tag:blogger.com,1999:blog-38536411681718794862024-03-13T01:11:45.485-07:00ParksArtworks | Encaustic Resourceshttps://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comBlogger77125tag:blogger.com,1999:blog-3853641168171879486.post-68598353987242710762012-09-01T16:16:00.001-07:002014-06-04T12:53:24.884-07:00Pharmaceutical Grade Beeswax<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPHBXQhtHAg244gjThVe86qHi_xbF2BcD13_-txi1-u3yAne51dkxkfhXm56ppFN2gFh9uy_w-IfzgMXnPBFPkqP5x0e2XZhB3XZu0gzdzeFx3KrLh-K_g12vmDRAizb23TF5MDP6_0g/s1600/pharmaceutical+grade580.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPHBXQhtHAg244gjThVe86qHi_xbF2BcD13_-txi1-u3yAne51dkxkfhXm56ppFN2gFh9uy_w-IfzgMXnPBFPkqP5x0e2XZhB3XZu0gzdzeFx3KrLh-K_g12vmDRAizb23TF5MDP6_0g/s1600/pharmaceutical+grade580.jpg" /></a></div>
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Pharmaceutical grade beeswax is the preferred choice in making quality encaustic paints. (read more on <a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/how-to-make-encaustic-medium-and-paint.html">How to Make Encaustic Medium and Paint</a>) Characteristically, pharmaceutical grade wax is semi-opaque to translucent, processed to remove any or all contaminants, leaving you with pure beeswax. It is also a standard established by the government certifying that the wax meets certain chemical requirements. It is also the standard in producing <a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/saponified-wax.html">saponified wax</a>.</div>
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The purpose or reason behind choosing pharmaceutical grade beeswax for your encaustic piece is not only for the stability of the paint, but for the visual or purity of the paint; to produce colors that are as rich and intense as they can be, not dulled by pollen or by the so called contaminants. As mentioned with other topics, these contaminants add to the ratios of ingredients; only so much material can be added to beeswax before it loses the ability to stay structurally sound. For example, one would only add so much coffee per cup, otherwise you end up with sludge or really strong coffee. One can handle a strong cup of coffee, but in the case of encaustic, to much pigment, hardener, or contaminant, will result in a breakdown of it's binding structure. Visually speaking, when it comes to that pesky pollen, that organic material can darken over time, making the colors in your piece dull and dingy.</div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/beeswax.html">Beeswax</a><br />
<a href="http://parksartworkstoolstechnique.blogspot.com/2011/11/beeswax-bleached-and-refined.html">Beeswax; Bleached and Refined</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2011/10/candelilla.html">Candelilla</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">Carnauba </a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2011/11/crayons-in-realm-of-encaustic.html">Crayons</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/how-to-make-encaustic-medium-and-paint.html">How to Make Encaustic Medium and Paint</a> </div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/temperatures-melting-and-flash-point.html">Temperatures (Melting and Flash Point)</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/saponified-wax.html">Saponified Wax</a></div>
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https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-8201988594378097792012-08-13T16:45:00.000-07:002012-08-23T14:44:21.764-07:00Beeswax; Bleached and Refined<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUJerTupuyzgXPEUW5UuehJ-OXkikp4vFu72BBPNkOk5U1DvwLpGbKI-z3nyOHu_XLeN3YgRiGcx20DMwyR-xjmf-hl7zDZnoB0JFZ7CxBpB07mFs0IYRAFD8gpUe8xSqplTwnj7ODufY/s1600/bleeched+beeswax.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUJerTupuyzgXPEUW5UuehJ-OXkikp4vFu72BBPNkOk5U1DvwLpGbKI-z3nyOHu_XLeN3YgRiGcx20DMwyR-xjmf-hl7zDZnoB0JFZ7CxBpB07mFs0IYRAFD8gpUe8xSqplTwnj7ODufY/s640/bleeched+beeswax.jpg" width="153" /></a><b>Chemical bleaching</b> (using peroxide or sulfuric acid) is a process that only masks the colorant, it does not remove the contaminant (e.g. pollen), thus leaving the problem of the contaminant still needing to be considered as part of the pigment ratios when making your own encaustic paint. Archival concerns, these whitened waxes can return to their original colored state- they are not lightfast and yellow over time. Furthermore, chemical bleaching causes other reactions that effect the wax- a whole lot of scientific mumbo-jumbo. Chemically bleached wax is not recommended.</div>
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<b>Sun bleaching</b> is a safe alternative; however, only the colorant has been broken down by the ultraviolet light of the sun. Again, the contaminant is still taking up prime real-estate in your community of ingredients- so remember that in the ratios of making your own encaustic. It is not cost effective for a company or large scale business, requiring lots of space, but it is a gentle way of discoloring wax for your own individual needs- mind you have the patience.</div>
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<b>Refined beeswax</b> is a term generically attributed to wax that has been filtered or bleached (not chemical) or some combination of the two. Simply put, depending on bee varieties, strains, environment/plant(s), etcetera, which the pollen was collected from, make some wax incapable of the bleaching process to whiten the wax fully.</div>
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Related Articles</div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/beeswax.html">Beeswax</a> </div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2011/10/candelilla.html">Candelilla</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">Carnauba </a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2011/11/crayons-in-realm-of-encaustic.html">Crayons</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/how-to-make-encaustic-medium-and-paint.html">How to Make Encaustic Medium and Paint</a> </div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/temperatures-melting-and-flash-point.html">Temperatures (Melting and Flash Point)</a></div>
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<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/saponified-wax.html">Saponified Wax</a></div>
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https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-5054072034295400422011-11-29T22:00:00.000-08:002012-12-30T17:03:36.725-08:00Crayons in the Realm of Encaustic<div dir="ltr" style="text-align: left;" trbidi="on">
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Wax is the all important component in encaustic, it is important to understand the different waxes in order to understanding encaustic as a medium. In saying that, crayons seem so easy and accessible when first pursuing or wanting to pursue encaustic. However, crayons are like copy paper is to 300lb handmade cotton fiber watercolor paper. The wax used in a crayon is often not high quality- often low, the pigments are not lightfast- meaning the color will fade over time, along with a myriad of other reasons, all more important is that the wax utilized in a standard crayon is not compatible with quality encaustic paints. Further, crayons are not meant to be heated and melted to a temperature upwards 220º (should I say, off-gas). They do have some use, taking in consideration what was just said. What they lack as the encaustic replacement, they make up with (somewhat), generically and for instance, in learning about encaustic, more-so encaustic <a href="http://parksartworkstoolstechnique.blogspot.com/2011/04/monoprint-or-monotype.html">monotypes</a>, or how wax generally is effected by heat (<a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/temperatures-melting-and-flash-point.html">fyi: different waxes melt at different temperatures</a> and remember <a href="http://parksartworkstoolstechnique.blogspot.com/2009/04/safety-precautions.html">safety</a>). Mind you, I am not advocating crayons as encaustic paint or as the be-all monotype medium, use of crayons may be more financially motivated than anything, ignoring health precautions.<br />
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Encaustic is high grade beeswax, having better binding properties in the encaustic medium family of ingredients. The pigment is artist quality, <a href="http://parksartworkstoolstechnique.blogspot.com/2010/06/damar-resin.html">Damar resin</a>, or a harder wax, <a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">carnauba</a> or <a href="http://parksartworkstoolstechnique.blogspot.com/2011/10/candelilla.html">candelilla</a>, is combined with beeswax and pigment to harden the medium, in order to make it less susceptible to damage. A crayon, however, is designed to be non-toxic, for obvious reasons, and encaustic, even when using <a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">carnauba</a> as the hardener, most often isn't. This is for many reasons, one, pigments are most often not non-toxic, some even being heavy metals- so to speak: not good for digestion. </div>
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Furthermore, crayons include clays- and as you learn anything added relating to pigment, is pigment, and the clay being neutral or white only serves the purpose as a pigment filler in crayon manufacturing. The opacity and pigment concentration is easily seen when melted and applied to a surface. Also wax itself is a synthetic wax or other wax not compatible with encaustic. It is often softer and more brittle, layers thicker than normal drawing thickness or <a href="http://parksartworkstoolstechnique.blogspot.com/2011/04/monoprint-or-monotype.html">monoprinting</a> thickness is not advisable because of this.</div>
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You may ask yourself, "is there a use for crayons in encaustic?," and the answer is, well, yes, one being I suppose practicing <a href="http://parksartworkstoolstechnique.blogspot.com/2011/04/monoprint-or-monotype.html">monotypes</a>, but especially, and more to point out, their shape or design. It is a far reach I know, to think shape is the only useful attribute for wax crayon in encaustic. But, the shape and design is perfect in many circumstances where a block of pigmented wax is simply to awkward to use. Also the amount or volume of crayon size is nice when making custom colors where you don't use much of a certain color. For example: if a particular color is not your color of choice and rarely gets used, but you like having many varieties available when needed, "crayon size," is a perfect way to have it. </div>
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Remember there is always words to the contrary, it is sometimes subjective and making your own decisions about their use will arise, but experience will speak the truth. Also not discussed, and to throw another crayon into the bucket so to speak- there are also soy wax based crayons- a vegetable wax made from the oil of soybeans. I will leave that for another article.<br />
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To learn more about waxes used in encaustic, read <a href="http://parksartworkstoolstechnique.blogspot.com/2008/12/how-to-make-encaustic-medium-and-paint.html">How to Make Encaustic Medium and Paint</a> or read about other types of <a href="http://parksartworkstoolstechnique.blogspot.com/p/waxes-and-other-raw-materials.html">Waxes and Other Raw Materials</a>.</div>
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https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-19999017524671038802011-11-29T19:29:00.000-08:002012-02-03T23:17:43.189-08:00Candelilla<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCa1qUoKivm7x8diGMJtjg2KJBS2Euw035SCodS51fs_pXoFbTc8-qs9eQFdQ4IcVkSjqtCd8MnIAROeT45n4W92WodWgMc2Oudmf4TGm8TELoUVbpHLVi1TTyc4eUg9uNUPiq11SXEto/s320/candililla.jpg" width="320" /></div>
Candelilla wax from the candelilla plant, is a vegetable based wax that can be substituted wherever beeswax or <a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">carnauba</a> is used. Candelilla is yellow in color (similar to <a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">carnauba</a>), brown in crude form, with a melting point higher than that of beeswax, 154° - 161° F (67° - 71° C). A higher melting point makes it suitable for tempering like that of <a href="http://parksartworkstoolstechnique.blogspot.com/2010/07/carnauba.html">carnauba wax</a>.<br />
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-69055055948476478762011-11-17T00:01:00.000-08:002011-11-18T01:42:05.406-08:00Ancient Faces by Susan Walker and Morris L. Bierbrier<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNL0s4YSSgODnKFNN-8sxtd6zQrOi1awcE3SoWygkBiVeE7q3YvSj4UCHf5Iwaty0I2V0-gjH3h2R1Co6dNRO19yts_Cr99wKKtjvtC8DPjmRfRViIR1pRs-axFriXukxB2R8k2d6iMs/s1600/anc+mum.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNL0s4YSSgODnKFNN-8sxtd6zQrOi1awcE3SoWygkBiVeE7q3YvSj4UCHf5Iwaty0I2V0-gjH3h2R1Co6dNRO19yts_Cr99wKKtjvtC8DPjmRfRViIR1pRs-axFriXukxB2R8k2d6iMs/s1600/anc+mum.jpg" /></a></div>
Similar to, <a href="http://parksartworkstoolstechnique.blogspot.com/2011/11/mysterious-fayum-portraits-by.html">Mysterious Fayum Portraits: Faces from Ancient Egypt</a>, and includes many of the same portraits; however, focused more to the Metropolitan Museum of Art's personal collection.<br />
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Susan Walker and Morris L. Bierbrier, Ancient Faces: Mummy Portraits in Roman Egypt. (New York: Metropolitan Museum of Art Publications Series, 2000.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-51681581588873374862011-11-17T00:00:00.000-08:002011-11-16T23:51:46.670-08:00Mysterious Fayum Portraits by Euphrosyne Doxiadis<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu4kdfLZHe1KobT6KpOrResuDfFt1AOLXsjpnYmieNgzDRHY7krjKYGFakuyWOA5BrBnNEZYFGwzRhXedF0PdqaasyAu_jGvbybRtIbYNsSI_F91JMgLyGNhdDvlw1dIa3opRNASM4oRc/s1600/mfportraits.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu4kdfLZHe1KobT6KpOrResuDfFt1AOLXsjpnYmieNgzDRHY7krjKYGFakuyWOA5BrBnNEZYFGwzRhXedF0PdqaasyAu_jGvbybRtIbYNsSI_F91JMgLyGNhdDvlw1dIa3opRNASM4oRc/s320/mfportraits.jpg" /></a>This reference is full of information and many color and black and white images. A must have or read for anyone interested in encaustic, fayum portraits, or ancient Greek/Egyptian history.<br />
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Euphrosyne Doxiadis, Mysterious Fayum Portraits: Faces from Ancient Egypt. (New York: Harry N. Abrams, 1995.)</div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-12291518154875884612011-11-16T22:35:00.001-08:002011-11-16T23:48:27.849-08:00The Specter of the Golem by Natalie Shifrin Whitson<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px;">Sorry this citation may not be quite right.</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px;"><br /></span>
<span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px;">Natalie Shifrin Whitson, LEONARDO© The Specter of the Golem: The Quest for Safer Encaustic Painting Practice in the Age of OSHA. (MIT PRESS JOURNALS August 2000, Vol. 33, No. 4, Pages 299-304)</span><a href="http://www.mitpressjournals.org/doi/abs/10.1162/0024094000552685" style="color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-decoration: none;">http://www.mitpressjournals.org/doi/abs/10.1162/0024094000552685</a></div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-72220067897573703402011-11-16T22:32:00.001-08:002011-11-16T23:48:27.959-08:00Embracing Encaustic by Linda Womack<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRKstrMIhwB4riBm0U88I6X74RYhl2-FEKLkTZ-uuEpXaJb6PmwLfbcF6iC1UUsytW14aqJlkMmEtkB8zd-aFhvyuxvKqnaQ9xO-WFm4T8U3mfiDT74CxZwej46wnLdwqLCDpQix9LyYE/s1600/emb+enc.jpg" /></div>
A step-by-step introductory guide to encaustic painting. Includes many photographs of contemporary artists and a descriptions of their work.<br />
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Linda Womack, William Womack. Embracing Encaustic: Learning to Paint with Beeswax. (Hive Publishing; Second edition, May 15, 2008.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-26881026903153588592011-11-16T22:30:00.001-08:002011-11-16T23:48:27.867-08:00The Painter's Handbook by Mark David Gottsegen<div dir="ltr" style="text-align: left;" trbidi="on">
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This reference is not in depth and only includes the very basics of encaustic; as well as unadvised methods- such as framing behind glass.<br />
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Gottsegen, Mark David. The Painter's Handbook; A Complete Reference. (New York : Watson-Guptill Publications, 2006. rev. ed.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-55561458552383669682011-11-16T22:29:00.001-08:002011-11-16T23:48:27.929-08:00International Exhibition, London, 1871 by Arthur Beckwith<div dir="ltr" style="text-align: left;" trbidi="on">
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Although outdated in some respect, this reference is an interesting addition for anyone fascinated with the history.<br />
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Beckwith, Arthur. <a href="http://books.google.com/books?id=Zo9BAAAAIAAJ&printsec=frontcover&dq=Encaustic&ei=uUVcSIfPA4S8jgGc9tyMDA#v=onepage&q=Encaustic&f=false">International Exhibition, London, 1871</a>: Pottery. Observations on the Materials and Manufacture of Terra-cotta, Stoneware, Fire-Brick, Porcelain, Earthen-ware, Brick, Majolica, and Encaustic Tiles, Remarks on the Products Exhibited. (New York: D. Van Nostrand, 1872.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-61685516308307533302011-11-16T22:28:00.001-08:002011-11-16T23:48:27.950-08:00A Manual of Fresco and Encaustic Painting by Sarsfield Taylor<div dir="ltr" style="text-align: left;" trbidi="on">
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A early record containing notes on encaustic.<br />
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Sarsfield Taylor, William Benjamin. <a href="http://books.google.com/books?id=KBYEAAAAYAAJ&printsec=frontcover&dq=Encaustic&ei=uUVcSIfPA4S8jgGc9tyMDA#v=onepage&q&f=false">A Manual of Fresco and Encaustic Painting</a>: Containing Ample Instructions for Executing Works of These Descriptions. (London: Chapman & Hall, 1843.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-73216552947924292402011-11-16T22:26:00.001-08:002011-11-16T23:48:27.967-08:00Waxing Poetic by Gail Stavitsky<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOUPZ_Lhue-AMfAjQdgt7EWq07mscvcKXPYTfTNuzmrdoXG49zcHVZ3ZiLN_5ZkLBPcOPGrtD3PFsuc-epjKJsTJPAhzr73mVhtWCoHjiaz0b7_h_9KNYkcKuYUwXelLqOrwSFNRExEiQ/s1600/Waxing+Poetic.jpg" /></div>
Provides a basic historical and a relatively contemporary history on encaustic.<br />
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Gail Stavitsky, Waxing Poetic: Encaustic Art in America. (New Jersey: Rutgers University Press, 2000.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-60605918214912941492011-11-16T22:24:00.001-08:002011-11-16T23:48:27.939-08:00Painting popularly explained... by Thomas Gullick<div dir="ltr" style="text-align: left;" trbidi="on">
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Title speaks for itself.<br />
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Gullick, Thomas John. <a href="http://books.google.com/books?id=ZbYEtcKIBPIC&printsec=frontcover&dq=Encaustic&ei=UkRcSP_ZO4e4jgHxjcTwBw#v=onepage&q&f=false">Painting popularly explained</a>: including fresco, oil, tempera, mosaic, encaustic, water-colour, miniature, missal, painting on pottery, porcelain, enamel, glass, &c., with historical sketches of the progress of the art. (London: Kent and Co., 1859.)</div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-50713920077924133912011-11-16T22:23:00.001-08:002011-11-16T23:48:27.909-08:00Encaustic, Materials and Methods by Frances Pratt and Becca Fizell<div dir="ltr" style="text-align: left;" trbidi="on">
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Frances Pratt and Becca Fizell, Encaustic, Materials and Methods. (New York: Lear, 1949.)</div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-49886313457499940122011-11-16T22:22:00.001-08:002011-11-16T23:48:27.901-08:00Color and Culture by John Gage<div dir="ltr" style="text-align: left;" trbidi="on">
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A western investigation of colors influences on culture with brief descriptions of encaustic. (Not recommended for a source on encaustic)<br />
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Gage, John. Color and Culture: Practice and Meaning from Antiquity to Abstraction. (Boston: Little, Brown and Company, 1993.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-81006977753647003352011-11-16T22:20:00.001-08:002011-11-16T23:48:27.979-08:00Wax as Art Form by Thelma Newman<div dir="ltr" style="text-align: left;" trbidi="on">
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A general guide book for the beginner to wax based arts; including encaustic and other interests. <br />
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Thelma R. Newman, Wax as Art Form. (New Jersey: T. Yoseloff, South Brunswick, 1966.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-27823406145011539952011-11-16T22:18:00.001-08:002012-08-27T21:29:43.888-07:00The Art of Encaustic Painting by Joanne Mattera<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_-cWGnbSY_BvbT3_Hd7Ta-XcvYwQs3HA-A2p3YXMZaQjkSu8_9WTocD2AzpdmGpEcSn7Iuu0a1K1pM_J1ZeWES_KMzMYHZufFuGbeh2px1C0zqoFEj0eFO5HWrEIPAJzsKcjnMvHoLE/s1600/TAOEP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_-cWGnbSY_BvbT3_Hd7Ta-XcvYwQs3HA-A2p3YXMZaQjkSu8_9WTocD2AzpdmGpEcSn7Iuu0a1K1pM_J1ZeWES_KMzMYHZufFuGbeh2px1C0zqoFEj0eFO5HWrEIPAJzsKcjnMvHoLE/s200/TAOEP.jpg" width="198" /></a></div>
A quality resource for encaustic painting. A introductory, historical, and technical guide to encaustic painting. Also see out her website <a href="http://www.joannemattera.com/">www.joannemattera.com</a>.<br />
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Joanne Mattera, The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax. (New York: Watson-Guptill Publications, 2001.) </div>
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https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-32531608869134926822011-11-16T22:12:00.001-08:002011-11-16T23:48:27.892-08:00The Artist's Handbook by Ralph Mayer<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1UzbptH7Lr-tvuJJrlKs77o9aT1eAcfVQ_8it7eznOeI3bLgZGg6NgEy6pdn5LfqpPyUE35FiKVCtd9XPUG3zqj9FT2bBPoyRQe-rKH4t9TK-iv1NxgAsgNCx16BYrMXVFT-ASFSl5tE/s320/the+artists+h.jpg" width="202" /></div>
A must guide and source for technical information on artist material (Not specifically encaustic).<br />
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Mayer, Ralph. The Artist's Handbook of Materials and Techniques: Fifth Edition, Revised and Updated. [New York (Penguin Group): Viking Adult; 5th Rv&Upd edition, 1991.]</div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-25465549469286920902011-11-16T22:05:00.001-08:002011-11-16T23:48:27.856-08:00Encaustic Workshop by Patricia Seggebruch<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyEjagmTdYfh5Ed38yS_aHQV-YKCStIwcAIzNKHyCiw9GoOgvOQ99nMdt9lm-vUHZWIRUumaMMtY7IgzhyphenhyphenoYHwIJktCJ0eClrIsRn8jco9t_BXpZ174dlrb5zOZTH6P53FZNzYtWlVifc/s400/enc+work.jpg" width="300" /></div>
Additional resource for encaustic with many photographs, help on getting started, and step-by-step instructions on some techniques; informative for beginners.<br />
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Patricia Seggebruch, Encaustic Workshop: Artistic Technique for Working With Wax. (North Light Books, 2009.) </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-28268334367447775372011-11-16T21:38:00.001-08:002011-11-16T23:48:27.883-08:00Encaustic Monotypes by Paula Roland<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtX97ATMt-TrhyphenhyphenUFpluShkjFIpi0jcTbUF7dEzWDk-oyHhhYZcN799xzpNS3tsCq6GbsgMBxJg9ijN-NrVsS3p1W0y7al3J61eS4eqmQGZZpTKlA6pdyxMekqQZzSrPAP6ISHF35Uu9s/s1600/Paula+Roland.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtX97ATMt-TrhyphenhyphenUFpluShkjFIpi0jcTbUF7dEzWDk-oyHhhYZcN799xzpNS3tsCq6GbsgMBxJg9ijN-NrVsS3p1W0y7al3J61eS4eqmQGZZpTKlA6pdyxMekqQZzSrPAP6ISHF35Uu9s/s1600/Paula+Roland.png" /></a>This DVD reference by Paula Roland is available through her <a href="http://rolandworkshops.com/">website</a>; containing information on encaustic printmaking processes- particularly encaustic monotypes.</div>
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Paula Roland, Encaustic Monotypes: Painterly Prints with Heat and Wax. (Studio Galli Films, 2010)<br />
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-40490293875519978472011-11-14T20:13:00.000-08:002011-11-16T01:42:18.555-08:00Anti-Fatigue Mat<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWd29s3Dn2AYzd4mP2ElVe0_r2n-WGawj0_LGJDCQJEKrRreKFzqE_kHC5xb0C4kEMC8Js1fB3hv5DrMyV9wdS_pGZbQU8QQmIiWVYM52VeBXRab2_wqQY2sKIjz_NQQUiMmn8s7qDFAY/s200/Anti+Fatigue.jpg" width="200" /></div>
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The anti-fatigue mat is the tool for your feet; this is especially true when you work on a concrete or tile floor and/or if you stand a lot when you paint.</div>
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A majority of anti fatigue mats were designed for use in an industrial setting and there are many on the market to choose from. Cost is fairly inexpensive and can differ with manufacturer and type or style. </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-18982399315740898692011-10-23T20:32:00.000-07:002011-10-23T20:32:34.245-07:00Paint Scraper<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPxkToyHdqfL_VI-d_a2vnmm3M-rpGVNFdnEl1bVqD4a7KyQyaQr6-HJih8QwJPIyWQS0LTQZX3nrwUKJLDOPjTOyjyjLKFgOlzClgwgyNy00sAZywb7Z_nD9d5hPQ_UH7JZskKUEi-4/s400/DSCN1991.jpg" width="400" /></div>
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Do you want to remove paint fast, create wide bands, or stripes within your encaustic painting?</div>
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Large paint scrapers, typically designed to remove paint from the side of a house or other common surface, are the perfect tool for the job. This is even more so with very large pieces- making the job go much more quickly and easily.</div>
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This particular scraper was used to create the textured effect seen at the beginning of the technique, <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/building-texture_14.html">Building Texture</a>, also pictured below.</div>
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To remove paint simply scrape till your heart is content, that is, if the only thing you wish to do is remove the paint. But there is removing, and then there is removing- meaning: remove to just to remove or removing as a controlled technique.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: justify;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8P44GGZ6D54f3DVMtBp6IqMHM4N2fh7A1tenrsTf9o8JWPj0EHwQU1MIcYEKFc75ajs1MV_RhsQh__b14q4GO2dBRtVO6kUfXvIDYleAJKys-zWZrfzgmlw-uAGU1VuRezGQFoDgdWM/s1600/texture+1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8P44GGZ6D54f3DVMtBp6IqMHM4N2fh7A1tenrsTf9o8JWPj0EHwQU1MIcYEKFc75ajs1MV_RhsQh__b14q4GO2dBRtVO6kUfXvIDYleAJKys-zWZrfzgmlw-uAGU1VuRezGQFoDgdWM/s320/texture+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the technique: <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/building-texture_14.html">Building Texture</a></td></tr>
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Revealing under-layers and creating wide bands of paint is done better by softening the surface with a <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/heat-gun-or-butane-torch.html">heat gun</a>. Cold wax will chip along the edges as with using <a href="http://parksartworkstoolstechnique.blogspot.com/2010/05/printmaking-scrapers.html">printmaking scrapers </a>(another tool used for removing paint along with other techniques) and <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/carving-tools.html">carving tools</a>. So unless this is a desired effect, it is better to warm the surface and your tools. </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-37502512621734837562011-10-23T00:36:00.000-07:002011-11-18T02:17:19.175-08:00Graphite or Pigment Transfer<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWfeEKd596OZDeTNlnfnFQnnO4_MSH6dQOm1P0PCAqTg9FmI8lu-VKU6W9ClyP3HYNgW-hp_t3e_ZPnf8_CQ00ZSnt-Vb53mwBnx9-d5Z2gWxeOfKoz4cM6ciMoLDYkKuOfwV9wLt7FIk/s320/Graphite2.png" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: xx-small;">Graphite on White Encaustic</span></td></tr>
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There is more than meets the eye with transfers onto wax; however, you can create fine lines, patterns, and detailed drawings with a fair amount of ease. Transfers on encaustic are, pretty much straight forward, and almost like any other graphite or pigment transfer- that is to say with a few recommendations. </div>
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First recommendation, use a soft graphite or pigment (e.g. soft pastel and conte) and generously coat the backside of the area to be transfered. Needless to say: it is not necessary to coat the entire reverse side of the paper, only the area that lies behind the image- you can see the image from the reverse side because transfer paper is inherently transparent.</div>
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Second use a dull pencil or other dull pointed object. Almost any smoothly pointed tool (referencing the size and smoothness of a ball point pen) will work, as long as it isn't prone to tear the transfer paper. It isn't as much of a worry that the transfer paper gets torn, that it is the tendency to easily cut into the wax surface (unless this is desired). Cutting into the wax is not going to adversely effect your piece; however, <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/fusingburning-in.html">fusing</a> the surface after transfer (which is highly recommended) will cause wax to melt into those lines cut to deeply, diminishing the crisp clean look that may be desired. It is also noted that gentle pressure can also slightly cut into the wax, depending on the hardness of the surface, and the time which was allotted for it to properly cool.</div>
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Third, and speaking of surface, your wax surface should be fairly smooth when transferring images. This is not to say you can not or should not transfer onto a <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/building-texture_14.html">textured or rough surfaces</a>, only that smooth surfaces lend better to clearer images.</div>
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Remember <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/fusingburning-in.html">fusing</a> helps seal the transfer, keeping it from smearing, or worse, from rubbing off. Care should be taken in not <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/fusingburning-in.html">fusing</a> excessively, because as the surface becomes more liquified, it will move around. It is purely preference to wait for the wax to completely cool/harden, this only helps in not <a href="http://parksartworkstoolstechnique.blogspot.com/2008/11/intaglio-includes-engraving-incising.html">incising</a> the surface. However, a recently cooled piece is slightly tacky, assisting in transfer, yet also softer under tool. </div>
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-52034120158228323612011-10-19T00:52:00.000-07:002011-10-19T19:04:38.378-07:00New Look & Features!<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello Everyone,<br />
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ParksArtworks© has been and will be going through some changes in the way it looks, and in the way you navigate. Things have been streamlined and made more efficient in order to bring a better online experience.<br />
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There are two main pages: <a href="http://parksartworks.blogspot.com/">The Blog</a> and the <a href="http://parksartworkstoolstechnique.blogspot.com/">Encaustic Resource Pages</a>. Additionally a page for the contributing artist and main contact, <a href="http://parksartworksportfolio.blogspot.com/p/artist-statement.html">Jonathan D. Parks' work</a>.<br />
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If there are any concerns, question, suggestions, or comments- which are very much appreciated, do not hesitate to <a href="http://parksartworks.blogspot.com/p/tab5.html">contact</a> us.<br />
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Don't forget you can connect with us on <a href="http://www.facebook.com/parksartworks">Facebook</a> and <a href="http://twitter.com/#!/ParksArtworks">Twitter</a>- whatever might be your favorite way to stay connected.<br />
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Thank you<br />
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Sincerely,<br />
ParksArtworks©<br />
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</div>https://parksartworksportfolio.blogspot.com/http://www.blogger.com/profile/04235775621871310743noreply@blogger.comtag:blogger.com,1999:blog-3853641168171879486.post-72630744566994077142011-06-12T00:56:00.000-07:002011-11-17T00:23:07.442-08:00Palette Cup Lifter (a.k.a. Pot Lifter)<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-tiKHF5-3oHwoV23pNdlMgo16iGsO709s_O_SpECRTWRolsZht3scE8WLnd8XgA7sPXhl_efwEFD3zUDVSebmsXpba0MrUbhNZzJw-h73RkZ7XPAT4Ib49pqlk8a4dujVq0xgjtggILI/s400/pot+lifter.jpg" width="400" /></div>
Handling a palette cup on a hot palette can be tricky business. Pushing them about isn't much of a problem; however, when it comes to lifting them off to pour wax or to simply remove them for space- it can be. There are many economic and simple ways of doing this and they can all have there nuisances.<br />
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The clothespin is the most commonly suggested and almost everyone has them. Unfortunately most clothes pins are to chintzy and lack the ability to grasp hold of those full cups of molten wax.<br />
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A pair pliers work nicely but they can also be awkward to use. Pliers like the clothespin have a perpendicular grasp which makes it difficult to pour the wax out of the cup. Pliers are alright for taking cups of wax off of your palette, so long as you dont mind having waxy pliers. Yet there is something better.<br />
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Finding an old handle like one off a capuchino carafe, like I strapped onto one of my large palette cups, was not a bad idea; but, it was only good for that one (round) palette cup - and permanently attached.<br />
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Well if you want to lift and pour but don't want the clothespin to fail and spill, or more control than pliers will do, all with the addition of not dumping hot wax on your hand, or if you don't want a bunch of handles geting in the way because they are permanently fixed to you cups - there is a solution. The solution is a common accessory to a camper's kitchen, called a pot lifter. As cheap as a few bucks you won't break the bank and many there are many styles, brands, and designs to choose from. They work simply by hand pressure, squeezing the lifter will grip almost anything fantastically; and it makes pouring wax a cinch. So you might ask: Is there a downside? Some designs put your knuckles close to the palette surface, but this is manageable. And other designs won't allow you to lift something off a flat surface because they were originally made for a pot or bowl that sits on a camp stove that is several inches from any surface. It is all a matter of choosing the right one.<br />
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Remember, like all the other options mentioned here, the lifter is also dipped partially inside the palette cup and will collect wax where it grasps. This can cause slight contamination of colors when going from one cup to another. The answer to this problem is simply clean it off, or have a couple on hand. One lifter for light colors such as the medium and whites, and one for dark colors like blacks, blues, and browns; of course a third or fourth if you are really picky - or one for all the colors in between. <br />
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