Traditional papers such as kozo are often a substrate for printmaking and sumi; yet, kozo and other Japanese papers are excellent for encaustic monotypes and other encaustic techniques.
When making encaustic monotypes on light weight paper like kozo, remember not to load it up with to much wax. The more wax built-up the more likely the surface will suffer from cracking and chipping. The goal of a monotype is not to build up a surface with thick/textured layers, rather visual layers; it is easy to forget and overload your print.
Monotypes made with kozo give a very different look than heavier papers such as watercolor paper; the paint soaks in rather than sitting on the surface. The ability to soak through the paper give you a choice to reverse your paper displaying it from either side. You might wonder why this would matter, the side up, as the paper is laying on the palette creates a different look than the side facing down.
Kozo and many other thin papers will turn semi-transparent when impregnated with beeswax or encaustic medium. This technique works well for printing and writing on the paper prior and then collaging back into your encaustic piece.
