ParksArtworks | Encaustic Resources

Crayons in the Realm of Encaustic

2011-11-29T22:00:00.000-08:00

Wax is the all important component in encaustic, it is important to understand the different waxes in order to understanding the 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, and not compatible with quality encaustic paints. They do have some uses taking in consideration what was just said. What they lack as the encaustic replacement they make up for instance (some) in learning about encaustic monotypes.

Encaustic is high grade, beeswax having better binding properties in the encaustic medium family of ingredients, the pigment is artist quality- lightfast, damar or a harder wax (carnauba or candelilla) is combined to harden the wax surface to make it less susceptible to damage. A crayon, however, is designed to be non-toxic for obvious reasons and encaustic, even when using carnauba as the hardener, isn't always. This is because of many reason, one, pigments are not non-toxic, some even being heavy metals- not good for digestion.

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 monoprinting thickness is not advisable because of this.

You may ask yourself, "is there a use for crayons in encaustic?," and the answer is yes, one being practicing monotypes, and their shape or design is also useful. It is a far reach I know, to think shape is the only useful attribute in encaustic. But, the shape and design is perfect in many circumstances where a block of pigmented wax is simply to awkward to use. The amount or volume is also 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.

Remember there is always words to the contrary, it is sometimes subjective and making your own decisions about their use will arise. Also not discussed, 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.

Candelilla

2011-11-29T19:29:00.000-08:00

Candelilla wax from the candelilla plant, is a vegetable based wax that can be substituted wherever beeswax or carnauba is used. Candelilla is yellow in color (similar to carnauba), 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 carnauba wax.

Ancient Faces by Susan Walker and Morris L. Bierbrier

2011-11-17T00:01:00.000-08:00

Similar to, Mysterious Fayum Portraits: Faces from Ancient Egypt, and includes many of the same portraits; however, focused more to the Metropolitan Museum of Art's personal collection.

Susan Walker and Morris L. Bierbrier, Ancient Faces: Mummy Portraits in Roman Egypt. (New York: Metropolitan Museum of Art Publications Series, 2000.)

Mysterious Fayum Portraits by Euphrosyne Doxiadis

2011-11-17T00:00:00.000-08:00

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.

Euphrosyne Doxiadis, Mysterious Fayum Portraits: Faces from Ancient Egypt. (New York: Harry N. Abrams, 1995.)

The Specter of the Golem by Natalie Shifrin Whitson

2011-11-16T22:35:00.001-08:00

Sorry this citation may not be quite right.

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)http://www.mitpressjournals.org/doi/abs/10.1162/0024094000552685

Embracing Encaustic by Linda Womack

2011-11-16T22:32:00.001-08:00

A step-by-step introductory guide to encaustic painting. Includes many photographs of contemporary artists and a descriptions of their work.

Linda Womack, William Womack. Embracing Encaustic: Learning to Paint with Beeswax. (Hive Publishing; Second edition, May 15, 2008.)

The Painter's Handbook by Mark David Gottsegen

2011-11-16T22:30:00.001-08:00

This reference is not in depth and only includes the very basics of encaustic; as well as unadvised methods- such as framing behind glass.

Gottsegen, Mark David. The Painter's Handbook; A Complete Reference. (New York : Watson-Guptill Publications, 2006. rev. ed.)

International Exhibition, London, 1871 by Arthur Beckwith

2011-11-16T22:29:00.001-08:00

Although outdated in some respect, this reference is an interesting addition for anyone fascinated with the history.

Beckwith, Arthur. International Exhibition, London, 1871: 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.)

A Manual of Fresco and Encaustic Painting by Sarsfield Taylor

2011-11-16T22:28:00.001-08:00

A early record containing notes on encaustic.

Sarsfield Taylor, William Benjamin. A Manual of Fresco and Encaustic Painting: Containing Ample Instructions for Executing Works of These Descriptions. (London: Chapman & Hall, 1843.)

Waxing Poetic by Gail Stavitsky

2011-11-16T22:26:00.001-08:00

Provides a basic historical and a relatively contemporary history on encaustic.

Gail Stavitsky, Waxing Poetic: Encaustic Art in America. (New Jersey: Rutgers University Press, 2000.)

Painting popularly explained... by Thomas Gullick

2011-11-16T22:24:00.001-08:00

Title speaks for itself.

Gullick, Thomas John. Painting popularly explained: 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.)

Encaustic, Materials and Methods by Frances Pratt and Becca Fizell

2011-11-16T22:23:00.001-08:00

Frances Pratt and Becca Fizell, Encaustic, Materials and Methods. (New York: Lear, 1949.)

Color and Culture by John Gage

2011-11-16T22:22:00.001-08:00

A western investigation of colors influences on culture with brief descriptions of encaustic. (Not recommended for a source on encaustic)

Gage, John. Color and Culture: Practice and Meaning from Antiquity to Abstraction. (Boston: Little, Brown and Company, 1993.)

Wax as Art Form by Thelma Newman

2011-11-16T22:20:00.001-08:00

A general guide book for the beginner to wax based arts; including encaustic and other interests.

Thelma R. Newman, Wax as Art Form. (New Jersey: T. Yoseloff, South Brunswick, 1966.)

The Art of Encaustic Painting by Joanne Mattera

2011-11-16T22:18:00.001-08:00

An indisputable quality resource for encaustic painting. A historical, technical, and introductory guide to encaustic. Also check out her website www.joannemattera.com.

Joanne Mattera, The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax. (New York: Watson-Guptill Publications, 2001.)

The Artist's Handbook by Ralph Mayer

2011-11-16T22:12:00.001-08:00

A must guide and source for technical information on artist material (Not specifically encaustic).

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.]

Encaustic Workshop by Patricia Seggebruch

2011-11-16T22:05:00.001-08:00

Additional resource for encaustic with many photographs, help on getting started, and step-by-step instructions on some techniques; informative for beginners.

Patricia Seggebruch, Encaustic Workshop: Artistic Technique for Working With Wax. (North Light Books, 2009.)

Encaustic Monotypes by Paula Roland

2011-11-16T21:38:00.001-08:00

This DVD reference by Paula Roland is available through her website; containing information on encaustic printmaking processes- particularly encaustic monotypes.

Paula Roland, Encaustic Monotypes: Painterly Prints with Heat and Wax. (Studio Galli Films, 2010)

Anti-Fatigue Mat

2011-11-14T20:13:00.000-08:00

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.

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.

Paint Scraper

2011-10-23T20:32:00.000-07:00

Do you want to remove paint fast, create wide bands, or stripes within your encaustic painting?

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.

This particular scraper was used to create the textured effect seen at the beginning of the technique, Building Texture, also pictured below.

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.

From the technique: Building Texture

Revealing under-layers and creating wide bands of paint is done better by softening the surface with a heat gun. Cold wax will chip along the edges as with using printmaking scrapers (another tool used for removing paint along with other techniques) and carving tools. So unless this is a desired effect, it is better to warm the surface and your tools.

Graphite or Pigment Transfer

2011-10-23T00:36:00.000-07:00

Graphite on White Encaustic

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.

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.

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, fusing 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.

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 textured or rough surfaces, only that smooth surfaces lend better to clearer images.

Remember fusing helps seal the transfer, keeping it from smearing, or worse, from rubbing off. Care should be taken in not fusing 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 incising the surface. However, a recently cooled piece is slightly tacky, assisting in transfer, yet also softer under tool.

New Look & Features!

2011-10-19T00:52:00.000-07:00

Hello Everyone,

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.

There are two main pages: The Blog and the Encaustic Resource Pages. Additionally a page for the contributing artist and main contact, Jonathan D. Parks' work.

If there are any concerns, question, suggestions, or comments- which are very much appreciated, do not hesitate to contact us.

Don't forget you can connect with us on Facebook and Twitter- whatever might be your favorite way to stay connected.

Thank you

Sincerely,
ParksArtworks©

Palette Cup Lifter (a.k.a. Pot Lifter)

2011-06-12T00:56:00.000-07:00

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.

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.

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.

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.

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.

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.

Frequently Asked Questions

2011-05-24T18:49:00.000-07:00

How do I get started with encaustics?

Where can I buy encaustic paint and supplies?

How do you make encaustic paint?

The Monoprint or Monotype

2011-04-03T21:51:00.000-07:00

A monotype/monoprint is a print that has qualities unique to each and are not reproducable in the process it was originally created. It is possible in some instances, that a less defined image can be made by using the medium that still remains behind on the working surface. Alternative resources sometimes refer to a monoprint as a print made with the same underlying image with differing colors, textures, mediums, etc; and can be reproduced, but rather only one is made. Terms are often used interchangeably and are otherwise types of prints that can only be recreated by digital or electronic means.

When concerning encaustic, use of this technique is achieved on a heated palette, or other heated flat surface; encaustic paint, rather than printing inks are employed. The actual process is very similar; however, there are some things to keep in mind. Read Watercolor Paper and Framing.

Wax, paper, and a heated palette are the general necessities to get you started- outside of a few basic items such as paper towels or tools of preference.

Simple and cheap, standard crayons can be used; however, this should really only be for learning purposes. Standard wax crayons are not formulated to produce quality encaustic prints- for the same reasons you would not paint an encaustic piece, you would not paint, or in this case print, a encaustic monotype or monoprint. Simply put, the structure of the wax would not hold up. Some undesirable qualities of crayons are muddled colors and non-lightfast qualities. BUT- if you are just starting out, wax crayons can be inexpensive and seeming limitless supply until you become comfortable and/or confident in using quality encaustics.

More coming soon!

Related links can be found on Book Sources and on the Homepage: a march 2011 post, "Teaching Wax Monoprints."

Kozo and Other Japanese Papers

2011-03-25T16:22:00.000-07:00

Kozo paper is made from the pulp of a tree that grows in eastern Asia; Broussonetia papyrifera, a Mulberry tree. The kozo fibres are considered to be extremely strong and a traditional part of many Japanese papers.

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.

Palette Knife

2010-08-17T19:41:00.000-07:00

Palette knives are used in the same way as you would in most painting mediums. The major difference with encaustic being- hot wax cools quickly and then becomes a solid; needless to say, this makes the wax stick to the knife. There is a similarity to other metal sculpting tools when it comes to using them; and as a specialized tool, they are limited to what they can offer.

Palette knives are not made well for scraping paint away either (see printmaking scrapers); they are designed more for addition, not subtraction (this doesn't mean that they can't be used for such techniques, just that there are better tools available). Remember hot tools keep wax from sticking to them, and this is never more important when using a palette knife to add paint to a surface.

For removing paint also read: Razor blades, Knives,Printmaking Scrapers, etc. and Carving Tools.

Shellac Burn

2010-08-15T19:57:00.000-07:00

A very bad idea. I am not even going to tell you how to do it; just don't. This is an environmental and safety hazard.

Respirators

2010-07-17T21:39:00.001-07:00

Whether or not a respirator is helpful to have in your arsenal of tools is contingent upon what you expect to use it for- mixing pigments, while painting, et cetera.

To further elaborate, respirators require filters that protect you from certain fumes and particulates and vary with each type/model of filter cartridge. They are a proven preventive measures with many products; however, encaustic's obscure exsitance makes it difficult to find accurate data. This conflicting data about respirators and there effectiveness against wax fumes or rather encaustic fumes are frustrating to say the least; I am not going to add to the confusion by adding my own unfounded data.

Rather, I will focus on other preventative measures that could help you reduce risk; which I mean read Encaustic Safety Precautions and ventilate your studio space and/or ask a trusted expert on chemicals and respirators. As for particulates there is fairly well known data- just remember to read the packaging and purchase the one most effective for the job.

For more information go to NIOSH-Approved Particulate Filtering Facepiece Respirators on the CDC website.

Ceramic

2010-07-17T12:49:00.000-07:00

Clay has been a pigment in paints and the building block for pottery and ceramics for centuries; it can also offer up an array of possibilities when working with encaustic.

The porous qualities of ceramic allow the paint to seep into the surface before lying on the surface; left at this stage it has a dry, rough appearance and a more natural ceramic like feel. When more paint is layered on the surface it becomes like any typical substrate (wood, etc.).

Ceramic also holds heat longer than traditional painting substrates and this allows more working time. More working time keeps the encaustic soft and pliable; allowing you to manipulate it in ways that become difficult when it has cooled (see alla prima). Objects can be shaped and later attached, glazed traditionally or painted with encaustic. Relief, texture, and writing are just a few things that come to mind.

There is also the question of high fired versus low fired clay. Personally I have used both low and high and found little difference in encaustic; however, more often than not low fired is recommended.

Beeswax

2010-07-04T17:58:00.000-07:00

The main component of encaustic is beeswax, the secretion made (of course) by bees which is used to build hives or honeycombs. The wax is white in its most natural form, when first secreted by the bee; however, impurities like pollen contaminate and discolor the wax giving to shades of yellows and browns. Contaminants are either filtered, bleached (chemically or naturally) to return it to this white state.

The stability of the wax is one reason these so called contaminants are removed. Additionally they dilute the concentration of the pigment added to give encaustic its color. In combination with a hardener (damar, carnauba, etcetera) and a pigment, the wax can not hold the addition of the contaminant without losing its ability to stay structurally stable. Consider the contaminate in the ratios when choosing to use crude or unrefined beeswax to prevent such problems. However, these ratios can be difficult to gauge and it is suggested that you only use a very small percentage of pigment. The recipe should include the contaminate as part of the combined collection of pigments that make up the necessary percentage. And when making your own concentrated encaustic colors use pharmaceutical grade beeswax. This is particularly important when making white encaustic paints.

To learn more on making your own encaustic paint read How to Make Encaustic Medium and Paint.

Carnauba

2010-07-03T19:34:00.000-07:00

Carnauba is a non-toxic hard yellowish to brownish wax from leaves of the carnauba palm used in food, cosmetics, automobile and furniture wax, and as discussed here- to temper encaustic paint (use no more than 5%).

Carnauba wax has a very high melting point of 180-187 °F (82-86 °C). It is extremely hard and nearly insoluble. It is also a renewable resources.

For further information read Temperatures (Melting and Flash Point) and How to Make Encaustic Medium and Paint.

Tjanting

2010-06-19T16:49:00.000-07:00

Originally the tjanting was used as a tool for wax resist in the batik process in order to make fine lines and patterns; similarly, the tjanting can be used for encaustic painting. Wax or paint is placed in the receptacle and the metal is heated with the heat gun; this is where the wax then exits through a small pipe.

Encaustic; Where to Start.

2010-06-08T21:58:00.000-07:00

WHAT DO YOU NEED TO BEGIN?

--------------THE ENCAUSTIC A,B,C QUICK LIST.

----------

A. PAINT

---1.--One large block each of Medium, White, and Black

---2.--One small block each of Primary and Secondary colors

---------(or option out secondaries for your favorite colors)

---3.--About 8 oz. of carnuba and beeswax

------------

B. TOOLS

---1.--Palette and Electric burner

---2.--Heat gun

---3.--Palette cups for each color

---4.--Hake brushes

---5.--Scratching tools

------------

C. PANEL

---1.--1/2 in. thick birch, maple, or oak finished plywood

---------4 x 6 in or 5 x 7 (or a comfortable size)

---2.--Small pieces of masonite for testing or practicing

Damar Resin

2010-06-07T19:13:00.000-07:00

Damar resin is sap released from trees, much like rubber or maple syrup. Commonly used in vanishes and also to temper encaustic paint. To temper beeswax add an average of 1 part to 8 parts damar; do not over temper, no more than 1 part to 4 parts. Over tempering will cause the encaustic to be brittle and it will flake or chip away. It is possible to substitute a percentage of a harder wax, candelilla or carnauba, no more than 5%. However, damar melts at 225º a higher temperature than candelilla which melts between 155º and 162º or carnauba between 180º and 187º, thus raising the melting point of the encaustic paint. Atmospheric conditions and even elevation can create variations in temperatures. For more information on making encaustic paint, click to read, How to Make Encaustic Paint and Medium. For more on temperatures, including flash points of commonly used waxes in encaustic read, Temperatures (Melting and Flash Point).

Pigments

2010-06-07T19:00:00.000-07:00

Pigments can be considered the groundwork of painting. Understanding some details about pigments in wax will help you develop a finished work.

Encaustic has a similarity with watercolor in that it's pigments can separate from the medium if not regularly mixed or stirred. The shear weight of some of these pigments can determine how fast this separation occurs. Many pigments used in encaustic are the same as ones used in any other painting medium; with a few exceptions. Prussian blue for instance, emits hydrogen cyanide gas when heated to high temperatures; concern should also be noted when adding pigment or paint stick.

Pigment separation is not a huge concern for an artist actively painting; the pigment will mix as each color is used. This information is important because pigment concentration does change the transparency and luminosity effects of a painting; a color left unattended could change the intent and look of your work.

A couple of notes to remember: Filling your brush from the top or bottom of a full palette cup when the paint is not regularly mixed can change the pigment concentration held in the brush. The hotter your palette, the faster the separation- the more molten the wax is, means the more liquid the wax is- also keep in mind the proper working temperatures. Read How to Make Encaustic Medium and Paint and Temperatures (Melting and Flash Point) for more info. Returning to a palette or color that has not been used frequently, but has been in a molten state, the color is more likely to be separated and should be stirred.

Pigments during separation can also burn and/or cake up; this leaves a glob of goop in your palette cup. It has been said that zinc white and cerulean blue have a higher tendency for this. Lowering the temperature to the proper setting will reduce separation. Also remove the palette cups that are not being used to help eliminate any problems.

Pigment in encaustic can also be subjective; technically pigments are finely ground rocks, minerals, etc. However, one might argue anything that offers color that can be suspended in the medium can be labeled a pigment (e.g. cake sprinkles, coffee grounds, flax seeds). An artist has to consider much when choosing a pigment, even one loosely defined. Pigments should be lightfast if the color is going to withstand the test of time- so cake sprinkles probably will not be in the mix.

For more information on what to buy read my Art Materials Post: Sennelier Pigments "Encaustic Compatible" and More on Pigments "Encaustic Compatible".

Making Samples

2010-05-30T20:29:00.000-07:00

Learning to use encaustic is sometimes trial and error and making samples may help; this is especially when you want to avoid destroying what you are currently working on. Samples rarely need to be bigger than three inches by three inches on masonite, MDF, or other inexspensive substrates. You may also be able to recycle the paint used in your samples by removing it with a scraper or other tool. Click here to read more about masonite, MDF, or other substrates.

Samples also go a long way in explaining your process to those who may not have a complete understanding of what you are doing and how you got to where your piece is currently at.

Printmaking Scrapers

2010-05-30T15:52:00.000-07:00

Scrapers are generally used in printmaking for beveling the edges of the printers plate in order to keep it from cutting the paper as it goes through the press. However, the purpose for encaustic is much different.

Scrapers can be used for many different techniques, but the more common uses are fairly simple and straight forward. You can remove paint fairly quick by using the edge of the scraper blade; the tapered point allows you to access small areas, corners, etc. Prior to fusing it is also easy to remove the unfused layer(s) because it has not become part of the lower layer(s); layers remain fragile and are easy to separate when they have not gone through this process. Revealing the under layer is also achieved much the same way; only practice and a steady hand are needed after the fusing process has been completed. Remember that it helps to have a warm clean tool (except when removing a unfused layer); encaustic will stick to cold or cool metal.

Brush Rest

2010-05-25T18:55:00.000-07:00

A brush rest is a minor detail in the encaustic setup; but, it does hold a purpose. Granted you can get away with not having one, and if you are using a kitchen griddle you may not need one because griddles typically have a raised edge that can act as a rest.

The purpose of the brush rest is to keep your brush handle off the palette where it not only keeps your brushes from getting hot (a safety precaution), but keeps them out of puddles of paint. Additionally, palette cups tend to be to short to hold the brush up by themselves; so resting a brush against something comes in handy. My modified coat hanger works well for keeping my brushes off the palette, from tipping my paint cups over, and because there are two parallel wires the brushes stay warm and off the palette; better than setting them off to the side where they cool and require more time to soften to a workable state. Also the spring action of the wire makes it easy to remove when it gets in the way.

A quick tip: Instead of using a rest it helps to cut down the long handles of your brush to a more desired length so that your palette cup will be less likely to tip over.

Carving Tools

2010-05-24T22:14:00.000-07:00

Carving Tools used in woodworking or printmaking are useful in carving out wide lines, or whole areas. Different shaped blades (like the ones showed to the right) allow for different techniques. Length, size, shape can all vary in both the blade and handle; chose the one most comfortable for you.

A couple of notes: carving into cool/cold wax can chip the edges where it is carved out; warm the surface before caving. Also wax will stick to cold tools; heat your tool blade and keep it clean with a rag for best results.

Heat Gun

2010-05-24T22:00:00.000-07:00

The heat gun is arguably the most important tool in encaustic; it is used for fusing and other techniques (see Fusing or Burning In).

Fusing is the act of heating the surface of the paint in order to melt (fuse) the layers together. Fusing layers together keeps the encaustic wax from chipping or flaking away. This is one reason that a heat gun or torch is indispensable.

In addition to fusing, the force of the heat/hot air can be utilized for creating different effects by blowing the paint around on the surface.

Caution: Many heat guns can heat upwards to 1100 degrees; high heat can cause a fire and the overheated paint can produce toxic gas. See Encaustic Safety Precautions and Temperatures (Melting and Flash Point) for more info.

Tacking Irons and Spatulas (electrically heated)

2010-05-16T19:50:00.000-07:00

Tacking irons and spatulas are commonly found in the entourage of tools for encaustic; mainly described as an alternative to the heat gun when fusing a painting. However, they have many other uses such as adhering paper scraps (small and large) and like items (photos) to the surface of a encaustic piece. They can also be used to manipulate (sculpting and painting) the wax surface; this is particularly with the heated spatulas due to their various interchangeable points.

Paper collaging can be tricky; particulary with scraps that are smaller than the tool. A practical way to collage paper is to lay down a background of color or better yet, medium. Encaustic color can actually hide you imagery and by using medium first and pigmented medium (encaustic) after you can avoid many of the troublesome issues. It is good to know that most paper, especially white and natural fiber, will turn transparent when it soaks up a lot of medium.

Metal Sculpting Tools

2010-05-16T19:40:00.000-07:00

A sculpting tool is a fairly generic term to describe anything used to manipulate a medium by physical force; the options are limitless. Metal tools in particular can do all that and more with the ability to be heated and remain hot for a decent amount of working time. Heated or hot tools can make incising a breeze and they also can be used to sculpt and fuse areas of paint. For a how to on fusing paint with small metal tools see Fusing with Metal Tools.

Fusing with Metal Tools

2010-05-16T19:35:00.001-07:00

There are other ways of fusing encaustic instead of the obvious heat gun, torch, or other electrically heated tool. Due to the radiating heat from the tool it is possible to fuse by heating up the metal with one of the aforementioned tools. It may seem odd to heat one tool with another when it is possible to fuse with the first; but, heat guns force air which can move the paint around and a micro-butane torch along with others are not small enough to fuse some areas. Heating a small metal tool will allow fusing of the tiniest area without disturbing it's surroundings.

See Metal Sculpting Tools and Burnishers for more about what kinds of metal tools.

Paint/Pigment Sticks

2010-05-16T19:00:00.000-07:00

Paint or pigment sticks come in various brands, sizes, and formulations. Pastels and other drawing materials may also be mentioned. Differences can affect the outcome drastically.

Ratio of encaustic to pigment stick is very important. The rule of thumb when adding anything to encaustic is to keep the ratios consistent (see How to Make Encaustic Medium and Paint), if incorrect, all the binding properties fail, resulting in a painting that will crack, chip, slag and more. Paint Sticks consist of, amongst other things, linseed oil. Using a small percentage of oil in encaustic has been a long tradition; therefore, adding a oil based product such as pigment sticks should not be a problem. It can help with the toxicity level to eliminate linseed oil from your encaustic paint or medium (obviously this requires making your own paint), but it is not necessary. Problems occur when to much paint stick is used: you must remember that the ratio of paint stick to encaustic is, to the amount which is on the surface of your support, not how much is on your palette, or in the block of encaustic, or in your palette cup. You are typically adding the paint stick to the surface, not in the encaustic mix itself; the surface is only a fraction of an inch thick, so it is easy to over-do.

How much is the correct amount? Paint sticks should only be used in minute/thin amounts. The easiest way to learn is to make some samples and test different thicknesses of paint stick on the encaustic and fuse as you regularly would. If you are applying at the end of a finished encaustic piece, and do not plan to paint more wax on, you can be less critical about your ratio of wax to paint stick.

Also read, Oil Paint as Pigment

and more on Oil Pastels- coming soon.

Oil Paint as Pigment

2010-05-12T18:57:00.000-07:00

This post is for combining oil paint to encaustic; where oil paint is utilized as the pigment rather than dry pigments. Encaustic paint consists of beeswax, damar and pigment (turpentine and oil, once used as ingredients, are not typically used). Contrary to other tutorials on making encaustic, oil paint should not be used as a pigment. This is not to negate the use of oil paint as a surface and/or under layer or oil used in a variety of other wax based painting.

Why? Oil paint manufacturers often use non-compatible ingredients. Since it is difficult to know which do, and which do not, it is better to avoid them unless absolutely certain. But... As for high quality oil paints that do not include unknown substances, they still contain oil. Oil(s) in combination with encaustic at inadequate volume can cause the paint surface to breakdown; resulting in chipping, cracking and complete release of the paint layers. It is important to note that oil and encaustic are compatible, so as long as the ratios are controlled. Ratios are stable as long as the percentage of oil to wax is low or high; for instance the closer the amounts become to being equal the less stable.

What is the alternative? Dry pigments. see How to Make Encaustic Medium and Paint, Paint and Pigment Sticks, or Saponified Wax.

Also a personal note: I tend to work a lot with paint and oil sticks over encaustic which contain very similar properties to the above, and I am torn between whether or not this is truly encaustic. An oil painting or photograph coated with a layer of wax is not classically an encaustic piece. I have felt that encaustic is a medium created as one substance prior to painting; wax, pigment, damar (and oil and turpentine if you wish). Of course there is always room to argue.

Butcher's Tray

2010-05-10T16:21:00.000-07:00

The butcher's tray has many uses in the studio from something to throw tools in, to a large palette cup for encaustic. The white porcelain enamel coating makes the perfect surface for mixing colors when matching a previous color is at its most difficult. Standard palettes tend to be gray or black, as well as palette cups; white is also a preferred surface color for painting and mixing. However, it is important to note the butcher's tray is not without flaws or up to preference. The convex body makes paint flow to the sides of the pan; good for some tasks, bad for others. Even the small pans are fairly large for palette cups. Also, while working with encaustic place the tray directly on the palette and treat it as a palette cup. Do not try to use it directly as a palette because it is hard to regulate the temperature and will over-heat; this is due to the thin body of the tray. Good or not, the butchers tray is nice inexpensive tool to have around.

Brushes

2010-05-07T19:00:00.000-07:00

Brushes are an obvious necessity when it comes to painting; only use natural hair brushes when working in encaustic (e.g. Hogbristle, Hake, etc.). Synthetic brushes can not withstand the high heat and the bristles can become burned, fused or melted. This also can be true when working with natural brushes, the chance of burning the bristles, but only when working directly under the heat gun/torch where the temperature is at its hottest. You can avoid burning simply by moving the brush out of the direct heat. Practice makes perfect. And a great thing about encaustic is that you rarely have to clean your brushes. The fact is that encaustic cools (doesn't dry) and as long as you have plenty of brushes (recommended one for each basic color) you will be set to go.

P.S. Hake brushes are made from many things (ox, squirrel, goat) including synthetic material which can melt; only purchase natural bristles.

Encaustic Safety Precautions

2010-05-02T14:00:00.000-07:00

First and foremost is that you remember you are working with heated art materials and tools where temperature can range, when properly used, in the hundreds of degrees; and unsafe temperatures when improperly used. As with all mediums taking precautions can help you prevent injury.

The temperature for working with encaustic should remain constant at or below 225°F. Temperatures above 250°F cause beeswax to breakdown; encaustic can off-gas dangerous vapors such as formaldehyde, and acrolein. For boiling points of beeswax and other waxes used, see Temperatures (Melting and Flash Point).

Make certain that the temperature of your palette can be regulated and kept at a constant temperature. The rheostat that controls this on most hotplates and burners can be or become faulty; it is imperative that you stay aware of this. If you believe that the temperature fluctuates beyond your control, immediately replace the hotplate/burner with one that does not.

Encaustic requires a ventilation fan to pull out wax vapors. Ventilation can be achieved with a window fan facing outward; however, a hood or industrial exhaust fan would be ideal. Cross ventilation is also important to replace the air going out. The work space should be placed between you and the exhaust; important so that vapors do not pass your breathing zone while on their way out.

Lets talk about fire safety- In the rare occasion of a fire, do not pour water on beeswax; wax explodes when in contact with water and this will cause the flames to spread; simply keep a fire extinguisher handy.

Your work area should have the electrical capacity for use of hotplates and heat guns. Only use heavy duty extension cords and power strips; a quality power strip will shut off if overloaded. Fire can result from overloaded circuits or faulty socket and cords. Exposed wiring can collect wax which will result in fire issues and putting off harmful vapors. Your work area should also be free of solvents and papers- anything flammable.

Experience will give you the tools you need in working with encaustic; in the meantime, check your area often.

Here are a few links to help get you started + down below.

How to Make Encaustic Medium and Paint

Temperatures (Melting and Flash Point)

Heat Gun or Butane Torch

Electric Burner

Thermometer

Brush Rest

Inkjet (supplement to: Fusing Photographs)

2010-01-31T13:57:00.000-08:00

Go to: Fusing Photographs

Concern yourself with the archival/lightfast state of the ink and paper. Even under a layer of wax or protective coating (UV or not), if the ink is not lightfast/archival- it will eventually fade; and if the paper is not archival it can yellow, become brittle, and typical reactions attributed to non archival material.

With the encaustic process avoid any kind of varnish or coating that a manufacturer can put onto your picture. In most likelihood that coating will react by shrinking when heated or other adverse reaction.

Ink bleeding may occur when either brushed, poured, or dipped in wax and can be discovered by simply testing it. Brushing is obviously more aggressive and will make it bleed more so than pouring or dipping; if it bleeds at all. There are so many different ink manufacturers out there that it is practically impossible to know how they will all react.

Affordability can become an issue when testing or when you don't want to ruin a perfectly good picture every time you test. When testing, have an extra strip/line printed above, below, or along the side of the image, cut that off, and then test the strip.

And one last thing, the longer you leave the ink jet print sit, the better- give it some time to set in.

Where can I buy encaustic paint and supplies?

2009-08-07T14:05:00.000-07:00

Art Supply Warehouse
Blick Art Materials
Brushy Mountain Bee Farm
Chapman and Bailey
Daniel Smith
Evans Encaustics
Fine Art Store (Hot Cakes)
Jerry's Artarama
Kama Pigments
Lyra (????????)
MacPherson Art
Maimeri (pigments)
NW Encaustic
Old Holland
Pearl
R&F Encaustic Paints
Rockler Woodworking (panels, etc.)
Roland Workshops
Sennelier (pigments)
Sinopia (pigments)
The Earth Pigments Company
Utrecht Art Supplies
Williamsburg Paint (pigments)
Woodcraft

About Substrates, Surfaces and Grounds

2009-04-16T14:49:00.000-07:00

Thinking ahead to how your work will be presented is crucial. For example: mounting encaustic that is painted on paper is far different from working on panels or sculptural work; it's surface is flexible and susceptible to cracking, slag and other problems. Also the type of ground chosen can effect how your painting looks and feels. Remember how your work is presented will define how your substrate is constructed.

Canvas
Ceramic
Framing
Making Samples
Watercolor Paper
Wood (Includes MDF, Masonite, etc.)

Encaustic (Figured) Tiles

2008-12-17T11:38:00.000-08:00

"ENCAUSTIC (FIGURED) TILES, having a flat surface with the ornament inlaid, or slipped in various colored liquid clays. These too may have their surface covered with a transparent glaze."

"Encaustic tiles consist of a slab of clay of uniform color, inlaid with a device of other clays differently colored. In this ware the colors are not superficial, but are incorporated with the body of the clay before burning, either by pugging dry or in the condition of a liquid slip. As to the different coloring ingredients : — Many of the clays which contain less iron, such as the Stourbridge and others in proximity to the coal measures, do not come out of the fire red like brick, but white, cane or buff in all varieties of tint, and stand the attack of fire and weather. Red, salmon and pink will be produced as the iron predominates, altered by mixtures of other clays in their native condition or by oxides of metals. Nickel, for instance, produces a bronze-green tint ; manganese brown ; protoxide of iron and manganese dead black. Carbonaceous matter gives a dark, dull-looking and rather dirty tint, which may be useful in contrast. There is no end to the variety of tints which can be obtained by the admixture of earths and metallic oxides. To economize the inlaid colored clay material, the tile is only formed of it to the depth of about of an inch from the surface, the mass of the tile being made of fire-clay. As, however, the fire-clay generally contracts very differently from the surface layer of colored clays, it is usual to apply to the back of the fire-clay, an equal thickness of about of an inch of the colored clay, in order to preserve the flatness of the tile during the firing. The tile is made with the aid of a press, either by the wet or dry process. By pressing many small holes in the back of the tile, the drying is facilitated, and also the adhesion of the mortar when subsequently used on the wall. The tiles are dried for a week, then heated in a drying oven for two or three weeks, fired in a stone-ware oven for sixty hours, and left in the oven for six days more to cool down. The lineal contraction during these operations amounts, in the wet process, to twenty-nine per cent. of the size of the tile when first moulded. It is less in the' dry process."

Beckwith, Arthur. International Exhibition, London, 1871: 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.) p 36, 42-43.

Saponified Wax

2008-12-17T11:29:00.000-08:00

Saponification of wax is done by boiling water, adding beeswax, and ammonia; this results in a creamy paste like substance which pigment can be added. Painting done with saponified waxes are technically not encaustic; however, they are often categorized, defined, and found together.
-
Dorland's Wax Medium is an example of commercially produced saponified wax.

Temperatures (Melting and Flash Point)

2008-12-17T11:14:00.000-08:00

Beeswax {click here for more on beeswax}

Melting point: 143º -149º

Flash point: 468º

Bloom is a result when beeswax is exposed
to cold or freezing temperatures. More-so
when less and less hardener (damar, etc.)
is used; or particularly with straight beeswax.

Candelilla {click here for more on candelilla}

Melting point: 155º -162º

Flash point: 465º

Carnauba {click here for more on carnauba wax}

Melting point: 180º -187º

Flash point: 570º

Microcrystalline

Melting point: 140º -205º

Flash point: 450º

Paraffin

Melting point: 118º -165º

Flash point: 380º

Read, How to Make Encaustic Medium and Paint for specifics on making your own paint. Also read Encaustic Safety Precautions, and Respirators for more on keeping you studio safe.

How to Make Encaustic Medium and Paint

2008-12-15T13:06:00.000-08:00

Encaustic is pigmented tempered beeswax. To temper beeswax add a percentage of a harder wax (candelilla or carnauba no more than 5%) or add a natural resin, typically damar (average is 1 part to 8 parts; do not over temper, no more than 1 to 4). Over tempering will cause the encaustic to be brittle and it will flake or chip away. Add about 20% pigment to the mix to obtain encaustic.

Work encaustic at no more than 225º (170º-220º is best)

Encaustic medium is non-pigmented tempered beeswax. Melt wax in a non-iron container. Begin by melting damar resin, and melting beeswax separate. Damar melts at 225º, once melted, lower the temperature (around 170º-180º) start adding in the melted beeswax. If you add the beeswax cold/hard, add it to the damar in small amounts. Add about 20% pigment to obtain encaustic.

Encaustic does not dry like oil, acrylic, watercolor, et cetera; it only needs to cool, which is done almost instantly. However, one must remember some pigments that are used in this medium have a chemical makeup that do not allow for the wax to set entirely; until minutes, hours, days, and even weeks have gone by. Pigments like carbon black, cadmiums, and quinacridones remain ever so slightly soft until a certain amount of time has passed.

Gesso

2008-11-19T12:31:00.000-08:00

WARNING, Do Not Paint Encaustic Over Gesso! Unless it is specifically designed for encaustic.

Why? When heat is applied to gesso, because most commercial gessos are acrylic based, it shrinks. If on paper, your paper will roll, curl and buckle. If on hard board or wood it will shrink and crack.

What is the alternative? Light colored wood (Maple or Birch) or white encaustic as a ground.

What about clayboard? Even though some companies say it is suitable for encaustic and it does not shrink like gesso, it does have a tendency to chip and/or crack off; particularly on the edges. It is simply preferential and other material may be more to your liking.

Watercolor Paper

2008-11-18T11:29:00.000-08:00

Hot Press | Cold Press | Rough

The issues involved with encaustic on paper are similar to the concerns of canvas. Supporting the paper is necessary and it needs to be prepared for display beforehand otherwise it the will fail as a substrate. This can be as simple as attaching paper hinges to as complex as sewing velcro onto the top edge of the paper. The major differences between paper and canvas is, that unlike paper, canvas is made up of fibres that are woven and will move and flex. The fibres of paper, however, are fused together, giving more stability and rigidity. This rigidity doesn't mean that paper isn't susceptible to the same effects of canvas, only differently and varying degrees.

Lets talk about SLAG: Slag is when gravity takes hold of your work pulling down on it; think about the way a sheet looks thrown up over a window. Over time slag will occur and how much will depend on how good you prepared your piece. There are a couple of sure-fire ways to prevent slag when using watercolor paper. One is how it is mounted and the second is using the proper paper weight (and by weight, I mean thickness, not how much the paper actually weighs).

Lightweight paper weighs typically around 90 lb, and heavyweight paper typically 300 lb or greater. Lightweight paper is ideal for collage or embedding; however, not for supporting an entire painting. For greater stability choose a heavyweight paper, 300 lb or more. The paper's weight is the weight measured in pounds of one ream, approximately 500 - 22" × 30" (Imperial) Sheets. However, you might come across paper measured using the metric system, grams per square meter (gsm). For example a standard sheet of 140 lb watercolor paper has a metric weight of about 300 gsm; usually the the seller will translate. In addition to weight, and as seen in the above picture, watercolor paper comes in varying degrees of texture; a preferential choice. However, neither are without their problems, rough papers are more difficult to mount and cold press (smooth) papers tend to curl.

Lastly, applying encaustic over a watercolor painting is another addition to using watercolor paper. There should be no additional issues involved unless acrylic based media was used or thick layers of WC paint are on the surface (e.g. do not use watercolor paintings that were done straight from the tube- simply stick with thin layers and watercolor washes).

Inlay or Intarsia

2008-11-17T12:55:00.000-08:00

Intarsia is the technique acquired from traditional woodworking (a form of inlay). In encaustic this loosely translates to, "filling in."

To achieve this, incise a line or small area and fill the void with another color- then use a razor blade or printmaking scraper to remove the pooled surface paint. Be careful not to remove to much.

This technique works best when the painting has been given significant time to cool before adding the inlaid wax. It may be preferred to wait for the inlay to cool as well before attempting to remove the excess.

Wood

2008-11-15T10:39:00.000-08:00

A traditional and ancient material used for paintings, encaustic being no exception. Compared to other supports, wood offers ease as well as many options in framing (unlike paper). There are choices to consider when picking the right type of wood for your painting. Take care in this process and remember to always use sustainable and eco-friendly material (see fsc) and recycle. Below you can find some suggestions on how and what to pick.

Dimensional lumber: this product expands and contracts across the grain, not with the grain; the amount of expansion depends on how much moisture the wood is retaining. Cracking and checking can and will occur over time. Warping and twisting of the wood is possible; however, this does not always happen- particularly with quarter-sawn lumber. A good example of how dimensional lumber will effect encaustic is to look at the fayum portraits. This information is not to discourage you from working on this traditional material, yet only serves as cautionary advice.

Plywood: depending on the quality and the amount of plies, is the most economical and stable choice for encaustic. Eight to ten ply is suggested; the fewer the plies, the more likelihood of warping and twisting. Plywood has a long history of being structurally sound; woodworkers have been using it for centuries. Plywood also provides a large surface area free of inclusions. You should choose a high grade material such as birch, maple, or oak; in most instances the inner ply(s) are of a differing species than the veneer. I personally choose this product, not only for the above mentioned higher qualities, but the ease in cutting and framing.

Masonite, MDF (Medium-Density Fibreboard), Particle Board, Oriented Strand Board and Other Composites: this material is not recommended for finished works. This type of material is often structurally sound and resists warping and twisting, which make them great for beginners or samples, but not for quality work. The problem within the structure of the material; it is constructed from particles (sawdust, wood chips, etc.), held together by industrial glues, sometimes containing such chemicals- like formaldehyde (generally speaking). In some cases the product is easily effected by heat. The products composite also make the material more susceptible to fire; burning much faster than dimensional lumber and even quality plywood. Some might argue and feel safe with some or all of the above material, but the choice is yours to make; this is only a suggestion and references non-specific commercial lumber/masonite/MDF/etc.

NOTE: This does not include commercially produced artist boards or hardboards- merely non specific masonite and hardboard panels purchased from construction and hardware/lumber suppliers that, without specific knowledge on these products, it is hard to know what is suitable for encaustic or artist panels.

Size, Thickness, Cradled or Not Cradled: it is important to choose a good piece of wood, clear of defects, warping, etc; proper dimension is in addition to type. Cradled panels offer visual depth but only serve the purpose of supporting thin material. A cradled panel is useful when working portable and large scale to reduce weight. High grade 1/2 to 3/4 inch thick plywood is sufficient with works smaller than two feet. When building your own, paintings less than a foot which are built cradled, often only waste material as well as time and effort. You can also choose, instead of cradled panels, to frame your work for a substantial look; framing also protects the fragile edges and supports the entirety of the piece.

Canvas

2008-11-15T10:36:00.000-08:00

Canvas and/or linen have been, and most likely will remain to be a traditional substrate. Unfortunately, encaustic on cloth can flex, causing cracking and chipping. Canvas can be utilized for encaustic works if precautions are taken; however, canvas is not recommended. If you prefer the texture and feel of canvas and are up for the extra work involved in preparation, here is some advice on the subject.

Traditionally Stretched: Canvas that is stretched on a frame can and will flex when pressure is applied; most of this occurs during the actual painting process and not as much after the piece is finished (Framing can reduce damage). Slag can also occur, this is when gravity takes hold and the shear weight of the canvas and paint cause the material to weaken over time; thus slag (drooping) occurs. Remembering that more resin introduced into encaustic paint equals harder and more brittle paint, you can reduce the amount of resin by a fraction and this will offer a fraction of flexibility (see How to Make Encaustic Medium and Paint for further detail). However, encaustic hardens over time, so resin reduction only temporarily assists during the painting process.

Prevent the surface from flexing by supporting the canvas; fill the void behind the painting with a hard board or heat tolerant foam. Remove the foam, or board when you are finished or leave it for support. Remember not to use pre-primed canvas; some gesso's are acrylic based and shrink when heated. However, priming the back of the canvas with gesso, only when finished, can boost the rigidity of the material. Even though traditional stretched canvas can be used for encaustic works, it is not worth the trouble, and panel stretched canvas (below) can offer a better alternative.

Panel Stretched: Simply stretch unprimed canvas over a wood panel. Go to Wood (Includes MDF, Masonite, etc.) under, Substrates and Painting Surfaces, for more information on what type to choose.

Framing

2008-11-15T10:32:00.000-08:00

Framing not only completes the painting, it acts as support and protection; this is especially so with encaustic. A frame does not need to be overly extravagant, rather simple and functional. This simplicity minimizes the impact on the visual experience of the art, protects the painting, fulfills the dealer's requirements, and presents the work professionally. I will be focusing on framing encaustic; however, this information may help serve those framing other mediums.

Framing an encaustic painting should begin when deciding and preparing what to paint on. Listed below are a few of the common choices for surfaces and how to prepare them for framing- before you begin your painting.

Plywood Panel: This is my preferred choice for surfaces; relatively inexpensive, stable, and easily available. Commercial panels are often made of cradled masonite or similar product; however, choosing a quality plywood is often a lot less expensive and doesn't require the cradle. The disadvantage comes when painting large, it weighs more than cradled panels equal in size.

Preparation is simple, just cut to size. There is no need to do anything else; except choosing a stable piece of wood. Cleaning (sanding edges, etc.) the panel up is suggested but not necessary. If you prefer not to frame your panel it is suggested that you sand the exposed edges and make sure the panel you have chosen has no (unintentional) major defects that would distract from the art.

I prefer to alter my panels; allowing the painted surface to be free of the frame; however this requires a circular saw and some light woodworking skill. Additionally this will require a deeper frame which I also make myself. But, if you lack the ability to custom make your panels and frames, this doesn't mean relying on expensive commercial product (e.g. cradled panels).

Cradled Panels: This type of panel generally frames up the same as plywood and comes in many brands, types, uses and purposes. They are all essentially the same, yet may employ another material or ground; paper, clay, gesso, etcetera are all examples of the additional layer. It is good to note that cradled panels often come in different depths or thicknesses. The depth may vary and is often superficial, acting as the body of the painting; often left bare or unframed. Additionally, many artists choose to paint this deep edge to give their painting some three dimensionality; but this is not recommended for encaustic- or in my opinion, in any painting medium for that matter. The reason being: the edge is a very fragile area and unless great measures are taken to protect this edge during transportation, storage, or what-not- it can be extremely easy to damage. Lastly, be wary of this product, cradles are often made of quality lumber, but the surface (unless specified to be made from a sound hardboard product) can often be masonite or other composite that have their own issues (check with the manufacturer). When making your own panels, choose plywood over a composite unless you are aware of the facts/details in the specified product. For more info on masonite or other composites read Wood (Includes MDF, Masonite, etc.)

Paper: Read Watercolor Paper

Canvas: Read Canvas

Remember if you choose not to alter your panel and you will be framing it, that a traditional frame with a rabbet will touch the surface of the painting about 1/4 of an inch around the edge; depending on the frame. Frames without a rabbet will require you to clean the edge prior to framing.

Thermometer

2008-11-15T10:31:00.001-08:00

A thermometer will help you keep the correct temperatures and is a good tool to have when starting out . Once your skills have improved it becomes less vital and you become more aware of how the paint looks, reacts, and feels- almost instinctual. Check out the correct temperatures on How to Make Encaustic Medium and Paint and Temperatures (Melting and Flash Point).

Scribe, Twisted Scribe, Needles, Pins, etc.

2008-11-15T10:25:00.000-08:00

A scribe, twisted scribe, needle, pin or other sharp pointed tool are all perfect for incising lines, or writing in the wax; the line can be filled in (referred to as intarsia; a form of wood inlay)- with encaustic, oil paint, or paint sticks.

Some tools of this nature can be modified by adding a handle to make it more comfortable to use; handles can be salvaged from outmoded tools (like button-hooks), broken tools (like clay tools), or purchased from various companies (like Edward C. Lyons).

Razor Blades, Knives, Printmaking Scrapers, etc.

2008-11-15T10:23:00.001-08:00

Razor blades, Knives, Printmaking Scrapers, etc. are useful for removing unwanted paint and necessary for special technique such as filling in lines (e.g. intarsia).

Palette

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The encaustic palette is a thick piece of non-iron metal with legs (preferably adjustable) placed (about 1/2 in.) over a hot plate or electric burner.

Electric griddles or skillets used in home cooking could be substituted; given that they heat to a high enough temperature and have an adjustable rheostat. Practical for beginning, griddles and skillets are inexpensive alternatives to building or buying a professional palette; however, it is better to upgrade once you have made the decision to stick with the medium.

There are two cautionary notes: Placing the palette to closely or directly on the heat source can cause over-heating and scorching or burning of the paint- causing viscous paint and/or noxious gases. See How to Make Encaustic Medium and Paint and Temperatures (Melting and Flash Point) for more details on proper temperatures. Additionally, if you are using kitchen griddles (et cetera) do not ever use these for food again; they can never be made food safe.

Palette Cups

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Palette cups do a lot to assist the artist by making many colors quickly available; and even though not required, they are usually preferred. With your paint segregated into cups there is no need to make a clean area on the palette where colors tend to run together. Also when space is limited on your palette surface you can easily remove the colors you are not using.

Whenever using palette cups keep in mind to stir the paint or the pigment will begin to separate from the medium; some colors do this more quickly.

A few friendly reminders: Err on the side of caution by using a heat resistant glove, a wooden clothes pin, or other tool to remove hot items from your palette. And mark the cups with differing blacks and whites; it becomes difficult to tell which ones are which in a molten state.

Electric Burner

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A Electric Burner is needed to heat the surface of the palette; center the burner and keep it about one half inch from the underside of the palette. Do not place any type of palette directly on the burner; this direct heat will not only burn the paint, but burning encaustic can emit toxic gases that can be harmful to your health. Warning: Gas burners can be a fire hazard; do not use them.

Burnishers

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Burnishers have many useful attributes: such as fusing tiny areas, manipulating soft paint, textural effects, or heated to incise.

One use of this tool can be defined as a metal sculpting tool. A specialized use is the ability to make a faceted like surface. Heating the tool first in order to keep paint from sticking; yet, not having the tool to hot that it melts the wax. You are literally forcing the paint down and creating small markings that have a polished appearance; each mark adds to the larger textural surface that has a unique reflective quality.

Polishing

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Polishing is slightly unique to encaustic painting; a high sheen can change the entire look of the work, for better or worse.

Polishing an encaustic piece is in no way permanent; it can loose the sheen over a length of time due to environmental effects or reversed by an artist hand. It can also be changed very easily back to a semi-matte finish if desired.

The best results will come from patience; wait a few days for the wax to completely harden, more time should be given if carbon black or other long drying/cooling color is used. After a significant time lapse- use a lint-free cloth, or the palm of your hand to buff the surface; it won't take long before you notice a change.

Be patient, you are creating friction as you polish and as a result heating the surface. Over polishing will soften the surface and result in the original dull state, or worse; pieces of lint in the surface. This problem can be solved by simply waiting a day between polishing. The more patience you have the more polished your piece will become.

Fusing Photographs

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Synthetic papers shrink when subjected to heat. Needless to say: when you fuse (Fusing is the act of heating the surface of the paint in order to melt 'fuse' the layers together. Fusing layers together keeps the encaustic wax from chipping or flaking away). When fusing the surface, resin based paper has unpredictable issues such as peeling and buckling. Sticking to real, fiber based (non resin/RC) papers is recommended.

If you are bent on using a resin based paper- mounting the photo to a hard board- wood etc., will reduce buckling/shrinking (but won't eliminate it). Also caution is given when using varying types of adhesive; they can be flammable and resin based- only compounding the problem.
Speaking of flammable, you should slowly fuse layers of medium over the photo with low heat, which helps the paper from being scorched or burned.

`Below is a list of photographic papers thanks to my brother Nicholas.

Gelatin Silver paper- the contemporary black and white paper made with a ph-neutral paper base, light-sensitive and chemically processed. Classic examples are Ilford and Bergger papers. Very attractive to collectors and often used as the measuring rod for the quality of contemporary B&W printing methods. Think Ansel Adams.

(RC papers are not recommended for use in encaustic)
Resin-Coated (or, RC) Paper- a paper made with a polyester or plastic-like base. Comes in both B&W and color varieties. ex.: Kodak B&W RC and Kodak Ultra C-print paper (color). Color RC paper, or C-print paper, enjoyed its greatest popularity from the 70s until just recently; like its black and white counterpart, the plastic base allowed the print to be washed easily and processed much more quickly than fiber-base papers. On a consumer level the C-print is being replaced now by archival ink-jet prints although it is still readily available through Camera supply distributors like B&H photo and Central Camera.
Archival Inkjet papers are varied in their composition and many companies are enjoying the newness of the process and the flexibility to be had with ink-jet printing. Some have a base that is very similar to the polyester varieties used for c-prints and RC B&W prints. Others have very traditional bases made from wood pulps, cotton, or even bamboo. Specialty papers abound. Epson's Premium Lustre paper is the industry standard for a plastic-base type paper that one can expect to have a reasonably long shelf life. This paper is designed to actually appear like what most consumers recognize as a photographic material. My personal favorites are papers that employ a specific clay layer referred to as a "baryta" layer. The baryta layer became a popular standard in the mid to late 20th century gelatin silver papers like Ilford and Bergger. I'm a big fan of the Harman matte paper and the Hahnemuhle glossy but these papers will cost you an arm and a leg!
A significant feature of all of these papers is the surface finish. Whether its glossy, matte, semi matte, lustre, pearl, Albrecht Durer or William Turner (and on and on) and then, whether as a digital print it's duo (that is, two sided) or not, there is a mind-boggling array. Generally speaking, the more you are willing to pay the more archival and the heavier the bond or "gsm" is going to be.
On a final note, some materials are only as available as their specific processes are. As of right now, these processes/papers have suspended production: Positive chem-process papers used for printing positives, or slides, are no longer being produced. Cibachromes, a highly toxic process, with paper noted for its remarkable flatness and its monstrous color gamut, is also no longer available.
Specialty processes are also available such as Lambda and Giclee printing, Lambda being paper exposed with lasers as opposed to a lamp-head. One specific lab that does this printing is gammaimaging.com out of Chicago.
Another resource, especially for digital papers is Blackpointeditions.com. Although I have had no need to check them out I know they contain lists and all sorts of reference resources.

Intaglio (Includes: Engraving, Incising, Etc.)

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Engraving, Etching, Dry Point, Mezzotint, and Aquatint: These are all examples of the intaglio process used in printmaking. All are created by removing or incising the surface by physical or chemical force. When employing these techniques into encaustic, they are not used as defined in printmaking. The technique is rather loosely followed, taking what is possible and employing it. Screen-printing or Silk screening will also be mentioned here. To employ intaglio techniques you will need the appropriate tool. Carving Tools, Scribe, Twisted Scribe, Needles, Pins, etc., Burnishers, etcetera- can all be used in this technique.

This technique is a rather simple one, which requires you to carve into the layer(s) of wax by dragging or pushing with a tool. Exposing the layer(s) underneath can easily be achieved by remove only the layer(s) you wish; this takes practice and may require a thick under layer of encaustic. Different tools offer different results: for example a burnisher pushes the paint aside, creating ridges (known as burs in dry point) along the edges of the cup shaped incision; if there are under layers, they will be highly evident- rather than using a straight gouge. On the other hand, the burs can be beneficial by acting as a dam, holding back liquid wax from spilling into another section; this technique takes lots of practice and can be a challenge even for experts.

Screen-printing or Silk screening is really no different from the method used in printmaking, except that you are printing on the encaustic surface instead of paper or cloth. Remember when employing this method to use a compatible ink or paint, some inks may affect the binding properties of the wax if they are fused between layers; if you are not sure, make a practice sample. If you plan to print on the surface of the wax when the encaustic is finished, it is best to fuse the surface lightly.

Fusing or Burning In

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You might think that fusing is not a technique, but the application of varying amounts of heat and the force (wind) of heat can produce multiple effects. Fusing is more than a necessity, it is the basic skill that portrays the individuals unique style.

The basic fusing principle is to heat (fuse) the surface layers- between each application. Render the surface to high sheen and then quickly back off; the surface appears to just start to melt.

Further heat application can push (blow) the paint around; depending on desired effect.

Combination of heat application and other techniques will result in a multitude of surfaces. See Inlay or Intarsia, Intaglio, Carving Tools, Metal Sculpting Tools, and Printmaking Scrapers for more info.

Collage and Embedding

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Defined as an image made from an assemblage of different material; this combination of material can be anything from paper to found object.

Encaustic offers limitless options when it comes to collage. When applying an object into your work you must consider the weight of the item; if it weighs too much and is not properly affixed, it will simply break free. Planning is important when this involves heat, because heat can affect the binder (e.g. wax/encaustic, glue/adhesive) which is holding the item on.

Attaching can be achieved by simply using the encaustic as a binder; you can also use screws, nails, staples, glue, pegs, etc. When using glue remember to use a type not effected by heat; some brands will say if heat affects it, and at what temperature. Testing the glue yourself is always wise.

If fusing will affect the quality of the object and/or the surface of the work, consider waiting until all fusing is complete. At this stage you can attach the object by mechanical means (pegs, screws, etc); this obviously means planning ahead.

For more help on collage or collaging with paper see Tacking Irons and Spatulas (electrically heated).

Building Texture

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Texture can be achieved in many various ways; a technique sometimes referred to as scumble. For example, the above surface was created by using a printmaking scraper to scrape off the surface and then reattach it.

The quickest and simplest way is to begin by quickly dragging the brush across the surface. The surface of the panel does not need to be rough (but it can help); texture can be achieved by repeating the process.

Perceived texture or visual patterns are generally described as a surface that is painted smooth yet only a visually detailed surface or pattern exists rather than physical texture. Marbleizing is a good example of this, yet no one visual pleasing technique can be created the same way. Therefore offering a technical description on how to achieve the countless ways to do this would prove exhausting if not impossibly lengthy. Try painting many layers and melting it down smooth. Try carving and scratching into layers. Try flicking, dripping, or slinging the wax on- then melt it smooth. When it comes to encaustic, experimentation is key, and one of the most rewarding. Also read Paint/Pigment Sticks.

Read Burnishers for a faceted technique.

Another technique is by carving back into the wax creating an edge for the paint to grasp onto. This is the same method used in the dry point process of printmaking; ink grasps the bur that is raised in the surface created by the tool. This method also helps you control where you want texture. Do not forget to fuse the paint between each application. Fusing may cause some loss of surface texture; however. the loss is not equal to the gain. And repeat the process for more texture.

Alla prima

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From the Italian word which means: at once. Rather than build colors up by layering, the painting is done while the paint is still wet. Or in the case of encaustic- still warm.

This method is best suited for oil paint and is loosely followed with encaustic. This technique would seem quite impossible, yet never-the-less, encaustic does remain soft and pliable; particularly when the panel is small enough to sit on a heated surface. This technique works well on ceramic; which holds the heat for long periods of time. A tool that might serve well for alla prima encaustic is the burnisher.

Placing your panel on a heated surface allows for the wax to stay soft; it can be pushed and manipulated with tools which allow for incising or marking the wax. For more info. see Inlay or Intarsia, Intaglio (Includes: Engraving, Incising, etc.), Scribe, Twisted Scribe, Needles, Pins, etc., Carving Tools, and Metal Sculpting Tools. If the heat is set high the surface will liquefy and stay until cooled; but this has its disadvantages: the wax will literally spill off a unleveled panel, a level panel that has a large amount of liquid wax will spill easily too, colors can become muddled, and lines and shapes indistinguishable. The best method of this technique is to work thin and then remove from the heat to work on thick and detailed areas or work in a semi-soft state by continually warming the surface with the heat gun or tacking iron.