I have been working in Encaustic for the past 12 years and there is no abating of the fun, the excitement and the creativity. This is a medium whose versatility gives the artist all the room he/she needs to experiment, innovate, play or be "serious."
Encaustic derives from the Greek "Enkaustikos", which means "to burn in". Anything done with the wax on a support (wood, paper, canvas) must be heated so it adheres to both the support and the other layers of wax. Heating can be done with an iron (non-steam), heat gun or torch. The effects on the wax of the various heating sources are different but all aim at ensuring the adherence of the wax to the support or to meld the various layers.
Encaustic painting was practiced by Greek artists as far back as the 5th Century B.C. Originally, wax was mixed with resin to weatherproof ships and went on to being used in portraits, coloring of marble and terracotta as well as ivory. Portraits were painted on panels or linen. In the 2nd Century A.D. Encaustic portraits were used as funerary decorations to cover embalmed mummies. Samples of these portraits can be found in the Fayum Portraits originating in the Fayum region in Egypt. Many Fayum Portraits have survived the centuries - which attest to the durability and sturdiness of this medium.
In the 9th Century A.D. Encaustic was replaced by fresco, tempera and oil paints. In the last few decades, however, this amazing medium has seen a renaissance and the number of artists learning to use it and making it their major working medium is steadily increasing. Lately, photographers have been adding a variety of materials to their photos, such as pastels, acrylic, wood, mirrors, fabric and plaster. Encaustic features among the innovative mediums used with the "new photography". Photoencaustics - the use of encaustics in photography - includes the use of collage, image transfers, glazing - among other inventive and exciting possibilities. These techniques greatly enhance and add richness to photography and blur the division between mediums.
I am now adding Photoencaustics to my workshops, as local photographers have shown great interest in learning these techniques.
When demonstrating how to work with Encaustic, viewers often have pointed and relevant questions. They reflect a nascent interest in and fascination with this age-old medium. I will answer a few of them in this article.
1. How would an encaustic painting be affected by heat and cold? In places where Summer temperatures can reach above 100F, there is always a concern about the effect of the heat on an encaustic painting. Wax melts at approximately 143-149F. Leaving an Encaustic painting in a non air-conditioned environment but away from direct sun will keep its integrity without any problem, as long as the temperature does not reach 143F-149F. However, care must be taken not to leave the painting in the car if the temperature is high. It would surely melt. On the other hand, extreme cold will shrink the wax slightly and could lead to cracking, especially if the layers have not been fused (heated) properly.
2. Can canvas or paper be used as a support for Encaustic painting? Yes, canvas is a good support for Encaustic. It can be primed or unprimed. If primed, encaustic gesso (made with rabbit skin glue and marble dust) is recommended (not acrylic gesso, which is water based). A wide variety of papers may also be used, as long as they are absorbent.
3. What kind of brushes should be used? Bristle/natural hair brushes are sturdy and work well with encaustic. Sable, badger, oxhair wash brushes are good for glazing with Encaustic. Brass filament brushes allow for greater control of the painting process because they are heat-durable, but they require a hot brush attachment or thermostat.
4. At which temperature should the griddle be kept after the wax is melted? The temperature of the griddle is very important because the Encaustic fumes are toxic. The wax can be melted at no higher than 220F, and after that the griddle should be kept between 150F-180F.
5. How long does it take to melt the wax? At about 220F, it may take about 1 - 2 hours to melt the wax. This applies to wax that is kept in a tin or other type of container. However, if using an anodized aluminum palette, the disc or brick commercial Encaustic will melt the moment it touches the palette.
6. Does the finished painting need to be varnished or kept under glass? Neither varnish nor glass are needed. The wax can be buffed to a nice shine after cooling, and this will bring the richness of the colors out; glass would unnecessarily cover the texture and depth of colors of this medium. A relatively new product on the market is a wax medium that, when used as the last layer, will increase the painting's gloss.
7. Can Encaustic be used with ceramics? Yes, it can be used with unglazed ceramics as well as terracotta. Absorbency is absolutely necessary.
There are many more aspects of Encaustic that I will cover in forthcoming articles. This is a medium that encourages experimentation and continuously stokes one's curiosity and sense of artistic adventure. It is also instrumental in bringing out one's creativity, whether one is an experienced artist, a beginner, or has not done any art at all.
Encaustic was once replaced by fresco, tempera and oil paints. Personally, I am hard pressed to envision any other medium now able to send it back to the dustbin of history.
If you would like to see 21 free videos that answer questions regarding Encaustic, visit http://belafidelfineart.com
Bela Fidel is an artist and teacher in Encaustic and oils. Her work has been collected both nationally and internationally.
To learn more about Bela visit http://belafidelfineart.com/
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