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Increases the
melting temperature so the wax is less susceptible to heat damage;
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Allows
it to cure and harden over time making it more durable;
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Prevents
blooming (Blooming is a whitish haze that can appear on the surface of a
painting. This can occur when encaustic has been exposed to extreme cold,
causing unsaturated hydrocarbons in the beeswax to migrate to the surface and
crystallize forming a whitish haze. The addition of resins, or waxes that
contain saturated hydrocarbons help prevent this. These include damar resin or
microcrystalline wax. The saturated hydrocarbons solubalize the unsaturated
hydrocarbons of the beeswax and prevent the blooming that occurs from cold;
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Allows the
encaustic to be polished to a high gloss, giving it more depth and intensity;
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Although beeswax
and medium are translucent, beeswax by itself will not maintain its’
translucency, while medium (because of the presence of damar resin) will.
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Please note: Impasto Modeling Wax will
oxidize and yellow over time. It is recommended that you do not use it as a top
layer (unless you want those results). Keep in mind that any transparent color
used over it will have the impasto undertone that may eventually yellow.
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Paraffin is a white wax that comes from the
refining of petroleum. We recommend that it be
used only for cleaning brushes. It works by leaching out the pigment in the
brushes. It should never be used for painting or in combination with encaustics
because it is too brittle and can crack and chip off. It also shrinks
dramatically when it cools, making it very inflexible. (We suggest keeping
encaustic brushes just for encaustic painting, but if you want to use them for
another medium, first remove the paraffin with use warm vegetable oil, than wash
with soap and water)
Encaustic should be painted on a rigid,
absorbent, and heat resistant surface such as …
Please Note: When wax gets cold, it shrinks
and becomes more brittle, making it more vulnerable to damage, therefore, if you
are uncertain if a surface is suitable for the encaustics we recommend a freezer
test. Prepare the surface as you intend to use it (fusing well), then place it
in the freezer for 30 minutes. Pull it out and hit at it with a hammer and
scrape at it with a chisel or scraper. If it is coming off in big chunks and
doesn’t seemed to have absorbed into the surface then it is not compatible with
the encaustic. If it is staying on the surface and absorbed into it, this is a
pretty good indication that it is compatible, although not guaranteed.
No!! Acrylic is not a porous enough ground
for encaustic. Also, acrylics should not be used in combination with encaustic
since it is water-based and not compatible with wax.
Please see our Spring 1998 Newsletter for
technical information on oil and wax.
We put together Technical Data
Sheet about this. It is in PDF format and available at the following link.
Shipping Encaustic
How do I store or clean my encaustic work?
Encaustics should be cared for as you would for any fine art piece. Work can be
stored, wrapped in waxed paper and bubblewrap (be sure to face the bubbles out
so they don’t make imprints in your work) at room temperature and out of any
direct sunlight.
Encaustics can be wiped clean with a soft cloth or paper towel. If the piece is
especially dirty, it can be wiped with a water-dampened cloth.
No, varnish will partially dissolve the wax, “reactivating” the surface. In
addition, encaustic has the natural appearance of a varnished surface (the damar
resin creates a “varnish within”) and can be buffed (rubbed with a soft cloth or
paper towel) to enhance that quality
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The greatest attribute of encaustic is its’ exquisite surface quality. A good
deal of this gets lost when the painting is framed behind glass. Although, the
glass does protect the surface from denting or scratching, but if the painting
is properly exhibited/stored/shipped, this danger is minimized. Almost all
encaustic works exhibited today are done without being glassed. We suggest,
that only when the painting is done on paper that is not completely dipped in
the wax, or if it is extremely old (as in the case of the Fayum portraits),
should it be glassed. In addition, framing behind glass can intensify the heat
(particularly from gallery lights or sunlight) causing a greenhouse effect, that
could soften or even melt the wax.