It's exciting to apply those finishing touches to this painting! Hope you'll join me in this video :)
Do you want College Level Art Training, Monthly Art Lessons and a community of terrific Artists? It's time to take your artwork to the highest levels with us! www.ArtandSuccessPRO.com
April 19, 2022
154 - Pamela Caughey - Hanging by a Thread - Parts 11-12 (Excerpts from ...
April 15, 2022
153 - Pamela Caughey - Interview with PRO member Carol Mordecai Myers - ...
Listen to this fabulous interview with Colorado artist, Carol Myers!
April 12, 2022
152 -Pamela Caughey - WELCOME to my NEW Studio!- 14 TOP Studio TIPS to ...
It's never easy to MOVE a huge studio - but it's done! WELCOME to my new studio! In this video I share my TOP 14 STUDIO TIPS that helped me
transition and smooth the move! Please let me know your FAVORITE Studio Tip (mine or yours!) and I've listed almost all my favorite Studio Tools here:
https://www.artandsuccess.com/resources
Happy Painting!
Pam
February 5, 2021
January 28, 2021
118E_Pamela Caughey - EXCERPTS from Dec 16, 2020 LIVE - ENCAUSTIC - Prep...
I hope you enjoy watching this YouTube video - painting in the Encaustic Medium (hot wax!)! I also discuss preparing for an exhibition at the @RadiusGallery now on view through February 27, 2021! You can view my exhibition work here:
https://privateviews.artlogic.net/2/e5e890568f1ee814de299b/
Instagram: @pamelacaughey
Cheers! Pam :)
May 17, 2011
Color Experiments with Encaustic - Beginning another grid made of 6x6" panels
Working with color in encaustic is unlike anything I've done before. There is a definite learning curve. It isn't watery like watercolor, but flows like watercolors when you heat the surface. Most of the colors are opaque unless greatly diluted with encaustic medium, again, the opposite of what I've done in watercolor for so many years, when I used the opaques so sparingly. Like acrylics, there isn't a lot of time to work, not because the encaustics will "dry," but because they'll cool. Heat becomes your best friend; I prefer using a torch to a heat gun because it doesn't blow the surface wax around. There is a vibrancy and surface lustre which continues to draw me in. It is a constant add, subtract, layer, scrape, gouge, fill in process which I enjoy for its malleability and unpredictability. This is the beginning of another potential grid of color. I want each piece to stand on its own, but also want the grid to work together. My hope is for the panels to speak to one another, as individuals. We'll see what happens in the next few months! Above are two panels in warm colors layered over cool.
I naturally gravitate toward cool colors; using warm colors feels a bit out of my comfort zone. I love Morgan Freeman's narration of "Through the Wormhole." In one of the episodes, which describe cutting edge discoveries and pursuits in understanding the universe, he references the "particle zoo." This would be a collection of particles you get when you blast a neutron apart (or is it a proton? I can't remember, but like the idea of lots of particles!) This piece reminds me of a particle zoo. A distant goal is to work really large; perhaps 32x40" panels or so, in encaustic. Getting the DVD series of "Through the Wormhole" would be a great inspiration for a new series!
Working with color in encaustic is unlike anything I've done before. There is a definite learning curve. It isn't watery like watercolor, but flows like watercolors when you heat the surface. Most of the colors are opaque unless greatly diluted with encaustic medium, again, the opposite of what I've done in watercolor for so many years, when I used the opaques so sparingly. Like acrylics, there isn't a lot of time to work, not because the encaustics will "dry," but because they'll cool. Heat becomes your best friend; I prefer using a torch to a heat gun because it doesn't blow the surface wax around. There is a vibrancy and surface lustre which continues to draw me in. It is a constant add, subtract, layer, scrape, gouge, fill in process which I enjoy for its malleability and unpredictability. This is the beginning of another potential grid of color. I want each piece to stand on its own, but also want the grid to work together. My hope is for the panels to speak to one another, as individuals. We'll see what happens in the next few months! Above are two panels in warm colors layered over cool.
I naturally gravitate toward cool colors; using warm colors feels a bit out of my comfort zone. I love Morgan Freeman's narration of "Through the Wormhole." In one of the episodes, which describe cutting edge discoveries and pursuits in understanding the universe, he references the "particle zoo." This would be a collection of particles you get when you blast a neutron apart (or is it a proton? I can't remember, but like the idea of lots of particles!) This piece reminds me of a particle zoo. A distant goal is to work really large; perhaps 32x40" panels or so, in encaustic. Getting the DVD series of "Through the Wormhole" would be a great inspiration for a new series!
Panels 5-7 of the 9 panel grid
I worked on these panels about a week ago and finally got around to taking photographs of them. Each panel expresses ambiguity, while the composition attempts to push the lights, midtones and darks into different permutations. It is challenging and fun to work with what I hope is a sensitive line, and values which create movement and energy. For me, the feeling is rather dark, turbulent, ominous; perhaps a bad dream or a dark day.
May 4, 2011
Beginning the Grid
I started this series of drawings about a week ago. They were a lot of fun and it is freeing returning to abstraction and focusing on sheer emotion. I get a feeling of turbulence, a tossing and turning, and am happy with my continual state of ambiguity. Byron thought it could be the sea, or sky, or microscopic. I like that it is not literal. These drawings were done with an aquarelle pencil, which needed to be continually sharpened, and played with line in various sections of each grid. I then used permanent black ink in large areas. The ink I used was kind of disappointing; not black black, kind of blotchy black. I need to remember that. But now that I've started, perhaps I'll stay with it. We'll see. The next step was to glue each drawing onto a 10"x10" cradled baltic birch panel, and then layer encaustic medium and then graphite powder. A little wintergreen oil rescued some of the lights that got too dark. Lesson learned.
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