Hi Daniella,

It's hard to say exactly what the problem is without seeing your set-up and results, but I have a hunch that there may be more than one factor contributing to your frustration.  My appologies in advance if my advise is too elementary for you, but let's begin with the most obvious and simple-to-solve, and then take it from there.

The first thing that I would look at is your fusing technique, because it sounds like the wax is getting too hot.  It is very difficult to control temperature when using a torch, so it's best to use the flame like a paintbrush - always keep the tip moving, gently licking the surface.  Do not let the flame rest in one spot, even for a second.  If you need to fuse further, then just revisit those areas until they are as smooth as you need them to be.  Think of it like this: if you were ironing a shirt that was really wrinkled, you wouldn't rest the iron in one spot until all the wrinkles dissappeared.  Instead you would move the heat around, gently working the wrinkles out without burning the fabric. 

Another factor that might be contributing to your problem is your brush.  Many painters new to encaustic don't realize how much of a difference the quality of your brush can make.  And of course, always keep the bristles warm and pliant. 

Let me know if we need to hash this out a bit more (I'm rushed right now - the telephone keeps ringing!)

Laura

Hi D,
I would say it's probably overheating the wax and driving air out of the substrate, I've had this happen also.

Try this.  take a panel, using the heating system that seems to be giving you a problem, coat a portion of the panel with medium and fuse.  Using the same medium, coat another section of the panel and fuse with an iron that is no hotter than 225 degrees F.  If the section that is fused with the iron doesn't pit you'll know it's over heating.

Let us know what happens.

Ed Angell

Thanks to all for your comments! I experimented over the past few days, with fusing at lower temperatures, with my various "guns" and torches. I also experimented with what temperature I was painting on my medium. Mama Mia, I put a thermometer in my medium bath, which I have in an electric wok and it was way up there at 263 degrees! I tried painting it on  at lower and lower temps, till I got it down to 180, and the pits were less and less as the temp dropped. I guess I need to be more like Rodney, in the Zen mode, then be in such a hurry with my enthusiasm and excitement!

When you use the heat gun with the digital read out, what temp setting do you suggest for fusing? I am so happy to say that my surfaces are restored. Phew. Thanks again so much.

i use the lower fan setting and the dial set at 2 on my makita dual speed heat gun. i originally bought it because the small tip let me direct the heat flow more specifically to small areas.

Last edited by slk (2012-09-11 22:56:11)

That is interesting Rodney as I just had 3 crater like small pits within an inch area that were different from any of the other type of holes made by overheating.  I plugged them with a color from an electric pen but now I wish I could see underneath.  I never use my heat gun on high heat but maybe over time the metal is corroding as you suggest.

The time I had the most bubble holes was because I had a new heated palette and it  heated the medium too high. Even carrying it by hake to the substrate mustn't have cooled it much as hundreds of holes followed each stroke. I realized the temperature was (accidentally)set at 250F.

Last edited by Lin (2012-03-04 20:10:36)

It is too bad that heat guns don't come with replaceable metal heat tubes, but of course they weren't made for fusing fine encaustic art and so in all typical uses miniscule metal fragments are inconsequential. It is usually the final layers of a piece that demand perfect surfaces, so I suggest reserving your best (newest) heat gun or torch for those final fusings and minimize the level and duration of heating.

Last edited by Rodney Thompson (2012-03-12 10:07:35)