Fill the glass jar with lukewarm water (body temperature 37ºC) Add filler, calcium Carbonate or Clay till you get a white liquid similar to skimmed milk Add a levelled tablespoon of hide glue granulate every 150ml liquid (more or less)
2 ways to tint encaustic gesso. Whether you make your own encaustic gesso, use white chalk/clay-based paint or buy Encaustic Gesso, it is great to be able to mix your own coloured gesso. 1. Tint encaustic gesso with fluid acrylic paints. According to R&F, you can use fluid acrylic paints to tint their encaustic gesso.
Apr 10, 2021 · Fill the glass jar with lukewarm water (body temperature 37ºC) Add filler, calcium Carbonate or Clay till you get a white liquid similar to skimmed milk. Add a levelled tablespoon of hide glue granulate for every 150ml liquid (more or less) Close it, shake a little and keep it in the fridge overnight. The next day….
Fill the glass jar with lukewarm water (body temperature 37ºC) Add filler, calcium Carbonate or Clay till you get a white liquid similar to skimmed milk. Add a levelled tablespoon of hide glue granulate every 150ml liquid (more or less) …Close it, shake a …
May 21, 2016 · raw materials (damar resin crystals and beeswax) to make your own encaustic medium —then adding oil paint or pigment for colour as you work; Equipment Needed to make Encaustic Medium. In addition to beeswax and damar resin crystals, you will need the following equipment. Work in a well-ventilated studio space. Silicone utensils work best.
1-2 layers: Apply the liquid (is very liquid) in the same way you would apply an ink wash, from top to bottom in horizontal continuos strokes. Remove exceed at the bottom line with kitchen paper. Move to the next panel and do exactly the same thing. Next layer should be applied before the previous one is completely dry; layers are to be applied alternating directions, this meaning rotating the panel 90º each layer.
5-6 layers: Add more filler, calcium carbonate or clay to the jar and heat it again, stir slowly. The liquid should be now like a milk shake and still with no bubbles. Apply two more layes of the preparation.
Water-glue proportion is an easy problem to solve. Good quality hide glue absorbs only the right amount, the rest you can throw away.
Good quality hide glue DOES NOT stink. May be if you keep it on top of your radiator for a week, but 2-3 days in your fridge will stand without problems. It is true, it has a peculiar smell but nothing to worry about. It is not easy to describe a smell in written, but to give you a hint, it is like the smell of a wet dog, it might not be your favourite smell but it is also not to fear.
Encaustic medium is made with filtered beeswax and damar resin crystals. Synthetic waxes are commercially available, but beeswax is the type of wax that is traditionally used for encaustic art.
ready-to-use encaustic paints (medium is premixed with colour pigment) in tins, blocks or sticks. pre-made plain natural or refined encaustic medium to which you can add oil paint/pigment for colour. raw materials (damar resin crystals and beeswax) to make your own encaustic medium —then adding oil paint or pigment for colour as you work.
Adding damar resin allows the encaustic painting to be buffed to a higher, more translucent sheen and helps prevent bloom (a white cloud on the surface).
Many encaustic artists start with a ratio of 8 parts of filtered beeswax to one part damar resin crystals and increase the amount of beeswax from there to find the ratio that they prefer.
If you are going to strain the medium you will need to ladle it through a cloth into a prepared container. You can use elastic bands to hold cheesecloth in place over your container . Once filtered you can ladle the medium into the muffin cups. Allow the medium to cool then pop them out.
White beeswax has been mechanically processed to filter out the bee pollen and turn it white.
a tight-weave cloth such as microfiber cloths, cotton muslin or flannel sheets. If using cheesecloth, as in the video below, make sure you use multiple layers thick enough to capture all of the particulate matter. a large container – silicone, metal or plastic. rubber bands to hold the cloth over the top of the container.
Here are the boards as I had coated them (middle one got a bit of shellac on it). Timothy McDowell suggests 3-7 coats and a gentle sand in between each coat. This is not as hard as it sounds I put them in the sun and they dried really quickly so I was able to redo them quite quickly. I used a fine tooth sandpaper. When you are doing each layer the gesso needs to be warm to activate the gelatin in the previous layer.
Now to make it white you mix 9 parts whiting to one part pigment in a large bowl. Slowly add mixture to one quart warm glue size. Heat in a double boiler, I used this pyrex jug in an old pan (do notuse these for food again!) about 15 mins until creamy, stirring constantly.Use a chopstick to stir the mix and when the stick has a fine milky coating its good to go.Strain the mixture through cheesecloth and use warm on your panels.
I have also read that artist Tina Elkins uses milk paint as her ground and has had no problems at all.
Encaustic gesso, on the other hand, allows oil to seep down into the pores of the gesso. Having less oil on the surface gives the paint film a slight texture. The effect is a matte finish with brighter colors and less depth.
The difference between encaustic and acrylic gesso is in the ratio of acrylic binder to the gesso solids (inert particles like chalk, kaolin, or marble dust + Titanium White). The binder itself is not the issue. No binder -- whether acrylic, vinyl acetate, oil, wax, casein, or gum Arabic -- is absorbent.
The standard white ground for oil paint is either acrylic gesso or titanium or lead white oil primer. These grounds keep the oil sitting on the surface rather than being absorbed in and give oil paint its greatest depth and gloss. Encaustic gesso, on the other hand, allows oil to seep down into the pores of the gesso.
Preparing the gesso and then laying 10 to 12 layers of it onto the panel is a laborious, finicky, tedious all-day task. It is a process to be loved either by masochists or by those who want to replicate the traditional craftsman-like approach to painting. In my painting days, I was one of the latter (and perhaps a bit of the former).
Can encaustic gesso be used on stretched canvas? Generally speaking, no. Because it has so little binder and so much filler, encaustic gesso does not have the elasticity of oil grounds. Since stretched canvas is always responding to changes in humidity and temperature by expanding and shrinking, a lean binder will have the tendency to crack.
With encaustic gesso, you don't have to turn yourself into a medieval craftsman in order to achieve similar qualities. Two coats right out of the jar (drying in between) are enough to give you a suitable ground for encaustic, egg tempera, and oil painting.
It's not the binder but the percentage of binder that matters in this case. And if you want to read more about this, you can download Myths and Realities about Encaustic Gesso.
You can use all these encaustic techniques one on top of the other, provided you apply a clear layer of encaustic medium between them. If you execute them properly you can build up to 50? layers, really no limit
Base technique with watercolor paper 1 Choose a wooden panel and clean it of dust and grease 2 Protect edges with painter’s tape that can be removed without residue, even after several weeks 3 Paint the front with white paint of any type and let it dry completely 4 Choose watercolor paper with a wheight of approx 300g / m2 and with little texture since it will absorb less binder. Cut it 1 or 2 cms larger than panel size. 5 Extend vinyl glue (white carpenter’s glue) to the wood over the entire surface and press the paper to put it in place. With a credit card (or similar) press and slide the glue from the center to the edges in all directions. Turn it upside down on a clean surface and put some books on it until it dries completely. Trim the edges of the paper with a cutter.
Intarsia is a technique in which a part of the base wax is extracted, with a linoleum gouge for example, and is filled with encaustic paint of another color. You need to fuse it and then use the triangular scraper to remove the protruding wax.
If you want to make fine lines you can use bamboo pens and lightly press the warm wax
To make transfer on wax from an ink jet printer, the best solution is to use satin paper or what is called “contact transfer paper” which is a paper similar to the glossy paper where the self-adhesive labels are attached to.
You can draw with crayons, oil pastels and pigment based waterproof felts and by transfer.
It is possible to make sunken marks on the wax by pressing objects onto warm wax, threads, etc. And proceed in the same way