The truth about Cold Wax & upcoming workshops

Upcoming Workshops:

Exploring the Surface: Painting with oil & cold wax

Whether using a brush, drawing, scratching, scraping, rubbing or employing knife techniques, this ancient medium fosters versatility. Its translucent qualities allow light to penetrate into the paint surface, emphasizing rich and vibrant colour, depth and tone. 

Texture, movement and fluidity can easily be achieved via working with cold wax, oil paint and drawing materials and I will share techniques and tools used with this lush painting medium. Recommended for artists with some painting experience.    

  

*Please click here for current workshop dates

The Truth About Cold Wax

Notes

The primary reason that I make my own cold wax medium is to ensure that I can build surfaces with up to 50% beeswax/oil ratio without the worry of it cracking. Some commercial brand wax mediums contain paraffin wax because it is inexpensive but if used on it's own, is brittle and can crack. So it is combined with another synthetic wax- petroleum based microcrystaline. This is a  soft wax and very pliable, counteracting the brittleness of parrafin. Both are used as fillers in some commercial grade cold wax mediums. If you are working with a minimal amount of cold wax medium with your oil paint it works fine and is cost effective.

Along with pure natural refined beeswax I make my cold wax medium with stand, poppy or walnut oil to balance pliability and to improve blending and adhesion. I incorporate resin to varying degrees depending on the surface I will be working on and the amount I want to build up. Dammar resin is a natural resin that will add gloss and more transparency to your surface if you polish it.

I have been working with wax mediums -both encaustic and cold -for many years and it is nice to see a new interest in both. A word of caution: there is a lot of information -and mis-information-on the internet about cold wax. I advise those of you who are interested in learning how to use cold wax to take a workshop from a seasoned instructor. 

If you would like more technical information about cold wax please visit:

Gamblin

Kama Pigment

Jacquard 

COLD WAX MEDIUM FOR SALE

*I have been supplying hand ground cold wax medium to local artists as well as students. In response to requests from those further afield, I am now making it available and ship throughout Canada, the US and the UK..

The medium is refined to a smooth, buttery consistency. Made with natural pure unbleached beeswax-no fillers.  It mixes instantly with oil colours, powdered pigments, powdered metals and graphite and is extremely versatile. Cold wax medium can be thinned for finer work or used as a paste for impasto techniques. Finished paintings can be polished to achieve a soft sheen or left matte. 

 Price:

350 grams: 20.

1 Litre: 40.

Payment can be made securely online via paypal. Shipping throughout Canada, US and Europe via Canada Post or expedited via UPS. Please contact jan@janyates.com for shipping fees.

 

fading fast

I was able to sneak into the vineyard next door for some quick sketches to work from in-studio. It was too hot even for me to stand out there 'en plein air' this week!

With this drought and heat, the greens are fast fading..

July, Niagara Escarpment, acrylic on canvas, 30x36in, available

For some reason I always switch to acrylic paint when the weather is this scorching. I think it is in hoping all that dripping water will somehow cool me down. As well, acrylic takes longer to set up in the humidity and I like the little bit of pull on the brush as it is drying.

I also wanted this work to have an immediacy and an airy sketch-like quality to it and polymer easily lends itself to that approach.

 

Someone once said that the good thing about acrylic paint is that it dries fast-the bad thing about acrylic paint is that it dries fast. 

I've worked with polymer for many years and it is a fun and forgiving medium. It can, however, create some really bad habits if you work in oil or other transparent mediums. Because it is opaque, you really don't have to think about how it affects the colour under it if you are working in a direct painting technique. If you go back to working with oil with this approach you may soon be in mud.

I like using acrylic pigment for indirect painting methods, primarily glazing and scumbling.

Sometimes I will also do an under-painting with acrylic and finish the work in oil.

Radio Flyer Ranger Wagon & plein air

It’s cloud’s illusion I recall

I really don’t know clouds at all..Joni Mitchell

 June afternoon, Niagara escarpment, oil on canvas, 12x24in, sold

We have had some absolutely beautiful June days here. Cool and clear with big billowy clouds playing in the wind.

 Yesterday it was too windy  to fight with my easel if I were to work standing up, yet I wanted to do some observational studies. I opted to work small-and sitting down-and have a radio flyer wagon just for such occasions. I load it up with my usual painting gear but also bring along bungie cords and rocks. I can sit my full box easel across the top without opening the legs, then I simply place weights behind it. The rest of the wagon is used as a table and I can just ‘enjoy the ride’ without worrying about my easel falling over and my canvas escaping. Obviously I can't take this set up off location but it works perfectly when painting close to home.

Having said that, when we went out for our evening  plein air class we did have larger canvases so because of the wind we tied our easels to trees and chairs –managing to avert a few potentially dangerous gusts. Nothing worse than laying in that perfect stroke and having the wind pushing in from behind to move that stroke where it is not welcome.

 

So, a few small sketches and above, last year’s June clouds. 

(and yes, those specks in the paintings are wee bugs)

June afternoon sketch 1, 8x10in, acrylic on canvas, 2012

                    June afternoon sketch 2, acrylic on gessoed card, 4x6in, 2012

June afternoon sketch 3, acrylic on gessoed card, 4x6in, 2012

both sides now

Thin places,” the Celts call this space,

Both seen and unseen,

Where the door between this world

And the next is cracked open for a moment

And the light is not all on the other side. 

–       Sharlande Sledge

I lár báire (between) oil/wax on canvas, 48x48in, 2012

  

There is a saying that heaven and earth are only three feet apart, but in the thin places that distance is even smaller.

'In ancient Celtic spirituality the phrase “a thin place” was used to describe places and events where the divide between this world and the other narrows.  Places where the eternal and the divine more powerfully affect the soul.  Where events reveal more than what we can see, hear and touch.  Sometimes it’s the place in front of a work of art, all it needs is two people to stand in it.  Sometimes it’s a poem or a song, all it needs is two people to hear it.  The result is an experience that cannot be held in the body or the mind, it can only be held in the soul and it joins us together in a place of extraordinary belonging.' 

above quote  from a blog with the same name:
 http://www.athinplace.org/A_Thin_Place/about.html

encaustic painting workshop

 Below is another image continued  after demonstrating techniques at a recent encaustic 'mini' workshop. 

These shorter workshops are working out great, as people are busy with well, busy lives-yet they still have a nice chunk of time to immerse themselves in learning and playing.

 Little Voices of the Air, encaustic on found panel, 5, 6 x20in, 2012, sold

  

I incorporated image transfer, collage, glazing, layering and drawing into  the above image. In the encaustic painting  workshops, I will share these methods as well as  mono type and cold wax/oil techniques.

Even though I have  been working with this luscious medium for over 15 years I am still in wonder of it's versatility.

 Ancient and intriguing, this method of painting originated in Greece, where it was used for the earliest easel and mural painting. A heady combination of colour, melting wax and heat, encaustic mixes dry and oil pigments in hot beeswax. 

 Classes are enjoyable for those with no previous art-making experience as well as returning artists who want to further explore this alluring and tactile medium.

view upcoming workshops here

powers that be

I don’t know what it is about a lone tree on a hill but after researching their believed powers while in the UK  I am interested to know stories from other cultures. When I was in Scotland I learned about the magic Rowan tree (although it doesn't need a hill to cast it's spell) but Canada is a young country in comparison and I don’t know of any historical fact or fiction in regards to tree lore. I am interested in finding out. Obviously we are all affected by trees and the natural world but what is it about a solitary one in the distance and in between?

July, Niagara Escarpment, oil on canvas, 36x36in, 2011, sold 

This painting recently sold and I am feeling a little separation anxiety. It was one of my largest plein air paintings- worked entirely on location and with no touching up in the studio. I went out every afternoon (with similar light conditions) for about a week and it was one of those rare transcendental  experiences where the painting takes you somewhere divine. 

Cold wax workshop and hawthorn

* for current cold wax workshop dates and information, please visit my website.

Irish Hawthorn ... Crataegus monogyna .. Sceach Gheal

"Our native fairy tree. We have, sprinkled throughout our Irish myth and legend, many references to hawthorn and its connection with the fairy folk. 

To this very day, there are still farmers who plough a wide circle around lone hawthorn trees, avoiding all contact between tilling implement and root, for fear of offending the fairies that supposedly inhabit the tree. Now, I would be quick to dismiss all this as superstition but for the many tales of misfortune that befell farmers and contractors who took plough, digger or saw to a single hawthorn specimen.. ” James Kilkelly 

Crataegus monogyna (Hawthorn 1), cold wax/oil on panel, 5x5in, 2012

Exploring the Surface: Painting with Cold Wax

There are openings for this Saturday's Workshop:

Encaustic painting is not always the most convenient way to work-especially if you have limited space or are travelling. Texture, depth, movement and fluidity can still be achieved via working with cold wax, oil paint and drawing materials. I will show you how to mix your own cold wax medium and share techniques and materials used for this versatile painting technique. Recommended for artists with some painting experience.

Saturday, June 9, 11am-3Pm

to register online via paypal or for more information please contact me.

janyatesart@gmail.com

a pretty good day so far

After  adjusting to  the quiet at Annaghmakkerrig-no tv or radio- I have tried to stay in that mode since coming home. But yesterday morning I turned on the radio and in 5 minutes heard about the horrific massacre in Syria, a porn star dismembering a body and sending parts to Canadian politicians, and a young  family found by the side of a Saskatchewan road, apparently a murder suicide.

Feeling helpless, I turned off the radio and went outside

 May (a pretty good day so far) oil on canvas, 24x24in, available for sale

I love these words by Loudon Wainwright and, although they are about war, I find them to be optimistic and somewhat reassuring. They make me think about the quiet in my life. I won’t take it for granted. ever.

a Pretty Good Day

I slept through the night
I got through to the dawn.
I flipped a switch and the light went on
I got outta bed
I put some clothes on
It was a pretty good day so far.

I turned the tap
there was cold there was hot.
I put on my coat,
to go to the shop.
I stepped outside
and I didn't get shot.
It was a pretty good day so far.

I didn't hear any sirens or explosions,
no mortars coming in from those heavy guns
no UN tanks
I didn't see one.
It was a pretty good day so far.

No snipers in windows taking a peek
No people panicked running scared through the streets
I didn't see any bodies
without arms, legs, or feet.
It was a pretty good day so far.

There was plasma, bandages and electricity,
Food, wood, and water,
and the air was smoke free.
No camera crews from I-TV.

It was all such a strange sight to behold.
Nobody was frightened, wounded, hungry or cold.
And the children seemed normal,
they didn't look old.
It was a pretty good day so far.

I walked through a park
you would not believe it.
There in the park there were a few trees left,
and on some branches
there were a few leaves.

I slept through the night
I got through to the dawn.
I flipped a switch and the light went on
I wrote down my dream,
I made it this song,
It was a pretty good day so far.

Loudon Wainwright

                                                                                                                                                                                                                                                            

a way-Ireland wrap up

I have been back from my Ireland residency for a few weeks now-in body at least. What a magical setting to stir the imagination! I can’t seem to articulate all that the experience has left in my being, but I won’t hurry the unfolding either. Time spent living and working at the Tyrone Guthrie Centre has deeply affected me on many levels and will continue to do so.

Brave heart(study) mixed media on mylar, 20x 34in, 2012

I have met colourful characters, spinning myth and truth woven and worn by families that have lived on the land for generations. As well, stories shared by fellow artists, musicians, composers and playwrights at Annaghmakkerrig deeply enriched my own spirit. The noise of life can really muffle our sensibilities and when it is removed the soul speaks about what is truly relevant. 

As far as  making art, I did delve into new work and it was great to have the much needed time to do research. I am still processing and distilling all that I have learned but was surprised at how engrossed I became with Ireland’s political and religious history and how deeply intertwined they are. Because of my interest in agriculture  I started reading about the great famine -or ‘Black 47’ as it was more aptly named. 

Black 47, study, oil/wax on canvas, 8x10in

Admittedly I did not know much about it so was appalled and horrified when I learned that-in a very general nutshell- thousands of poor rural families were dying in their homes while food grown from Irish soil was being shipped to England for profit. The study above was in response to words by  Liam ó Comáin that very much resonated with me: 

It was not what they called it
For the latter is born from nature
And therefore not man made.

This was man made-
In fact an attempt by non natives
To end a race via genocide.

Thousands upon thousands dead
Thousands upon thousands forced
Into exile across the globe.

And for what- four green fields
Whose produce was exported
As men, women, and children starved.

Of course the potato was blighted
But corn and other produce left our
Shores while inhumanity was confirmed. 

Liam ó Comáin

The Troubles

Annaghmakkerrig is only a few miles from  Northern Ireland and this close proximity kindled  my on-going fascination with Ireland’s political history. One evening I was privy to engage in a lengthy conversation with someone who had participated in the IRA during ‘the Toubles’ and it was fascinating to learn, first hand, about growing up during  such a dangerous time of turmoil and political unrest.

The Troubles, mixed media on mylar, 24x30in, 2012

And on a more optimistic and wondrous note I have developed a keen interest in the symbols of  the Megalithic Passage Tombs at Loughrew and Newgrange, built by Neolithic farming communities about 5000 years ago!

 The passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. 

 I will continue to investigate…as well I have become fascinated with Irelands’  protective and protected faery forts and the magical and mysterious power of the hawthorn tree.

So all in all I feel that I’ve accomplished what I set out to do. It was to be a time of transition, to find my way-perhaps a new way and  I will continue to learn about Ireland-the people, the land, the myth, the song.

Thank you to all that followed this daily journey on my other blog and a heartfelt thank you to those who took the time to leave comments.

Now that I am back home, I have been taking advantage of this gorgeous weather to get out and do some plein air work. I wondered if I would be inspired to keep on with it after my trip and happy to report that it is in my blood- I will always go out into this beautiful land and paint.

Go n-éirí an bóthar leat

may the road rise to meet you

art & nature summer painting

nnnnn

This weekend I took some artists out for evening plein air sessions. 

May, remains of the day, oil on canvas, 30x30in, 2012, available for sale

I demonstrated how to work right over an un-loved painting-something I have done through out the years with many un-loved paintings.

The image above was rendered over the below under painting and I quite like the added texture.

Here is the hated painting-overworked and contrived. 

I am much happier with this but will re-examine with a fresh eye in a few days, although I feel the composition is sound and I like the overall feel of the work.  

*If you live local and love art & nature, please join us for evening plein air sessions throughout the summer. Just contact me and I will be happy to send you details. Right now the weather is ideal for painting outside as bugs are minimal, light is beautiful, and the air is heady with the scent of all things growing!

temptation & restraint

I feel a little guilty painting so much when responsibilities have piled up during my Ireland escape and they do demand immediate attention. And considering I had a whole month to delve into art I really should restrain myself but just can’t help it. As well, my partner is away for the long weekend so how can I not take advantage of uninterrupted time? And the weather..well, temptation is too much to bear and I must succumb.

May (home) oil on canvas, 18x24in, 2012, available

The location is steps from my studio, with this path leading out to my beloved field.   

May

I just LOVE May -painted outside again this evening with minimum bugs amidst the bubbling delirium of beloved Bobolinks

May, Remains of the Day, oil on canvas, 9x12in, available for sale

Spring greens & plein air classes

This is a plein air demo from yesterday's class -an exercise in rendering Spring greens

May, oil on canvas, 9x12in, 2012, available

I found the challenges of painting so many greens in Ireland did pay off however the greens here do have more varied yellows this time of year. For Ireland's greens: reds, violets, oranges and Indian yellow were mixed  primarily with indigo and ultramarine blue-some thalo. Of course cadmium yellow light is indispensable no matter where you are.

A new series of outdoor classes start next week..

ART & NATURE

 Plein Air landscape (painting outdoors)

 Ongoing Mondays or Tuesdays:6:30 -9PM
Spring/Summer series start
Monday, May21 
$85 for a series of 4 sessions. You can alternate days to suit your schedule.

*register online securely via paypal-just contact me

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May (home), oil on canvas, plein air, 10x10in, 2012

 

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