Dietlind Vander Schaaf 11/13/24 Dietlind Vander Schaaf 11/13/24

2025 Featured Workshops with R&F Instructors

There are so many opportunities to learn in 2025. Below we’ve highlighted a featured workshop from each of our R&F affiliated instructors. You can learn more about these instructors at rfpaints.com. If none of these workshops are close to you, download our Teaching Artist list to find someone in your region.

Unable to attend a workshop? You can access a range of tutorials on R&F’s YouTube channel or visit Articles & Links where you will find blog posts on popular subjects ranging from how to store Pigment Sticks® to encaustic color mixing.

January 25: Abstract Encaustic Painting with Denise Richards, Flowing Lake Studios, Snohomish WA

This class is geared to students new to encaustic painting. It will cover how to use transparent and opaque R&F paints in conjunction with encaustic medium to build layers and create depth. Students will explore mark making and use R&F Pigment Sticks® to create a glaze on the surface of their finished paintings.

February 8 - 9: Introduction to Encaustic and Collage with Leslie Giuliani, Woodstock School Art, Woodstock, NY

In this workshop artists will be introduced to encaustic painting and collage. Students will create complexly layered artwork using R&F encaustic medium as your “glue.” We will work with fabric, photos, and our own drawings along with encaustic paint. Demonstrations include image transfer and direct drawing.

February 1 - 2: Valentine’s Sexy Photo Encaustic Workshop with Kelly Williams, Kelly Williams’ Studio, Portland, OR

An annual tradition of erotic art, champagne, and chocolate. Students can use Kelly’s vintage imagery or a fun image of yourself and embellish it into a unique piece of art or series of erotic Valentine’s Day cards. Kelly will cover photo-encaustic techniques and how to incorporate a variety of mixed media both on wood and paper to create one of a kind pieces with a sexy twist.

February 20 - 22: Oil and Cold Wax Painting with Julie Snidle, Art Center Sarasota, Sarasota, FL

Discover new tools and methods for creating rich and authentic small paintings on paper using oil and cold wax. You'll have several paintings going at once and they can easily be transported back home. This workshop is fun, a bit messy, and will change the way you think about oil painting.

March 7 - 8: Working Large: Encaustic Printmaking with Kelly Austin Rolo, Englewood Art Studios, Englewood, CO

This workshop is designed for artists eager to elevate their printmaking and explore the exciting possibilities of working on a larger scale. Over two intensive days, we’ll tackle the unique challenges of scaling up, providing in-depth guidance on the complexities of larger-format creations. Participants will gain valuable insights and hands-on techniques that empower them to confidently approach expansive works. Join us for this transformative experience and unlock your potential in the world of large-scale printmaking.

March 18 - 21: Exploring Encaustic Painting and the Color of Mexico with Jeff Hirst, Alma del Sol Studio, Guanajuato, Mexico

Artists will work with a cool and warm palette with an emphasis on complex color mixing and relationships. Translucent and opaque color will be covered, as well as how to achieve a smooth surface on a large scale painting, tinting R&F Gesso, and underpainting. This workshop is geared towards artists looking to rediscover or further refine your own personal vision and voice.

March 21 - 31: Abstracts & Portraits with Oil Pigment Sticks: Painting Down the Nile with Jodi Reeb and Lora Murphy, Egypt

Join Jodi and Lora for an unforgettable journey down the Nile, where students will be introduced to solvent-free portrait painting with oil and cold wax medium. This workshop will cover everything from the basics to advanced techniques, including materials, supports, paints, and unique tools, while exploring expressive mark-making and learning how to build history in their work.

April 28 - May 6: Encaustic and Abstraction with Joanna Kidney, Ballinglen Arts Foundation, Co. Mayo, Ireland

Experimental exercises, drawing, reflection, writing, and field trips will be combined with an emphasis on layering, translucency, opacity and subtraction in this class. Exercises and prompts will lead to a more experimental, playful and intuitive use of techniques and tools for adding/subtracting/manipulating layers. Color exploration, composition, and resolving a painting will be emphasized. We will also cover the elements and principles of art; working with precision, control and smooth surfaces and compatible media.

May 4 - 9: What If Retreat with Lisa Pressman, Artist Rising Creativity Retreats, Glastonbury, CT

This workshop is focused on exploration, intuition, and pushing out of your comfort zone. Directives include formal elements such as line, shape, space, color, and composition with fast-paced timing based on discovery rather than finished products. Participants will create many small works to let go of the "precious" mentality. Participants will not only develop their technical skills but also gain a deeper understanding of their artistic style and voice. By immersing themselves in the making process and consistently producing pieces, artists will have the opportunity to reflect on their work, identify patterns, and uncover recurring themes. This self-exploration and reflection are invaluable in helping artists to refine their artistic vision, and ultimately, find their unique visual language that sets them apart as creators.

June 22 - 27: Sacred Art: Shrines and Totems with Dietlind Vander Schaaf and Kelly Milukas, Tiverton, RI

Deepen your practice of art making and design thinking during a six day encaustic retreat. Students will focus on surface treatments such as collage; casting and embedding objects in wax; image transfer; creating texture; mark making; and working with compatible mediums. We will explore the way art can honor loss, mark change/transition, ignite transformation, and serve as an extension of mindfulness practice. Yoga will be offered each day.

August 4 - 8: The Moody Blues: Encaustic, Indigo & Cyanotype with Lorraine Glessner, Lareau Farm Inn, Waitsfield, Vermont

This workshop explores all of the exciting ways in which the unmistakeable blue/green hues of Indigo and the rich cobalt blue of cyanotype can be combined with encaustic. The process of cyanotype is enhanced by the strong Vermont summer sun, botanicals from the garden and meadow, and experimental natural materials such as salt, tea, coffee, and turmeric. Collage, mark-making, and rust printing on paper and fabric are also explored.

August 22 - 24: Layers: Next Level with Bettina Egli Sennhauser and Dietlind Vander Schaaf, Studio Kunstfreiraum, Basel, Switzerland

Students will learn how to skillfully incorporate collage elements, such as encaustic monoprints, as well as create their own unique prints using dye and wax as a resist. This workshop will emphasize what can be done between layers of encaustic with a focus on mark making and working with paper. You will also incorporate ink and asemic writing, as well as learn techniques that allow you to transfer drawings and marks.

September 8 - 9: Making your Mark in Encaustic with Megan MacDonald, Canadian Encaustic Conference, Owen Sound, ON, Canada

This technique-based workshop explores the importance of the drawn line and ways that one can utilize it to give new depth and focus to their work. We will experiment with various methods of drawing in, under, and on the wax surface. Students will develop ways to continuously pull lines up through the surface of their encaustic painting, while exploring a variety of arts media to make marks and draw.

October 12 - 18: Italian Encaustic Journey with Shelley Jean, Buonconvento, Tuscany, Italy

Students will practice imagery development through journaling and sketching, learning to create a series of works while finding their voice and being inspired by Tuscany. Techniques covered include working with photography, printmaking, incising, mixed media, image transfers, collage, and mark-making. Ideal for beginners and seasoned artists.

November 7 - 14: EXPLORE: Zen, Wax, Color with Kelly Milukas and Gabriela Sanchez, San Miguel De Allende, Mexico

Immerse yourself in an exploration of color, values, and light, combining Zen painting and encaustic painting. We will blend modern encaustic techniques with the hues, values, inks, and inspiration drawn from the nature, architecture, vibrant culture, and picturesque landscape of San Miguel de Allende.

Dietlind Vander Schaaf 8/8/24 Dietlind Vander Schaaf 8/8/24

Pigment Sticks: Your Top 5 Questions

Each week we receive dozens of questions about working with our paint lines - from how to store your paint, to drying times and varnishing. Below you will find info and links to help answer your top 5 burning questions on R&F Pigment Sticks®.

What are Pigment Sticks®, you ask? Pigment Sticks® are a high quality oil paint with just enough wax to be molded into stick form. They allow you to draw directly onto a surface without brushes, palettes, paint tubes, or solvents. R&F uses only the basic traditional materials: natural wax (beeswax and plant wax), linseed oil, and pigment. The result is an oil stick with a lipstick soft consistency.

R&F Pigment Sticks® have none of the additives, extenders, substitutes, or facilitators that are commonly used in industrial production. While the use of these adulterants can save time and reduce cost, they lower the quality of the paint. To do without them it is necessary to create a very precise balance of the ingredients. Our formulas are complex and our manufacturing is labor-intensive, handmade in small batches, carefully milled and molded.

How can you use Pigment Sticks®?
Pigment Sticks® are excellent as stand-alone painting and drawing tools. They enable artists to loosen up, be spontaneous and gestural. At the bottom of this blog post you will find a link to our YouTube channel, which has several helpful videos on working with Pigment Sticks®.

1. How long does it take for Pigment Sticks® to dry?

The number one question we get from folks who work with R&F Pigment Sticks® concerns their drying time. R&F Pigment Sticks® are made with linseed oil, wax, and pigment, but they dry as oil paint dries - which is to say, they oxidize. The oxygenated linseed oil forms long chains through a process called polymerization and becomes an irreversible, non-soluble film called linoxyn.

There are multiple factors that affect this drying process, which is referred to as “curing.”

Light is a factor. Drying in ambient light helps to speed up the drying time.
Temperature is also a factor. Paintings in warmer temperatures dry faster than those in cold temperatures.
Humidity plays a role. Low humidity will allow your paintings to dry faster than high humidity.
The substrate affects drying time. An absorbent substrate (such as Ampersand Encausticbord or Ampersand Gessobord) will enable your painting to dry faster, as it will soak up some of the oil.
Application impacts drying time as well. A thick layer will take longer to dry than a thin layer of Pigment Stick®.

And then, there’s the pigment itself. Some pigments grab oxygen faster than others. For example, our Raw Umber Pigment Stick® dries relatively fast because it contains manganese, which acts as a catalyst. Cobalt is also a faster drier. Cadmium is slower.

How can you tell whether a particular Pigment Stick® dries slower or faster? We categorize our Pigment Sticks® in terms of their drying speed as Very Slow, Slow, Medium, and Fast. You can find an index on the back of our Color Chart that shows you how each of our colors is categorized.

Download an R&F Color Chart here.

2. Can Pigment Sticks® be used with tube oil paint?

R&F Pigment Sticks® can be easily combined with tube oils. You can try this is by building up an abstract ground, or the general shapes, values, and contrast of a representational scene with a brush and tube oil paints. Once you have these forms established, apply Pigment Stick® to add layers. This could be the glimmering light in a plein-air scene, the heavier contrast of a still life, or visual textures easily achieved with our sticks.

You can also integrate oil painting mediums traditionally made for tube oil paints. Oil painting mediums have long been used to alter the state of oil paint, increasing transparency, speeding up drying times, and so on. You can use any of these mediums, varnishes, and solvents the same way you would with tube oil paints.

•  Pigment Sticks® can be thinned with turpentine or mineral spirits.
•  Pigment Sticks® can be worked with mediums by dipping them into stand oil, linseed oil, alkyd mediums, or resin gels.
•  Pigment Sticks® can be mixed alongside tube oils, with Cold Wax Medium, or used to draw over dried oil paintings.
•  Pigment Sticks® can be manipulated with a paint knife until the paint is a buttery consistency, so that it can be brushed or knifed onto the surface, or used to mix colors.

3. What is R&F Blending Medium with Drier? How is that different from R&F’s regular Blending Medium?

We describe our Blending Medium as “a Pigment Stick® without pigment.” It’s ideal for glazing colors. It can be worked directly into a color to increase the color’s transparency or used to blend colors together a surface.

Blending Medium with Drier is a version of our Blending Medium that contains a small amount of cobalt and manganese drier to help speed up drying times. The use of a drier can affect color, so the best use is to work colors on top of it after it has been laid down on the surface.

Blending Medium with or without drier comes in both a stick form (38ml., 100ml., and 188ml.) and in jars (8oz., 16oz., and 32oz.).

Image credit: R&F Core Instructor Julie Snidle.

4. How do I store Pigment Sticks®?

We are often asked for the best way to store Pigment Sticks®. As with many of the technical questions we receive, there tends to be more than one correct answer depending on your needs.

An excellent place to start is to ask yourself what exactly you would like out of your paint. Would you like all colors visible with quick access? Do you want to extend the life of the paint as long as possible? Should you separate by color family or opacity?

Placing R&F Pigment Sticks® into airtight containers slows the oxidation process and helps lengthen the life of the paint. Pigment Sticks® can also be left exposed to air if preferred. The outer layer of the paint will dry and skin over, protecting the inner material for an extended period of time. This may be ideal for very quick access to your paint, however, the dried paint skin will need to be removed with a rag and linseed oil.

Categorizing your paint is also a good idea. There are great benefits to separating colors by their opacity and color family. This will also help you discover the dynamic range of the top tone and undertone of each color, and how they relate when used together.

R&F Instructor Julie Snidle uses wooden stackable trays her dad built when she is painting. They work well for keeping the sticks separated, clean, and easy to label. When not painting, she stores her Pigment Sticks® in Ziploc bags, which are then stored in plastic bins with lids. Separate bags are used for new and used sticks. She groups them into categories including: Warm Transparent, Warm Opaque, Cool Transparent, Cool Opaque, and Neutrals and Metallics.

5. Does the rule of “fat over lean” apply when working with Pigment Sticks®?

Fat over lean is a rule of traditional oil painting whereby colors with high oil content should be laid over colors with low oil content. Lean colors are less flexible and can crack when applied over fat colors during the drying process. Fat colors can dry to a glossy surface that is difficult for another paint layer to adhere to.

Pigment Sticks® are oil paint, but with a percentage of wax. As oil paint, they too are subject to the rule of fat over lean. The wax, however, provides additional solid to the paint, which makes for some differences with oil paint from the tube. Wax gives the film a higher proportion of solid to oil. Because of this, the swelling and shrinking of the drying process is less than that of tube oil paint. While cracking can occur when a lean Pigment Stick® color is layered over a fat layer, it is less likely than with paint that has no wax in it.

Wax also makes Pigment Sticks® leaner than tube oil paint. Applying a continuous coat of Pigment Stick® over a dried thick coat that has been painted with tube oil paint is risky. Light drawing marks made over a dry surface are already more broken and less of a continuous film, therefore less likely to crack even if painted over a fat color.

It is safe to underpaint with Pigment Sticks® and overpaint with tube oil, especially if your underpainting is not very thick. If you have underpainted a thick coat with a fat color, however, you may need to fatten your tube oil paint to prevent cracking. The wax contained in the dried film of a Pigment Stick® lessens the formation of highly glossy surfaces that are hard to adhere to. If you are working wet into wet, even combining Pigment Stick® with tube oil paint, do not worry about fat over lean.

Download Fat Over Lean to learn more about working with Pigment Sticks®.

Dietlind Vander Schaaf 7/24/24 Dietlind Vander Schaaf 7/24/24

Fall Workshops with R&F Instructors

Join an R&F-affiliated instructor nationally or internationally for a workshop this fall. You can learn more about each of our affiliated instructors at rfpaints.com. If none of these workshops are close to you, download our Teaching Artist list to find someone in your region.

You can also access a range of tutorials on R&F’s YouTube channel or visit Articles & Links where you will find blog posts on popular subjects ranging from how to store our Pigment Sticks® to working with transparent colors.

SEPTEMBER

9/12 - 10/6: Encaustic & Mixed Media: A Little Bit Of Everything with Kelly Austin Rolo, Art Students League of Denver, Denver, CO

9/15 - 9/21: Maine Coast Encaustic Retreat with Dietlind Vander Schaaf, Kennebunkport, ME

9/17 - 9/19: Art Object: Encaustic 3D with Susan Stover, Woodstock School of Art, Woodstock, NY

9/17 - 12/3: Mark-Making as Practice with Lorraine Glessner (virtual)

9/20: Intuitive Encaustic Painting and Studio Time with Jodi Reeb, Carriage House at Casket Arts, 1720 NE Madison Street #304, Minneapolis, MN

9/23 - 29: Bold Territory: Experimental Drawing with Jeff Hirst, Ballinglen Arts Foundation, Ireland

9/28: Heart of my Heart with Megan MacDonald, Megan MacDonald Studio, Kelowna, British Columbia Canada

9/28 - 9/29: Everything Encaustic with Shelley Jean, Island Art Association, Fernandina Beach, Florida

OCTOBER

10/2 - 10/7: Oil and Cold Wax: A Focus On Color with Lisa Pressman, Red Thread Art Retreats, Blue Mountain Retreat Center, Knoxville, MD

10/2 - 10/6: Encaustic Embellishment Extravaganza with Lorraine Glessner, Snow Farm, Williamsburg, MA

10/5: Encaustic Monotype with Kelly Austin Rolo, Art Students League of Denver, Denver, CO

10/12: Abstract Encaustic Painting with Denise Richards, Flowing Lake Studios, Snohomish WA

10/13 - 10/19: Opulent Encaustic, Fresco, and Pastel with Kelly Milukas and Bettina Egli Sennhauser, Tiverton, RI

10/13 - 10/19: Italian Encaustic Journey Fall Retreat with Shelley Jean, Buonconvento, Italy

10/18 - 10/19: Color, Light & Layers: Encaustic with Lorraine Glessner, Chester County Art Association, West Chester, PA

10/18: Intuitive Encaustic Painting and Studio Time with Jodi Reeb, Carriage House at Casket Arts, 1720 NE Madison Street #304, Minneapolis, MN

10/19 - 10/20: Gilded Frame & Encaustic Painting with Leslie Giuliani, Guilford Art Center, Guilford, CT

NOVEMBER

11/9: Encaustic Monotype with Kelly Austin Rolo, Art Students League of Denver, Denver, CO

11/5 - 11/6: The Fundamentals of Encaustic Painting with Joanna Kidney, The Studio, Bray, Co. Wicklow, Ireland

11/9 - 11/10: Encaustic Experimental: How to incorporate location specific materials into your work IRELAND Edition with Kelly Williams, Kelly Williams Art Studio, Portland, Oregon

11/9: Abstract Encaustic Painting with Denise Richards, Flowing Lake Studios, Snohomish WA

11/9 - 11/10: Going Deeper with Encaustic Paint with Joanna Kidney, The Studio, Bray, Co. Wicklow, Ireland

11/9 - 11/10: Scaling Up: Next Level Encaustic with Dietlind Vander Schaaf, Woodstock School of Art, Woodstock, NY

11/11 - 12/9: Luminosity: Exploring Encaustic Color with Jeff Hirst (virtual)

11/15 - 11/16: Encaustic and Paper with Julie Snidle, Forstall Art Center, Birmingham, AL

11/23 - 11/24: Intro to Encaustic and Collage with Leslie Giuliani, Woodstock School of Art

11/29: Think Tank: Encaustic Workshop with Jeff Hirst, Hirst Studio, Chicago, IL

DECEMBER

12/5 - 12/8: Encaustic - Abstract with Bettina Egli Sennhauser, Studio Kunstfreiraum, Basel, Switzerland

12/6: Intuitive Encaustic Painting and Studio Time with Jodi Reeb, Carriage House at Casket Arts, 1720 NE Madison Street #304, Minneapolis, MN

12/7 - 12/8: Encaustic Essentials Workshop with Kelly Williams, Kelly Williams Art Studio, Portland, Oregon

12/14: Abstract Encaustic Painting with Denise Richards, Flowing Lake Studios, Snohomish WA

Dietlind Vander Schaaf 7/17/24 Dietlind Vander Schaaf 7/17/24

Notes on Color: The Phthalos

We’re back with another edition of Notes On Color - our platform for sharing our thoughts on color. Meet Phthalo Blue, Phthalo Turquoise, and Phthalo Green. Don’t be fooled by their dark top tones. These colors pack a punch.

Meet Phthalo Blue, Phthalo Turquoise, and Phthalo Green. Don’t be fooled by their dark top tones. These colors pack a punch.

Richly pigmented, our encaustic paints can be extended with encaustic medium to create luminous glazes. The same can be done with our Pigment Sticks® using R&F Blending Medium. Add Titanium White to produce vibrant tints.

Below you’ll find a short demo video illustrating how to work with our phthalos.

And remember you can find all kinds of helpful content, from tips on color mixing to artist spotlights on Articles & Links as well as demo videos on our YouTube channel.

Enjoy. Keep painting.

PHTHALO BLUE. Very powerful, makes for a bright clean tint. Greener than Ultramarine and Cobalt Blue.

Available in both our encaustic and Pigment Stick® color lines. Transparent with a Pigment Stick® drying rate of medium.

Chemical Composition: copper phthalocyanine.

PHTHALO TURQUOISE. With a vivid turquoise undertone, Phthalo Turquoise is midway between Phthalo Blue and Phthalo Green.

Available in both our encaustic and Pigment Stick® color lines. Transparent with a Pigment Stick® drying rate of medium.

Chemical Composition: phthalo blue + phthalo green.

PHTHALO GREEN. Intense and deep. In line work it can look blacker than black. Possessing a vivid undertone, Phthalo Green can be a bit harsh, but it makes an excellent glaze.

Available in both our encaustic and Pigment Stick® color lines. Transparent with a Pigment Stick® drying rate of medium.

Chemical Composition: chlorinated copper phthalocyanine.

Dietlind Vander Schaaf 4/22/24 Dietlind Vander Schaaf 4/22/24

Workshops with R&F Instructors

Looking for an opportunity to study? There are loads of workshops coming up taught by knowledgable R&F-affiliated instructors. Check out the line up below and see if something works for you!

Image credit: R&F Artist Instructor Megan MacDonald

Looking for an opportunity to study this summer? There are loads of workshops coming up taught by R&F-affiliated instructors nationally and internationally. You can learn more about each of our affiliated instructors at rfpaints.com.

Not able to attend a workshop? You can check out the demo videos on our YouTube channel or visit Articles & Links where you will find blog posts on popular subjects ranging from how to store our Pigment Sticks® to working with transparent colors. Many of our affiliated instructors will be teaching at the International Encaustic Conference this summer as well.

May
Beginning May 9 (ongoing): Methods and Materials for Painters with Debra Claffey, Virtual Workshop via Zoom, Thursdays from 1 - 4pm ET

5/11 - 8/11: Scaling Up: Working Large with Encaustic with Dietlind Vander Schaaf, Online Workshop via Zoom

5/13 - 5/14: Encaustic Monoprints & Work On Paper with Lorraine Glessner, Art & Soul Retreats, Harrisburg, PA

5/16 - 5/18: Shellac Kisses Encaustic with Bettina Egli Sennhauser, Atelier Boesner, Unterentfelden, Switzerland

5/28 -5/30: Encaustic Meets Fresco With Bettina Egli Sennhauser, Truro for the Arts at Castle Hill, Provincetown, MA

5/14 - 7/23: Focus: Studio Practice with Lisa Pressman and Susan Stover, Virtual Workshop via Zoom

5/18: Abstract Encaustic Painting with Denise Richards, Snohomish, WA

5/28 - 5/30: Organic Abstraction with Values and Color with Kelly Milukas, Truro Center for the Arts at Castle Hill, Truro, MA

5/29 - 30: What Makes Encaustic Different In Creating Color Effects with Leslie Giuliani and R&F founder Richard Frumess, Truro Center for the Arts at Castle Hill, Truro, MA

5/30 - 5/31: Making Your Mark with Photo Collage and Color Theory with Jodi Reeb, Truro Center for the Arts at Castle Hill, Truro, MA

June
6/3 - 6/5: Conversations in Color: How the Characteristics of Pigments Affect Color Relationships with Lisa Pressman and R&F founder Richard Frumess, Truro Center for the Arts at Castle Hill, Truro, MA

6/3 - 6/7: Encaustic Fiber and Structure with Lorraine Glessner, Quilt & Surface Design Symposium, Columbus, OH

6/5 - 6/6: Paper, Paint, Wax: Using Encaustic and Collage to Develop your Personal Voice with Debra Claffey, Truro Center for the Arts at Castle Hill, Truro, MA

6/5 - 6/6: Explore + Experiment with Megan MacDonald, Truro for the Arts at Castle Hill, Provincetown, MA

Artwork by R&F Instructor Lorraine Glessner.

6/8: Abstract Encaustic Painting with Denise Richards, Snohomish, WA

6/8 - 6/9: Encaustic Botanical Collage with Lorraine Glessner,
Quilt & Surface Design Symposium, Columbus, OH

6/15 - 16: Encaustic For Every Artist with Leslie Giuliani, Guilford Art Center, Guilford, CT

6/18 - 20: Encaustic and Embellishment with Lisa Pressman, Woodstock School of Art, Woodstock, NY

6/19 - 6/23: Art Object: Encaustic 3D with Susan Stover, Snow Farm Center for Craft, Williamsburg, MA

R&F Core Instructor Julie Snidle will be teaching at Touchstone Center for Crafts this summer.

6/20 - 6/23: Encaustic with Photo Collage with Jodi Reeb, Wild Rice Retreat, Bayfield, WI

6/24 - 6/28: The Alchemy of Transformation with Lorraine Glessner,
Lareau Farm Inn, Waitsfield, VT

6/25 - 29: Oil and Cold Wax with a Focus on Color with Lisa Pressman, Pacific Northwest Art School, Whidbey, WA

6/29 - 6/30: Layers and Translucency with Dietlind Vander Schaaf, Woodstock School of Art, Woodstock, NY

July
7/6 - 7/7: The Fundamentals of Encaustic Painting with Joanna Kidney, The Studio, Bray, Co. Wicklow, Ireland

7/8 - 7/12: Encaustic Retreat: Color, Composition, Yoga with Kelly Milukas and Dietlind Vander Schaaf, Tiverton, RI

7/9 - 7/10: The Fundamentals of Encaustic Painting with Joanna Kidney, The Studio, Bray, Co. Wicklow, Ireland

7/10 - 8/7: Painting With RF Pigment Sticks© with Lisa Pressman, Virtual Workshop via Zoom

7/19 - 7/21: GO BIG - Working Large with Encaustic with Kelly Williams, Kelly Williams Art Studio, Portland, Oregon

7/19 - 21: Encaustic: Explore + Experiment with Megan MacDonald, McTavish Academy of Art, North Saanich, Vancouver Island, British Columbia, Canada

7/20: Abstract Encaustic Painting with Denise Richards, Snohomish, WA

7/22 - 26: Discovering Oil and Cold Wax with Julie Snidle, Touchstone Center for Crafts, Farmington, PA

R&F Artist Instructor Lorraine Glessner at her Vermont retreat.

7/22 - 7/28: Photoencaustic Retreat with Jodi Reeb and Bettina Egli Sennhauser, Kunstfreiraum, Oberwil, Switzerland

7/28 - 8/2: Encaustic, Mindfulness, and the Natural World with Dietlind Vander Schaaf, Wild Rice Retreat Center, Bayfield, WI

7/29 - 8/2: Pressed Flowers, Botanicals & Encaustic with Lorraine Glessner, Lareau Farm Inn, Waitsfield, VT

7/30 - 8/1: Art Object: Encaustic 3D with Susan Stover, Woodstock School of Art, Woodstock, NY

August
8/4 - 8/9: Encaustic Printmaking & the Handmade Book with Leslie Giuliani, Snowfarm Center For The Arts, Williamsburg, MA

8/24 - 8/30: Ghost Ranch Encaustic Retreat with Shelley Jean, Ghost Ranch Retreat Center, Abiquiu, NM

8/26 - 30: Abstracting the Landscape with Lorraine Glessner, Lareau Farm and Inn, Waitsfield, VT

8/27 - 8/29: Creating Color Effects with Encaustic with Leslie Giuliani, Woodstock School of Art, Woodstock, NY

September

9/5 - 9/8: Cold Wax: Less Is More with Bettina Egli Sennhauser, Romerstein Art Academy, Romerstein, Germany

9/8 - 9/13: Visual Storytelling: Encaustic & the Painted Book with Leslie Giuliani, Omega Institute for Holistic Studies, Rhinebeck, NY

9/8 - 9/14: Maine Coast Encaustic Retreat with Dietlind Vander Schaaf, The Colony Hotel, Kennebunkport, ME

9/9 - 9/13: Visual Record as Artifact with Lisa Pressman and Susan Stover, Willow Pond, San Luis Obispo, CA

9/13 - 9/15: Sumptuous Surfaces with Megan MacDonald, McTavish Academy of Art, North Saanich, Vancouver Island, British Columbia, Canada

9/13 - 9/15: Embodiment: Personal Symbolism Through Nature's Lens with Kelly Williams and Bridget Benton, Kelly Williams Art Studio, Portland, Oregon

9/15 - 9/21: Maine Coast Encaustic Retreat with Dietlind Vander Schaaf, The Colony Hotel, Kennebunkport, ME

9/23 - 29: Bold Territory: Experimental Drawing with Jeff Hirst, Ballinglen Arts Foundation, Ballycastle, Ireland

9/27 - 9/29: Cold Wax: Less Is More with Bettina Egli Sennhauser, Kunstfreiraum, Oberwil, Switzerland

Results from an encaustic pendulum at Dietlind Vander Schaaf’s annual Maine Coast Encaustic Retreat.

Dietlind Vander Schaaf 3/29/24 Dietlind Vander Schaaf 3/29/24

Artist Spotlight: Jenny Nelson

Jenny Nelson is a painter and arts educator. She attended Maine College of Art, Bard College, and the Lacoste School of the Arts in France. Jenny has been living in the Hudson Valley for over two decades, including a Residency at the Byrdcliffe Art Colony from 2004 - 2008. She has taught classes and workshops at Truro Center for the Arts, Provincetown Art Association and Museum, Woodstock School of Art, and the Nantucket Artists Association, among others.

Jenny’s work has been shown at Tria Gallery, Hidell Brooks Gallery, and Carrie Haddad Gallery. She has guided hundreds of students to expand their skills in abstract painting through her in-person workshops and online courses.

We spoke with Jenny recently about finding shapes, the role intuition plays in her work, and how she navigates challenges in the studio. Enjoy the conversation. And Keep Painting.

Please tell us a little about yourself. How did you get your start as an artist?

I can’t remember a time when I wasn’t making things. It has always been my natural inclination to communicate visually. I knew at a young age that I wanted to go to art school. I was lucky enough to finagle an enormous amount of time in art rooms throughout my school years. Classrooms felt claustrophobic, and the art room was the only place I felt I could thrive. I worked hard and received a scholarship to Maine College of Art and then attended Bard College.

Once out of school, I glued myself to a studio practice. I was painting from life and then the work organically shifted towards abstraction. Twenty-five years later, I have a solid yet ever evolving visual language that always offers me something new to think about.

Can you speak to the roles of addition and subtraction in your work? What about intuition?

There are several ways in which I begin a painting. One way is to activate the white canvas with an array of marks, lines, and areas of disparate colors. I work with oil paint and R&F Pigment Sticks®. The drying time differs depending on the pigment and application, which allows me to work in layers and sometimes wet on wet. This process lends itself to seeking and finding. I can pull back layers and uncover hidden lines or the ghost of a form.

Pigment Sticks® are a great drawing tool and mix seamlessly with my paint. I often go over sections with Neutral White, which creates infinite variations of off-whites and can also pull marks into a beautiful blur.

My paintings begin in a chaotic way, then I begin to organize that chaos through a series of subtractions and additions. This conscious and unconscious decision-making process becomes more refined as the painting develops. Shapes come and go, make friends, and enemies, and form relationships.

I would define my intuition as an intimate knowledge about the behavior of my materials combined with the willingness to respond to the unexpected as the painting unfolds. A kind of deep listening, deep looking, that allows the painting to be an equal participant in its own making.

What are you currently working on in the studio? How has your work evolved over the years?

Recently I’ve been challenging myself with some horizontal orientations. I prefer working on a square format, but I’ve had some requests, so I’m exploring the idea of elongating my compositions, without having them become overtly abstract landscapes.

This is sometimes successful and other times not. I’m not totally opposed to the suggestion or simplification of the horizon line; I find it satisfying in one way, but too predictable in another. It’s a fine balance that I am very aware of.

My work is always evolving. My interests shift compositionally, spatially, and with color and form as well. I may evolve a shape that seems to turn up again and again, and then it naturally morphs into something else, and I pick it up from there. I have a kind of studio mantra about infinity.

I’m motivated by the thought of infinite possibilities. The idea that there are endless paintings and other possible ways to express myself through forms, with drawings or even sculptural objects, keeps me open minded in the studio.

As painters, we often move through prolonged periods where things are not working. Can you speak to the role of frustration or feeling lost as an artist? How have you come to navigate this experience?

My motto has always been to show up in the studio no matter what. I find that if I am in proximity to my materials and my work, something will pull me into the process, no matter my mood or the trajectory of the day. I include sweeping the floor, organizing, staring into space, napping, taking notes, or painting, all part of making the work.

Painting abstractly, I often feel lost. There is no roadmap, but over time, I’ve become more accustomed to this feeling. It no longer throws me off. I more easily ride the ups and downs of the creative process these days. I can step outside of myself and recognize the insecurity, and the doubting self, as part of the ritual. Procrastination is a necessary part of preparation, mentally and spiritually. I know I am entering into the unknown, and I must get up my gumption over and over again.

What is a typical studio day like for you? What keeps you motivated?

I get into my studio early afternoon and ideally work for around 4-6 hours. I actually rev up in the evening and can work into the night if my schedule allows. The first thing I do when I arrive is to write down my household to-do list on my old clip board. That clears my mind for the day. Paintings will be in various stages of development. Sometimes I spend the afternoon mixing a palette and making decisions on what to work on next. Other times I’m in the middle of a piece and I can jump right in.

How long have you been teaching for? Tell us about your classes at Woodstock. What can students expect to gain as a result?

I’ve been teaching for about 15 years, which is a great joy. There is such a symbiosis with the artists in my classes. I learn as much from them as they do from me. My weekly class at Woodstock School of Art - Abstraction, Color and Composition - starts up again Tuesday mornings beginning May 28th. Workshops are TBA.

The class is an overview of abstract foundations with an emphasis on learning to see. When I first started teaching, I began to recognize what the most common challenges were for students who wanted to paint abstractly. Some artists wanted to add just an element of abstraction into their work, some wanted to create completely non-objective work, and others just wanted to stretch the boundaries of their work. But everyone needed to learn or re-learn the foundations: to play, and incorporate shape making, mark making, color, value and compositional cues into their paintings.

Over time I designed specific lessons that help students’ problem solve and evolve their work in their own language. We draw, collage, mix a harmonious palette, learn different approaches to begin a painting, and focus on developing a critical eye for composition.

I think we all have an innate visual language that can be explored and developed. The lessons presented are lively and expansive. Artists of all levels can bring their sensibilities to the exercises and to the group think tank. There are always a-ha moments.

You gave an excellent virtual talk recently on shapes. If you had to summarize your thoughts on finding shapes in one or two sentences, what would you focus on?

When you spend a lot of time painting, you begin to see shapes everywhere. Your vision changes and you acquire a “painting brain” - the eye that sees. I would focus on flexibility, establishing a mindset for asking questions when you’re painting.

Simply beginning with “what if?” creates opportunity, and more interesting shapes are conjured. “What if I cut the shape in half?” “What if I made that shape twice as big?” “What if I white out the whole top of this painting?” And then do that.

To learn more about Jenny’s workshops and see additional images of her work, visit jennynelson.com.

Dietlind Vander Schaaf 2/5/24 Dietlind Vander Schaaf 2/5/24

The 17th International Encaustic Conference

Image credit: Dale O. Roberts. Dale will be teaching a post-conference workshop Interpreting Ideas Through Studies To Develop A Process For Significant Paintings.

**Image credit:** R&F Artist Instructor Debra Claffey. Deb will be teaching a post-conference workshop Paper, Paint, Wax!

The 17th International Encaustic Conference hosted by Truro Center for the Arts will take place May 31 - June 2nd in Provincetown, Massachusetts. The conference is the place to be for anyone interested in encaustic. Instructors from across the country and around the world will be there offering talks and demos.

Pre and post conference hands on workshops round out your immersive experience. There’s a hotel fair, a postcard sale, giveaways, a juried show, and - best of all - R&F will be in the vendor room with a full array of paint and materials.

**Image credit:** Michele Randall. Michele will be teaching a post-conference workshop Cyanotype And Encaustic In Harmony.

Now through February 15th, Castle Hill is offering a discounted price on registration. For a limited time, you can save 20%. To learn more and take advantage of this sale, visit castlehill.org.

**Image credit:** Megan MacDonald. Megan will be teaching a post-conference workshop Explore + Experiment.

Never been to the conference? This might be the year to go.

Presenters this year feature an incredible line up including: Debra Claffey, Jeff Hirst, Leslie Giuliani, Kelly Williams, Patricia Miranda, Gabriella Sanchez, Bettina Egli Sennhauser, David A. Clark, Nancy Natale, Christine Aaron, Lisa Pressman, Richard Frumess, Laura Moriarty, Joanne Mattera, Jodi Reeb, Kelly Milukas, Milisa Galazzi, Wayne Montecalvo, Dorothy Cochran, and Michele Randall.

There will be a range of demos at the conference from encaustic printmaking and working with paper, to faux gilding techniques, just to name a few.

Several demos highlight color with a focus on creating harmony and working from a limited palette. Talks this year highlight materiality, thinking through space, creating meaningful content, print installation, preparing for exhibitions, archiving your work, and curatorial thinking.

**Image credit:** Isabelle Gaborit. Isabelle will be teaching a post-conference workshop Time & Surface: An Interface.

This year’s conference Keynote Speaker is Petah Coyne.

Petah Coyne is a contemporary sculptor and photographer best known for her large-scale hanging sculptures and floor installations. Working in innovative and disparate materials, her media has ranged from the organic to the ephemeral.

Mud, sticks, hay, black sand, specially-formulated and patented wax, satin ribbons, silk flowers, shaved cars, and shredded trailers are a few of the things she has incorporated into her sculptures. More recently, she has worked with glass, velvet, taxidermy, cast wax statuary, and trees.

Unafraid to confront a range of subjects or tackle contemporary themes, Coyne’s work addresses the tensions between transformation and constancy, life and loss, beauty and darkness.

Independent curator and critic Barbara O’Brien.

Each year a juried show is organized at Castle Hill as part of the International Encaustic Conference. Barbara O’Brien, an independent curator and critic based in Milwaukee, will serve as this year’s juror. She previously served as the Executive Director of Kemper Museum of Contemporary Art and is an elected member of AICA-USA, International Association of Art Critics.

Her twenty years in Boston included positions as editor in chief of Art New England Magazine, Director of the Trustman Art Gallery at Simmons University, and Director of the Gallery and Visiting Artist Program at Montserrat College of Art.

O’Brien has a longstanding interest in and commitment to artists who incorporate encaustic into their practice, having twice presented the keynote address (2008 and 2013) at the conference. Most recently, O’Brien was the juror for the FUSEDChicago national exhibition “Connections,” which was shown at ARC Gallery.

**Image credit:** Leslie Giuliani. Leslie will be co-teaching a pre-conference workshop **What Makes Encaustic Different In Creating Color Effects** with R&F founder Richard Frumess.

Can’t attend the conference but are interested in one of the workshops? Don’t worry! It is not necessary that you attend the conference in order to register for a pre- or post-conference workshop.

Image credit: Wayne Montecalvo. Wayne will be teaching a post-conference workshop Unlikely Alternatives.

Pre-Conference workshops include:

5/28 - 5/30: Embodiment - Building Meaningful Content: A Psychological Self-Portrait with Kelly Williams

5/28 - 5/30: Fresco + Encaustic with Bettina Egli Sennhauser

5/28 - 5/30: Organic Abstraction with Values and Color taught by Kelly Milukas

5/29 - 5/30: Making Your Mark With Photo Collage And Color Theory with Jodi Reeb

**Image credit:** Gabriela Sánchez Apodaca. Gabriela is teaching a pre-conference workshop Zen Painting With Encaustic.

5/29 - 5/30: What Makes Encaustic Different In Creating Color Effects with Leslie Giuliani and Richard Frumess

5/29 - 5/30: Working Large with Jeff Hirst

5/29 - 5/30: Zen Painting With Encaustic with Gabriela Sánchez Apodaca

6/3 - 6/4: Suminagashi and Encaustic with Laura Morarity

6/3 - 6/4: Cyanotype And Encaustic In Harmony with Michele Randall

6/3 - 6/4: Unlikely Alternatives with Wayne Montecalvo

**Image credit:** David A. Clark. David will be teaching a post-conference workshop Encaustic Prints To The Next Level.

Post-Conference workshops include:

6/12 - 6/13: The Joy of a Limited Palette with Julie Snidle

6/12 - 6/13: Material World: Transforming Fabric & Wax! with Susan Lasch Krevitt

6/12 - 6/13: 100 Pieces In 3 Days? Loosen Up and Let Go with Lisa Pressman

6/12: Using Procreate for Editing Artworks with Anna Wagner-Ott

6/12 - 6/14: Encaustic, Assemblage, Multiples & Meaning with Stephanie Hargrave

**Image credit:** Jeff Hirst. Jeff will be teaching a pre-conference workshop Working Large With Encaustic.

6/12 - 6/14: Photographs, Transfer Film, and Encaustic with Patti Russotti

6/12 - 6/14: Encaustic Meets Fresco with Bettina Egli Sennhauser

6/13: Zen Painting with Gabriela Sanchez

6/13: Shine! Presenting Your Work and Yourself to the World with Joanne Mattera

6/14 - 6/15: Materiality and Encaustic: Re-Imagining the Substrate with Janise Yntema

6/14: Intentional Content with Kelly Williams

To view a complete list of workshops and to register for the conference, visit castlehill.org.

**Image credit:** Lisa Pressman. Lisa will be co-teaching a post-conference workshop Conversations In Color: How The Characteristics Of Pigments Affect Color Relationships with R&F founder Richard Frumess.

Dietlind Vander Schaaf 2/5/24 Dietlind Vander Schaaf 2/5/24

R&F Abroad: 2024 International Workshops

Looking to combine travel and education this year? A workshop abroad offers the opportunity to soak up new sights, enjoy different food, and meet fellow artists. There is something special about removing oneself from the familiar and carving time away from work and responsibilities in order to focus exclusively on learning.

Our team of R&F Core and Artist Instructors has you covered with workshops everywhere from Mexico to Ireland. Who are R&F's Core and Artist Instructors, you ask? These are teachers across the country and internationally we work with to provide the highest quality of information about our encaustic and Pigment Stick product lines.

Check out the line up below and plan your next artist vacation.

Several workshops in San Miguel de Allende and Guanajuato, Mexico will take place this year with instructors Jeff Hirst, Lisa Pressman, and Jodi Reeb.

2/14 - 2/18: Encaustic: Abstract Expression with Bettina Egli Sennhauser, Art Academy Fabrik am See, Gaienhofen, Germany

3/8 - 3/10: Cold Wax: Less Is More with Bettina Egli Sennhauser, Kunstfreiraum, Basel, Switzerland

3/19 - 22: 100 Works In Four Days with Lisa Pressman, Estudio Piramidal, Guanajuato, Mexico

Images from Lisa Pressman’s 100 Works in Four Days class.

4/4 - 8: Express Your Visual Voice Through Printmaking with Jeff Hirst, Estudio Piramidal, Guanajuato, Mexico

4/8 - 4/10: Cold Wax: Less Is More with Bettina Egli Sennhauser, Art Academy Kunstfabrik, Vienna, Austria

4/5 - 7: Explore + Experiment with Megan MacDonald, van der Linde Studio, Vancouver, British Columbia, Canada

Ballinglen Arts Foundation in Ballycastle, County Mayo, Ireland. Both Jeff Hirst and Joanna Kidney will be teaching at Ballinglen this year.

4/5 - 13: Encaustic + Abstraction with Joanna Kidney, Ballinglen Arts Foundation, County Mayo, Ireland

4/11 - 4/15: Encaustic: Abstract Expression with Bettina Egli Sennhauser, Art Academy Kunstfabrik, Vienna, Austria

Villa Koukouvayia Farms, Crete, Greece where retreats will be offered by Kelly Milukas, Bettina Egli Sennhauser, and Dietlind Vander Schaaf.

4/22 - 5/2: Contemporary Encaustic: An Artist Retreat with Dietlind Vander Schaaf and Kelly Milukas, Villa Koukouvayia Farms, Crete, Greece

Brushes in Megan MacDonald’s studio, Kelowna, British Columbia.

5/3 - 5: Depth + Dimension with Megan MacDonald, Megan MacDonald Studio, Kelowna, British Columbia, Canada

7/19 - 21: Explore + Experiment with Megan MacDonald, The McTavish Academy of Art, North Saanich, Vancouver Island, British Columbia, Canada

7/22 - 28: Exploring New Boundaries In Encaustic With Photo Collage with Jodi Reeb and Bettina Egli Sennhauser, Kunstfreiraum, Basel, Switzerland

9/13 - 15: Sumptuous Surfaces: Pushing The Boundaries with Megan MacDonald, The McTavish Academy of Art, North Saanich, Vancouver Island, British Columbia, Canada

9/23 - 29: Bold Territory: Experimental Drawing with Jeff Hirst, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland

Kunstfreiraum Studio in Basel, Switzerland.

10/3 - 11: Expanded Approaches Towards Printmaking with Jeff Hirst, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland

10/13 - 23: Encaustic Beyond Borders with Kelly Milukas and Bettina Egli Sennhauser, Villa Koukouvayia Farms, Crete, Greece

10/18 - 20: Go Big Or Go Home with Megan MacDonald, Megan MacDonald Studio, Kelowna, British Columbia, Canada

10/13 - 19: Italian Encaustic Retreat with Shelley Jean, Buonconvento, Tuscany Italy

11/8 - 15: Encaustic Techniques in Color + Alternative Surfaces with Jodi Reeb and Gabriela Sanchez, Casa Del Noche Resort, San Miguel de Allende, Mexico

Dining in Tuscany, Italy at Shelley Jean’s encaustic retreat.

Dietlind Vander Schaaf 1/22/24 Dietlind Vander Schaaf 1/22/24

Brown Pink: Creating Your Own Artist Residency

A residency offers artists at all stages of their development the space to focus exclusively on producing work. It can be a powerful experience to carve time away from one’s life and dedicate it to making. Emerging and mid career artists are often the ones who could benefit from this type of experience the most, but competition for existing residencies can be tough. At Brown Pink, artists can design their own residency taking advantage of the fully stocked studio; curated art collection; and spacious, thoughtfully arranged living quarters to book a week-long stay.

Last year artist Lynne Miller created her own residency at R&F’s Brown Pink Studio. We reached out to Lynne to learn about her experience and find out if she’d recommend it to others.

What prompted you to create your own artist residency?

I created my own residency at R&F in November of 2022. I was feeling the weight of sheltered galleries/venues, children doing school from home, fear, and the rest of the challenges our world was facing. I could feel it impacting my work. I paint pretty much every day in my home studio and sell my work in galleries. I knew I wanted to create an artist residency for myself to keep my momentum going forward and bring a spark back into my paintings.

I applied for a creative renewal grant from my local Arts and Science Council to further explore the art of encaustic painting. I planned to surround myself with the trees, mountains, and flora that influence my work. I wanted to learn and push my artwork to the next level; to take a class, to sequester, and to throw myself into my work without the necessary distractions that life requires.

Once I received my grant, I began looking for the perfect place to do my residency. I wasn’t sure where I would go. When I saw that Brown Pink offered a beautifully stocked encaustic studio walking distance to R&F, I could not wait to sign up for a stay. It was the perfect space for what I hoped to accomplish.

How long did you stay at Brown Pink?

I stayed for two full weeks. I rented Brown Pink from November 8th - November 21st and signed up for Kate Collyer’s Malleable Encaustic Printing class for two days during my stay.

While I was there, I poured myself into my practice. I got up early, sketched, hiked, and painted until late in the evening. I tried to spend a minimum of twelve hours a day on my work. I wanted to make the very most of this gift of time. I was taking a break from a lot of family responsibilities, so it was important to me that it be productive. I am fortunate I have a husband who is incredibly supportive, so I was able to leave him, as well as our children and our dogs, behind in North Carolina for a few weeks to focus on myself.

Did you go with a specific project in mind? If so, did that project or goal shift during your time there?

I did not have a specific project, but rather a personal goal. I wanted to create a new body of work; to find inspiration and to return home with a renewed sense of excitement. I wanted to push myself and not gravitate to the same colors that I regularly use. I planned to draw inspiration from my hikes and the books I was reading at the time and start with a blank slate.

I arrived with a car full of panels and twenty lbs of my own R&F encaustic medium. The nice thing about Brown Pink is that you don’t need to bring much. The studio is fully stocked. While I was there, I fell in love with Blue Ochre, Stil de Grain, Brown Pink, Manganese Violet, Cerulean Grey, Turkey Umber Green, and Malachite. None of these were carried at my local art supply back home.

I pulled inspiration from birch bark, images I had gathered on my hikes, and the quiet around me. I played with the oil sticks, but those would require another stay. I did not want to give up time working with encaustic on that visit.

At the end of my stay, I left with a car full of new paintings and a sense of the work I wanted to create. (And a bunch of new colors I couldn’t leave without buying.)

What was different about working at Brown Pink than being in your own studio at home?

I think the difference is the deep dive without distractions. I am fortunate to have my own studio, but it was stimulating to be in a new city, in a new studio space, with new colors, and meeting new people. It puts you in the mindset of exploration.

When I look back at my work before my time at R&F and after, there is a shift. It may not be noticeable to others, but it is to me.

What stands out to you the most about your time at Brown Pink?

My first day in Kingston, while I was waiting to check in, I drove up to North South Lake. I wanted to get out in nature and start my stay off right.

It was so quiet. We were just coming out of a year when everything was about togetherness because everything else was closed. I realized how much I needed that time. I had gotten so used to the rush of life that being alone had become foreign without me even realizing it. That was the perfect moment of reflection I needed to begin my two-week hiatus with.

Did you take advantage of the larger arts community in the Hudson River Valley?

Not as much as I could have or would do on a return trip. I visited a few galleries and used bookstores. I enjoyed a bit of time exploring Kingston; the Dutch Church; North South Lake; Poets’ Walk; Woodstock; Opa for some avgolemono (a Greek lemon chicken soup) on one snowy day. I did a quick browse of Zaborski Emporium to see Stan the Junkman’s collections (that is something to see if you haven’t been), but mostly I wanted to take advantage of every available moment in the studio.

I am glad I took a class with Kate Collyer. It offered a little break from the solitude. She is an incredible teacher and it was nice to be around other artists. Her class opened my eyes to the many uses of encaustic and oil sticks. I haven’t bought a toner copier yet… but it is on my list of must haves. Kate joined me on a hike at Elenore Roosevelt National Park on my last day in Kingston. It was the perfect way to cap off my time at Brown Pink.

What was important to you about the solitude you experienced at Brown Pink?

Life is busy. Work is busy. We all experience that. I love my family and busy life, but it is hard to drop that at the studio door sometimes. It was so nice to push past the rush and just create in quiet for a few days. To walk into a wonderland of color, steps away without the restraint of purchasing each cake of paint to play with was so freeing. There was no need to go anywhere if you didn’t want to.

Is this an experience you'd recommend to others? Do it again?

In a heartbeat. I think the gift of time is the most important thing anyone can give themselves or to others. It restores you. It reminds you to breathe and create from a different place. Brown Pink is the perfect place to do that. I accomplished months worth of paintings in two weeks and returned home full of inspiration.

My little home away from home at Brown Pink was just what I needed. It was the best gift I could have given myself. I was able to return to Kingston again this winter to take the Advanced Teacher Training course and I look forward to my next visit.

Dietlind Vander Schaaf 1/7/24 Dietlind Vander Schaaf 1/7/24

R&F's 2024 Artists-In-Residence: Julie Easton, Eric Hesse, and Aineki Traverso

Competition for our three artist residencies at Brown Pink this year was tough. With over 60 submissions, the panel of anonymous jurors had their work cut out for them. Thank you to all the artists who applied.

We’d like to introduce you to our 2024 Artists-In-Residence: Julie Easton, Eric Hesse, and Aineki Traverso. We are honored to welcome these talented artists to Brown Pink for a two week residency and look forward to seeing what they make.

JULIE EASTON

Born in Los Angeles, Julie Easton earned her B.A. Fine Arts at California State University, Long Beach and her M.A. Linguistics at California State University, Northridge.

Cigarette butts, cash register receipts, dry cleaning tags, mini video screens, and plastic are just some of the materials she uses to create work that radiates beauty and elegance.

Her sculpture, works on paper, and installations exemplify her view of the world in which the mundane often becomes extraordinary. As she notes, I Ching says: "The most perfect grace consists not in external ornamentation, but in allowing the original material to stand forth, beautified by being given form."

Trained as a formalist, Julie’s work is substantially about texture and structure; however it is the concept, whether conceived or intuited, that informs and directs her use of materials. In viewing her work, the audience is propelled to question current environmental and social practices. julieeaston.com

Julie Easton, *White Frosting*, 41” x 32”, cash register receipts and encaustic, 2022

Eric Hesse

Eric Hesse was born in Philadelphia, Pennsylvania. As a student, he was introduced to encaustic and became fascinated with the malleable and durable nature of wax and pigment until it became his primary painting medium.

After attending Temple University in Philadelphia, Eric transferred to St. Olaf

College in Northfield, Minnesota where he received a B.A. with Departmental Distinction. He has received awards from the National Foundation for the Advancement in the Arts, the Ballinglen Arts Foundation, and the Pollock-Krasner Foundation.

Eric has exhibited in galleries throughout the United States, including the Corcoran Museum in Washington DC, and is currently represented by the George Billis Gallery in Los Angeles, CA. In 2018 and 2023, Hesse received artist residence permits from the French government. He lives with his wife and son in a village in the department of Tarn. erichesse.com

Eric Hesse, *HighLit*, 30” x 40”, encaustic on panel, 2021.

Aineki Traverso

Aineki Traverso is a painter living and working in Atlanta, GA. Aineki graduated from Sarah Lawrence College in 2013 with a concentration in cinema studies.

Aineki’s work uses the rhetoric of painting to echo the way memories, fantasies, and identities are transformed, constructed, and intertwined. Aineki has exhibited at spaces such as Whitespace Gallery (Atlanta, GA), Tiger Strikes Asteroid (Greenville, SC), and Swivel Gallery (Brooklyn, NY).

Aineki has attended residencies at the Vermont Studio Center, the Hambidge Center for Creative Arts, and Volatile House. She was recently named the recipient of the Edge Award from the Forward Arts Foundation and will be exhibiting at Swan Coach House Gallery in 2024. Aineki is the recipient of a residency at Virginia Center for the Creative Arts, where she was awarded a 50th Anniversary Fellowship. aineki.com

Aineki Traverso, *The Last Dream*, 24” x 36”, oil on panel, 2023

Dietlind Vander Schaaf 12/18/23 Dietlind Vander Schaaf 12/18/23

Workshops with R&F Instructors

Looking for an opportunity to study? There are loads of workshops coming up taught by knowledgable R&F-affiliated instructors. Check out the line up below and see if something works for you!

R&F Artist Instructor Bettina Egli Sennhauser

Looking for an opportunity to study? There are loads of workshops coming up taught by knowledgable R&F-affiliated instructors. Check out the line up below and see if something works for you!

You can also use the link below to visit our Resources page and download our Teaching Artist List. This is a list we maintain of artists who teach with our materials across the country and internationally. Use it to find a workshop instructor in your area.

January
1/9: Basically: The Very Basics Encaustics Demonstration with Lorraine Glessner, live virtual demonstration

1/10 - 2/7: Contemplative Practices in Art with Lisa Pressman and Susan Stover, virtual online workshop

1/12: Introduction to Encaustic with Jodi Reeb, Minneapolis, MN

1/12 - 1/14: Encaustic: Color + Composition with Dietlind Vander Schaaf and Kelly Milukas, Kelly Milukas' Studio, Tiverton, RI

1/13: Abstract Encaustic Painting with Denise Richards, Flowing Lake Studios, Snohomish, WA

1/15 - 2/12: Refine Transformations: A Master Encaustic Workshop with Jeff Hirst, virtual online workshop

1/16 - 4/2: Mark-Making as Practice with Lorraine Glessner, live Zoom workshop

1/16 - 3/26: Focus: Studio and Professional Practices with Lisa Pressman and Susan Stover, virtual online workshop

1/18 - 1/20: Discovering Oil and Cold Wax with Julie Snidle, Paint Space NOLA, New Orleans, LA

1/19: Think Tank: Encaustic Workshop with Jeff Hirst, Chicago, IL

1/20 - 1/21: 2 Day Introduction to Encaustic with Megan MacDonald, Crows Nest Studio, Kelowna, British Columbia

1/22 - 1/24: Cold Wax: Less Is More with Bettina Egli Sennhauser, Kunstschule Musebrink, Essen, Germany

1/31: Drawing with Horse Hair in Encaustic with Lorraine Glessner, virtual self-guided workshop

February
2/3 - 2/4: Abstract Encaustic Painting with Denise Richards, Picket Fence Art Studio, Woodinville, WA

2/3 - 2/4: Sexy Valentine's Photo-Encaustic and Mixed Media with Kelly Williams, Kelly Williams' Studio, Portland, OR

2/9 - 2/11: Monotype Printing: Painterly Prints with Jeff Hirst, McColl Center, Charlotte, NC

2/10: Heart of My Heart Encaustic Workshop with Megan MacDonald, Crows Nest Studio, Kelowna, British Columbia

2/14 - 2/18: Encaustic: Abstract Expression with Bettina Egli Sennhauser, Art Academy Fabrik am See, Gaienhofen, Germany

2/16 - 2/18: Silkscreen onto Encaustic with Jeff Hirst, Jeff Hirst Studio, Chicago, IL

2/22 - 2/24: Encaustic on Paper with Julie Snidle, Forstall Art Center, Birmingham, AL

March
3/2 - 3/3: Island Art Association 2 Day Workshop with Shelley Jean, Fernandina Beach, FL

3/2 - 3/3: Encaustic Essentials with Kelly Williams, Kelly Williams' Studio, Portland, OR

3/4 - 3/8: The Moody Blues: Instant Indigo & Encaustic with Lorraine Glessner, Aya Fiber Studio, Stuart, FL

3/8 - 3/10: Cold Wax: Less Is More with Bettina Egli Sennhauser, Kunstfreiraum, Oberwil, Switzerland

3/15: Introduction to Encaustic with Jodi Reeb, Minneapolis, MN

3/15 - 3/17: The Shape of Painting with Susan Stover, Susan Stover Studio, Kingston, NY

3/19 - 3/22: One Hundred Works in Four Days with Lisa Pressman, Guanajuato, Mexico

3/20 - 3/22: Encaustic Printmaking Without A Press with Leslie Giuliani, Center for Contemporary Printmaking, Norwalk, CT

3/21 - 4/25: Encaustic & Mixed Media: A Little Bit Of Everything with Kelly Austin Rolo, Art Students League of Denver, Denver, CO

3/30 - 3/31: Encaustic with Photo Collage with Jodi Reeb, Tubac School of Fine Art, Tubac, AZ

April
4/4 - 4/8: Express Your Visual Voice Through Printmaking with Jeff Hirst, Estudio Piramidal, Guanajuato, Mexico

4/5 - 4/7: Explore + Experiment with Megan MacDonald, Crows Nest Studio, Kelowna, British Columbia

4/5 - 4/13: Encaustic & Abstraction with Joanna Kidney, Ballinglen Arts Foundation, Ballycastle, Ireland

4/8 - 4/10: Cold Wax: Less Is More with Bettina Egli Sennhauser, Art Academy Kunstfabrik, Vienna, Austria

4/10: Mixed Media Mark-Making Mastery with Lorraine Glessner, virtual self-guided course

R&F Core Instructor Lisa Pressman and R&F Artist Instructor Susan Stover

4/11 - 4/15: Encaustic: Abstract Expression with Bettina Egli Sennhauser, Art Academy Kunstfabrik, Vienna, Austria

4/12: Encaustic with Photo Collage with Jodi Reeb, Minneapolis, MN

4/12 - 4/16: Finding Your Voice: Oil and Cold Wax with Lisa Pressman, Sedona Arts Center

4/18 - 4/20: Alternative Materials Printmaking: Carborundum Viscosity Printing, Chine Colle & Found Materials with Jeff Hirst, Asheville Studio, Asheville, NC

4/19 - 4/21: Embodiment: Psychological Self-Portrait with Kelly Williams, Kelly Williams' Studio, Portland, OR

4/22 - 5/2: Contemporary Encaustic in Greece: An Artist Retreat with Dietlind Vander Schaaf and Kelly Milukas, Crete, Greece

R&F Core Instructors Dietlind Vander Schaaf and Jodi Reeb

Dietlind Vander Schaaf 11/17/23 Dietlind Vander Schaaf 11/17/23

C2C Art Projects: Community + Conversation

C2C Art Projects was formed several years ago by friends and colleagues Lisa Pressman and Susan Stover, both R&F affiliated instructors. We interviewed them to learn more about their partnership and what is on the horizon for 2024 in terms of workshops.

Why did the two of you start C2C?

We were teaching online and wanted to collaborate on offering classes, as well as an affordable option for a resource-based inspiration library of sorts. Instead of the usual “community membership” where there are demos and more teaching, we wanted to elevate the conversation around art and create an awareness of what other artists are doing. We feel the sharing of information and inspiration is crucial to the growth of artists at any level.

What do you each bring to C2C in terms of a speciality?

We are both well versed in a variety of mediums and approaches to art making. We bring historical, cultural, and contemporary perspectives into the mix.

Sue’s background in textiles, painting, and sculpture broadens the conversation around “craft” and “art,” as well as exploring the possibilities of mixing different media. Lisa’s experience in ceramics, sculpture, and painting contributes to discussions around color and materiality. Through our combined experiences, we look to see connections in artists’ work and provide them the means to find their unique voices.

Tell us about the courses you offer.

We offer a variety of courses in different mediums. We focus on the concepts and what’s behind the making, while giving critical feedback on the work. One example is our ongoing “Focus: Studio and Professional Practices” course that is critique-based and highlights a different topic each quarter.

In January, we’re offering “Contemplative Practices in Art.” It’s a dive into meditative approaches and processes to creating. We will both be teaching at Essence of Mulranny in May. Lisa will be teaching “Narrative Abstraction: Confluence of Imagery and Materials” with R&F Pigment Sticks and cold wax and Sue will be teaching “Exploring Narrative through Symbols, Shapes, and Motifs” in encaustic.

We have Associate Instructors as well. In February 2024, Bonny Leibowitz will be teaching a mixed media course “Collage and Composition.”

C2C Art Projects is a two-fold operation. One side is online or in person teaching. The other side is the C2C Art Collective, which is an inspiration hub that includes videos, books, podcasts, artist talks, events, and community forums. We feature our artists on social media, newsletters, and our website.

What have you learned about teaching online the past few years?

We have been able to offer class once a week or every two weeks, which affords students more time to develop a project while receiving feedback. Being in your own studio and not having to travel is also appealing to many students. Having that longer continuum with students builds relationships and community. Several students who have repeatedly taken courses over the last few years have not only built a history with us, but with each other.

You offer mentoring as well as instruction. What does a typical mentoring session include?

Mentoring is a valuable tool that can greatly benefit students in their artistic development. One of the primary advantages of having a mentor is the guidance and support they provide. A mentor can offer advice on technique, conceptual development, or preparing for a show. Mentoring offers a student the opportunity to receive individual feedback over a period of time. It’s a chance to ask specific questions and seek guidance.

We mentor together as well as individually and offer extended programs and single feedback sessions.

How do students benefit from having two instructors vs. one?

Having two instructors in a classroom setting can greatly benefit students in numerous ways. With two instructors, students are exposed to different teaching styles and perspectives. Each of us brings our own unique approach to teaching, which allows students to learn in a more varied and comprehensive manner. We love to collaborate on curriculum, resources, and concepts, offering students more than just technique.

You can find all our upcoming courses at c2c-art.com/courses.

Dietlind Vander Schaaf 10/12/23 Dietlind Vander Schaaf 10/12/23

Artist Spotlight: Joanna Kidney

R&F Artist Instructor Joanna Kidney was born in Dublin and is based in County Wicklow, Ireland. Her practice considers the immensity and the mystery of being human. It is a web of interrelated ideas around consciousness, perception, temporality and holism. Through drawing, painting and installation, her work offers open, poetic prompts and a contemplative space.

In addition to exhibitions in New York, Germany, New Mexico, and Virginia, Joanna has had a number of solo exhibitions throughout Ireland. She is the recipient of a Cooper Foundation Grant; funding from the Arts Council of Ireland and Wicklow County Council; and an RHA Studio Award, among others. International residencies include time in Kiðjaberg, Iceland and Brigham Young University, Utah.

Joanna’s work is in many collections including Allied Irish Banks; The Ballinglen Museum of Art; The Central Bank of Ireland; Department of the Environment, Northern Ireland; Fleschmann Hilliard PR; Lee Hotels; and O’Connor Sutton Cronin Engineering, as well as private collections in Ireland, USA, UK, Spain, France, Switzerland.

Can you tell us a little about yourself?

I grew up and studied in Dublin. After college, I took off with my backpack seeking broader horizons, travelling and working in Australia, South East Asia, and India for 18 months. Whilst this was a truly formative time, I chose to return to this island called home to begin my life as an artist and have been based here since. Now, twenty five years on, I live on the East Coast with my family an hour south of Dublin, by the sea and mountains, and work from a studio in our back garden.

*Buíochas 5*, 2023, encaustic on panel, 15x15cm.

How did you get your start as an artist?

My uncle was an artist and filmmaker. I idolised him. He died when I was 10. I poured over his notebooks, which contained colourful abstract drawings, growing up. I studied Visual Communications (graphic design, illustration, photography, print) in college, finishing up knowing I wanted to be an artist and not a designer. For the following decade, my bread and butter was part time illustration alongside making my own work. Then, as I had anticipated, I arrived at a point where I needed to commit fully to my own work and stop doing the commercial work. I began teaching around that time.

Being part of a number of different artists studios over the years has been very important. From the start, I exhibited regularly in solo and group shows in Ireland and abroad in France, Germany, the UK, and the United States. A couple of significant exhibition opportunities came about through residencies.

*Buíochas 2,* 2023, encaustic on panel, 15x15cm.

What are you currently working on in the studio?

The work is in a glorious grapple at the moment! I’m working through a series of encaustic paintings that seek openness, painterliness and an energetic charge. The immediacy and purity of a series of tangential watercolour drawings is helpful as I grapple with the paintings. I’m also working on an ongoing funded research project about the mark, the line, and the work’s concerns.

How has your work evolved over the years?

My work has always been non-representational, derived from a language of marks, lines, and shapes. It arises from a belief that we are part of something much bigger than ourselves; it is a reflection on impermanance and the interconnectedness of living matter. Drawing formally and/or conceptually is central. Materiality has also always been important - the possibilities of a medium or a material, how they interact, the act of making, working with the hands and the sense of touch.

Around 2010, I became fascinated by the possibilities of drawing and began to work 3 dimensionally for the first time. The work went through a transformation - expanding in thinking, scale, surfaces, materials, and processes. Since then, my work has moved between 2 and 3 dimensional worlds, exploring drawings’ boundaries with painting, sculpture, installation, and movement.

*Metamurmuration,* 2015-2018, felt and monofilament, dimensions variable.

Tell us a little bit about your 2024 workshop at Ballinglen. What is the workshop focused on? What can students expect to leave with?

I love giving this this course annually at Ballinglen. The 9 days allows deep exploration, immersion in nature, the senses, and group sharing. There will be a focus on building paintings with optical depth and luminosity through layering, translucency, opacity, and subtraction. The days are full with experimental exercises and prompts lead to a more playful and intuitive use of techniques and tools for adding/subtracting/manipulating layers.

Colour exploration, composition, and resolving a painting will be emphasized. Students can expect to leave support, field trips, demos and presentations, plentiful painting time, and with a deepened relationship with paint, as well as an expansion of your visual vocabulary and your approach to abstraction. Also, invigorated by new friends and the light and stories of this special place.

For anyone interested but not able to attend this in person workshop in Ireland, I’m looking forward to starting another 5 week intensive online course with C2C Art on 6th November. Titled “Encaustic and Abstraction,” this course will be jam packed, covering similar content in the ease of your own studio.

*The miniscule and the immense,* 2022, encaustic on panel, 100x100cm.

What is your typical studio day like?

I tend to keep quite regular daytime hours (years of being an artist mother), blocking off a chunk of the day for concentrated painting/making without distraction, phone on silent, and music on. I bookend the admin/other project work at start or end of this. Swimming in the sea with sunrise is my ultimate best start to a day!

What keeps you motivated in the studio?

Being unmotivated is rarely an issue actually. The work is always calling (and always the juggling act of balancing creating/survival/being a parent). Keeping curious and looking outward is important sustenance. For me this includes reading, listening, writing, conversations with artist friends. Swimming and spending time with the natural world resource me.

What’s next on your horizon?

Two long running projects culminated recently enough, so right now I’m enjoying an incubation period making new paintings and drawings. Soon I will return to a 3D linear sculptural project using armatures and encaustic paint that I received funding to develop.

Over the next month, I’m presenting and teaching at the Celtic Convergence retreat (delighted to have this happening at Mulranny Arts in Ireland) and starting the C2C online course, so I’m preparing for them also.

Digging Deeper workshop at the Royal Hibernian Academy, Dublin, 2023.

Anything else you’d like our readers to know?

If you’d like to join my mailing list to keep updated on my classes, feel free to send me your email. You can reach me at joanna@joannakidney.com.

To see more of Joanna’s work, visit her website joannakidney.com. You can follow her in Instagram @joanna_kidney. Classes and workshops are listed here.

UPCOMING WORKSHOPS:

November 6 - December 4, 2023: 5 Week Online Course: Encaustic and Abstraction with C2C Art

Class meets November 6, 13, 20, 27, and December 4

c2c-art.com/p/encaustic-and-abstraction

April 5 - 13, 2024: Encaustic and Abstraction: 9 Day Retreat Course

Ballinglen Arts Foundation, Co. Mayo

ballinglenartsfoundation.org

Dietlind Vander Schaaf 10/2/23 Dietlind Vander Schaaf 10/2/23

Artist Spotlight: Henry Curchod

We chatted recently with 2023 artist-in-residence Henry Curchod about his time at Brown Pink in August. He was honest about both the challenges and benefits of solitude, and of doing an artist residency. We found the conversation interesting and hope you do too.

Artist Henry Curchod. Image credit: Scott Stirling

Born in 1992 in Palo Alto, CA, Henry earned his BFA from the University of New South Wales. An early encounter with Persian miniature painting prompted an interest in figurative art that persists today.

Influenced by his Western upbringing and Iranian heritage, Henry’s paintings are alive with turmoil and energy. Drawing is key to Henry’s work. He begins by sketching lightly with oil stick, followed by turpentine-dipped brushes that are pushed into the gestural marks, with final charcoal lines bringing greater clarity to the figures.

Henry has had solo exhibitions in Australia, New Zealand, England, the United States, and the Philipines. Later this year he will have his first solo show in Paris. He was a finalist for both The Ramsay Prize and The Sulman Prize in Australia. In addition to being selected for a residency at Brown Pink, he has done the PPP/Oostmeijer residency in The Netherlands.

*Trouble on the event horizon* installation view. Image credit: Mamoth.

Please tell us a little bit about your experience as an artist in residence at Brown Pink. What were you planning to work on and how did that change when you got there?

Initially I’d planned to make a sort of scroll, just one roll of linen where the work over the residency kind of meandered chronologically, but from right to left. This is something I’d been wanting to do for a while.

Studio portrait. Image credit: Vladimir Kravchenko.

But I had a serious bicycle crash in France a few weeks prior, which left me temporarily disabled with no movement in my left hand due to a wrist fracture, so my plans for the residency kind of disintegrated. I decided to take it one day at a time. I brought ten rectangular canvases to allow maximum mobility across the surface in spite of my condition.

Ultimately, I found the solitude very helpful in reinvigorating my practice after my accident. The live/work arrangement forced me to work from dusk until dawn each day, allowing myself the pleasure of severely overworking things.

Were you able to experiment with new materials? Or were you already familiar with R&F Pigment Sticks?

I was broadly familiar with Pigment Sticks, but the freedom of the residency meant I could indulge in them in ways I had not before. I applied them much heavier, finding new dimensions in the surface and playing with the range of effects that could be achieved with the high-quality pigments.

I typically work with a mixture of oil stick products from other companies, as well as R&F, but restricting my materials in this way meant that the works achieved a vibrance that was at times spectacular and other times overwhelming. When necessary I managed to pull back and find a way to subdue them, mostly through light application and leaving the linen more bare than I usually do.

*It has been my doorway to perception and the house that I live in*, 2023. Image credit: Mamoth. (This piece was created during Henry’s residency at Brown Pink.)

Do you see yourself continuing to use these for future projects? Any breakthroughs in terms of your own work?

I have always used Pigment Sticks and I do not see that changing in the near future. I must say that since the residency I have been using them more. I did discover that using the Blending Medium with Drier was extremely helpful in reducing drying time and I have adopted that technique in my practice.

*Unnatural disasters*, 2023. Image credit: Mamoth.

Can you share a highlight of your residency? What makes doing a residency like the one at Brown Pink a worthwhile experience for an artist?

It wasn’t a holiday. I think it’s important to acknowledge that I personally find residencies to be complex and disruptive experiences — in both good and bad ways. There is a sense of anticipation and expectation. You arrive to a new studio and a new home with new smells, appliances, sheets, tools, and materials.

I am always reminded of how important a sense of routine and familiarity can be to art making. Then you are alone and quickly manufacture comfort and deep dive into your practice. Residencies isolate the artistic process so that there is nowhere to hide. The pressure of making the most of my experience left me to question almost every aspect of my practice. This is a good thing, but it can also be frustrating and painful.

I enjoyed exploring the Kingston area and found the sense of community very encouraging. Ultimately it was an extremely valuable exercise.

Did you bring reading materials to support your residency or take advantage of the many galleries and museums in the Hudson River Valley?

I’m embarrassed to say I didn’t do a whole lot of reading because I was working so much that when I wasn’t working, I was cooking, eating, and sleeping. I had just finished Against The Written Word by Ian Svenonious, which is an anthology of satirical essays. I recommend it. Other than that I only visited Dia Beacon, which is hardly inspiring as a painter, but was an enjoyable excursion nonetheless.

Why is solitude necessary for artists?

I am not sure I enjoy intense solitude that much, but I can appreciate its benefits. I enjoy community and laughter and the lightness of frequent social interaction. For me, solitude is like eating healthy and exercising — I force myself into it because I know how beneficial it can be. It is important to take time to reflect and experience perspectival change.

*Doctor hard love*, 2023. Image credit: Mamoth. (This piece was created during Henry’s residency at Brown Pink.)

Anything else you'd like to share?

In a way I wish I hadn’t worked so much… and maybe I was using work to distract myself from being truly alone. It was a fantastic experience and could not recommend it enough, especially for anybody who already loves to use the materials.

To see additional images of Henry Curchod’s work, visit henrycurchod.com.

R&F is currently accepting applications for our 2024 Artist-In-Residencies. To learn more and apply, visit brownpinkstudio.com/apply.

Dietlind Vander Schaaf 9/7/23 Dietlind Vander Schaaf 9/7/23

Artist Spotlight: Kelly Milukas

Kelly Milukas began as a sculptor and expanded to work in a range of media including watercolor, photography, cast resin, pastel, and encaustic. Many of her projects include a focus on the intersection of creativity and science, such as her nationally exhibited “Keys to the Cures” series. Despite her abiding and deeply-rooted love of science, Kelly’s work is rarely dry. Her story telling and interpretations of abstracted realities are imbued with whimsy and play. Kelly wants her paintings to be experiential, to lead to curiosity, and to invite the viewer look more deeply.

Kelly in her Tiverton studio preparing for her residency.

An Artist Instructor for R&F Handmade Paints, former president of the Providence Art Club, and President Emerita of the South Coast Artists Open Studio Tour, Kelly is also a Juried Artist Member of the Salmagundi Art Club, a Masters Circle Pastel Artist of International Association Pastel Societies, and a Signature Member of both the Rhode Island Watercolor Society and the Connecticut Pastel Society. Her artwork can be found in museums, private and corporate collections, such as The Boston Group, Intarcia Therapeutics, and Simpson Healthcare. She has been featured in a number of publications including New England Home, Artscope, Newport Life Magazine, and The Pastel Journal.

Polishing a 32” x 48” encaustic painting before a 2022 solo exhibition at Taste in Newport, RI.

Can you tell us a little about yourself? How did you get your start as an artist?

From as early as I can remember, I made things. At age 9, I taught myself calligraphy, which I’ve stuck with to this day. I loved construction projects with my papa, climbing up on the roof banging nails in my teens, and took multiple semesters of shop class.

I played many instruments growing up, including guitar, flute, oboe, and was in theater and chorus. I learned how to fly planes too. Floating over the aerial views of nature blew me away. Art in all forms has always appealed to me.

I went off to college with a full ride basketball scholarship, a declared major in marine biology and a minor in psychology. I soon discovered that I wasn’t being me, and I transferred from Oklahoma to the University of Southern Maine to major in sculpture.

What are you currently working on in the studio?

I completed a series of fifty small (6” x 8”) paintings for a residency recently. They were all created with the idea of scaling them up to 30” x 40” with encaustic. I frequently use water-based media to make underpaintings and then work on top of that with encaustic.

How has your work evolved over the years?

When I discovered encaustic 12 years ago, it was an epic art material moment. I found I could expand the layered anatomy of my paintings through carving, excavation, inscribing, and embedding, which enabled me to transcend the 2D surface of a painting.

Encaustic really helped me to return to a stronger sculptural voice. I continue to evolve in terms of thinking dimensionally with my work, including with other mediums.

Kelly’s studio in Tiverton. The hot boxes seen in this photo have all been replaced with 16” R&F palettes.

You will be teaching two Color & Composition workshops in your Tiverton, Rhode Island studio in 2024. Tell us a little bit about these workshops.

I will be offering two Color & Composition workshops in collaboration with Dietlind Vander Schaaf. Co-teaching is something that offers students a number of different benefits. They get the experience of being exposed to different perspectives on the elements of painting from two professional painters. It also offers an incredible experience for us as co-instructors in that we learn and respond to each other in real time. I am an experiential learner - I want to create dynamic experiences for students that help to enrich and inform them and that are also fun.

My space in Tiverton was designed to be an encaustic teaching studio. It is 1,200 square feet and supplied with plenty of electricity to support 12 encaustic work stations. I have lots of different media that is compatible for working with encaustic, as well as an incredible library of art books and a kitchenette. It also has a loft for hosting visiting artists.

Our first workshop is a 3 day in January for students who can’t attend the 5 day immersive retreat-style version in July. Both of these workshops are grounded in color. We begin with a day on value - learning to see light and creating tools to help see it. This allows us to develop a better understanding of both color and form.

With both workshops, Dietlind and I will include mindful movement, a continental breakfast, and a delicious lunch. Our first collaborative workshop last spring filled very quickly and students loved it.

What keeps you motivated in the studio?

Insatiable curiosity. I call it my science lab. I’m fascinated with learning - so being in the studio satisfies that to an extent.

What is your typical studio day like?

I am a full time artist and teacher. I work with scientific communities so paperwork and proposals make up a big part of my week. I paint primarily at night. I have a daughter - so I have to factor in that really important mother/daughter time.

What's next on your horizon?

Just prior to Covid, I began developing the idea of an artist retreat in Greece. I was fortunate enough to be involved with the building of the art studio at the villa in Crete so it was developed with enough power to support an encaustic retreat.

I am excited to share that the first session of Contemporary Encaustic on Crete will be co-taught with Dietlind Vander Schaaf and will take place in late May and early April 2024. The second session will be co-taught with Bettina Egli Sennhauser and will be offered in October of 2024. These bi-annual retreats will offer an even more immersive experience for artists interested in deepening their understanding of color, composition, and surfaces.

Kelly sharing her passion for values and color.

Anything else you’d like our readers to know?

The definition of play is doing something different than what you do on a daily basis for at least twenty minutes without any outcome. I create situations that employ play. I believe that learning is best done with a fun thread pulled through it - that people learn more and better when they are in a loose, receptive state.

All of my workshop experiences are created with this in mind. They are content-driven. Students leave with a ton of technical skill and “aha” moments, but they are delivered with laughter and fun. Plus good snacks!

Kelly doing a color mixing demo for a workshop.

To see additional images of Kelly’s work, visit kellymilukas.com. You can follow her on Instagram @kellymilukas.

Kelly has a number of upcoming workshops in her Tiverton, Rhode Island studio, including:

ENCAUSTIC 101 BOOTCAMP: 11/3 - 11/5/23

ENCAUSTIC EXPLORATIONS: 1/12 - 1/14/24

ENCAUSTIC DEEP DIVE: A RETREAT: 7/8 - 7/12/24

CONTEMPORARY ENCAUSTIC IN CRETE: 4/22 - 5/2/24

To learn more and register, visit kellymilukas.com/events.

Dietlind Vander Schaaf 8/28/23 Dietlind Vander Schaaf 8/28/23

WORK IN PROGRESS: Pigment Stick® Drying Test

The number one question we get at R&F on the daily is - “How long do Pigment Sticks® take to dry?” We answer as best we can, pointing out that drying times are affected by a number of factors including: how thickly the paint is applied, the absorbency of the surface, the ambient temperature, exposure to light, and even the surrounding colors.

So, what exactly is this? This is a Pigment Stick® drying test. A true “Work in Progress.”

As you read this, a natural process is occurring right before our eyes. We can’t see it or hear it, but the process of oxidation is slowly (sometimes very slowly) turning linseed oil and pigment (and in our case, wax) into a solid film.

R&F Pigment Sticks® are made with just three ingredients: linseed oil, pigment, and natural wax. We don’t add any driers or fillers that might affect the natural drying process and because of this, each of our colors dries at a different rate.

This test, one we’ve conducted many times before, is to better determine exactly how long each color takes to dry under very specific conditions. In this case, a 4 mil draw down on a coated surface.

We’re doing this for two reasons:

1. Because raw materials (linseed oil, pigment, natural wax) are always changing and so we need to test again (and again).

2. Because we want to tell you, the artist, with confidence and clarity, just how long it will take for each Pigment Stick® to dry.

Come see for yourself (but please don’t touch).

On view now at WORK IN PROGRESS, our project space at 84 Ten Broeck Ave, Kingston, NY.

Dietlind Vander Schaaf 8/8/23 Dietlind Vander Schaaf 8/8/23

Lora Murphy On Painting With Fire + Essence Of Mulranny

Lora Murphy was born in Ireland and educated in Ireland, the United States, and Italy. Trained as an oil painter, she now works primarily in encaustic and mixed media, describing her inspiration as stemming from “what drives us, as human beings, and our consciousness.” Her work is infused with the connection she feels to her female ancestors and a desire to honor their struggle. It is often layered with symbolism that draws upon her studies in Jungian and archetypal psychology and alchemy.

Lora Murphy was born in Ireland and educated in Ireland, the United States, and Italy. Trained as an oil painter, she now works primarily in encaustic and mixed media, describing her inspiration as stemming from “what drives us, as human beings, and our consciousness.” Her work is infused with the connection she feels to her female ancestors and a desire to honor their struggle. It is often layered with symbolism that draws upon her studies in Jungian and archetypal psychology and alchemy.

Lora teaches workshops in contemporary portraiture using encaustic and serves as director of Essence of Mulranny, an art school in County Mayo, Ireland.

In 2021, Lora launched Painting With Fire, an online-year round course that features 26 instructors and over 50 hours of content.

We chatted with Lora to learn more about Painting With Fire, the retreats she offers through Essence of Mulranny, and the upcoming International Encaustic Artist retreat.

What gave you the idea for Painting With Fire?

I was inspired by the loss of our community through the pandemic and by the losses that all of us sustained whether we were teaching or taking workshops. I was also very conscious of the loneliness of many artists during this time and I hoped that Painting With Fire would offer an opportunity to reconnect and support each other.

How has the response from students been?

It has been hugely successful. When we started, I hoped that we would have at least 200 participants and when we reached that number within minutes of launching, I realized that it was an idea that was resonating with a lot of people.

I get emails all the time, even now, from people who tell me how much it meant to them to have the connection with each other and how much they have learned.

““I love this community. Thank you to Lora Murphy for putting this together and to the wonderful instructors for sharing their ideas. My head is exploding with ideas. I cannot wait to get into my studio.””

— Sue Connor, Painting With Fire student

Do you run Painting With Fire on your own? How do you select teachers to feature?

I have a wonderful assistant, Lee Lopez, who is on hand to answer technical questions and is amazing to work with. Having been this long in the field of encaustic, I am familiar with many of the greatest teachers and innovators. I have been extremely fortunate that they have wanted to participate.

A former convent serves as "Casa Azul" - the home of Essence of Mulranny.

When did you come up with the idea for hosting art retreats at Essence of Mulranny?

This is something I have always wanted to do and I was very fortunate to meet Cheryl Cobern Browne, the owner of all the infrastructure, who worked with me to develop the school in Mulranny. I had selected a different location initially, but when Cheryl asked me to develop the idea here instead, I jumped at the chance.

The painting studio featuring a recent retreat with R&F Core Instructor Jodi Reeb.

Who has taught there and who will be coming in the future?

We have hosted a number of very prominent teachers including: Lisa Pressman, Graceann Warn, Lyn Belisle, Michelle Belto, Gabriela Sanchez, Jodi Reeb, Linda Robertson, and Christina Lovisa. Most of them will be returning for another year. I am so looking forward to welcoming Dietlind Vander Schaaf, Regina Quinn, Pamela Caughey, Sue Stover, and Paco Benitez in the future.

What types of workshops do you offer?

We have all kinds of mixed media workshops, including teachers such as Lesley Riley, (TAP Transfer Artists Paper) MaryBeth Shaw (Stencil Girl), and Catherine Anderson (Soul Collage), just to name a few.

Since we have a full glass art set up, there are glass and mosaic workshops too. We run many one, two, and three day classes for locals and Irish artists and host meditation, Irish language classes, creative writing, life drawing, cinema club, music lessons, drum circles, yoga and children’s art classes on a regular basis.

Essence of Mulranny’s onsite store carries a range of art supplies including R&F encaustic paint and Pigment Sticks®.

What do you think makes taking a workshop or retreat at Essence of Mulranny special/ unique/ worth traveling to do so?

Mulranny is a wonderful place. It is very inspiring and soulful and the scenery is out of this world. We work with storytellers, musicians, and artists to curate extra special experiences for people to enjoy when they visit.

What other types of activities do you offer in addition to painting?

We have a gorgeous labyrinth, a yoga studio, beautiful walks, visits to local eateries, pub music, storytelling, bicycling on the greenway, sea swimming, seaweed collecting for seaweed baths, trips to Achill Island, a trip to visit the Old Irish Goats, meditation and reflexology, great food, and if you are there on a Wednesday, a chance to join our life drawing class.

You are hosting the annual International Encaustic Artists (IEA) retreat this year. Can you tell us a little bit about Celtic Convergence?

This promises to be an amazing event. We expect that there will be a full house and at the moment there are over 60 attendees registered. The gathering will offer opportunities to learn, to meet and be inspired by fellow creatives, to explore the region, and to enjoy Irish culture.

In keeping with the ethos and tradition of IEA's retreats, it will be an intimate event where artists can really connect and get to know one another. This year’s retreat features a remarkable lineup of presenters including Cheryl Browne, Isabelle Gaborit, Lorraine Glessner, Joanna Kidney, Regina B Quinn, Linda Robertson, Patricia Russotti, Bettina Egli Sennhauser, Dietlind Vander Schaaf, Melanie Williams, and Janise Yntema.

And we have some great workshops this year. Pre-retreat workshops that still have space include: Lasting Impressions with Linda Robertson; Mixed Media Encaustic: Line with Lorraine Glessner; The Mark and Line with Encaustic Paint with Joanna Kidney.

Post-retreat workshops with available spots include: Expressive Portraiture with Encaustic taught by Lora Murphy; Artists Who Use A Camera: Photographs, Transfer Film, and Encaustic with Patti Russotti; Layers: Translucency & See Throughs with Dietlind Vander Schaaf; and Materiality and Encaustic: Re-Imagining The Substrate with Janise Yntema.

Footbridge outside the studio at Essence of Mulranny.

Do people have to be part of IEA to come and take a workshop?

People do not have to be members of IEA to attend but if they are, they receive a discount. There are a few spots left in the pre and post retreat workshops, but sign up in soon if there are some classes that interest you!

To learn more about Essence of Mulranny or Painting With Fire, visit essenceofmulranny.com. Interested in attending this year’s IEA retreat? You’ll find all the details here.

Dietlind Vander Schaaf 6/30/23 Dietlind Vander Schaaf 6/30/23

Artist Spotlight: Mike Tapogna

This week we feature artist Mike Tapogna. Mike’s work is vibrant and driven by color. In his artist statement he describes his process as one of change and discovery. “Consciously or otherwise, I paint for a balance between subject and surface. Through addition, deletion and sometimes total destruction of the painted canvas, I am able to find new and unexpected possibilities.”

R&F is proud to have a piece of Mike’s work in our permanent collection.

How did you get your start painting?

I got my start in painting in 1992 at SUNY New Paltz. I was an art major at the time, then became a painting major after a freshman oil painting class.

What is your work about? Do you have a specific process or subject matter in mind while you work?

My work is about color and space, abstract but loosely based on the idea of landscape. I begin with large blocks of color and layer from there. I also use drawings and collage as part of the process. Texture is very important in my work and the evidence of my process becomes part of the final picture.

Do you paint primarily with our Pigment Sticks® or do you use other mediums as well?

R&F Pigment Sticks® are crucial to my paintings. I use them throughout the entire process and combine them with paint from a tube. I use them as drawing implements or as a means to lay down large areas of color. I will often apply Pigment Stick to the canvas and then use a brush and linseed oil to spread it around. I have been using R&F Pigment Sticks® since my New Paltz days (1992 - 1996). They truly are the best.

What's your studio/ work space like? Describe what you appreciate about it?

My studio is in the garage of my home in Port Townsend, Washington. I often paint with the garage door open to have lots of natural light. It is a space I have put a lot of thought into and the layout is quite comfortable. The fact that it is in my home is a bonus as I don't need to go very far to paint.

Is color a driving force in your work?

Color is central to my work. It really is the most important thing to me. I am nostalgic for my eighties childhood, especially BMX bikes and skateboards, which experienced an explosion of color back then - pinks, blues, neons, etc. That all shows up in my paintings.

What do you do when you aren't in the studio painting?

I am a stone mason by trade, so when I'm not painting, I work with stone and hardscape. I ride bicycles quite a lot, visit the local skatepark as much as I can, and play ice hockey from time to time. I also spend a lot of time with my wife, my 15 year old son, and our dog and cat.

Anything else you'd like our readers to know?

My favorite artists are de Kooning, Basquiat, Degas and Toulouse-Lautrec.

To see additional images of Mike’s work, visit his website miketapogna.com or follow him on Instagram @mikestro_industries.

Dietlind Vander Schaaf 6/28/23 Dietlind Vander Schaaf 6/28/23

R&F Blending Medium: With and Without Drier

R&F Blending Medium is essentially Pigment Stick® without the pigment. It is ideal for glazing colors, can be worked directly into a color to increase the color's transparency, or used to blend colors together on the surface. R&F Blending Medium with Drier contains a small amount of Cobalt Manganese drier to speed up drying time. The use of a drier can affect color, so it is best used under a layer of Pigment Stick®.

Both our Blending Mediums come in 8 oz., 16 oz., or 32 oz. jars, as well as in stick form. It is available with drier or without.

How do you know which one you are choosing? In the image below the Blending Stick on the right has the words "With Drier" located just below the word "Blending Stick." Make sure you look at the label carefully so you select the correct Blending Medium for your project.

HOW TO USE R&F BLENDING MEDIUM:

1. When working with R&F Pigment Sticks® on top of a finished encaustic painting, it is best to allow the painting to cool and harden a bit beforehand. This enables you to apply more pressure when wiping without affecting fine lines and details. R&F Blending Medium acts as a barrier or release on the surface of your work, preventing oil paint from staining the wax and enabling you to easily wipe away excess Pigment Stick®.

Apply a thin layer of R&F Blending Medium on the surface of your painting. Coat your painting thoroughly with R&F Pigment Stick® and gently wipe it away with a paper towel. If you wish to remove additional Pigment Stick®, add more Blending Medium to reactivate the Pigment Stick® and give it a second wiping.

There is no need to fuse Pigment Stick®. R&F Pigment Sticks® are oil paint with just enough wax to make them solid at room temperature. They will cure over time naturally just like an oil painting.

2. Another way to work with R&F Blending Medium is to add a small amount to some Pigment Stick® to increase translucency, extend the paint, and make a glaze that can be applied to the surface of an oil and cold wax painting. Use a palette knife on a piece of plexiglass or palette paper. Work the Blending Medium into the Pigment Stick® until it is incorporated. Apply it to the surface of your painting and use a squeegee to draw it across over the surface.

3. R&F Blending Medium with drier offers a helpful way to speed up drying time. Add a thin layer to the surface of your painting or support and then work with Pigment Stick® on top of it. This is particularly helpful with the slower drying Pigment Sticks®.

To learn more about approximate drying times, check out the index on the back of our color chart. You can find a color chart at your local retailer or download from the Resources page on our website.

Haven't checked out our YouTube channel yet? We've got a demo video that illustrates three ways to use R&F Blending Medium: to create a rich patina on an encaustic painting; as a glaze for an oil and cold wax painting; and underneath a layer of oil paint to dry the painting from below.

Dietlind Vander Schaaf 6/19/23 Dietlind Vander Schaaf 6/19/23

How To Pick A Palette with Julie Snidle

We’re kicking off a “how to” series with a guest blog by R&F Core Instructor Julie Snidle. Julie has been working with wax-based media since 2004. An artist with both classroom teaching experience and a corporate training background, Julie has taught at Penland School of Craft and teaches workshops nationwide. Her work has received numerous awards and can be found in private collections and public spaces.

Julie is an Artist Ambassador for Ampersand Art Panels and is represented by Kolman and Reeb Gallery in Minneapolis, MN, which recently awarded her a grant for their Project Space in 2022.

Enjoy Julie’s thoughts on color and how she fine tunes her color palette below.

For my painting *Old Faithful*, I used Cobalt Blue, Green Gold, Alizarin Orange, and Titanium White.

I love color. Like many artists, color is what drew me to art in the first place. When I’m between projects in my studio, I enjoy mixing different color combinations, maybe two or three at a time, to see what happens and keep a record of the results.

Adding white to create tints and then discovering the range of neutrals that emerge is very exciting. The possibilities available to us are exponential. Since my paintings are created from memory and/or feelings about a place, my palette will vary according to the mood I want to create.

The color choices I make come either from previous experience with those colors or from color combinations I would like to explore further. I use my camera to collect color vignettes that inspire me. Below are three examples.

Can you guess which of the color vignettes above inspired my painting *Bennington*?

Julie Snidle, *Bennington*, 12” x 9”, oil and cold wax on panel.

I’m not referring to the subject matter of beach glass or shells or macaroons, I’m responding to the combination of colors that catch my eye and inspire me to paint. The very act of noticing, focusing, and snapping a photo connects us to these moments. Over time our photo collection tells us a great deal about our preferences, whatever they may be.

I don’t feel bound to any particular palette. I have many favorites. And since I don’t have a preconceived idea about what the finished painting will look like, color decisions are often made as the painting progresses. I’ll add a darker value or a warmer hue if the painting calls for it. Sometimes black is too strong for my lighter paintings so I turn to Turkey Umber Greenish, Graphite Grey, Prussian Blue, or Indigo instead.

Not all encaustic set-ups are alike. I learned to paint on a hot palette without individual tins. The paints simply melt into each other and create other yummy colors almost automatically. Personally, I wouldn’t want it any other way.

R&F has a wide variety of beautiful colors to work with. I enjoy experimenting with color palettes using either encaustic or Pigment Sticks®. Keeping a chart of possibilities and a record of favorites helps me a great deal, and is so much easier to refer to than reinventing the wheel each time. “How did I make that color again?”

Two of my favorite limited palettes are shown below. Each limited palette has only three ‘parent’ colors (listed) plus Titanium White. Mixing the ‘parents’ in different proportions will yield dozens of harmonious ‘offspring’ colors. If you’re unsure about mixing colors, this is a great way to start.

Blue Ochre, Alizarin Orange, and Olive Yellow.

Payne’s Grey, Cadmium Red Medium, Cadmium Yellow Light.

My “go to” colors are blues and grey greens; off-yellows, and greyed pinks. I love neutrals and whites. I prefer colors that are higher in value (lighter), lower in intensity (less saturated, greyed versions). I have tried working with darker, bolder, and more intense colors, but I usually end up painting over them. I may, however, use a surprising color as an accent.

The more you paint, you more you get to know yourself.

Julie Snidle, *Vessel*, 6” x 9”, encaustic on panel.

Julie will be teaching “Authentic Abstracts”- a Pigment Stick workshop designed to help you express your true self at the Eastern Shore Art Center in Fairhope, Alabama July 20-23, 2023.

She will also be offering a 5-day workshop “Encaustic and Mixed Media” at Touchstone Center for Crafts in Farmington, PA August 7 - 11, 2023.

To view Julie’s complete upcoming schedule and subscribe to her newsletter, visit juliesnidle.com.