Posted on 1/12/2026 10:45:32 AM
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Posted on 8/1/2022 2:34:36 PM
By Sandy Burr
1 Comment
As a photographer I'm out taking images all the time. Sometimes one grabs my attention and I know it's a perfect image for my encaustic process. Once the image has been edited it's printed on a high-quality 100% cotton photo paper. After sitting overnight to "breathe" it's time to start.
First, the paper has to be thoroughly soaked in hot encaustic medium. I do this with the image side down so I have a better look at how the wax is being absorbed.
You can see the paper darken as the wax sinks in.
The next step is to blot any excess wax off the image to get it ready for step 2.
After a quick buffing it is ready for the cold wax to be applied. I use a couple different tools for this application starting with using a sponge to make sure I get into all the nooks and crannies of the textured paper that I use.
The cold wax gives a softer sheen than using encaustic wax alone, which is very shiny. Because cold wax contains mineral spirits, each coat has to be dried for 48 hours before the next is applied. Two to three costs are what I normally use to protect the images fully.
The last step is buffing. Using a soft cloth the art is buffed to a satin shine. The resulting texture is almost like leather.
The result is a flexible piece of art that can either be framed or adhere to a panel.
Posted on 7/24/2022 10:25:53 AM
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So, it's a hundred degrees out and you are sweltering. Maybe so is your artwork. If you have an encaustic piece hanging in your home you might be worried. But fear not. Unless your space hits 190 degrees your artwork will be perfectly fine. It might get a little tacky in high temps so just leave it alone. Once cooler weather prevails you might want to give it a little buffing with a soft cloth (cotton or microfiber works well). That's it. Encaustic medium is incredibly durable and will last a lifetime.
Posted on 5/16/2022 1:47:56 PM
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ICM (intentional camera movement) is pretty much what it sounds like: moving the camera with the intent of making a unique image. To me, this type of photography brings out the expressionist painter in all of us; instead of taking pictures with our camera we are now painting with it. This was taken on an afternoon at a small pond:
Just an impression of the scene that day.
I've been having fun trying out this camera technique. The primary need for a motion-blurred image is a long shutter speed. Not the quick click you hear when you take a photo on your phone. But a way to keep the shutter open for at least for a half second up to maybe a second. Doesn't sound like long, does it? But in the world of photography it is a lifetime. I'll do away with the technical info, it's pretty boring.
The best part of using this technique is the artistic surprises. Different types of movements include panning (moving back and forth or up and down), zooming (using a zoom lens and moving it in and out), and rotating (twirling the camera). Or any combination of the three. Until I get home I just don't know what I'm going to get. This one was taken using the panning motion at a botanical garden; beautiful red tulips:
And here is a twirling technique:
It's so much fun when you can take the camera out and not worry about sharpness! Many ask if they are painting. Well, sort of...
Posted on 11/13/2020 2:33:59 PM
By Sandy Burr
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Working with encaustics is a multi-step process. Here is a start-to-finish glimpse of what it entails as I prepare for my Holiday Mini Sale.
Of course, it starts with a photograph. It needs to be printed on a matte paper for the wax to melt into it. I use 100% cotton fine art paper to get the sharp look that I desire. I print all my images myself as I am a bit of a control freak.
It's always exciting when a shipment of panels comes in. Encaustics need to be on a hard substrate so that they won't bend and crack. The studio smells wonderful and woodsy.
After a light sanding the sides are given a coat of ebony stain.
After they are dry, the sides are protected with tape and the top given a coat of gesso. Encaustics requires a specific kind of gesso so that the wax can penetrate the wood. A work-around to using expensive encaustic gesso is using chalk paint. Annie Sloan is my favorite.
Again after waiting for it to dry the fun part starts. Yes, there is a lot of waiting for me with encaustics. I allow everything to dry 24 hours before moving to the next step. The printed photography image is adhered to the panel. I use PVA glue that is used in bookmaking and is acid-free and archival.
Another 24 hours goes by before I can start waxing. The encaustic medium gets heated to 200 degrees in a metal container on a pancake griddle so it is fully melted but does not smoke, which is toxic. I do several layers of thin encaustic medium using a brush only for the first (heavier) layer. This layer generally takes the most time as I really work with the wax to be sure the paper has absorbed it. I allow each layer to cure for several hours before applying a new one.
Each additional layer is put on using a large putty knife. New layers have to be bonded to the previous one by a gentle heating. This process is repeated for 4 to 5 layers.
All that is left is the finishing process. I use a small heated iron to smooth the edges of the wax. The wax is then buffed to a shine. It will need to be buffed a few times until fully cured. With small pieces like these I can actually put them in the fridge for a few hours to speed the process.
Hanging hardware is attached and the pieces are ready for sale.
The encaustic coating will protect the image for years to come. It is impervious to moisture and can be hung in moisture-prone places such as bathrooms. They are a worthy addition to any art collection!
Posted on 10/12/2020 1:33:33 PM
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Encaustic medium is not on the radar of many art enthusiasts and collectors. Once I answer the "what is it?" question (a combination of beeswax and damar resin) the question is "why?".
As a fine art photographer I have sought for years the perfect addition to my photography images. Over the years I've experimented with several types of varnishes, painting it over images that I had printed on thin Asian papers. I liked the look but couldn't get the quality of print that I wanted. Next I tried epoxy resin pours. I was introduced to using a heat gun and the need for ventilation. I happily experimented with several different kinds of substrates, wood panels and tiles among them. But it was just too shiny for my liking.
A few years ago I happened upon a photographic print under encaustics in a local gallery. And that was just the look I wanted. I was intrigued but it was another year or two before I took my first class. I have to admit my first exposure to working with wax was not an inspiring experience. I shelved the thought for several months until I decided to try another class. I learned the basics and it was enough to set me on my way.
I worked on it for months before I thought I was getting a look I liked. My first pieces featured black and white images printed on thin paper. I left the wood panel ungessoed so the wood became the background as the paper became transparent. I worked this way for about a year but became frustrated using just black and white.
I started working with color, again using Asian papers, mostly kozo. Panels were painted in white encaustic gesso. I enjoyed the muted colors caused by the papers. When working on large pieces I cut the image into squares and created a "tiled" look. That allowed me to work on pieces bigger than my printer could accommodate.
During all this experimentation, I was also working hard to establish a look and feel for my wax coating. I didn't like the look of brushed wax, too bumpy, not enough control. Eventually I moved to mostly using a variety of sparkling and putty knives to create the look I wanted: toward the smoother end of the spectrum but with some interesting texture. I have become adept at using the heat gun and blow torch.
Recently I have gained access to a large-format printer and, once again, I have changed my methods. Now I can print full-sized pieces on beautiful fine art photo paper. Beautiful colors and crisp edges. And the wax seems to love this kind of paper.
Creating art is truly a journey. I'm already thinking about what to do next.
