Expert tips from IEA Mentors and Board Members on mastering encaustic art techniques and studio practices for inspiring, successful creations.
International Encaustic Artists (IEA) is a dynamic global community dedicated to the art and craft of encaustic painting.
Founded in 2002, IEA connects artists, collectors, and enthusiasts who share a passion for this ancient medium, which involves using heated beeswax mixed with pigments to create vibrant and textured artworks.
The organization supports the encaustic art form through educational resources, exhibitions, and networking opportunities.
IEA’s mission is to foster creativity, provide professional development, and promote the understanding and appreciation of encaustic art.
With a diverse membership spanning various countries, IEA serves as a hub for innovation and collaboration, offering members access to workshops, exhibitions, and a rich repository of encaustic techniques and practices.
Their website provides extensive information about events, resources, and opportunities to engage with the encaustic community worldwide.
MELISSA M. LACKMAN
IEA MENTORING GRANT
About the Grant
This new grant initiative is for artists of any age who are in the early stages of their career as wax-media artists and who are seeking assistance to support their artistic and professional growth by engaging with an IEA Mentor.
Our Mentoring Grant initiative is named in honor of Melissa Morton Lackman's many contributions to the encaustic community through her leadership roles that spanned more than a decade. As IEA Grants Director, the position held until her recent passing, Melissa was passionate about getting support and resources out to IEA members through a variety of grant programs.
About Melissa Lackman
Melissa served as an active IEA Board member for more than a decade, serving in a variety of leadership roles. Shortly after joining the board in 2013, Melissa was elected President. She served in that role until reaching the end of her 4-year-term and then served as Vice-President.
In 2020, she took on the role of Grants Director and served in that role until her passing. Those of us who had the good fortune of working with her frequently describe her as “a rock”—steadfast in her support, compassion, and encouragement of others.
Melissa Lackman, String Theory (2016)
TIP
Unlimited access to expert advice and inspiration is always available for you in IEA's free publicaton, Wax Fusion. You can browse the latest issue and check out back issues here: www.international-encausticartists.org/Wax-Fusion
HELP!
My challenge lies in creating series of works that are cohesive.
I would love insight into how to identify and approach galleries and other venues to exhibit my work.
I am really bad at the business side of my art practice.
I would enjoy working with a mentor to get guidance on refining my artistic voice in this medium as well as to get feedback on my portfolio.
I need some more guidance with color mixing for subtle undertones.
I would like to know some ways to translate my interests/ passions into a body of work.
I have become “stuck” in the same pattern of creating.
I need technical guidance about the use of colors (opaque vs transparent).
I want to develop my ability to work at a larger scale with my encaustic art and to develop more of a signature style.
I can go to the internet to look up answers to questions, but those answers won’t be about my work and my process.
While I have the technical skills, I am less confident in my ability to show a unique voice or explore a theme in depth in my artwork in a coherent way to build a professional portfolio.
I wish to deepen my art practice and integrate it more fully with my life.
Artist Contributors from the 2024-25 mentors/ieA boArD
Lyn beLisLe (boArD)
miCheLLe beLto (mentor)
isAbeLLe GAborit (boArD/mentor)
ViCtoriA foster hArrison (mentor)
ursi Lysser (mentor)
reGinA Quinn (boArD)
miCheLe rAnDALL (boArD/mentor)
JoDi reeb (mentor)
CAryL st. AmA (mentor)
DietLinD VAnDer sChAAf (mentor)
Lonnie ZArem (mentor)
Caryl St. Ama
Michele Belto
Dietlind Vander Schaaf
Regina Quinn
ADVICE
LYN BELISLE
Lyn Belisle, IEA Vice President, is a teacher, artist, designer, and writer. Her work has appeared in IEA’s Wax Fusion, in the digital exhibition catalog of Vignettes in Wax and Words, and in the Winter 2020 Issue of Encaustic Arts Magazine. For four years, she has been a teacher with Painting With Fire. Lyn has had six one-person gallery exhibits since 2011. Her work can be found at The Museum of Encaustic Art in Santa Fe and in the San Antonio Art League & Museum as well as in numerous private collections.
I love the deep exploration of working in a series and find a lot of approaches to deciding on a theme. Here are some that might work for you –
Revisit unfinished projects or ideas. Sometimes, older work can spark new inspiration. Focus on common, everyday objects that have unique textures or forms. This can be anything from household items like a glass jar to natural elements like leaves or stones.
Experiment with themes based on specific colors, shapes, or patterns. This approach can simplify the decision-making process and allow for creative exploration. Be surprised by a new word that inspires a whole new concept.
This last method was the inspiration for my recent series called Hiraeth, which is a Welsh word for a nostalgic longing for some that is missing, like the framents of a dream. I expressed this with twelve encaustic and mixed media collages, each with a face that seemed both familiar and strange to me. Each face that I chose through both vintage photographs and synthography captured that same sense of Hiraeth. Each was 11x14" on birch cradle board, which further united the series. Working in series allows you to explore deeper becasue you have already defined your boundaries in theme, media, content, and size.
ADVICE
MICHELLE BELTO
Michelle Belto believes that the role of a mentor is to understand and support the artist’s struggle to create authentic and personal work. Her teaching includes instruction in her signature work with paper and wax and her life’s work developing an insightful process for deciphering meaning and purpose from the art we create. Michelle was selected as one of the original CORE instructors for R&F Paints and developed the Encaustic Painting discipline as adjunct faculty for Southwest School of Art.
Would the adage, You Can’t Teach an Old Dog New Tricks, carry over to art?
This tip proves the adage wrong and becomes a useful marketing tool. Here is what I did.
It all starts with a simple idea-giving new life to my earlier work. When I’m not busy creating for a show, I like to work on small encaustic pieces on paper. These layered paintings, when matted, make for great, affordable pieces to sell. When it’s time to refresh my collection, I pick out a couple of pieces that could use a new lease on life.
Now, here’s where the fun begins. I take a ruler and a craft knife and start cutting the paintings into business card sizes. The original paintings were on 300lb watercolor paper, so these smaller pieces hold their own. Not all of them make the cut for this transformation, only the ones that still have that spark of creativity. I bring out several of my favorite mixed-media materials and add marks with a Stabilo Aquarellable 8046 pencil, some color with alcohol markers, and glitz with gold heat foil. Coloring the sides of the painting with ink or a marker finishes the work.
Signed on the back and added to a small glassine envelope with my business card, these new mini-artworks makes a welcome give-away surprise!
ISABELLE GABORIT
With over 20 years of experience, Isabelle is an accomplished artist and seasoned mentor, providing coaching to artists for their professional development. Her nurturing approach empowers mentees to reach their full potential, making her an ideal mentor for those seeking growth in art, community, and personal development.
ADVICE
Mastering encaustic painting composition?
Remember the 333 rule: Your artwork should captivate viewers from 3 yards away, achieved through strong composition and a compelling light-dark balance (notan).
Then, draw them in with intricate patterns at 3 feet distance, revealing intriguing details.
Finally, engage them intimately at 3 inches, showcasing temperature shifts, textures, and the artful application of wax.
This tip emphasizes the importance of engaging viewers at different distances with varying aspects of your encaustic artwork, ensuring a layered and immersive viewing experience.
ADVICE
GRIDS RESOURCE BOOK for MARKMAKING
VICTORIA FOSTER HARRISON
Victoria Foster Harrison is an Encaustic Printmaker, Collage and Mixed Media Artist. Encaustic printmaking is her jam…fresh and free, spontaneous and intuitive. Having taught the process for the past 12 years, she is now mentoring one-on-one for those who want to expand their printmaking skills.
I incorporate mark-making in my encaustic monotypes to add texture, pattern or a focal point. But I get stuck…I tend to repeat the same motions. While consistency is valuable, I am eager to expand my repertoire.
I created a studio reference book titled “GRIDS”, using an 11x14 sketchbook with a spine that lays flat as I turn each page. I chose focus areas such as LINES, CIRCLES, SHAPES, and ASEMIC WRITING. Each page is divided into 12 squares on which I have drawn a variety of marks with a fine-tip marker. For instance, on one of the LINES pages, you will find squares filled with dashes, lazy diagonals, ladders, meandering, zigzag, crosshatch and more. I allow a row to title the type of mark.
When I need fresh enthusiasm, I go to my GRIDS book and find an image that inspires me to add marks to my monotypes with pencil, china-markers and oil pastels while the image is on a heated palette. For traditional encaustic artists using pre-melted wax and a torch, you might enjoy creating wax incisions inspired by your own mark-making GRIDS book.
ADVICE
URSI LYSEER
As an artist and mentor, I am dedicated to nurturing creativity and guiding others to discover their unique artistic voice. My work is a reflection of my passion for innovation, combined with a commitment to empowering fellow artists on their creative journeys.
Working with pit lime and found objects.
Found objects carry a history that can add layers of meaning to your work. Consider the stories these items tell and how they contribute to the narrative or emotional impact of your piece. This can create a strong connection between the artwork and the viewer.
While it's tempting to alter found objects extensively, sometimes preserving their original form can enhance their impact. Strike a balance between artistic manipulation and retaining the object's inherent character.
Pit lime offers a unique texture and visual depth. Experiment with its application, whether as a base or mixed with pigments, to explore how it interacts with other materials. Its earthy quality can evoke a sense of timelessness and grounding in your work.
Consider the environmental and ethical implications of using found objects. Where possible, focus on sustainability by sourcing materials responsibly and repurposing items that might otherwise go to waste.
Keep records of where you sourced your objects and any known history. This adds another layer of narrative and can increase the value of your work for collectors.
ADVICE
REGINA C. QUINN
Regina B Quinn serves as President of International Encaustic Artists and as Vice-President of the Woodstock Art Association & Museum. She teaches encaustics in person at the Woodstock School of Art and at Mulranny Arts in Ireland where she has also taught online for Mulranny’s Painting with Fire course since its inception. Regina is represented by Carrie Haddad Gallery in Hudson, NY. Her encaustic artwork is held in several private and permanent collections and she has received numerous awards including the Faber Birren National Color Award, the Cooperstown Art Association’s Grand Prize, and the WAAM Yasuo Kuniyoshi Award.
Document the progression of a piece from start to finish using still images, videos, or both.
Then make time to review and reflect. No need for a special camera - you can just use your phone and a simple tripod. When I started teaching encaustics online during the pandemic I began taking videos focused on my work area as I painted and stopping to take still shots every so often. As I sat down to review and edit clips and assemble the images, I was quite surprised!
I saw myself doing things I wasn’t fully aware of doing. I was sometimes startled to see where a piece started and how it changed. Looking at the finished piece, I had forgotten some of the early steps I had taken and the early stages of development of the work. I learned a lot about my own practice and about how I wanted to improve it.
My suggestion is to try this when you begin your next new piece or when you are attempting to try something new. Create a folder on your computer where you can download and store your video clips and images. As you go back through what you’ve done, ask yourself some questions, such as: How did this action (or stage) affect the work? What am I pleased with that I might repeat in the future? What am I less pleased with and why (or how would I do it differently if I could rewind and do over?) As I review my process, are there any skills I feel I need to develop further? What successes am I noticing that might inform my future work? I continue to use this process when I am preparing to teach online but, more importantly, it has become an integral and helpful part of my art practice.
MICHELE RANDALL
Michele Randall is an artist exploring generational stories related to time and place. She works with artists to develop goals and habits that help them reach the next stage of their practice
ADVICE
Accountability Partner
I recommend setting up weekly or bi-weekly meetings with an accountability partner.
Set a simple; repeating agenda for each meeting, For example, discuss goals for the coming week and reflect on accomplishments for the past week. Celebrate something positive - whether it is showing up in your studio every day, or visiting a gallery or museum.
I suggest finding an artist who is in a similar stage of their career. However, they don't need to work in the same medium or subject.
I connected with a mixed-media artist about 4 years ago. We continue to meet about once a week. We have helped each other stay consistent in our practice, celebrate wins, and buoy each other when we face the inevitable rejection.
ADVICE
JODI REEB
How I work as a Mentor: 'll provide customized support with art direction, suggestions and (maybe assignments) and/or feedback. on your work. You will bring your own unique ideas, questions and creativity to the meetings. I hope to inspire and encourage you to push your work further by challenging yourself as an artist. I can also help market your work and use social media platforms such as Instagram for promotion.
Any process begins with your mindset. Be a "yes" to yourself and show up powerfully with confidence and clarity as an artist dedicated to your studio practice.
Be open to the process as it unfolds and find the way that best works for you and your artistic goals.
ADVICE
CARYL ST. AMA
As a Studio Arts professor on the college level for more thirty years and as one of the original R&F core instructors, I have mentored many students/artists of all ages and levels of development.
My approach has always been to empower the mentee to feel confident to make decisions that will benefit their future goals.
Experience has taught me that process is everything and what makes a good mentor can also make a good mentee!
Here are a few of the qualities I have found that make a successful mentor/mentee relationship: Set clear goals; having a sense of direction and purpose helps one navigate this process and progress isn’t always linear. Be open-minded; be willing to step out of your comfort zone and accept challenges as growth comes from pushing boundaries. Be responsive to feedback; constructive criticism is sometimes needed to make changes in your work or direction. Trust and enjoy the process!
ADVICE
DIETLIND VANDER SCHAAF
I am a Core Instructor for R&F Handmade Paints, an Ampersand Ambassador, and the former president of New England Wax. I have taught workshops throughout the country, including Haystack, Arrowmont, Castle Hill, Snow Farm, Penland, Maine College of Art, R&F, and internationally at Zijdelings in The Netherlands, Essence of Mulranny in Ireland, and Kunstfreiraum in Switzerland. My private mentoring is focused on strengthening an artist’s work, as well as their online presence and writing skills.
One of the best things I did as a young artist was to create a schedule that I held firmly to so that I had enough time to paint and develop a body of work.
I have always worked a full time job alongside teaching and painting, so time was and is extremely precious and must be managed well. I block off days each week on my calendar year round as designated studio days. On those days I turn off my cell phone and unplug from the computer. These are days where I want to feel deeply connected to myself without distractions or the needs of others.
Early on I encountered a lot of resistance to my schedule, but over the years my friends and family have come to respect when I am available and when I am not and my work has grown exponentially as a result.
I tell artists you won’t find the time unless you make it for yourself. Put it on your calendar and stick to it.
ADVICE
LONNIE ZAREM
I have always been inspired by my relationship with the natural world. I look to experience the special moments that arrive from being aware, when it’s raw, wild, simple, and profound. I want to visually capture what moves me, in a pure, simple, and honest way. I am urged to respond and interpret these moments in terms of the emotion and meaning they have for me, and translate this visually. Perhaps my approach will be helpful in your work.
To me, the most important aspect of developing an idea or visual goal is understanding the emotions or meaning that your subject or forms evoke for you. Once you delve deeply into the trigger or idea and grasp the unique message or excitement it brings, you move beyond simply observing a memory, photo, or image. You become fully immersed in the moment— perhaps in a new and invigorating way. As you prepare to create your piece, the choice of palette, techniques, and process will naturally align with your personal connection, more accurately reflecting your unique interpretation and intent.
For instance, I have a deep appreciation for the birds in my backyard and wanted to capture this in an encaustic monotype. I asked myself, what do I truly love about them? It was the quick flashes of birds darting in and out for food, the sound they made, and the way the light changed when they flew by, creating a cheerful atmosphere. What did I actually see when they flew past? Often, I caught just a glimpse of different kinds of birds, fleeting and fragmented. I realized it was the frenetic energy they brought and their freedom to come and go at will that captivated me.
I understood that I didn’t need anatomically correct birds or trees in the image; I needed to capture the energy, activity, sense of freedom, and movement of these fleeting moments. I needed to “fly” with them in my mind to create an honest image.
In "Free Birds," an encaustic monotype (44 x 48”), I began by mapping out the composition with energetic line work in the background. Then, using graphite and wax, I drew spontaneously across the canvas, trying to capture what I felt, saw, and heard. This process allowed me to translate my love for these birds and their daily visits. I felt the freedom, embraced the messy abstracted birds, and was satisfied with the conveyed energy. This was about being fully engaged and “IN” the work.
The insight and meaning of these moments guided the techniques and process used to create a deeply personal experience.
We thank all IEA members who submitted an application for the Melissa M. Lackman IEA Mentoring Grant and congratulate the following awardees:
Sara Hemmer will work with Mentor Michelle Belto for a full year
Carol Lelivelt will work with Mentor Caryl St. Ama for a full year
Holli Levy will work with Mentor Jodi Reeb for a full year
Susan Sarver will work with Mentor Ursi Lysser for a full year
Eileen Bochsler will work with Mentor Dietlind Vander Schaaf for a half year
Anne Fjeld will work with Mentor Kelly Milukas for a half year
Mimm Patterson will work with Mentor Michele Randall for a half year
Jennifer Rowe will work with Mentor Isabelle Gaborit for a half year
Lynne Sarnoff-Christensen will work with Mentor Lonnie Zarem for a half year
Mindy Tillery will work with Mentor Victoria Foster Harrison for half year
We received so many very thoughtful applications and regret that we could not fund them all! But we do hope all applicants will consider applying for one of our grant programs in the future and we wish everyone the very best as they journey forward as encaustic artists.
Lyn Belisle
Exploring encaustic art is a journey into the magical properties of wax—its luminous layers, rich textures, and boundless versatility. As we delve into this ancient medium, we unlock new possibilities, each of us learning and sharing discoveries along the way. Together, we transform wax into art, revealing its potential to surprise, enchant, and inspire us all. The more we explore, the more we uncover its secrets, reminding us that art, like wax, is full of endless wonder.
