New work on Artwork Archive

Online tools are great to keep you organized. Thank you AA! See new work posted here: https://www.artworkarchive.com/artwork/lisa-sisley-blinn.

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New Fall Classes 2012

Sign up early! Classes fill quickly.

  • Encaustic+: 4 Week Intensive with Lisa Sisley-Blinn
    Sundays: September 9-30.  1-3:30pm. 4 Weeks.
    Location: ArtMart. http://www.artmartstl.com/
    Class: http://www.artmartstl.com/class-registration/?ee=140
    2355 S. Hanley rd. • St. Louis, Mo 63144 • 314.781.9999Have you always wanted to learn about encaustic painting? Come to the “Encaustic+ 4 Week Intensive” to learn about this luscious, beautiful, versatile medium. It will cover safety and studio set up, transfer, drawing methods, collage and texture creation. Everything you need to know to get started. Taught by encaustic artist Lisa Sisley-Blinn. 2  1/2 hour class. 18 years+ (unless arranged with the instructor).

    • Week 1: Encaustic + Basic Techniques
      In the first class we will briefly take a look at the history of encaustic, review contemporary artists, learn about equipment and material safety,  and studio set up.  We will complete our first painting using layering and fusing techniques.
    • Week 2: Encaustic + Transfer, Direct and Indirect Drawing
      Encaustic is a very versatile medium. In addition to painting techniques, encaustic can be used with most drawing materials either directly on the surface, or by means of transferring the image from another surface.  Special focus will be on the use of oil paint sticks to create intaglio-like surface drawings and texture. We will complete our second painting using a water-based transfer method , as well as using drawing tools common to your home or studio.
    • Week 3: Encaustic + Collage: Embedding and Encasing
      The encaustic medium can be used to create beautiful collages with both flat and low relief materials through the use of embedding and encasing techniques. Our third painting in this series will focus on using encaustic to create a collage, layered with drawing and painting to create a finished piece
    • Week 4: Encaustic + Texture and Low Relief
      In our last class for this series, learn how to create texture using both common and surprise tools and materials. You will also learn how to create low relief patterns and shapes that can be built up quickly and easily. Complete your fourth painting
  • Introduction to Encaustics
    Saturdays: September 22-November 10. 8 Weeks.
    Location: St. Louis Artists’ Guild

    This class will focus on exploring current encaustic methods and materials. After a brief history and survey of artists currently working in this medium, we will explore studio safety, tools and materials, supports, heat sources, encaustic paints and medium, mark making, transfers, direct and indirect drawing, embedding, collage, and mixed media techniques. This class is well suited for both beginner and intermediate level students.

    Instructor: Lisa Sisley-Blinn

Dates: Meets every week on Saturday
Saturday, September 22, 2012 – 10:00am – 12:30pm
Saturday, September 29, 2012 – 10:00am – 12:30pm
Saturday, October 6, 2012 – 10:00am – 12:30pm
Saturday, October 13, 2012 – 10:00am – 12:30pm
Saturday, October 20, 2012 – 10:00am – 12:30pm
Saturday, October 27, 2012 – 10:00am – 12:30pm
Saturday, November 3, 2012 – 10:00am – 12:30pm
Saturday, November 10, 2012 – 10:00am – 12:30pm
Cost:

$120 for SLAG members, $150 for non-members
Email: knahorski@stlouisartistsguild.org
Phone: 314-727-6266

Jumble Ice II
  • Studio Encaustic Intensive. Studio of Lisa Sisley-Blinn
    (1 Class, 6 hours)
    Experience the tactile, versatile nature of encaustic painting in a private studio setting with a one or two day workshop. Workshops can be scheduled for individuals or small groups up to 4 students. Skill level can be tailored to your needs, current projects, or interests.

    Learn about studio safety, materials, tools and techniques. Receive

    handouts on safety, contemporary artists using the medium, professional groups, resources, recipes for encaustic medium and more. Some of the topics covered include: working safely, preparing a substrate (paper, panel, braced panel), making paint and mixing colors, hot/cool techniques, digital image transfer, collage and embedding, incising, and use of a heat gun and torch. Many materials included: encaustic medium, beeswax, encaustic paint, and oil stick.

    One-day class is 6 hours, 10am-4pm with a break for lunch. Two-day class is 4 hours each day, 10am-2pm. Come take a class: laugh, learn and take completed work home with you! Limit 4. 18 years+

    One Day Session, Six hours
    $150.00 for one person
    $125.00 for each person, up to 4 students
    20% off class price for WaxCentric members. Learn more about WaxCentric. Membership is free. Sign up on our MeetUp: http://www.meetup.com/WaxCentric/

    Email: sisleyblinn@gmail.com for more information.

New Fall Classes: Introduction to Encaustic

Sign up early! Classes fill quickly.

  • Encaustic+: 4 Week Intensive with Lisa Sisley-Blinn

    Sundays: September 22-30.  1-3:30pm. 4 Weeks.
    Location: ArtMart. http://www.artmartstl.com/
    Class: http://www.artmartstl.com/class-registration/?ee=140
    2355 S. Hanley rd. • St. Louis, Mo 63144 • 314.781.9999

    Have you always wanted to learn about encaustic painting? Come to the “Encaustic+ 4 Week Intensive” to learn about this luscious, beautiful, versatile medium. It will cover safety and studio set up, transfer, drawing methods, collage and texture creation. Everything you need to know to get started. Taught by encaustic artist Lisa Sisley-Blinn. 2  1/2 hour class. 18 years+ (unless arranged with the instructor).

    • Week 1: Encaustic + Basic Techniques
      In the first class we will briefly take a look at the history of encaustic, review contemporary artists, learn about equipment and material safety,  and studio set up.  We will complete our first painting using layering and fusing techniques.
    • Week 2: Encaustic + Transfer, Direct and Indirect Drawing
      Encaustic is a very versatile medium. In addition to painting techniques, encaustic can be used with most drawing materials either directly on the surface, or by means of transferring the image from another surface.  Special focus will be on the use of oil paint sticks to create intaglio-like surface drawings and texture. We will complete our second painting using a water-based transfer method , as well as using drawing tools common to your home or studio.
    • Week 3: Encaustic + Collage: Embedding and Encasing
      The encaustic medium can be used to create beautiful collages with both flat and low relief materials through the use of embedding and encasing techniques. Our third painting in this series will focus on using encaustic to create a collage, layered with drawing and painting to create a finished piece
    • Week 4: Encaustic + Texture and Low Relief
      In our last class for this series, learn how to create texture using both common and surprise tools and materials. You will also learn how to create low relief patterns and shapes that can be built up quickly and easily. Complete your fourth painting
  • Introduction to Encaustics
    Saturdays: September 22-November 10. 8 Weeks.

    Location: St. Louis Artists’ Guild

    This class will focus on exploring current encaustic methods and materials. After a brief history and survey of artists currently working in this medium, we will explore studio safety, tools and materials, supports, heat sources, encaustic paints and medium, mark making, transfers, direct and indirect drawing, embedding, collage, and mixed media techniques. This class is well suited for both beginner and intermediate level students.

    Instructor: Lisa Sisley-Blinn

Dates: Meets every week on Saturday
Saturday, September 22, 2012 – 10:00am – 12:30pm
Saturday, September 29, 2012 – 10:00am – 12:30pm
Saturday, October 6, 2012 – 10:00am – 12:30pm
Saturday, October 13, 2012 – 10:00am – 12:30pm
Saturday, October 20, 2012 – 10:00am – 12:30pm
Saturday, October 27, 2012 – 10:00am – 12:30pm
Saturday, November 3, 2012 – 10:00am – 12:30pm
Saturday, November 10, 2012 – 10:00am – 12:30pm
Cost:

$120 for SLAG members, $150 for non-members

Email:

knahorski@stlouisartistsguild.org
Phone: 314-727-6266

  • Studio Encaustic Intensive. Studio of Lisa Sisley-Blinn
    (1 Class, 6 hours)
    Jumble Ice IIExperience the tactile, versatile nature of encaustic painting in a private studio setting with a one or two day workshop. Workshops can be scheduled for individuals or small groups up to 4 students. Skill level can be tailored to your needs, current projects, or interests.

    Learn about studio safety, materials, tools and techniques. Receive handouts on safety, contemporary artists using the medium, professional groups, resources, recipes for encaustic medium and more. Some of the topics covered include: working safely, preparing a substrate (paper, panel, braced panel), making paint and mixing colors, hot/cool techniques, digital image transfer, collage and embedding, incising, and use of a heat gun and torch. Many materials included: encaustic medium, beeswax, encaustic paint, and oil stick.

    One-day class is 6 hours, 10am-4pm with a break for lunch. Two-day class is 4 hours each day, 10am-2pm. Come take a class: laugh, learn and take completed work home with you! Limit 4. 18 years+

    One Day Session, Six hours
    $150.00 for one person
    $125.00 for each person, up to 4 students
    20% off class price for WaxCentric members. Learn more about WaxCentric. Membership is free. Sign up on our MeetUp: http://www.meetup.com/WaxCentric/

    Email: sisleyblinn@gmail.com for more information.

Studio Time: Encaustic Medium Cake Sizes

encaustic_muffinAfter I make a batch of encaustic medium in the crock-pot, I like to measure it out into usable portions.  Typically I have been using  metal baking pans appropriated from the kitchen.  Most of the medium is ladled into metal muffin pans in two sizes, medium and large (not extra large). Once cooled, the tins are placed in the freezer to harden so that they will fall out of the tins easily. The smaller cakes are used either whole, or broken up and melted with color cakes to create transparent washes.

encaustic_blockA portion is poured into a bread pan, which will be placed on the heating surface as a larger reservoir. I use this to separate either sections or full painting surfaces with layers of medium. Or, to build up textural surfaces, embed objects, seal transfers and sgraffito work. The larger muffin cakes are used to replenish this quantity as needed.

Recently I experimented with  flexible silicone bakeware. I bought a Wilton “bite size” brownie pan on sale at a local craft store. “Individual cavities are 1.5 x 1.5 x .75 in. deep.”  I am a convert. Silicon molds are now my new favorite tool. I love the ease of removing the cakes, either at room temperature or cold.  Additionally, this small size fits into any paint container on my palette and is very convenient. My only caution regarding the use of these molds has to do with their flexibility. Either let the encaustic cubes cool before moving the molds, or place the molds on a board or cookie sheet prior to filling. Because they are flexible, it is possible that they will flex and spill hot wax when you are moving them if not supported well.

encaustic_cubesAdditionally, the small molds could  be used to build up a repository of custom colors. Instead of leaving a small amount of paint in a larger cup or tin, to be saved for some future time, pour it off into several small cubes. Keep for another painting, save with documentation for a completed painting for possible future repair work, or exchange with other artists or students.

My metal pans are beaten up with years of use. From now on, I am on the lookout for replacement silicon molds.

[Music in the studio: “James Taylor: Live at the Beacon Theatre,” 1996;  “Paul Simon: Graceland: The African Concert”, 1987. Both on DVD from Netflix.]

New Work: 100 Thoughts

sauce_chalksWhat started out as a journal exercise of a few hours turned into a 3 week project exploring color and texture, and  thinking about reflections from surfaces and thoughts. View the series for  “100 Thoughts” on Flickr.

encaustics_paper_set2The reflections off water, glass, marble, and other transparent, translucent or glossy surfaces have always intrigued me. The image that is reflected is often distorted, ambiguous, hazy, blurry, and edited by the shape of the surface. Sometimes, much like our thoughts. Situations and encounters can occasionally leave our thoughts bouncing around like light off a surface: uncertain, out of focus, out of context, or clear but truncated.

100_thoughts_flury

“100 Thoughts” is a  set of small images that correspond to thoughts that were generated by the act of mark making with encaustic paint on paper. Although some of the images began with an idea, most were “named” after the image was completed. When the actions of the mark making were done, the thought regarding the image crystallized. Titles were kept short to correspond with the small image size, and a specific idea.

All pieces in the set are encaustic with oil bar on Fabriano Artistico paper. The paper is 5 1/2 ” x 6″  (14 cm x 15 cm), images are about 4″ x 4″ (10 cm x 10 cm). Edges were taped, creating a restricted painting/reflection area. Not unlike a print edition, the edges and backs of the paper were kept as clean as possible. Images that were inconsistent with the established theme were removed from the set. Out of an original 116, only 100 were selected for the completed set. The others were added to the original journal entry.

100_thoughts_allSome titles from the  “100 Thoughts” series:

Answer II
Berries I
Blaze II
Blueberry Kiss II
Creamsicle Sky I
Fever I
Frosting II
Fury I
Glow I
Inner Glow II
Jam I
Jumble Ice I
Last Remark I
Mindful II
Night Mood II
Odd Moment II
Promise I
Rhubarb Vortex I
Startle I
Stormy Light II
Sweetness I
Thinking I
Transpired I
Undecided II
Whispers I

[ No music in the studio today. Only the snoring of 2 cats and a dog, and the soft sounds of heat on metal – the encaustic paints being warmed on the metal palette.]