Spring has Sprung (and so have the Art Shows)

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Spring seems to have finally sprung!  I can’t believe how fast March and April disappeared – my family been so busy with our cottage renovation, that I’ve hardly stepped foot in my studio.  Instead, I’ve learned all about solid pine siding and how to use a power saw.

Our cottage 'Around the Bend' on Little Kennisis Lake

Our cottage ‘Around the Bend’ on Little Kennisis Lake

I have a number of ‘Art in the Park’ events coming up on the horizon, so now it’s time to start ramping up into creative overtime.  But before I start getting messy again in the studio, I thought I’d mention two Spring shows that I am currently participating in.

Fine Art Society of Milton 'From Heart to Hand' art show 2013

Fine Art Society of Milton ‘From Heart to Hand’ art show 2013

The Fine Arts Society of Milton (FASM) have their annual Member’s Show & Sale, ‘From Heart to Hand’ at the Holcim Gallery in Milton from April 24th to May 11th.  I missed the opening night celebration (double-booked with a science gala in downtown Toronto), but came in the next day to see the art works.

Alexandra Reid and her encaustic mosaic 'Thought & Memory - Cat's Eye' at the FASM's 'From Heart to Hand' show

Alexandra Reid and her encaustic mosaic ‘Thought & Memory – Cat’s Eye’ at the FASM’s ‘From Heart to Hand’ show

Thought & Memory - Cat's Eye. 2012. Encaustic. 12 x 28 inches. Alexandra Reid.

Thought & Memory – Cat’s Eye. 2012. Encaustic. 12 x 28 inches. Alexandra Reid.

My piece, “Thought & Memory – Cat’s Eye” was in good company, hanging beside FASM’s president, Sandra Spagnuolo’s large mixed media work, “Unbound” (on the left).   Hanging on right was Amanda Gonsalves’ mixed media work, “I’m Getting Closer to My Home.”  This was one of my favorite pieces in the show, and I guess someone else really liked it as well since it had a red dot sticker indicating it was sold.

'From Heart to Hand' FASM Member's Art Show & Sale 2013

‘From Heart to Hand’ FASM Member’s Art Show & Sale 2013

Sandra recently had a piece featured in the May/June 2013 Cloth Paper Scissor magazine as part of the Reader’s Challenge, ‘Make Mine Mini’.

Sandra Spagnuolo's entry in the 'Make Mine Mini' Cloth Paper Scissors Reader's Challenge

Sandra Spagnuolo’s entry in the ‘Make Mine Mini’ Cloth Paper Scissors Reader’s Challenge

Over 300 entries were submitted (including one of mine – my first time participating in a CPS challenge), so congrats to Sandra on making the cut!  My submission was called “Pocket Garden”, and it was made on an encausticbord Artist Trading Card ( 3-1/2 x 2-1/2 inches).

Pocket Garden. 2012. Encaustic. 3-1/2 x 2-1/2 inches. Alexandra Reid.

Pocket Garden. 2012. Encaustic. 3-1/2 x 2-1/2 inches. Alexandra Reid.

The other Spring show I’m currently participating in is the McMaster Innovation Park, ‘Art in the Workplace – 11th Exhibition’.  This show runs from April 4th until July 12th,2013. There were over 70 artists involved with the show, and the opening night had a huge turnout.

Art in the Workplace 11th Exhibition - McMaster Innovation Park

Art in the Workplace 11th Exhibition – McMaster Innovation Park

While I was supposed to stand beside my art works to answer questions from attendees, I also wanted to go around and see everyone else’s art works.  I was able to take this candid photo of someone checking out my encaustic mosaic.

Gallery attendees at the Art in the Workplace show.

Gallery attendees at the Art in the Workplace show.

Afterwards, I did my good artist duty and answered the most common question – how did you make this?  This is always a fun one to answer since most people are not familiar with encaustic painting to start with – and even if they are, the fact the mosaics are actually made on paper is a big surprise to  them.

Alexandra Reid and her encaustic mosaics at the Art in the Workplace, 11th Exhibition.

Alexandra Reid and her encaustic mosaics at the Art in the Workplace, 11th Exhibition.

Thought & Memory - Amber. 2012. Encaustic. 20 x 20 inches. Alexandra Reid.

Thought & Memory – Amber. 2012. Encaustic. 20 x 20 inches. Alexandra Reid.

Thought & Memory - Tanzanite. 2012. Encaustic. 20 x 20 inches. Alexandra Reid.

Thought & Memory – Tanzanite. 2012. Encaustic. 20 x 20 inches. Alexandra Reid.

Now it’s back to the studio for me!  I’ve got three upcoming ‘Art in the Park’ events coming up soon – ‘Art in the Park – Etobicoke’ on June 9th, ‘Port Credit Outdoor Art Show 2013’ on July 12th-14th, and ‘Art in the Park – Oakville’ on August 5th.  If you are looking for fun art things to do in the summer, come and check out these Greater Toronto Area (GTA) art shows!

Best in Show – VAM Members Valentine’s Show & Sale

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Last Friday, Southern Ontario was hit by a terrific snowstorm – schools were cancelled and everyone stayed home (who could) to enjoy the ‘snow day.’ Unfortunately, that was also the night planned for the Visual Arts Mississauga opening reception for their Annual Members Valentine’s Show & Sale.  Instead, the reception was moved to Sunday afternoon, which was a beautiful sunny and clear day.

Alexandra Reid and her encaustic mosaic artwork at the VAM Valentine's Show.

Alexandra Reid and her encaustic mosaic artwork at the VAM Valentine's Show.

During the reception, Margo Sheppard-Hébert, Executive Director of VAM announced the artists that were selected for Best in Show, and those artists that won the top awards of first, second and third place.  Out of 73 submissions, I was fortunate enough to be selected as one of the artists to be included in the Best in Show and have my work, “Thought & Memory- Bordeaux” hung in the Gallery space of the lovely Riverwood Building.  My piece had a food theme, with the images featuring vintage ads for wine and cheese, and having a colour scheme of burgundy (wine) and creamy yellow (cheese).

Thought & Memory - Bordeaux. 2012. Encaustic. 20 x 20 inches. Alexandra Reid

Thought & Memory - Bordeaux. 2012. Encaustic. 20 x 20 inches. Alexandra Reid.

The first prize winner was Margaret O’Flanagan-Byerley, and you can read about the inspiration for her work, “Time and Again.” in this online article.  Second prize went to Bev Didur for her piece, “From Pond to Pan” (you can see her piece on the table in front of my encaustic mosaic).  The reception gave lots of opportunity to walk around the studio spaces and see all of the VAM community’s artworks.

Some of the Best in Show artworks at the VAM Valentine's Show.

Some of the Best in Show artworks at the VAM Valentine's Show.

It was also a great chance to catch up with the other artists who I had not seen since the Christmas Artisan Market in November.  It always great to reconnect and see what new inspirations and creative ideas are brewing in my fellow artists’ minds.

Opening reception for the VAM Valentine's Day Show.

Opening reception for the VAM Valentine's Day Show.

 

Coffee Talk – Local art on display at the Milton Indigo Starbucks

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Timing is everything! This past Thursday night I was on my way home from my usual after work dash into the store to grab some essentials for dinner.  Leaving the grocery store, I decided to stop by the Milton Indigo Starbucks to see if they were accepting new local artists for their wall space.  My timing was excellent – the previous artist’s work (photography) had already been up for a few weeks, so the Starbucks manager said I could come by the next day and display my art work.

Alexandra Reid's encaustic mosaics on display at the Milton Indigo Starbucks.

Alexandra Reid's encaustic mosaics on display at the Milton Indigo Starbucks.

That night was also my monthly neighbourhood book club, so I had to quickly figure out the best arrangement for the pieces I had selected, plus figure out the wiring that was provided for display purposes.  I managed to get everything hung up with labels in just over an hour (next time, I must remember to bring a level – I had to keep stepping back to see if the artwork was straight).

Alexandra Reid's encaustic mosaics on display at Milton Indigo Starbucks (small corridor).

Alexandra Reid's encaustic mosaics on display at Milton Indigo Starbucks (small corridor).

The gallery space is cosy; you can see the artwork as you leave the Indigo bookstore and enter into the Starbucks café.  After I had finished, I had one of the patrons snap a photo of me sitting in one of the leather ‘comfy’ chairs (the chairs I always try to score if meeting for a coffee with a friend).  The Starbucks barista also gave me a free Vanilla latte to enjoy!  My encaustic mosaics will be on display for the next few weeks – drop in for a coffee and check them out!

Alexandra Reid enjoying her Vanilla Latte at Starbucks (her encaustic mosaics on the wall behind).

Alexandra Reid enjoying her Vanilla Latte at Starbucks (her encaustic mosaics on the wall behind).

Christmas Artisan Market & Juried Art Shows

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“It’s beginning to look a lot like Christmas…”  I can’t believe how fast the couple of few months have flown by!  I’ve been so busy in my studio just trying to stay on top of making enough artworks to be shown in all my recent shows.

The Christmas Artisan Market, Living Arts Centre, Mississauga (Nov. 23 & 24)

Alexandra Reid at the Christmas Artisan Market in Mississauga.

Alexandra Reid at the Christmas Artisan Market in Mississauga.

This was a joint venture between Visual Arts Mississauga, Culture Division at the City of Mississauga, Potters Guild, Art in the Yard, and Living Arts Centre Resident Artists.  It was a beautiful space, very bright and modern.  There was live music playing (the cello sounded lovely) and being close to Christmas, people were in a shopping mood.

Christmas Artisan Market, Living Arts Centre, Mississauga

Christmas Artisan Market, Living Arts Centre, Mississauga.

Again, my art pendants (made from upcycled scrabble tiles and mini-dominos) were my biggest hit – the perfect little unique gift for someone special.  I also sold several of my smaller ‘mini’ encaustic paintings as well.  With these types of art fairs, I find it’s very helpful to sell different types items at a sliding scale of ‘price-points.’  While people are trying to decide which pendant to buy, they are drawn in closer to look at my encaustic mosaics in more detail.

Art pendants made from upcycled scrabble tiles and mini-dominos.

Art pendants made from upcycled scrabble tiles and mini-dominos.

This was the first time that I used the new ‘Square’ dongle with iPhone app.  Square was recently introduced to Canada, and several of the vendors were trying it out for the first time.  When it worked, it worked great.  But, since the technology relied on getting a good cellphone signal, it was a bit problematic with being surrounded by concrete – I kept losing the signal and the credit card processing would time out – very frustrating!  Luckily, there was an ATM on site, so ‘cash is king’ as usual.

Mobile credit card reader - new Square iPhone app.

Mobile credit card reader - new Square iPhone app.

Best of all, I was fortunate to get my first commission (Hurray!) for one of my encaustic mosaics – to be custom-made in the vertical 12 x 28 inch format in blues, purples and sepia tones.

Art in the Workplace, 10th Exhibition, McMaster Innovation Park, Hamilton (Nov. 19 to Mar. 07)

Artists group shot for 10th exhibition of Art in the Workplace, McMaster Innovation Park.

Artists group shot for 10th exhibition of Art in the Workplace, McMaster Innovation Park.

I had submitted three of my encaustic mosaics to McMaster Innovation Park (MIP) in the summer and was lucky to have all three pieces selected for the show.  Ironically, just after the pieces were dropped at MIP, I had someone contact me who was interested in purchasing one of the pieces, “Thought & Memory – Sapphire”, which she had seen at my previous ‘Art in the Park‘ show.  Now, I’ve placed it on hold until the show’s end – very exciting for me!

Thought & Memory - Sapphire. Alexandra Reid. Encaustic Mosaic. (12 x 28 inches). 2012

Thought & Memory - Sapphire. Alexandra Reid. Encaustic Mosaic. (12 x 28 inches). 2012

Opening night had a great turnout – I attended with my mom, Alida and my mother-in-law, Pat.  This time, the art was on both floors of the Atrium – lots of 2D works (acrylic, oil, photography, watercolour) and some 3D works (stained glass, wood and stone sculptures).

Opening night for 10th exhibition of Art in the Workplace, MIP.

Opening night for 10th exhibition of Art in the Workplace, MIP.

My pieces have a great vantage point in the main area of the Atrium – you can see them from the upper balcony and it’s close to the elevator and main sitting area.  I like my pieces since they can work on two visual levels: from a distance (abstract grid arrangement of colour) and up close with a ‘Where’s Waldo’ appeal (looking at the detail of a specific image).

Alexandra Reid's encaustic mosaics at Art in the Workplace, MIP

Alexandra Reid's encaustic mosaics at Art in the Workplace, MIP

It was great to be able to walk around and see all the other artists’ works.  Amazing amount of variety!  I also really enjoyed being able to chat with people about my art – mostly on my technique since people found it hard to believe that the mosaics were only created with encaustic paint (melted beeswax, damar resin & oil paint, with added glitter and gold leaf) on Terraskin and paper (matte photo paper coated with encaustic medium).  The glitter and gold leaf really catch the light – very festive!

Alexandra Reid and her encaustic mosaic artworks at McMaster Innovation Park.

Alexandra Reid and her encaustic mosaic artworks at McMaster Innovation Park.

FASM’s First Open Annual Juried Art Show, Holcim Gallery, Milton (Dec. 5 to Jan. 5)

This was FASM’s first Juried Art Show, and they had selected two experienced jurors to judge the show: Dawn White Beatty and Eileen Menzel.  On the day of selection, my mom was dropping off my artwork at the Holcim Gallery for me (it was my husband, Dave’s birthday and we were taking possession of our new cottage in Haliburton – a great birthday present).  A bit of confusion ensued, as FASM couldn’t find my application – luckily, my mother insisted I had submitted the application (and called me at the cottage to confirm), so my piece, “Thought & Memory – Hematite” was accepted for judging.

Thought & Memory - Hematite. Alexandra Reid. Encaustic Mosaic. (20 x 20 inches). 2012

Thought & Memory - Hematite. Alexandra Reid. Encaustic Mosaic. (20 x 20 inches). 2012

Later that day, my mom called to say it had been accepted into the show (Yay!), so now I could attend opening night to find out the lucky winners.  My kids arrived with Dave just as they were announcing the winners (two for 2D works, two for 3D works and one for Best in Show) – and while I had to tell my kids, ‘No, Mummy didn’t win a prize’, I felt privileged just to be included in the show as the calibre of works on display was extremely high.

FASM's First Annual Juried Open Art Show at the Holcim Gallery, Milton.

FASM's First Annual Juried Open Art Show at the Holcim Gallery, Milton.

I had a chance to discuss my encaustic mosaic artwork with the jurors, and they both said that my piece was in the definite ‘Yes’ pile to be included in the show.  A good learning experience since presenting in a ‘crafty art’ show is very different then being in a ‘juried fine art’ show.

Alexandra Reid and her encaustic mosaic artwork at the Holcim Gallery.

Alexandra Reid and her encaustic mosaic artwork at the Holcim Gallery.

After I got home, I was putting my kids to bed and the phone rang – I let it go to voicemail, and then decided I should check it just in case.  And surprise, surprise – it was someone who wanted to purchase my piece for her mother as a Christmas present! The next day, I made up a custom ‘gift certificate’ so she could give it to her mom under the Christmas tree.  When the show ends in January, they can go and pick up their new art work – a very Merry Christmas for everyone!

Visual Arts Mississauga 35th Annual Art in the Park show

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On Sunday, Sept. 23rd I participated as a vendor (my first time selling in an art show!) in the Visual Arts Mississauga 35th Annual ‘Art in the Park’ event. 

Art in the Park 2012, Visual Arts Mississauga

From the VAM press release:

Visual Arts Mississauga (VAM) is proud to announce the re-launch of its signature event ART IN THE PARK as it celebrates 35 years of making art in the community. ART IN THE PARK, which has been on a seven-year hiatus, will take over VAM’s Art Centre in Riverwood on Sunday September 23 from 10 am – 4 pm. The facilities will be bustling with guests who will be inspired and entertained by the vibrancy of art, nature, creativity and the music of accomplished local musicians all on the bank of the Credit River.“ART IN THE PARK was launched in 1983 by Visual Arts Mississauga at the Springbank location on Mississauga Road at Dundas Street West”, remarks Executive Director Margo Sheppard-Hébert, “The event ran for 21 very successful years but when the organization moved to its new home in a park named Riverwood, the event was reluctantly shelved”, she continues, “We are very pleased to bring this important event back to the community.”Artists and artisans have excitedly lined up for the rare opportunity to display and sell their work in the splendour of Riverwood, the historic MacEwan Barn and Visual Arts Mississauga’s picturesque Art Centre.  Evocative, diverse works of art will be presented alive with colour, texture, form and imagery.  This event showcases work encompassing a myriad of mediums including watercolour, acrylic, oil, mixed media and photography. Artisans include jewelers, glass artists, fibre artists, sculptors, potters and more.

I had applied for an exhibition space inside the beautiful Art Centre – it looks very Frank Lloyd Wright inspired and the surrounding park and gardens are gorgeous!  Luckily, the crisp Fall weather cooperated for those artists who set up on the front lawn of the Centre.

Visual Arts Mississauga - Arts Centre in Rockwood Park - photo by VAM

The interior exhibitors were fortunate to be able to set up the Saturday morning before – which I greatly appreciated, being a newbie.  My husband had just finished screwing the hinges into the wood & wire display screen Friday night, so I was all set to go with my ‘S’-hooks and art works.  The display screen itself received tons of compliments – never mind my art that was being hung on it!  I had described what I wanted to Dave and he drafted up this perfect prototype – a great early birthday present!

Alexandra Reid's booth at Art in the Park - Visual Arts Mississauga

The wire mesh allowed paintings to be hung front and back of the panels, and could be easily rearranged.  The four panels all folded together into the size of door, but much lighter since it was mostly wire mesh (I could even carry it by myself if I had too – there were great volunteers helping out at the ‘Art in the Park’, and I had help carrying it from and to my van).

After getting everything hung up and looking good, the hardest thing for me was trying to put prices on my art work – all the artists I asked also agreed with me that this was the hardest part (the second hardest is naming the finished work).  You want to be appealing, but not to under value your work, but also be appropriate for the venue and the audience (potential customers).  I tried to have a range of prices for the variety of art works (sizes small to large, less to more labour intensive) on display.

Here is one of my encaustic ‘mosaics’ that was finished literally the night before the show (nothing like working for a deadline), from the series, “Thought & Memory – Hematite”.  I named the encaustic mosaics after precious and semi-precious gems, since they looked like jewels displayed in a black velvet box.  The images worked on a thematic level (thoughts & memories) and coordinated/complimented with the colours in the abstract encaustic painting.

Thought & Memory - Hematite by Alexandra Reid. 2012. Encaustic. 20 x 20 inches.

The encaustic mosaic pieces are very different than my more ‘standard’ 2D encaustic paintings (landscapes and collages) and they received a lot of attention and compliments.  I had a  few people who wanted to come in behind my table to get in very close to see the encaustic mosaic images and textured abstract paintings in more detail.

Close up of Thought & Memory - Hematite by Alexandra Reid

My other very popular pieces were my scrabble tile pendants and mini domino pendants.  I made these using many of the same images that were found in my encaustic mosaic works.  These appealed to all ages – young girls to grandmothers.  There were such a variety of images that people spent quite a long time making their decision on choosing the perfect pendant!

Art Pendants made from reclaimed Scrabble Tiles - Lexi Reid Studio on Etsy

Art Pendants made from reclaimed Mini Domino Tiles - Lexi Reid Studio on Etsy

Next bit of business is to take all my digital images of my new art works and pendants and upload them into my blog Art Gallery page and my Etsy store, Lexi Reid Studio – I’ve spent all of my time making things for the ‘Art in the Park’ show that I haven’t had a chance to update my website and store!  Stay tuned for lots of new pictures!

Seeing in Colour – Image transfer with colour laser prints

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I can’t believe how fast the summer has flown by!  It’s been busy with summer camp for my kids, going out to visit family in Victoria (I went to the great annual Moss St. ‘Paint In’ – terrific local artists!) and spending time at a cottage in Haliburton.  So basically, I’ve not been in my studio over the whole summer – too busy being outside and enjoying the hot, sunny weather.

Now that my kids are headed back to school, I’m trying to get back into my studio to work and play again.  I’m participating in the Visual Arts Mississauga event, ‘Art in the Park’ on Sunday, Sept. 23, so I need to start making lots of new art works to sell.  I’m also going to submit three new works to be considered for the 10th Art in the Workplace exhibition at McMaster Innovation Place.

To ease myself back into the studio, I wanted to try doing an image transfer with coloured laser prints.  This is based on the same technique as the black and white photocopy transfers where the pigment is transferred onto the wax surface of the painting.

I used a colour laser printer for making text sayings in six different colours (taken from a black and white rubber stamp image which I reversed to mirror image and converted in Powerpoint to various colours).  I had a prepped piece of wood with white encaustic paint over natural (non-filtered) encaustic medium (gives a creamy look to the paint).

Materials for colour transfer onto wax: prepped encaustic wood panel, colour laser print-outs and bone folder.

I cut out the sayings out into thin strips and briefly heated up the surface of the wax.  I read in Daniella Woolf’s ‘The Encaustic Studio’ that toner transfers worked best on surfaces that had been warmed within 30 minutes of the transfer, or slightly warm to touch.

Printed text sayings cut out for transfer.

Next, I placed the text sayings face down and started to burnish the back of the paper with a bone folder (easier to work with than the old spoon I had been using).  With burnishing, you can never burnish enough – you want to make the surface of the paper almost shiny from the constant rubbing to make certain all the toner transfers onto the wax.

Colour laser printed text placed face down onto encaustic painting surface.

Here is a close up of the burnished paper strip.

Close up of burnished paper strip by a bone folder onto encaustic wax surface.

After all the burnishing is completed, I used a bowl of warm water (nicer to work with than cold) to start rubbing off the wet paper fibres from the wax surface.  Again, it is almost like putting on a fake tattoo, you don’t want to rip off the toner from the surface when you rub off the wet paper crumbs.

Bowl of warm water to wet burnished paper for image transfer.

Here is a close up of the completed colour transfer onto the wax surface.

Series of different coloured text sayings for image transfer.

Looking at the final colour laser printer transfer, all six text sayings transferred equally well (colour did not affect the transfer).  The only issues are overzealous removal of the wet paper fibres or under burnishing the colour toner onto the wax surface.  Obviously, the background colour of the encaustic painting will affect the appearance of the colour transfer, but the possibilities are endless for this technique!

Completed colour laser toner image transfer onto encaustic painting.

Learning my ABC’s – Working with stencils and encaustic paint

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I continued my experiments with encaustic painting and Terraskin paper.  I wanted to apply the encaustic paint through a plastic stencil (being careful not to melt it).   I used a cheap plastic alphabet stencil from a dollar store, and applied different colours of paint through the letter openings.

Applying encaustic paint on Terraskin paper through a plastic stencil.

One issue with this stencil is that the plastic was quite thick, which meant the wax built up quickly as it cooled and pooled in the letter shape.  I think a thinner stencil would be better for crisper detailed letter shapes.

Stencilled letters made with encaustic paint.

Next, I brushed over a clear coat of encaustic medium to seal in the letters (some colors bled out in the melted wax where they were thickly applied) and let cool.

Clear encaustic medium over stencilled letters caused letters to 'bleed'.

Next I wanted to apply stamped impressions of letters into the slightly warm wax.  I used a series of alphabet letter wood block stamps that I got from Michaels Arts & Crafts store.  These letters had textured designs in the letters, and I was curious to see if that textured would be captured by the wax.

Rubber wood stamps with different textured letters.

I stamped the letter ‘A’ into the wax, but the one issue I found using the Terraskin is that it was difficult to apply enough wax to the surface to capture a decent impression, without having the wax be too thick on the paper (and potentially cracking off).

Faint impression of stamped letter 'A' into warm encaustic medium.

I thought the stamped letters would stand out better with some colour applied to them.  I used red oil paint and rubbed it over the Terraskin with my gloved fingers.

Rubbing red oil paint into stamped surface of waxed Terraskin paper.

Next, I removed the excess oil paint with a paper towel and linseed oil.  Once enough paint was removed (except for the colour trapped in the stamped letters), I sealed it with a coat of clear encaustic medium.

Removing excess red oil paint from waxed Terraskin paper with linseed oil and paper towels.

Red oil paint is captured in the stamped letters impression in the wax.

Lastly, I wanted to write additional letters onto the surface of the waxed Terraskin paper.  I used an embossing pen (metal point with a slight ball on the tip) and sheets of black carbon paper (found at Staples) and colored dressmaker’s chalk tracing paper, sheets in green, yellow, red and blue (found on eBay).

Black carbon paper and coloured dressmaker's tracing paper for writing onto wax.

Both the carbon paper and colored chalk tracing paper transferred clearly to the waxed surface of the Terraskin paper.  I had to press firmly as I drew my letter shapes through the carbon paper, but the ball point of the embossing tool was perfect for this.

Block letters drawn with black carbon paper and embossing pen onto waxed Terraskin paper.

Once my letters were completed, I did one last seal of clear encaustic medium over the entire piece.  When the wax had cooled, I removed the masking tape from the edges of the Terraskin paper, and took it off the wood panel.

'Now I Know my ABC's' - Encaustic on Terraskin paper by Alexandra Reid. 2012

I like the look that the stenciled letters gave me, even with the haziness from the wax melting from the edges – reminds me of old graffiti on a street alley.

Silent Auction at Wyndham Art Supplies

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The Silent Auction at Wyndham Art Supplies in Guelph is coming to a close. Final bidding takes place on Sat. July 7 and the auction closes at 9pm.

In early April they put out a Call to Artists, they were looking for Artists that were willing to create a work of art on a 10×10 wood panel that they provided. They were overwhelmed with the response! In less than 24 hours they handed out over 50 panels. The Artists were told that the theme of the Auction was “Endangered or Extinct”. This could relate to beast, machine, figures of speech, mannerisms, fashions, political parties, technology or anything they felt fit in the genre. This year all funds raised will again go to help subsidize sending children to Art Camps and Classes.

This year for the first time, they will be closing their Auction with a party on July 7th from 6 – 10 pm at the Ebar (41 Quebec St. South, Downtown Guelph).

My mother, Alida Garside and I both have art works up for auction.  My mom’s piece is a bas relief ceramic of a dragon fish, called “Dragon’s Dilemma”.

'Dragon's Dilemma' by Alida Garside. Ceramic on Wood Panel (10 x 10 inches) 2012.

My art work is an encaustic painting of an archeopteryx, a fossil showing a evolutionary bridge between the dinosaurs and modern birds.  I called my painting, “The Ugly Duckling.”

'The Ugly Duckling' by Alexandra Reid. Encaustic on Wood Panel (10 x 10 inches) 2012.

Both of our art works have bids on them which is very exciting!  Please check out the other artists’ works as well – there is a lot of different mediums – acrylic, photography, etc.!  Make a bid, win a painting, send some kids to art camp – great way to encourage future artists!

Rainy Day Scribbles on Terraskin Paper

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It’s a been awhile since I had time to tinker in my studio.  All of the hot, sunny weather we’ve had lately has inspired my family to get out and plant flowers and vegetables and play in the park.  This weekend has been cold and rainy – so the perfect excuse to get back to my experiments with encaustics and Terraskin paper.

This time I wanted to try different drawing materials on the Terraskin, and see what would happen when I applied encaustic medium over top.

I had little success previously with using oil paint sticks on top of encaustic medium, but I thought they would be good try directly onto the Terraskin.  I also had some watercolor crayons as well to scribble colors on with.

Oil paint sticks and watercolor crayons to be used on Terraskin paper.

The oil paint sticks gave a nice bit of color this time, the smooth surface of the Terraskin was still able to grab the paint – almost like using regular wax-based crayons.

Doodling with oil paint sticks on Terraskin paper.

The watercolor crayons went on smoothly as well (right-hand side of Terraskin).  These crayons behaved exactly like their wax-based Crayola counterparts – very easy to apply lots of colorful scribbles.

Doodling with watercolor crayons on Terraskin paper.

Next, I used a thick graphite drawing stick and thin charcoal drawing stick.  Both of these grabbed the smooth surface of the Terraskin very well.  I preferred the look of the charcoal stick (right-hand side) – good potential for graffiti-like scribbles!

Doodling with graphite and charcoal sticks on Terraskin paper.

Once I had finished with all of my drawing materials (oil paint sticks, watercolor crayons, graphite and charcoal sticks), I applied two thin layers of clear encaustic medium over top of the Terraskin.  Luckily, none of the drawing materials smeared or smudged under the hot wax, which I had worried would happen.

Clear encaustic medium applied over drawing materials on Terraskin paper.

Next, I did some random brushstrokes with encaustic medium and oil paints (small amount of paint used to give a more transparent glaze appearance).  The thin brushstrokes allowed the drawing to show through from underneath.  I also dripped some encaustic paint on top of the brushstrokes to add to the randomness and bright colors.

Encaustic paint dripped and brushed over doodles on Terraskin paper.

I removed the green painters tape that had held the Terraskin to my wood panel, and the piece was complete.  The brushstrokes and scribbles give a nice feeling of movement and the bright colors make it a vibrant, happy piece – just what you need on a rainy day!

Colorful doodles with encaustic paint and various drawing materials on Terraskin paper.

Getting Muddy – using Drywall Mud for Texture

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I really enjoy texture in abstract paintings.  In my past large-scale acrylic abstracts, I used a combination of raw canvas pieces and acrylic modeling paste applied onto my canvas to build up the base texture.  Once the texture was dry, I could paint with acrylics paints and mediums and not have to worry about the texture cracking or flaking off the canvas.

"Whirlpool" by Alexandra Reid

I wanted to have this same texture with my encaustic paintings, but without the added expense of having to build up such a deep surface of wax first.  I had been reading about the use of plaster with encaustics, both from an encaustic artist point of view (Daniella Woolf – ‘The Encaustic Studio’), and from plaster artists’ point of view (Stephanie Lee & Judy Wise – ’Plaster Studio’).

The Encaustic Studio - Daniella Woolf

Plaster Studio - Stephanie Lee & Judy Wise

The plaster artists’ approach intrigued me, since they used acrylics paints (already have loads) and drywall mud (lots on hand from my husband’s building projects), with a final top coat of encaustic.  I wanted to see if I could get my heavily textured abstract with the buttery richness of encaustic (and not break the bank!).

I decided to make a diptych (two panel painting) – the paintings could be stand-alone, but would work together as a complimentary pair, both color-wise and texture-wise.

First step, to spread a thin layer of drywall mud (pre-mixed wall plaster).  I really enjoy this step – it feels like you’re frosting a cake.

Spreading the drywall mud onto wood panel with spatula.

Once the mud was spread out evenly with the spatula, I used a trowel (from Home Depot) that is meant for applying adhesive for ceramic tiles.  It had quite large, square teeth giving a nice set of parallel grooves in the mud.  I used a second trowel with smaller, triangular teeth to create a finer set of lines in the mud.

Combing lines through the wet drywall mud with a trowel.

After creating very linear patterns in the mud, I wanted to break up the uniformity of the lines by imprinting circle patterns.  I used a set of circle cookie cutters (set of 3, different sizes).  I twisted the cookie cutter to get a wider circle impression in the mud.

Making circle impressions in wet drywall mud with a cookie cutter.

I repeated the same process with the drywall mud, trowels and cookie cutters on the second panel, but in a different design.  I left the panels to dry for at least 48 hours to make certain that the plaster had cured.

Wood panel number 1 with textured drywall mud.

Wood panel number 2 with textured drywall mud.

Once dry (at least 48 hours), I started to coat the panels in a base coat of red acrylic paint, adding a bit of water to it in order to have it spread more evenly into the plaster grooves.

Watered down red acrylic paint used as a base coat over the dried plaster.

Next, I used a complementary wheel color, green to contrast to the base red coat.  It was really different for me to work in acrylics again after working for the past year in encaustics – the acrylic paint stayed wet!  But, this allowed me to create nice blends of color and tone-on-tone that I hadn’t quite mastered with encaustic painting.

Color wheel complementary green acrylic paint mixed wet on wet over red base coat.

I let those colors dry and then brought out some metallic acrylic paints that I thought would really make the texture pop.  I stayed with the warm tones, and choose copper and gold colors.  I mixed the metallics into the reds and greens, but felt that the iridescence was lacking.

Next I used the copper and gold directly onto the painting as highlights.  Now, the texture was defined with the highlights and shadows of the complimentary colors.

Copper and gold metallic acrylic paints used to highlight texture.

Happy with my acrylic painting, I prepared the clear encaustic medium (EM) for the final top coat.  I brushed a thin layer of melted EM across the grooves.

Clear coat of melted encaustic medium brushed on as a top coat.

I now noticed a potential issue with a textured surface and encaustic painting – the wax pooled into the grooves and started to level them off, becoming cloudy in the process.  Not a look that I was going for!

Cooled encaustic medium has remained in grooves and turned cloudy.

I tipped the wax coated panels at a 45C angle and slow melted the excess wax off the panel.  I had to rotate the panel a full 360C to keep the wax from puddling into the grooves.  Finally, I had the clear, transparent glow of encaustic with the colors of the acrylic painting show through.

Thin layer of encaustic medium over acrylic paints on textured plaster wood panels.

I called the finished abstracts, ‘Moons of Mars’ I and II.  The colors and the circle shapes suggested the alien landscape of a faraway planet.  You can visit my finished works at my online Etsy store, ‘Lexi Reid Studio’.

'Moons of Mars I' by Alexandra Reid

'Moons of Mars II' by Alexandra Reid