CAUSE HARM...NERVOUS SYSTEM, KIDNEY OR BONE MARROW DAMAGE. Wash ahnds immediately after use. When using so not eat, drink, or smoke. (shouldn't do that when oil painting anyways). Wear an apron (what kind?! a lead one?)  .

Oh, my.

Still, onward.

The first step in transferring my drawn image is to tape a sheet of tracing paper over the image. I carefully draw the  outline edges first. This serves as my registration reference.

Next I do an outline drawing fof the image. I do not bother with any shading. In this case I draw quite carefully. I like the original drawing and do not want to leave impressions on it by pressing too hard.  I include all major detail as there is a fair amount of detail in the original image that I do not want to loose.

I  tape the traced drawing onto the linen board & slid a sheet of graphite paper between the two layers.  I had not yet cut the board to size and so had extra space on which to tape. I was grateful after I did this. I usually work on gallery mount canvas (canvas with a deeper profile) that I do not frame. That I had not yet cut the board let me add a 1/4" around the image to accommodate for any frame overlap.

Here is the transferred drawing.  Somehow , in the using the new board, I have been thrown in my process. For an under painting I usually stain the surface first. If I do it at this step, it will dissolve the graphite drawing. Staining gives me a mid tone to work from. I remove the paint for my lights, and add to it for the darks.  Now, as much as the drawing and redrawing in the above processes helps me really know my painting, so I paint with  confidence,  I don't really want to be that confident, and start the whole process again!

Here is the tonal values of the painting.. Not as well defined as normal due to the lack of staining , but enough so I understand what is going on with the piece when I begin to paint with colour. I did the under painting in Old Holland Classic Oil Colours Burnt Sienna. Note: I found the oil gesso on the linen board very different to gesso on pre purchase canvas. It was shiny and almost acted as a resist.  Also, because I had not precut the board or sealed it with a stain, my hands had been in constant contact with the board. Remember the lead warning at the beginning?