How to Make Encaustic Art Page 1

Transcription

Table of Contents
Introduction................................................................................................................................3
The History of Encaustic........................................................................................................4
Encaustic 101................................................................................................................................7
Where to find materials......................................................................................................8
What you need to get set up.............................................................................................9
Making your Medium........................................................................................................10
Cautions!.................................................................................................................................11
Encaustic Critique....................................................................................................................12
Encaustic Monotypes.............................................................................................................14
What do you love about Encaustic? ..................................................................................16
Teaching Encaustic..................................................................................................................18
Making Encaustic Gelatin Monotypes.............................................................................20
Conclusion.................................................................................................................................24
Paper Sources.......................................................................................................................28
Bibliography..............................................................................................................................30
Introduction
What is Encaustic Painting?
An ancient type of painting done with beeswax. We'll go over how to make
encaustic medium, where to find the tools and materials to make it, how to
fuse the wax together, how to embed objects in the wax, and SO MUCH
MORE! This is truly an endlessly fascinating medium of painting. Encaustic
can be like sculpture. It can be figurative. abstract, and everything in between!
Wherever you are on your painting journey, using encaustic will show you that
even your mistakes can turn into happy accidents!
About the Author
Mazarine Treyz has taught encaustic art since 2007.
She is passionate about encaustic and her students
call her "joyful" "playful" and "practical" when it
comes to instruction! Mazarine Treyz has been the
student of some of the top encaustic artists in the
USA, including Jef Gunn, teacher at the Pacific
Northwest College of Art, and Linda Womack,
author of Embracing Encaustic. She has had
encaustic shows in Portland, Oregon, and Texas. See examples and classes at
http://encausticarts.net
The History of Encaustic
According to Encaustic.com,
Encaustic means : "to burn in"
This is a process of applying molten wax
colours to a surface for the creation of
images, decoration and so forth.
It started over 2 millennia ago. No one can
say for sure exactly what the components
of the wax paints were since there are
several formulae and a number of
application techniques discovered for the
creation of the original Roman Egyptian
wax portraits.
The wax colors appear to have been
applied with some swiftness which would
certainly make sense if the wax was molten
and liable to cool on the brush if not
handled with some speed.1
Encaustic Painting During The Ancient Times
Encaustic painting is one of the world's oldest art forms!
The earliest applications of encaustic wax paint was done by the artists of
Ancient Greece -- hence, where the Greek term "enkaustikos" comes into play
meaning "to burn in".
Greek artists were using wax paint to adorn sculptures, murals, boats, and even
architecture. They also used wax paint to highlight the features of the marble
statues placed around the Acropolis. Greek art spread to Egypt during the
1
http://www.encaustic.com/features/history/history.html
Hellenistic period and with a large Greek population, it didn’t take the
Egyptians long to adapt to the use of wax paint.
Greek-trained Egyptians started to incorporate encaustic paint into their
paintings as well as mummification practices.
The most well-known encaustic paintings from those Ancient Times are
beyond a doubt, the very life-like Faiyum Mummy Portraits of Egypt (shown
here).
These portraits were created to be placed over a mummy as a memorial and
had impressive details of realistic looking facial features.
These portraits not only showcased the advanced skills of the ancient
portraiture artists but also demonstrated the unique qualities of encaustic
paint. It is incredible to see how well these Faiyum mummy portraits have been
preserved over time. Despite being over 2000 years old, they are still on
display in museums today withstanding the test of time with minimal cracking
and without having faded or darkened in color.
As encaustic painting flourished in Greece and Egypt, it was also inevitable to
spread to Rome. Pliny, the Roman historian, wrote in 1st century C.E. that
encaustic wax paint was being used in the Roman portraits and mythology
paintings done on panels. Pliny also noted that it was a popular trend of Roman
aristocrats to possess encaustic paintings in their villas leading us to believe
that encaustic paint did hold popularity and prestige.
In fact, Julius Caesar himself commissioned an encaustic painting from the
artist Timomakos. Archeologists have been able to discover some Roman
encaustic paintings.
For instance, a painting on slate depicting Cleopatra being bitten by the asp
was found near the ruins of Hadrian’s villa. After the Roman Empire fell,
artists began turning to cheaper, quicker paint instead of the encaustic paint
because the ancient heating process was so laborious. They obviously did not
have our modern tools which make the encaustic process so much more
accessible for us now. 2
2
http://encausticpaints.com/Resources/HistoryofEncaustic/tabid/407/Default.aspx
Example of ancient
encaustic Fayum
burial portrait.
Encaustic 101
What is encaustic? Where did it come from? Where is it going? What's going
on here? Can we just get on with painting already? Absolutely. In this chapter
you'll learn how encaustic medium is made, how to create your own unique
pallette, how to use blow torches and heat guns, how to clean brushes, and how
to embed objects in encaustic paintings. Watch out, you'll get hooked by the
smell of beeswax and the luminous wax surface!
Here’s a link to an instructional video going over the details of Encaustic 101,
what I will tell you about below.
Encaustic tools- 3
3
•
The brush
•
Hot brushes
•
The tjanting tool
•
The clay tools
•
The pallette
•
Muffin Tins
•
hotpot
•
Dentist tools
•
Bottles and Cans
•
Newspaper
•
Magazine
http://www.youtube.com/watch?v=d4G_G6564cA
•
Photocopies
•
Photographs
•
Fabric
Where to find materials
Cheap Beeswax: (You want 1 lb cake white refined beeswax, trust me, I
TRIED unrefined beeswax, and ALL of my colors came out looking yellow!)
Dedant, https://www.dadant.com/catalog/index.php?cPath=77
Cheap Pigments: Sinopia, http://www.sinopia.com/ their starter box (with
plastic jars) is now $35, so, it's a bit more than I thought, but still MUCH
cheaper than buying pre-made encaustic pigments, and the jars last FOREVER.
Oil Sticks: You can find cheap ones at an art store, these last a long time too,
and just remember to peel the skin off the outside of them.
Damar Crystals: Can get from a number of art stores, they aren't cheap but
last a long time.
Brush-cleaning: Soy wax (expensive, at Jerry's) or Paraffin, for canning,
(much cheaper!) (melt it in a bean can on the griddle, just stick brushes in),
usually can find paraffin in cooking stores or in cooking aisles of grocery
stores.
Fun collage materials: http://skybluepink.com (They are CHEAP too!)
What you need to get set up
0. Crock Pot (it's 1 handful of damar (crushed in a mortar and pestle), 1-2
pounds of wax, find your right formula)
1. A Presto Griddle (don't turn it above 300, 250 should do the trick)
2. Muffin Tins (it should go without saying, but don't use these for food after
you use them for painting)
3. A heat gun OR A Fat Boy Propane Torch from the hardware store, or regular,
as long as you have an adjustable flame and "gun" action to light it. (Don't get
a torch without that adjustable flame, it's
really frustrating to light it every time)
4. Some cheap brushes from the hardware store
5. Some radiata pine plywood from the hardware store, cut into 9 x 9 or 10 x 10
or, you can use "Hobby wood"
6. An Extension Cord
7. Paper towels (to clean the muffin tins, make new colors, etc)
8. Gardening gloves (to move the muffin tin when it's hot)
9. Butter knife to lift the pigment out of the jar
Making your Medium
Put the wax and damar in the crock pot, let all wax get completely melted, the
damar will sit on the bottom of the crockpot, melt that first, (it has a higher
melting point than wax) and then put the wax
in.
Then take a tuna fish can and dip it into the wax, put it into your muffin tins on
your griddle. Now you're ready to add color!
You can dip your butter knife into your pigment, and put it into the wax, and
stir it, until you have the color you like,
OR
You can take your oil stick (that you peeled) and rub it in a circle on the
bottom of the muffin tin (until you have the color you want).
Painting your piece:
When you're heating the wax to fuse it, just make it look wet. You don't have to
do more than that for most layers (Except the first layer, REALLY get in there
and make sure the wax is absorbed all over the board.
You can also put wax on ceramic, on heavy glass tiles, on metal, etc. Do NOT
put on canvas. It will fall off.
Cautions!
A: If you are afraid of inhaling anything pigment-wise, first, dip your butter
knife into wax, THEN put it into your pigment jar, THEN put it back into the
muffin-tin. That way, the pigment will be SURE to
stay on the knife, and not fly away in the wind.
B: Do NOT use your stove for making encaustic, I know it is tempting, but
these pigments should not be near your food. And beeswax is natural, but you
don't want to have it near your food either.
C: When putting wax on your board: Remember, when you put wax on one
side, you need to put wax on the other side too, otherwise the wood will
buckle.
D: Remember, it's important to have good AIRFLOW when doing encaustic. If
you have a patio or a covered garage, that is ideal. Inside, 1 window open? Only
if you have a strong fan, and the door open too.
I think that's everything... I'd also recommend buying "The Art of Encaustic
Painting" by Joanne Mattera, because that has TONS of encaustic ideas, tells
you more about supplies you'll need, as well as a sort of who's who in the
encaustic painting world right now, which is neat.
Encaustic Critique
Here's what I learned about art critique at the Encaustic Conference. I admit
that I kind of cringed at the title of a talk about critique, because I think all of
us have been afraid that our work is no good, that we just shouldn't go on.
Right?
But this is a way to do critique that helps you see themes in your work, and it
uses gentle questions that allow you to get deeper into your art.
Toby Sisson's questions for
dialoguic critique
These questions can increase
understanding, generate new ideas,
break boundaries, explore meaning,
and help you get unstuck. Judgement is
not useful. Do I like it? Is not
important. You can critique your work
with a series of internal and external
questions.
You can do this 1x a month, sit with
your work.
Internal dialogic inquiry: Ask
yourself;
1. Where do my ideas come from? Do they come from artistic ancestors?
Personal experience? Nature? Culture?
2. What is important to me?
3. What do I wonder about? Think large, big questions
4. Who is my audience? Do I want to be direct? Mysterious?
5. What will I leave behind?
External questions (for your art buddies & you)
1. What do you notice first and why?
2. What is unexpected? (Can help discover the most creative element)
3. What do you want to see more of? (can emphasize attributes)
4. What confuses you? (opening to gentle criticism, phrasing things always
as questions)
5. What does the work evoke? (must directly address meaning)
Give up knowing and pursuit of the answer to pursuit of learning and
questions.
Did you like these? Are you going to use them?
Encaustic Monotypes
How would you like to learn more about encaustic monotypes?
David Clark's Finessing the Monotype was a FANTASTIC demo!
Here's what he said:
The encaustic monotype is all about:
• Heat
• Paint
• Paper
• Pressure
• Process
This is all about Giving physical form to your ideas and intention.
• Heat: Your sweet spot is 170 degrees to 175 degrees. Can be between 140200 degrees. Get a thermometer for your hotbox surface.
• Paint: He likes ivory blank, pewter, cooper yellow and cadmium red.
• Paper: He likes Rives BFK.
• Pressure: use a baren or two. He doesn't use rollers but you could.
• Process: He has a hake brush, viva paper towels, rubber stamps, rollers.
How to prepare a paper stencil:
1. Put paint down
2. Put stencil down
3. Crush down with newsprint and a roller
4. Do another pass and add more paint
5. Crush down with newsprint
6. Add medium to residue on plate
7. Put stencil down, then newsprint
8. Put same side down every time, so you have a wet side and a dry side.
Can take 5-7 passes to saturate the stencil (juice it up).
9. Clean the plate with medium, not soywax or parrafin.
10.Put the stencil wet side down, skip it up off the plate to create little lines.
11. Can make clean margins with blue painter's masking tape.
12.Can print with the image side up, and stencil paint side down.
Asides:
If you want a smaller print, put a fondant mat or silicone mat on your hotbox,
so the top plate will not scratch the bottom plate.
Keep the barens moving with a stencil, you don't want to get an image of the
baren.
To make Stencils: Use 003 Duralar, cut with an exacto knife, heat resistant
mylar to make stencils, also newsprint with shapes cut out. You can also use
Kozuke paper for stencils
Don't use metal stencils, they can scratch the plate.
You can reserve the paint on stencils forever!
When you put medium on the plate to wet the stencil, remember, metallic
paints don't have as much moisture, need more medium.
Want to see an example of finessed monotypes? Check out David's installation
at the conference! Isn't that wild?
Yes, he really put red arrows all over his
entire room. Walls, lamp, table, ceiling,
bed, curtains, door, everything.
Then he took a nap!
What do you love about
Encaustic?
"I love the accidentalness of the medium. It's seductively beautiful, the sheen,
the transparency, the drying time"-Howard Hersh
"I love the tension between the fragility of the medium and the potential
permanence. You see things that are visually accessible that you can't get to.
That seems euphoric"-Pamela Blum
"I wanted transparency and I wanted things to float. The work became a
process of discovery."-Elise Wagner
"I like encaustic because it's somewhat outta control! I tend to overthink, so I
specifically like media that adds a surprise, that doesn't let me be too tight."Paula Roland
"Civilization is based on misunderstanding. I have tried to
misunderstand it as best I can." -Pamela Blum
Form like shape, size and color interacts with content. Form can be part of the
content. Technique can distract from the work. A lot of the artists at the
conference said, "Call yourself an artist, not an encaustic artist." -Pamela Blum.
What are ways to look at a piece?
• Emotional
• Symbolic
• Intellectual
• Metaphoric
• Intellectual
• Narrative
"Art can inspire an awareness, help us question, ponder and feel."
-Pamela Blum
"If we connect with our pure beliefs and interests pain is not merely
decorative." -Pamela Blum
"Doing your art is a way to discover yourself." -Pamela Blum
Do you like these quotes?
It definitely helped me think about art in a different way. How about you?
Teaching Encaustic
If you've ever wanted to teach encaustic, or you know some people who are
teaching, they might be interested in some of the discussion that went on at the
conference towards creating standards and practices in teaching.
We had a lot of different people in the
room that helped us think about how
to teach workshops from your studio,
or how to teach at the high school,
middle school, or college level. People
all came away with a better
understanding of ventilation, and some
ideas of how to help people
understand encaustic and art.
Here are my notes from the talk. It was
presented by Cherie Mittenhall, ED of
Truro Center for the Arts and Sara
Mast Professor of Art in Montana.
Towards Standards and Practices in Teaching!
What should we teach when we try to teach encaustic?
1. Safety. How to easily set up ventilation
2. How to set up stations and be fastidious
3. How to prep your painting surface
4. When you're teaching, how do you teach without people copying what
you're doing? Teach the technique. Do demos. Let them copy you if they
want. They're learning the technique. It's not your job to help them fit it
into their own work.
5. Immerse the students in the language of being an artist. Teach about
values, and shapes. Give them a list of vocabulary to carry with them,
and use it over and over.
6. At the college level, students develop several ideas, and figure out which
idea is the most productive. It takes 3-4 weeks for someone to develop an
idea.
7. You might start by teaching art history. Help people get the concept of
what art is and our place in the bigger picture.
8. Then give an introduction to contemporary artists working in encaustic.
9. Then teach people what it means to be a conceptual artist
10.THEN how to use encaustic to present their concepts
11. Go through the foundations, give them several processes, then take them
to the next level.
12.Teach content all the way. Say, next class, your job is to use this medium
to express your ideas. Ask students to take responsibility for their own
learning.
The thing about encaustic is it's just another medium, says Joanne Mattera.
The nice thing about it is that it helps us really think about materials, be more
conscious about what materials we're using.
What did you think? Would you add anything to this list of things you would
teach in an encaustic class?
Making Encaustic Gelatin
Monotypes
When i first saw Lisa Zukowski's incredible gelatin monotypes, I
asked myself, "HOW WAS THIS ACCOMPLISHED?"
And then, wonder of wonders, she
showed us how, at the encaustic
conference! and NOW I'm going to
share with you what she did.
Making gelatin monotypes with
Lisa Zukowski
Ingredients:
8 cups of water
1 cup of gelatin
(ratio: 1 tablespoon gelatin to 1 cup of water)
Cheap non-drying Kids' Modeling clay and a cookie sheet
8 colors of Encaustic Cuni Paint
Spray bottle full of water
A plexiglass plate
Paper towel
Paper: You can use cardstock
computer paper, it has a hard, cold
surface that works really well.
Wallpaper rollers
Speedball extender to extend the paint
and keep the viscosity consistent.
Stencils made from 4 mill double mat
mylar
Instructions:
1. Mix up your gelatin, 1 cup gelatin for 8 cups water, she mixes the gelatin in 2
cups cold water and then 6 cups boiling water.
2. Put it on a cookie sheet or use a plexiglass sheet with cheap modeling clay
around the edges.
3. Keep the gelatin in the fridge. It sets relatively quickly.
4. Put dabs of encaustic cuni paint on your plexiglass plate, and
5. Mix the paint with transparency or speedball extender to keep them
going longer.
6. Keep them wet with a little spraybottle full of water.
7. Coat the gelatin plate with paint with a brayer or a brush
8. Work from light to dark, work with the white of the paper. If everything
has the same value, it looks muddy.
9. You can use a pallette knife to remove color.
10.Put the paper down, tape the edge, and roll over the paper.
Stencils!
Use 4 mill double mat mylar for your stencil.
Remove ink from the plate.
Can put the stencil down on plate 2, roll another color, put a little pressure on
and press it with your hands.
Textures: You can use a mop head, kids stencils, sponges,
Clean your plate: Water and paper towel. Make sure you dry it.
Asides: Make consistency go from paint to ink by adding water and extender.
Extender is good for the base layer. Some pigments are drier than others.
Ultramarine is dry, for example. The heat of your hand will melt the gelatin, so
you need to not touch it too much. The First couple prints are usually dreadful.
The gelatin has a breaking in process. You don't have to fuse it but you can
throw on hotbox for 10 minutes or less.
Instructions for making a Gelatin Plate
You will need: ordinary children’s clay, plate glass or Plexiglas, level,
Unflavored gelatin, water, heat source
To prepare the mold
•
•
•
•
•
Roll the clay into a coil about 1/2" diameter and press onto the
clean glass or Plexiglas sheet.
Make sure the clay is firmly adhered, with no gaps.
Place on a level surface. (Check with a level).
Pour prepared gelatin mixture into mold, in a cool dry place
away from direct sunlight, and allow to set undisturbed for
several hours or overnight.
Once the gelatin is set, you may remove the clay from the gelatin
(pull away slowly and carefully), or cut out your desired shape
and size with a thin sharp knife.
Large Quantity Method
Ratio is 1cup gelatin to 8 cups water
•
Bring 6 cups of water to a rolling boil in a large pot.
•
Mix 1 cup of gelatin with 2 cups of cold water in a separate
container
•
Add the gelatin mixture to the boiled water and stir well, until
lumps are dissolved.
•
Allow the mixture to cool.
•
Skim off any foam or bubbles.
•
Pour into mold, thickness according to your preference, 3/8" is
good
•
Coax any bubbles to the edges with newsprint or paper towel so
the surface is smooth
•
Allow the gelatin to set, then cut plate to your desired shape and
size.
To Yield One 6x8" Plate
2 Rounded Tablespoons Powdered Gelatin + 1 cup water
• Place water into pan.
•
Slowly sprinkle gelatin over water, and stir in gently.
•
Cook the mixture over medium heat, stirring gently.
Remove foam and bubbles, and allow the mixture to cool
slightly.
•
Pour into mold, thickness according to your preference. (3/8" is
good)
•
Coax any bubbles to the edges with newsprint or paper towel so
the surface is smooth
•
One cup of prepared gelatin will be enough for a 6x8 inch plate. Three cups
will make a 12 x12 inch or 11 x 14 inch plate.
Conclusion
This book is only the beginning.
I can’t wait to hear about YOUR encaustic journey!
Feel free to email me at [email protected]
Peace,
Mazarine
Ink Suppliers for gelatin monotype
Cuni Water Soluble Encaustic Paint
This new product when modified produces excellent results. The paints are
highly saturated, and can be thinned with water, or made transparent by means
of Cuni medium. Custom colors can be created by adding pigments to the
untinted medium. The retarder also serves to make transparencies and
increases the open time. They can also be intermixed with acrylic screen ink
extenders.
Available at Cuni Encaustics at http://www.encausticcuni.com or from Miles
Conrad Encaustics at
https://www.custom-encaustics.com/store/catalog/index.php?
cPath=93_90&osCsid=0grkn22i6b5iuoap9fe0nesl26
Daniel Smith Water Soluble Relief Inks
Daniel Smith water soluble relief inks are highly saturated, of professional
quality, but are only available in a limited range of colors. They can be used
with a gelatin plate, but need to be adjusted somewhat. I prefer to thin them
until they function like thick watercolor paint. All in all, they are a definite
improvement over other water based relief inks. A starter set is available, but
these inks are only sold through Daniel Smith. They have a mail order catalog,
and a web site.
Daniel Smith
PO Box 84268
Seattle WA 9812-5568
800-426-6740
www.danielsmith.com
Createx Monoprint Inks, pigments, and fabric dyes
Createx makes a line of monoprint inks and pigments that you can mix with
their monoprint base. Although they are usually used for monotypes by
allowing the ink to dry on the plate and then printing with wet paper, they
work well with direct application. However, they do not work for an intaglio
or off set process. They can be found in most art supply stores. There is a
good selection of colors. I find these to work well, but the finish is a bit flat for
my taste. I know of some artists who swear by them. The one benefit is that
they are readily available, unlike the previous two inks.
Createx
Color Craft, Ltd.
14 Airport Park Road
East Granby, CT 06026
800-243-2712
www.createxcolors.com
Speedball Permanent Acrylic Screen Printing Ink
Speedball Acrylic Screen Printing Ink for Fabric
Speedball Water Soluble Screen Printing Ink
http://www.speedballart.com/
Also available at most art supply stores. The fabric ink stays open
longer, and the water soluble has a matte finish.
Versatex Screen Printing Ink
http://www.jacquardproducts.com/products/paints/versatexscreenink/
Similar to Speedball. Can be thinned with water, or create
transparencies with extender. Available at better art supply stores. Work
on fabric, but must be heat set for permanence.
Other Choices
Most water-based media are also compatible with the gelatin process. Some
additional options would be:
Akua-Kolor Water Based Inks
Rostow & Jung
214 East 4th Street
New York, NY 10009
212-473-4670
www.waterbasedinks.com
Gouache and Tempera
Watercolors
Mimeograph Inks
Golden Paints Open Acrylics show promise for use with gelatin printing.
In addition, their line of fluid acrylics also can be incorporated into the
mix.
I would not recommend the heavy body acrylics, with the exception of
an accent here and there, and only as a top layer over a wet ink base.
Suggested Reading :
There is only one book that I know of on the Gelatin Process. It is Making
Monotypes Using a Gelatin Plate, by Nancy Marculewicz. Unfortunately, the
book is currently out of print. It may be obtained by some booksellers, but the
last time I checked it was selling for $150.
Gelatin Suppliers:
Knox unflavored gelatin (available in supermarket)
I buy my gelatin from www.bulkfoods.com. You may buy gelatin directly from
Knox, but only in very large quantitites (25 lb minimum).
Papers
Several papers are compatible with the gelatin process. The papers listed are by no
means the only ones you could use; there are several papers that will be suitable. The
choice of paper is one of individual taste: experiment and choose ones that suit your
personal aesthetic.
Johannot
Arches Cover
Folio
Hosho Professional
Lenox
Mulberry
Stonehenge
Rives BFK
Rives Lightweight
Somerset
Japanese papers
Paper Sources
Here are some suggestions for paper suppliers:
Dick Blick
http://www.dickblick.com/
New York Central Supply
62 Third Avenue
New York, NY 10003
1-800-950-6111
http://www.nycentralart.com/
Renaissance Graphic Arts, Inc
69 Steamwhistle Drive
Ivyland, PA 18974
1-888-833-3398
www.printmaking-materials.com
Japanese Paper Place
http://www.japanesepaperplace.com/
Artist and Craftsman
http://www.artistcraftsman.com
Paper Connection
http://www.paperconnection.com
Hiromi Paper
Bergamot Station
2525 Michigan Avenue, G-9
Santa Monica, CA 90404
1-866 HP WASHI
(1-866-479-2744)
or
1-310-998-0098
http://store.hiromipaper.com/
Pearl Paint
www.pearlpaint.com
308 Canal St.
New York, NY 10013
212-431-7932
Daniel Smith
PO Box 84268
Seattle WA 9812-5568
800-426-6740
www.danielsmith.com
Bibliography
Books:
Embracing Encaustic: Linda Womack
The Art of Encaustic Painting: Joanne Mattera
Groups:
International Encaustic Artists
Websites:
Examples of Encaustic art:
http://encausticarts.net
http://jefgunn.com
http://andreabenson.com
http://elisewagner.com
http://joannemattera.com
Encaustic Art Material Resources:
http://dedant.com Beeswax
http://Sinopia.com Pigment
Eduardo Espinosa [email protected]
512-293-5363 does cradled boards for cheap.

How to Make Encaustic Art Page 1

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