Encaustics the Processes

Creating with encaustic paints in the winter months is a joy, after all beeswax is being heated on a hot plate/palette and speed in performance is dictated by the medium. During warm months this is not the case. Whether creating in a cool environment or a warm environment be alert to ventilation and keeping family and pets safe from fumes and heated surfaces. Encaustic paints become fluid between 250˚ and 270˚.

Special temperature controlled encaustic palettes are needed to control the temperature of the wax. While it is a good general practice to have medium dedicated brushes, it is required in the case of encaustics as the brushes remain coated in wax. Otherwise, the brushes are simply course bristled paint brushes. Special encaustic mediums are available as is a soy-based brush and palette cleaner.

Encaustics work best on a rigid panel due to the lack of flexibility of the medium. Preparing the panel is as with other artforms. However, the gesso is specific to the medium, so, make sure that you have the correct gesso for the medium you are working with. Apply gesso evenly across the panel and let it dry. NOTE: you can buy panels that are already prepped for encaustics.

Once the panel is prepared, an cartoon is either transferred or drawn onto the panel. I prefer doing a study on paper first as corrections on the gesso panel are messy at best. I usually recreate the cartoon/study onto the gesso panel with silver point. This keeps a clean surface and precise starting point.

Using purchased pigment blocks I melt a spot of pigment onto the heated palette. A course bristled brush is used to transfer the now molten wax from the palette to the panel. Painting proceeds as with other medium outside the required speed. Paints may be diluted with an appropriate encaustic medium to build a glaze like transition between areas of light and dark.

If unconcerned with traditional methods used by the creators of the Fayum portraits modern tools are available. A tool resembling a wood burning tool is available for encaustics that has a thermostat connected with a variety of special tips that can be interchanged (be sure they are cooled first). For fine detail there are small calligraphy tips that will fit heated handle. If you purchase such a tool make sure to use a thermostat to control the temperature or the medium will burn.

Fusing layers with encaustics will prevent upper layers from breaking away and altering the finished product. Experts believe that the ancients fused the layers by placing the painted panel itself on to a hot metal plate until the layers of painting melted together. Having tried this, I was not pleased with the runny mess that followed. I have an encaustic air gun that blows hot air onto the surface melting small sections of the work and fusing them together allowing me the control that is typical of the style I create in.

When working in non-period styles paper can be coated with beeswax medium and then fused onto the surface as can fragments of fabrics. The surface can be carved to contribute to the three-dimensional effects. Warm wax can be shaped and formed then applied to the surface. Oil painting can be performed on the surface as the damar varnish added to the beeswax allows the layers to bond, however, make sure that your layers are fused prior to using this oil painting combination. The addition of a carbon-based image, such as a charcoal drawing, can also be added by placing the drawing facedown on the surface and rubbing the back of it to transfer the image onto the wax. Keep in mind it has to be a carbon-based product to perform this technique. And while it is recommended that the layers be fused prior to creating these effects, the surface can be heated again and cause the charcoal image to break apart and run for an interesting effect. Sculpture can be done using encaustics as in a previous post, by sewing rice paper (mulberry) with a sewing machine into the desired form, then painting the final product with encaustic materials.


In Service to the Dream
Addison