Encaustic Technique
Basic Method
In the basic encaustic method, the paint is applied with a brush or
spatula or poured or dripped onto the support. The support is more easily worked on
horizontally, but to create a dripping effect can be worked on vertically. The paint will
harden immediately or in a few minutes (depending on thickness or color). It should then
be remelted (fused) on the support. It is important to fuse between layers to prevent them
from separating when applied thickly. The cooler a paint has been applied the more
thoroughly it should be fused, and visa versa.
When the painting has cooled, it has reached its permanent state. No
further work (other than a mild buffing) needs to be done on it. Additional work, however,
such as glazing, scumbling, repainting, texturing, or layering may be done directly onto
that surface immediately after the last coat or many years later. Work can be erased by
simply scraping off the paint.
For certain textural effects the artist may choose not to fuse and
soften the sharpness of a brush stroke. Since this may risk a crumbliness in the paint
film, it is advisable when working impasto to fuse at least a first layer of paint or even
straight beeswax to insure proper adhesion to the ground.
Creating optical effects
Opaque colors used straight have total hiding power and bright top
tones. Both opaque and transparent colors can be extended with encaustic medium to make
them more transparent.
Layers of extended color can be laid one on top of another or separated
by layers of straight medium to create unusual translucent effects.
Glazing can be done by greatly extending a color the medium. There is
no technical danger in adding large amounts of medium to a color as there is in adding
large amounts of oil to oil paint. The encaustic can also be made more fluid by adding
medium or raising its temperature a little. Glaze mediums, such as Venice turpentine or
damar varnish, can be added to the paint, but the cautions mentioned above under
"ingredients" should be kept in mind.
For variation of effects, different degrees of fusing can be employed.
Well fused paint will take a higher polish than paint that is not as thoroughly fused.
The painting and fusing of encaustic can be done with great precision,
but it is a technique that requires practice. Almost any desired effect can be achieved in
encaustic by an experienced painter.
Additional Techniques
Wax is one of the great plastic materials of history. Many of its
various properties, some of which have been mentioned, can be used in encaustic painting.
Collage
Because wax is an adhesive, encaustic can be impregnated with papers,
foils, strings, fabric, or found objects of almost any material. Objects can be placed in
layers on top of each other, or they can be separated by layers of medium to give the
effect of floating. Delicate hollow pieces such as shells can be filled with wax to
solidify them. Fabric can be saturated with wax to integrate it into the painting and to
give it firmness.
The preservative quality of wax allows the use of organic materials,
which will not deteriorate if well coated with the paint. Papers such as newsprint are
protected from yellowing because the wax seals it off from oxygen.
Relief and modeling
When building up to form a shape, brush or pour the wax in layers and
fuse each layer to the one under it. The repeated fusing ensures uniform consistency and
prevents breaks or cracks in the build-up. Therefore it is best not to make layers too
thick for proper fusion.
The same care should be taken when modeling. Stop at intervals while
manipulating the wax and fuse it to prevent cracking that might over a period of time
cause pieces of the picture to detach. Modeling is done most easily when wax is warm
enough to be pliable.
To achieve rough highly textured impasto effects allow molten wax to
cool until it begins to gel then apply with brush or spatula. Again, remember to fuse at
intervals.
Casting and carving
A basic shape can be cast in an enamel pot or nonstick baking pan and
fused on to the panel. It can then be sculpted. To fuse the block to the panel, coat the
panel with several layers of medium or impasto/modeling wax until the wax is about
1/8" thick. Heat the wax until it is molten. At the same time take the cast block and
set it on a hot palette for an instant until the bottom softens then immediately place it
on the molten wax of the panel and hold it down for a few seconds. If done correctly it
will bond at once. If a large block is being used, two people may be needed for the
operation.
Armatures
When creating structures that are in any way fragile, such as delicate
projections or massive buildups, it is a good idea to begin with an armature attached
securely to the support and work the wax around that. If a small projection is desired
after the painting is already in progress, supports such as rigid wire or toothpicks can
be imbedded in the wax and the projection worked over it.
To best retain the shape or texture of a build-up, wait until it is
thoroughly cool and buff it before painting and fusing encaustic over it. Keep in mind,
however, that because the necessary fusing does entail some melting of the waxes, very
fine textures require developed skill and the appropriate heating instrument.