Massimo Giuliani



“A new truly innovative material is the perfect mix of ideas, creativity, intuition, exhaustive knowledge of our history and curiosity for our future.”


Massimo Giuliani, Novacolor’s decorator

Massimo Giuliani is an international master applicator with over 15years experience on the field. He graduated from the Art School of Cesena (Italy) with a major in painting. He taught various lessons over the world, from Tokyo to Paris, Miami to Nairobi, Milan to New York. Massimo is known for the quality, innovation and creativity of each of his projects.

Highly requested for important projects over the world, Massimo is ready to show new technics to his students, and also take inspiration from the different trends over the world.


Massimo will be coming from Italy to teach at the ArtFusion Event this October in Estes Park, Colorado.  For more information go to www.ArtFusionEvent.com




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Cindy Howard




Studying at Glassell School of Art, affiliated with Houston Museum of Fine Art, helped Cindy reach out of the norm and experience varying art forms: sketching, acrylics, and sculpting are personal favorites, and she uses them to accomplish unique finishes. Decorative finishes on walls, ceilings and furniture have been mastered, as she has been in this field for the past 18 years. Even though comfortable with all finishes, she always finds challenges and frequently learns something new. 


Along the way, partner Dana DeBuck have found some interesting uses for tape!


Cindy will be teaching at the ArtFusion Event October 27, 2016 in Estes Park, Colorado.



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Trish McKinney

Teacher...Painter...Dreamer...Believer...Artist

Trish McKinney, is a nationally award-winning professional artist, art instructor, author, illustrator, and speaker who has taught painting workshops in France, Italy, Greece, and all over the U.S. Trish is a mixed media painter who loves inspiring others and desires to tell a story through her paintings. She is also a published artist, author and illustrator. Trish is a Golden Artist Educator through Golden Paints. She has designed her own stencils, distributed through StencilGirl Products online. And she is the owner of Trish McKinney Studios – an interactive studio and gallery located in Tipp City, Ohio.

Trish describes herself this way: “I am a Teacher - passionate to inspire and connect others to the Creator within themselves. I am a Creative - constantly curious and experimental, thinking outside the box, and always asking "what if". I am a Dreamer - who steps into my dreams and makes them a reality. I am a Believer - living my life expectantly and abundantly - thinking "as if" it has already happened. I am an Artist.”


Teacher, Creative, Dreamer, Believer, Artist – these ideals and lifestyles are the foundation for all Trish does both professionally and as a servant, friend, wife, and mother.






LINKS:
You can find out more about Trish McKinney at www.trishmckinney.com

Or follow her on various social media –
FaceBook: www.facebook.com/trishmckinney.96 or www.facebook.com/trishmckinneystudios
Instragram: www.instagram.com/trishmckinney

Follow Trish on YouTube where she has several short videos showcasing her painting techniques: onYouTube: www.youtube.com/trishmckinney

Trish will be teaching at the ArtFusion Event October 28 in Estes Park, Colorado.


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ArtFusion Event 2016

www.ArtFusionEvent.com


The hippest event of the year is back and this time in Estes Park, Colorado.  Decorative Finishers, Mural Artists, Decorative Concrete, Encaustics, Designers of all levels can expand their knowledge and portfolios with classes, speakers, exhibitors and explore the latest tools and trends, in the industry. The best part is meeting others in the industry and forming great connections and friendships. Over 25 workshops and instructors from all over the world!

October 26 - 29, 2016
Estes Park, Colorado

The best part is meeting others in the industry and forming great connections and friendships.
22+ Classes
Free mini classes
Speakers
Hands-on demos
Welcome breakfast
Samples
Focus Spots
Welcome goodies
Saturday night hoedown party
Largest Rummage Sale for artists
Meet and greet Fauxtini party with Exhibitors, Speakers and Instructors

Can't come for the whole event?  Purchase the Weekend Pass! 

Included with the Weekend Pass....
Friday night:  Pass to preview Art "Stuff" Rummage Sale
Saturday: Access to free speakers and demos on Saturday.  (based on availability)
Saturday night hoedown dinner party with live music

ArtFusion Rummage Sale on Saturday.


Quick view of ArtFusion Event schedule.

Wednesday, October 26

Check-in and breakfast party

Full day classes

Darlene McElroy Mad Scientist Surface Techniques and Transfers $225

Holly Whiting Artistry in Watercolor $225

Annie Lemarie, Decorative Verre Eglomise Panel $220

Sandra Gonzalas Domes, Ceilings and Designs $235

Cindee Lundin World Class Concrete Tile $350 two day class

Evening Classes

Igor Turovskiy Art Resin  $250

Beki VanMeter Artscapes by Beki VanMeter $150

Adrienne Wannamaker Burlap Art on Canvas  $250

Thursday, October 27

Full Day Classes

Cindy Howard Decorative Painting (Rebuilding our Faux World) $275

Dean Sickler Business and Estimating $295

Donna Phelps  New World Finishing  for Furniture, Cabinetry & More  $275

Debbie Hayes Passionate Patten and Patina $250

Lora Murphy  Contemporary Encaustic Portraiture  $250

Cindee Lundin Day two of class

Evening classes

Igor Turovskiy Day two of class

Beki VanMeter Day two of class

Adrienne Wannamaker Day two of class

Friday, October 28

Full day classes

Dean Sickler Metal Leaf and Patination $325

Adrienne Wannamaker PROCEED - Great Textures for Great Results $250

Michael Cooper Introduction to Trompe L’oeil $325

Trish McKinney Nature's Palette: Combining Mixed Media and Nature $275

Lora Murphy  Chiaroscuro and Beeswax ... Ancient techniques for  Painting the Face  $250

Friday Evening

Fauxtini - Meet and greet the instructors, exhibitors and speakers

Rummage Sale preview

Evening speakers

Saturday, October 29

All day rummage sale  -  The largest rummage sale by artists, for artists!

Morning Half Day Classes

Jared Crenshaw Marketing for Artisans $99

Joyce Nelson, Creating with Clay on Canvas  $175

Debbie Hayes,  Simple Secret Layers For Art, Furniture & Walls  $135

Gary Dulock, How to make a distemper and their use in decorating  $60

Saturday Afternoon

Free (with your Weekend Pass) Speakers and Demos - Contact us if you would like to be added.

Helen Morris - pending travel arrangements

Melanie Royals - Demo

Dean Sickler - Capturing the hand of artisans. Restoring without harm.

Gary Dulock - Touch of Illusion 

Ande Crenshaw - How to use a sprayer for furniture and cabinets.

Saturday Evening

Dinner party with live music, raffles and more!

Sunday Morning

Farewell breakfast

www.ArtFusionEvent.com

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Lora Murphy



About Lora:

I first heard of encaustic painting in 2007 from an artist in Montana.  I had not been painting for many years while I lived in the USA. I was planning to return to Europe but as I watched her apply and fuse the hot paint I was really inspired. There was something about the rich luminous quality of the paint and the unpredictability of the results that drew me, but I remember also having the feeling that somehow I knew how to do this!  I recall telling her that I was going to be a full time artist when I returned home!  I am sure she thought I was crazy, but that’s what I did! I got Joanne Mattera’s book, The Art of Encaustic Painting, returned to Ireland, and started to learn.

It was difficult to source supplies and I made a lot of mistakes trying to figure it all out, but I loved every minute of it.  I got a book about the Fayum portraits and was moved beyond words by the beauty and timelessness of them.  I remember the first time I made a painting in the style of the Fayum artists; I was completely blown away by the feeling.  I immediately felt a familiarity with the process and as though I had done this many times before.  It was such a strong feeling and I still feel this every time I get into the “zone” while painting.

My inspiration comes from life.  I am currently studying for a master’s degree in Jungian psychology and art therapy and I find reflection on the human condition and the human psyche to be endlessly inspiring.  I am interested in what drives us, as human beings, and our consciousness.  I feel an enormously profound connection to my female ancestors and a deep responsibility to them, to live my life and practice my passion with the awareness that, it is their struggle that has allowed me to live and paint with freedom and equality.  To paraphrase Maya Angelou from one of her wonderful poems, “I come as one, but I stand as 10,000.” (The Grandmothers), resonates very deeply with me.  To me, this means not just my ancestors but also the family or lineage of artists to which each of us belongs.  It inspires, thrills and humbles me to think about and be connected to the Fayum painters of 2,000 years ago, who painted with the same materials and, no doubt, passion that we do.  I think there is something about the wax medium that speaks to each of us who use it, on a very deep level.  I have so often seen a passion in artists working with encaustic paints that seems to inhabit the deepest parts of them and defies explanation.  It is almost instinctual and it keeps us working with this tantalizing, infuriating, marvelous and incomparable medium.

I love the portrait work of Frans Hals, Sorolla, and John Singer Sargent with their bravura brushwork, and I am also deeply inspired by contemporary artists who work with passion in encaustic.  Marvelous painters such as Birgit Huttemann-Holz, Jeff Schaller, Tony Scherman and Eschwan Winding all work figuratively with encaustic.

Living in Ireland, it has been almost impossible to see the works of other professional artist working in encaustic in person, but I have met Niamh O Connor who paints vibrant lovely abstracts and Rosemary Langtry who makes luscious landscapes and we plan a collaborative project for later this year.  I think overall though, the biggest inspiration has been to see several of the actual Fayum portraits in person in Denmark and Germany.  They are astonishing in their vibrancy and beauty.

I use many mediums including oil and acrylic, but encaustic is the one that most ignites my passion.  It gives me the freedom to express myself in the way that feels most true to me.  I can’t explain it exactly but it feels right.  It can be a really difficult medium but the beauty and the benefits far outweigh the drawbacks.  I think it allows the painter to put so much of their selves into the work because it can be such a fast, right brained process. When I paint in oils, which I also love, I tend to become very involved with the technicalities of the paint, medium, and additives.  I studied History of Art and Archaeology at University before going to Art College in Ireland.  I then trained at a classical painting academy in Florence, Italy so I have a very deep interest in all aspects of painting, not just the application.  When I use encaustic, I have the same interest, but I feel that my heart and passion take over and my work becomes much more intuitive and primal.

I want people to be moved by my work!  I want them to feel some of the passion that went into the making and I want them to feel a connection to the subject.  When I can see this happening, it is a humbling, exhilarating, and very satisfying experience for me.  The subjects I paint are very important to me and when another person “gets it”; I feel a huge connection to them.  It is especially important to me with my current body of work as the subject is so sensitive and tragic but it has been very well received.

At the moment, I am working on a series inspired by the stories emerging in Ireland about the treatment of young girls who became pregnant outside of marriage in the last century.  These innocent young women were completely betrayed by the state, society, religious institutions, and their families. It is a monumental tragedy, and I have felt a huge calling to tell their stories in paint.  I have called this body of work, “Sinner – the lie of the land”.

I have also worked on a series entitled “Ikons of the 20th century”, a series called “Out of Africa” about our human journey and another called “Beauty, be Damned” and many more.  Most of my work, at present, centers on women and their stories.

I tend to work in series because I find I often can’t leave a theme until I have gotten something out of my system.  If I change to another genre I will also work in a series.  I always go back to the face however.

On a very practical level, I think the use of encaustic helps me to develop my ideas very quickly. The paint cools instantly and then must be worked either just by fusing or by scraping or changing in some way.  It is easy to lose an effect, or an entire painting I love.  So, I must learn not to be precious about my work.  I think that leads to becoming more open to the possibilities and thence, to creative growth. “Be fearless”, is how I try to approach art and life!


The Working Artist:

I love every aspect of the creative process.  I like to use traditional recipes to prepare my boards and canvas so I will make rabbit skin glue gesso to prepare my ground.  This gives a beautiful velvety surface and I am inspired by the fact that countless artists over the centuries have used this same method to prepare their paintings.  After applying several coats of gesso (7 is traditional), I will loosely sketch in a drawing, using Yarka’s Russian sauce.  This is an earth based chalk that works very well with encaustic.  The emphasis is on measuring and getting correct proportions and placement of the features.  My drawing will be accurate but quite stylized and quick.  I tend to use traditional oil painting techniques to paint encaustic portraits; therefore I strive to keep shadow areas transparent and thin and to build up my opaque lights. Enkaustikos paints are phenomenal in this respect, as they allow me to build up subtle and beautiful layers of rich color.  I try to draw and journal every day and this helps to keep my vision focused.  I will have an idea in my head about what I want to achieve, but much of the excitement of the painting process lies in the unpredictable nature of encaustic paint and the unique effects that can appear by accident, as well as by design.

In the early days of my painting journey I used to always make all my own colors and then I discovered Enkaustikos portrait paints.  I love their colors for the purity and richness and the sheer quality of the paint. They are incredible to work with, actually I will never forget the first time I used them!  I was transported!  I don’t use the colors straight from the tin, as a rule, but mix and adjust them with other colors in my palette, to lighten, darken, warm, cool, create halftones, create thin transparent washes of rich shadow color, add subtle notes, add a spark or a little oomph .

The other colors in my palette include white, ivory black, yellow ochre,  bohemian orange, burnt umber, cadmium orange, chromium oxide green, cobalt aqua, cobalt violet, Italian golden ochre, Pompeii red, quinacridone gold, transparent red earth, ultramarine rose, cadmium yellow medium, cadmium red light, cerulean blue,  ultramarine blue and viridian green .

I made a color chart with the Enkaustikos paint, showing the different combinations of the portrait color basics mixed with the various palette colors, for constant reference, and it is really useful.  I always work with it behind my painting so that I can refer to it if I need to adjust colors.  I make small ice cube sized pieces of the palette colors with can be rubbed on my hot plate and mixed with the Enkaustikos base.

I also use powder pigments and oil bars, but the raw pigments are quite dangerous to use so I am very careful with them. One of the great advantages of buying ready made encaustic paints is that we artists don’t have to handle the raw pigments such as the cadmiums and cobalt that are toxic in powder form. All the hard work is done and the paint is beautifully consistent, absolutely gorgeous!

I am having a new web site built at the moment, which should be up and running shortly.  I have had my own gallery up until recently but it was too time consuming so I prefer to just paint and let other people worry about the selling!  I sell in galleries both in Ireland and Denmark and I have just set up a studio in Denmark as I want to scale up my work for the market there. I love working large.

I teach workshops throughout the country and at the Art Hand art school in Waterford, Ireland.  I run a life drawing session for artists at my studio once a week as I think it is really important to draw and to work with other artists.  The oldest participating artist is a wonderful painter named Walter Verling.  He is 84 and has been painting all his life.  He is quite famous here but comes to the life drawing sessions because he feels he might finally be “getting somewhere” with his painting!  One of the other artists is a genius with an encyclopedic knowledge of renaissance painting techniques.  He is a classical painter, really brilliant and generous with his knowledge.  He has just made some “black oil” and “Italian wax medium” for me.  He has used a recipe from the 15th century painter, Giorgione, which is an incredibly dangerous process as it involves boiling litharge (white lead) with linseed oil. The fumes are very toxic.  To make the wax medium he added the oil to clarified beeswax with some pure gum turpentine.  He says that you must only use only clarified beeswax as the wax must contain the bees saliva!  The mediums are toxic and you must be very careful while using them but I am thrilled to be using such authentic and historically accurate products. Needless to say, I will not be using them with encaustic or heat!

I open my studio to students who want to learn and do work experience.  I cooperate with a local alternative school for kids who have been unable, for whatever reason, to finish their schooling in a usual academic school.  Many of the students are really creative and it has been a really successful program.  I love it too, often finding that I learn and benefit just as much as I hope the students do.

I think all art is a series of solving problems!  That’s what makes it exciting and challenging and a constant passion.  I have a concept, a vision of what I want to do – how do I achieve it?  I am a very optimistic person so if I encounter a hurdle, I will either, sail over it, crawl under it, sidestep it, ignore it, trample it, dig under it, or go in any other direction.  In some respects I am very fortunate to live where I do, as this country is very supportive of artists. We have an exemption from income tax and can get support for college, mentoring and business set up.  I would find it very difficult to be forced to do anything other than painting to make a living.  My biggest problem is probably that all I want to do is paint!  Fortunately, my family is very supportive of me and tolerates, sometimes even celebrates my nuttiness!  However, living here has also meant that I am in an encaustic wilderness.  The challenge has been that almost nobody knows what encaustic is and people can be somewhat nervous of it, initially.  Supplies can be expensive as I have to get them shipped from the USA for the most part, therefore Enkaustikos paints are the only ones I do not make myself, the only ones I cannot live without!!

It is important to set aside a little time every day to deal with the business aspects of art and deal with emails, applications, updates etc, but it can be a struggle.  It was harder for me when my children were smaller but I kept a studio at home then so that I could always be around for them if they needed me.  Now they are at university so they don’t need me so much!

I do use some techniques including collage, transfer and stencil.  I just bought a wood burning tool that has a reservoir attachment that keeps the wax flowing so you can make patterns and (hopefully) calligraphy.  I am probably more traditional in my approach to painting in some ways but I love mixed media and often use gold leaf, plaster, tar, pastel, oilbar, Yarka Russian Sauce, graphite, and Plexiglas in my work.  It really depends on the series I am working on, and what I am trying to say with the work.

I work in oil and acrylic also.  I tend to use the lessons learned in each medium to try to constantly improve my work overall.  Some of the best lessons I have ever learned for portrait painting were in a pastel portrait painting class I took years ago with the wonderful Diana Neville Knowles in Montana.  While I have not been inspired to continue with pastel as a primary medium, the process she taught me continues to be useful.  Likewise I took a watercolour portrait class with a fabulous artist, Jean Pedersen, in Canada and found that I could adapt her methods and techniques to encaustic.  The medium used in the traditional painting atelier I attended in Florence, was of course, traditional oil painting materials and methods and portraits were painted sightsize. This is the method used by many portrait painters from Joshua Reynolds to Sargent and I have adapted it to work with encaustic.  I work vertically on an easel for the most part, fusing with an iron or blowtorch and use both a regular and a black mirror to monitor the work in progress.  I love to combine mediums and use a lot of mixed media but I think the passion of encaustic can only influence any other medium in a good way by inspiring freedom of expression.

I am very excited about a project that I will be working on with Niamh O Connor and Rosemary Langtry.  We all work with wax and we were thinking individually about similar themes so we have decided to collaborate on a large joint project.  I have ideas for working with plexiglass and now I must figure out how to solve the associated problems for what I want to achieve.  

It has been a very eventful year. I won a scholarship to attend the 8th International Encaustic Conference in Provincetown, MA in June which was a great experience I would thoroughly recommend to all artists. Also I have been invited to make two exhibitions in Denmark later this year and early next year. And, in September I have been invited to do an Art Residency on the island of Stromboli, off the coast of Italy.

Words of Wisdom:

I think as artists we are so fortunate, as we can never be bored!  There are so many problems to solve!  My only advice to any artist is to meet with others, share ideas, get inspired, take a life drawing class …you never know who you will meet, and most importantly, Paint, Paint, Paint!

As Picasso famously said, “Inspiration strikes, but it must find you working”, so start now, and like Frida Kahlo, “be fearless”!

Thank you to http://encausticpaints.com/ for sharing this article.

Lora will be traveling to the United States in October 2016 to teach two classes at the ArtFusion Event in Colorado.  www.ArtFusionEvent.com



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MAKING WALLPAPER IN THE '60S WAS MORE COMPLICATED THAN YOU THINK



Wallpaper in the 1960s was what pastel kitchens were in the 1950s — ubiquitous. And according to this archival footage of a wallpaper factory in England, new technology was a major reason why.

The video takes us behind the scenes of the "science fiction-ish procedure" used to craft these decidedly over-the-top — at least by today's standards — wall decor. As the narrator points out, some hand-blocking was still used during those "machine mad days," but modern inventions were heavily relied upon in order to crank out thousands of sheets a day.

The "whirling world of wallpaper" included machines that transferred color and pattern onto the paper, as well as machines that helped dry the sheets and separate them. There were even machines that helped create curtains that perfectly matched your wallpaper (aka the height of style during the '60s).
Source:  EllaDecor


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