Faux Encaustic Technique by Heather Tracy for The Graphics Fairy
Using wood glue and loving the texture and patterns that come out of each unique encaustic piece.
Student Gallery of images created by photo encaustic students in either the online class or a studio workshop.
Faux Encaustic Technique by Heather Tracy for The Graphics Fairy
Creative recycling, mixed media art, collage, DIY fashion, artist postcards, recycled jewelry, craftivism, upcycled art and crafts, eco fashion
Have you ever seen encaustic art and found yourself drawn in? There is something about encaustic artwork that grabs the viewer in a way that is different from other […]
2016 Topic 3: Wax (Pic credit: Nancy Crawford) Well hello everyone, Leandra here I have always loved wax as a medium, it encompases such a wide range of ideas to explore in a crafty sense: dec
Clare O'Neill provides step-by-step instructions how to do a photo transfer using an ink jet printer.
6 how-to steps for a successful encaustic photo transfer. Learn how to add your own photographs to an encaustic painting using this image transfer method.
Discover loads of information relating to various encaustic wax melting processes. Learn about tools, materials, support and recipes or the archived section
6 how-to steps for a successful encaustic photo transfer. Learn how to add your own photographs to an encaustic painting using this image transfer method.
By Kellie Day in Art Tutorials > Painting Tutorials I’ve always been fascinated by encaustic art and the eerie, soft look it has. All those layers of wax are incredibly intriguing, and up until recently, were a complete mystery to me as to how they were created. Just to give you an example, here’s a close-in detail of an encaustic piece entitled Fire Divided by encaustic artist and teacher Shawna Moore. Amazing, isn’t it? So smoky and soft, and textured! For those […]
Learn about the History of Encaustic Painting and ancient Fayum Funeral Portraits. Modern day artists have rediscovered encaustic painting
I decided to embrace the fact that I am a beginner at encaustic. As a beginner, I allowed myself to mess it up, try different techniques, and play!
By Kellie Day in Art Tutorials > Painting Tutorials I’ve always been fascinated by encaustic art and the eerie, soft look it has. All those layers of wax are incredibly intriguing, and up until recently, were a complete mystery to me as to how they were created. Just to give you an example, here’s a close-in detail of an encaustic piece entitled Fire Divided by encaustic artist and teacher Shawna Moore. Amazing, isn’t it? So smoky and soft, and textured! For those […]
Kayla Barker combines photography with encaustic to add an extra layer of depth and dimension to her pieces.
Photo encaustic begins by printing photographs on paper, adhering the paper to a substrate then painting with encaustic on top of the photo.
A number of years ago, someone told me I needed to know Jane Fulton Alt. It was some of the best advice I’ve received in the photo world, and I am thrilled to share the work and the new monograph of a friend I so deeply admire. Jane has that rare ability to consider many
Faux Encaustic Technique by Heather Tracy for The Graphics Fairy
2016 Topic 3: Wax (Pic credit: Nancy Crawford) Well hello everyone, Leandra here I have always loved wax as a medium, it encompases such a wide range of ideas to explore in a crafty sense: dec
I generally talk about using cold wax as a process of adding and taking away. The taking away is all about applying reduction techniques which is basically removing oil and cold wax with the intention of creating interesting effects and textures and to also reveal earlier layers of colour and texture. Here I will illustrate how you can use tissue paper to create some interesting effects.
The Land Knows encaustic mixed media 6x4 inches
When you see something for the first time and it speaks to your soul, you don't forget it. I'll never forget the first time that I saw a painting by an artist whom I had never heard of before. Was this painting a Rothko (my then current favorite)? It had such depth and character, but it wasn't quite his work. The colors were so vivid, the patina unmistakable. How was that achieved? Who was this artist? Luckily, Google came to the rescue and I discovered Marcia Myers. I soon owned the Hudson Hills Press publication named Marcia Myers Twenty Years: Paintings and Works on Paper 1982-2002 by Dr. Renee H. Shea. It is one gorgeous, oversized book that I refer to often. Ventana XV, 1987 luma, metal dust, interference pigment and varnish on paper Marcia Myers was best known as a fresco artist who painted abstract canvases that reflected her love of Pompeii, the frescoes of the Renaissance and contemporary abstract paintings. She loved to experiment and developed a layered technique of combining unorthodox mediums with the traditional to produce the textured frescoes. Tabula Aes III, 1987 metal dust, luma and varnish on linen After completing her MFA in painting at George Washington University and a Fulbright scholarship, Marcia began teaching Art History at the Madeira School in Virginia. She later credited her academic training, including classes on materials and methods, with giving her the confidence to push the limits with the mediums that she experimented with when creating her frescoes. Marcia was deeply influenced by the ancient ruins in Pompeii and Herculaneum, making over thirty visits to study the frescoed walls. She strived to capture the incredibly rich colors and amazing textures, beginning with works on paper and later moving to large linen canvas. Myers' own photo of Pompeii Villa dei Misteri V, 1996 fresco on linen Myers began painting with oils and pigments, layering thin layers of oil glazes and creating textures with paper and fabric. Works done by abstract painters, such as Mark Rothko and William Turner, were her early inspirations. Memory III fresco on linen Myers continued to develop and refine her technique, using the raw, historical pigments favored by the Renaissance artists. She layered the pigments along with marble dust and clear acrylic varnish, combining many layers to achieve the luminous depths and vibrant colors that define her paintings. in her studio her working powder pigment collection Myers started to paint in series, working on two or three canvases at one time, moving back and forth between them. These abstract diptychs and triptychs showed off her rich colors: burnished red-oranges, creamy whites, mustard yellows and cool turquoises and blues. Padua, 2002 fresco on linen Civitas 79 A.D., 1996 fresco on linen Instead of layering the powder pigments into fresh plaster as in the frescoes of Pompeii and the Renaissance, she produced her frescoes by layering the pigments and marble dust on to clear varnishes and glazes, thus displaying a thoroughly modern take on the ancient medium. Using the powder pigments allowed her to make the most of each pigment's properties. While the ochres created a more opaque surface, the reds were more transparent. Lapis lazuli pigment stayed suspended in the medium, thus shimmering in light. Frammento Del Muro LIX, 1998 fresco on linen Frammento Del Muro I, 1996 fresco on linen Marcia Myers' chipped and scraped surfaces continue to draw me in to contemplate and admire. What is your favorite? Scavi CXXVI, 1999 fresco on linen Marcia Myers died an untimely death in 2008. For those of you lucky enough to live close to the Gail Severn Gallery in Ketchum, Idaho, the Gallery is presenting Riches of Remembrance, a collection of Marcia's work. From December 20, 2010 through January 31, 2011, the paintings to be shown are mainly from her own personal collection. credit
Clare O'Neill provides step-by-step instructions how to do a photo transfer using an ink jet printer.
