Complete Workshop Schedule:
www.shawnamooreworkshops.blogspot.com
Encaustic Plus Course Description
COURSE DESCRIPTION
This workshop will incorporate water based media, collage, and printmaking techniques to create dramatic wax paintings. Beginners and advanced students will benefit from experimenting with unusual combinations resulting in unique expressions. The basic recipes for rabbit skin glue gesso, encaustic medium and options for making your own encaustic colors will be covered. From there, students will alter the painting ground, using water color, sumi ink and tempera for unique effects. Printed monotype images between layers of colored wax create unique and repeated screens and marks. The unconventional methods allow for each student to access a wide range of tools for expression and creativity.
SYLLABUS
Introductions
Meet the Artists
What is your story?
Learning the Basics
What is encaustic?
Studio safety
Availability of materials
Tools of the trade
Materials
What are the pluses?
--Altering the Ground (starting from the ground up)
Review the handout for the basic rabbit skin glue gesso recipe. Once you have built up the surface or purchased an encaustic gesso board, you can alter the surface with watercolor, graphite, charcoal or pencil. These fine marks are difficult to achieve when working with the hot melted surface of encaustic, so now is your chance to use some of your previous art making skills. Think of Timothy McDowell’s futuristic landscapes, Howard Hersh’s vines, and Mark Rediske’s still life paintings. The aim is to achieve dynamic color and composition prior to beginning to cover the surface with wax. With this type of painting, the wax is just a top coat or a gentle color addition.
--Abstract Impressions (using found objects)
We will all begin with a small wood panel. Use the wax bath and the wide brush to cover the panel with several overlapping strokes. Make sure to fully load the brush and make sure it is hot. Fuse this first layer so that the wax soaks into the wood. Continue until you have built up a thick surface of 4 or five layers of wax, fusing between each layer. If the panel gets too hot, let it cool before moving on. While the panel cools, dig through the boxes of chains, grids, and wire. Prior to making your marks you will run a hot iron over your wax surface to smooth any seams in the wax and to create an interesting texture for the under painting. The wax surface responds differently to the iron if it is cool or warm so this will affect your surface. You will now add a thin layer of oil paint. Wear gloves to keep your hands and work area clean. Use the cheaper paint as most of this will get wiped away. Use oil and a blue towel to gently loosen the paint and leave just enough to reveal this initial layer. Make sure to remove ALL the oil! Lightly fuse this thin coat of oil paint, after making sure not to leave too much oil or any clumps of oil paint. Cover this under painting with a thin coat of encaustic paint (wax) using a wide brush. Now you can begin to press in chains or metal grids or make drawings into the surface. I like to draw with a razor blade at this point. One rule to follow at this initial stage is to not make the painting too dark too soon. Try to stick with similar colors at this point and create a harmonious palette. Highlights and imagery can be added later. Any marks or drawings can be reinforced with a thin coat of oil paint or pigment stick, lightly fused and then covered with a thin coat of wax to seal the layer. Continue moving up through the surface, adding imagery and maintaining a sense of light from deep within the painting.
--Sumi and Tempera (wax and water can mix)
Water based media can be included at any stage of an encaustic painting. However, the water must evaporate prior to additional wax layers. Sumi ink and tempera can be used as well as small amounts of acrylic. I add a bit of acrylic to my ink to give it a better hold on the wax. Use the delicate ink to make calligraphic marks or detailed drawings. The tempera is a nice porous paint, once dry. It seems to accept the wax layer on top quite well. It works well for the monotype technique described below.
--Monotype (first impressions do matter)
As we have explored previously, it can be difficult to maintain fine detail painting with wax. This technique allows you to create grids and patterns which are easy to maintain but also can easily be removed or lighted. You will need a soft brayer and a surface to roll out ink or tempera paint. Load the brayer and then find a flexible surface to use as a printing plate. I like needle point mesh or various plastic screens I have found. Cover the surface completely with paint. Take the painted surface and press it down on the wax surface of your painting. Try it a few times with less and less paint, it will produce various effects. Another way to use this printmaking technique is to draw a design on glassine, wax, or palette paper and then flip it over and press on the wax. The opportunity for repetition and regularity and the inclusion of these random marks is appealing to me.
--Collage (building an heirloom)
Prepare a panel as you did for previous paintings. You may want to repeat the step where you create texture with the iron and the oil paint, unless you think you will be covering the entire panel with collage. I like to use pages from old books, maps, and Asian papers with characters and writing. Collage with encaustic is easy. Warm the panel and then dip the paper or collage item into the wax. Gently drag it along the side of the hot plate to remove extra wax and then place it on the warm encaustic painting. Use your fingers or a flat tool and work out any extra wax or air bubbles from the center of the collaged piece. Lightly fuse here. You may want to “antique” the edges of the paper or panel at this point with a thin coat of oil paint that is gently wiped away and fused. Leaves are fun to collage with, whether you leave them in the collage or gently pull them out and just use their shape as an imprint or drawing. Take a few leaves and experiment with attaching them to the surface by dipping them and then lightly fusing. Add wax over the top and experiment with how much coverage you want between the leaves and the surface. Try to fuse the final surface without igniting the leaves. Continue to experiment with additional materials like pattern pieces or photos. The trick is to not light your collage elements on fire as you fuse and to build a them around the collage elements or drawing you choose. Think of Ashley Collin’s horse paintings and the way yellowed photographs and old paper is so interesting. The paintings could feel like opening an old trunk in an attic and coming across interesting treasures.
Review of techniques and questions.
Meet the Artists
What is your story?
Learning the Basics
What is encaustic?
Studio safety
Availability of materials
Tools of the trade
Materials
What are the pluses?
--Altering the Ground (starting from the ground up)
Review the handout for the basic rabbit skin glue gesso recipe. Once you have built up the surface or purchased an encaustic gesso board, you can alter the surface with watercolor, graphite, charcoal or pencil. These fine marks are difficult to achieve when working with the hot melted surface of encaustic, so now is your chance to use some of your previous art making skills. Think of Timothy McDowell’s futuristic landscapes, Howard Hersh’s vines, and Mark Rediske’s still life paintings. The aim is to achieve dynamic color and composition prior to beginning to cover the surface with wax. With this type of painting, the wax is just a top coat or a gentle color addition.
--Abstract Impressions (using found objects)
We will all begin with a small wood panel. Use the wax bath and the wide brush to cover the panel with several overlapping strokes. Make sure to fully load the brush and make sure it is hot. Fuse this first layer so that the wax soaks into the wood. Continue until you have built up a thick surface of 4 or five layers of wax, fusing between each layer. If the panel gets too hot, let it cool before moving on. While the panel cools, dig through the boxes of chains, grids, and wire. Prior to making your marks you will run a hot iron over your wax surface to smooth any seams in the wax and to create an interesting texture for the under painting. The wax surface responds differently to the iron if it is cool or warm so this will affect your surface. You will now add a thin layer of oil paint. Wear gloves to keep your hands and work area clean. Use the cheaper paint as most of this will get wiped away. Use oil and a blue towel to gently loosen the paint and leave just enough to reveal this initial layer. Make sure to remove ALL the oil! Lightly fuse this thin coat of oil paint, after making sure not to leave too much oil or any clumps of oil paint. Cover this under painting with a thin coat of encaustic paint (wax) using a wide brush. Now you can begin to press in chains or metal grids or make drawings into the surface. I like to draw with a razor blade at this point. One rule to follow at this initial stage is to not make the painting too dark too soon. Try to stick with similar colors at this point and create a harmonious palette. Highlights and imagery can be added later. Any marks or drawings can be reinforced with a thin coat of oil paint or pigment stick, lightly fused and then covered with a thin coat of wax to seal the layer. Continue moving up through the surface, adding imagery and maintaining a sense of light from deep within the painting.
--Sumi and Tempera (wax and water can mix)
Water based media can be included at any stage of an encaustic painting. However, the water must evaporate prior to additional wax layers. Sumi ink and tempera can be used as well as small amounts of acrylic. I add a bit of acrylic to my ink to give it a better hold on the wax. Use the delicate ink to make calligraphic marks or detailed drawings. The tempera is a nice porous paint, once dry. It seems to accept the wax layer on top quite well. It works well for the monotype technique described below.
--Monotype (first impressions do matter)
As we have explored previously, it can be difficult to maintain fine detail painting with wax. This technique allows you to create grids and patterns which are easy to maintain but also can easily be removed or lighted. You will need a soft brayer and a surface to roll out ink or tempera paint. Load the brayer and then find a flexible surface to use as a printing plate. I like needle point mesh or various plastic screens I have found. Cover the surface completely with paint. Take the painted surface and press it down on the wax surface of your painting. Try it a few times with less and less paint, it will produce various effects. Another way to use this printmaking technique is to draw a design on glassine, wax, or palette paper and then flip it over and press on the wax. The opportunity for repetition and regularity and the inclusion of these random marks is appealing to me.
--Collage (building an heirloom)
Prepare a panel as you did for previous paintings. You may want to repeat the step where you create texture with the iron and the oil paint, unless you think you will be covering the entire panel with collage. I like to use pages from old books, maps, and Asian papers with characters and writing. Collage with encaustic is easy. Warm the panel and then dip the paper or collage item into the wax. Gently drag it along the side of the hot plate to remove extra wax and then place it on the warm encaustic painting. Use your fingers or a flat tool and work out any extra wax or air bubbles from the center of the collaged piece. Lightly fuse here. You may want to “antique” the edges of the paper or panel at this point with a thin coat of oil paint that is gently wiped away and fused. Leaves are fun to collage with, whether you leave them in the collage or gently pull them out and just use their shape as an imprint or drawing. Take a few leaves and experiment with attaching them to the surface by dipping them and then lightly fusing. Add wax over the top and experiment with how much coverage you want between the leaves and the surface. Try to fuse the final surface without igniting the leaves. Continue to experiment with additional materials like pattern pieces or photos. The trick is to not light your collage elements on fire as you fuse and to build a them around the collage elements or drawing you choose. Think of Ashley Collin’s horse paintings and the way yellowed photographs and old paper is so interesting. The paintings could feel like opening an old trunk in an attic and coming across interesting treasures.
Review of techniques and questions.
SUPPLY LIST & BIBLIOGRAPHY
These supplies are optional and just suggestions. You can show up with just panels and be just fine.
Apron or big shirt
Pen or pencil and paper or sketch book for notes
Water and snacks. Bag lunch or money for lunch
Materials for collaging (some collage material will be available)
examples: old or new photos, pressed flowers or leaves ,rice paper or specialty papers, old dress patterns, color copies, gold leaf, buttons, etc.
Any tools for carving into the wax
pencils, nails, ceramic or dental tools
Metal objects to melt into the wax
kitchen tools, old printing press letters, etc.
Oil sticks, paints or oil pastels which you are curious about combining with wax.
Most Important: 4 to 6 panels to work on. Remember to look for urfaces that are RIGID, ABSORBENT, HEAT RESITANT! Good choices include:
--small pieces of plywood, scraps from a cabinet shop or carpenter
3/8” thick (6x6 thru 12x12)
5/8” thick (10x10 thru 16x16)
thicker plywood can be used up to 24x24
The best source for panels I have found is American Easel. They ship quick and make a nice product at a reasonable price. Any of their panels from 7/8” deep to the thick 2” deep panels work great! (Dick Blick also)
www.americaneasel.com
Ampersand Clayboard also works well. You can prime wood with R&F Encaustic Gesso (acrylic gesso does not work!) if you would like to begin with a white ground. Try Dick Blick for this too.
Suggested sizes are 8x10, 10x10, 12x12, 11x14.
Suggested Reading:
Encaustic Art: The Complete Guide to Creating Fine Art with Wax by Lissa Rankin (the book that features some of my techniques.)
Art and Fear: Observations on the perils and rewards of artmaking by David Bayles and Ted Orland (a great read when you are questioning your creativity)
Artist's Way- A spiritual path to higher creativity by Julia Cameron (always helps!)
Letters to a Young Poet by Ranier Maria Rilke (inspiriation for anyone, anytime)
Apron or big shirt
Pen or pencil and paper or sketch book for notes
Water and snacks. Bag lunch or money for lunch
Materials for collaging (some collage material will be available)
examples: old or new photos, pressed flowers or leaves ,rice paper or specialty papers, old dress patterns, color copies, gold leaf, buttons, etc.
Any tools for carving into the wax
pencils, nails, ceramic or dental tools
Metal objects to melt into the wax
kitchen tools, old printing press letters, etc.
Oil sticks, paints or oil pastels which you are curious about combining with wax.
Most Important: 4 to 6 panels to work on. Remember to look for urfaces that are RIGID, ABSORBENT, HEAT RESITANT! Good choices include:
--small pieces of plywood, scraps from a cabinet shop or carpenter
3/8” thick (6x6 thru 12x12)
5/8” thick (10x10 thru 16x16)
thicker plywood can be used up to 24x24
The best source for panels I have found is American Easel. They ship quick and make a nice product at a reasonable price. Any of their panels from 7/8” deep to the thick 2” deep panels work great! (Dick Blick also)
www.americaneasel.com
Ampersand Clayboard also works well. You can prime wood with R&F Encaustic Gesso (acrylic gesso does not work!) if you would like to begin with a white ground. Try Dick Blick for this too.
Suggested sizes are 8x10, 10x10, 12x12, 11x14.
Suggested Reading:
Encaustic Art: The Complete Guide to Creating Fine Art with Wax by Lissa Rankin (the book that features some of my techniques.)
Art and Fear: Observations on the perils and rewards of artmaking by David Bayles and Ted Orland (a great read when you are questioning your creativity)
Artist's Way- A spiritual path to higher creativity by Julia Cameron (always helps!)
Letters to a Young Poet by Ranier Maria Rilke (inspiriation for anyone, anytime)
MATERIAL SUPPLIERS
Strahl and Pitsch Inc. (best source for 25kg/55lb boxes of yellow beeswax)
PO Box 1098
West Babylon, NY 11704
621-587-9000
info@strahlpitsch.com
www.spwax.com/
The last time I ordered a box of wax was $328.00 with $62.95 shipping, total $390.95
Swans Candles (best source for 25kg/55lb boxes of white beeswax, also smaller quantities)
8933 Gravelly Lk Dr
Lakewood, WA 98499
253-584-4666
888-848-7926
www.swanscandles.com
The last time I ordered a box of wax it was $298.90 with $31.67 shipping, total $330.57
I also sampled some larger pastilles of yellow wax which was very yellow, have not used it extensively.
Douglas and Sturgess (good source for damar varnish, sculpture supplies, and waxes)
730 Bryant St
San Francisco, CA 94107
415-421-4456
www.artstuf.com
Dadant (source for one pound blocks of naturally bleached beeswax and beekeepers supply)
51 South Second St
Hamilton, IL 63241
888-922-1293
dadant@dadant.com
www.dadant.com
R & F Handmade Paints (encaustic paint and pigment sticks, wax, damar, encaustic medium and tools)
84 Ten Broeck Ave
Kingston, NY 12401
800-206-8088
www.rfpaints.com
PO Box 1098
West Babylon, NY 11704
621-587-9000
info@strahlpitsch.com
www.spwax.com/
The last time I ordered a box of wax was $328.00 with $62.95 shipping, total $390.95
Swans Candles (best source for 25kg/55lb boxes of white beeswax, also smaller quantities)
8933 Gravelly Lk Dr
Lakewood, WA 98499
253-584-4666
888-848-7926
www.swanscandles.com
The last time I ordered a box of wax it was $298.90 with $31.67 shipping, total $330.57
I also sampled some larger pastilles of yellow wax which was very yellow, have not used it extensively.
Douglas and Sturgess (good source for damar varnish, sculpture supplies, and waxes)
730 Bryant St
San Francisco, CA 94107
415-421-4456
www.artstuf.com
Dadant (source for one pound blocks of naturally bleached beeswax and beekeepers supply)
51 South Second St
Hamilton, IL 63241
888-922-1293
dadant@dadant.com
www.dadant.com
R & F Handmade Paints (encaustic paint and pigment sticks, wax, damar, encaustic medium and tools)
84 Ten Broeck Ave
Kingston, NY 12401
800-206-8088
www.rfpaints.com
Evans Encaustics (most concentrated encaustic paint in the world, Paint Sticks (tm), Holy Grail, the first gesso especially for encaustic painting, comes in white and colors.
Sonoma, California
www.evansencaustics.com
707-996-5840
Enkaustikos! (pigmented wax paint, wax and tools for wax painting)
Wax Art Supplies
3 N Washington St
Rochester, NY 14614
585-263-6930
info@encausticpaints.com
www.encausticpaints.com
Ampersand Art Supply (Encaustibord panels)
1500 East 4th Street
Austin, TX 78702
800-822-1939
www.ampersandart.com
Blick Art Supplies (good source for panels, Encaustibord, frames, paints and encaustic supplies)
www.dickblick.com
American Easel (cradled panels at a reasonable price)
www.americaneasel.com
In Montana:
Arlee Apiary: 406-726-3331 - honey and yellow wax, nice natural wax.
Western Bee, Polson: 406-883-2918 - yellow beeswax, unfiltered (make sure to clean it a bit by melting and filtering).
Wax Art Supplies
3 N Washington St
Rochester, NY 14614
585-263-6930
info@encausticpaints.com
www.encausticpaints.com
Ampersand Art Supply (Encaustibord panels)
1500 East 4th Street
Austin, TX 78702
800-822-1939
www.ampersandart.com
Blick Art Supplies (good source for panels, Encaustibord, frames, paints and encaustic supplies)
www.dickblick.com
American Easel (cradled panels at a reasonable price)
www.americaneasel.com
In Montana:
Arlee Apiary: 406-726-3331 - honey and yellow wax, nice natural wax.
Western Bee, Polson: 406-883-2918 - yellow beeswax, unfiltered (make sure to clean it a bit by melting and filtering).
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