Well its that time again, time to either make an order with R&F Encaustics and get some new bricks of wax on the way… Or! You could order bulk supplies from them and make about 5 times as much for the same price.
I have been using this recipe since 2002 when my professor Reni Gower encouraged our class to learn encaustic. The class all pooled together money for a bulk material order and I and a few others made our own mediums. I was immediately fixated on this material and after the semester I bought all the left over medium my classmates had made and not used.
Starting out here is what you need:
15% by weight dammar resin to beeswax a good ratio is 4.5 lbs of pure filtered beeswax (I prefer bleached) to 1 lbs of damar resin crystals.
- Large Crock Pot
- Candy Thermometer
- Large Pot (Stove top style)
- Cookie Sheets or Cake Pans
- Wooden spoon or an old paint brush handle
- Piece of silk screen big enough to cover your “Large Pot” by about 2 inches all around
- Handful of Clothespins
- Ladle (unless your crock pot is easy to pour from)
- Note: All this kitchenware is now forever, encausticware, so don’t try to cook food with it!
- Clean Utility Knife
- Large Freezer Bags
The Beeswax is obviously the primary ingredient in your medium. Your second ingredient: the dammar crystals, are what traditional dammar varnish is made from. If your an oil painter you’ll recognize it right away. Dammar varnish is made by dissolving these crystals into a liquid state. The dammar protects the wax, keeping it from blooming and clouding during room temperature fluctuations. The resin will also make the wax cure clearer over time. The most important quality that dammar imparts on the wax to me is a hardness to the medium.
Caution: Throughout the process your going to need to keep a close watch on the temperature of the wax. Be sure to never heat it above 230 Degrees F. For me this means I have to vary my crock pot between the high and low setting. I would recommend a crock pot with a variable temperature setting if possible so that temperatures can remain more constant. Use your candy thermometer to measure this each time you stop to check on your brew.
Start by adding half of the beeswax to the crock pot. It may take a while to fully melt. Once this has completely melted then add all of the Damar Resin Crystals. Be sure to stir this in and let it start to melt. You may want to use a dust mask to avoid the dust that comes out of the damar bag. (It can’t be good for you)
Once the damar is in the crock pot you will need to monitor it about every 30 minutes by stirring. Use your wooden spoon or brush handle to stir the resin. Your goal is to encourage melting and also to keep the resin from burning on the bottom.
As you stir you will notice there are bits of debris accumulating in the mix. Don’t worry, that is just bugs, elephant hair, bark and whatnot detritus priorly trapped within the solid damar resin. All of this will get strained out later. Be sure to be monitoring temperature throughout the process.
When all of the damar has melted you will need to add in the rest of the wax and allow it to fully melt.
Now ready your strainer by clothes-pining the silk screen fabric around the lip of the Large Pot. I like to try and make the middle of the screen sit a bit lower than the edges so that was pools up in the center of the pot. Then pour or ladle the wax medium over the screen.
This is going to strain all of the debris from the mixture. You will need to go slow when pouring as the wax can only get through so fast. When the screen clogs up with bark, etc. wipe it off with chipboard or cardboard. The silk screen is reusable so once this step is done squeegee it clean. It is okay to let a thin layer of wax dry on it. You can heat it up in the oven on a cookie sheet for a few seconds to get it ready next time.
Now that you have the medium strained and the screen removed, clean out the crock pot with an old t-shirt. Pour the mix back into the crock pot and brew this for another hour. Mixing every so often. Then, if you still have debris floating in the mix strain it again. If not just pour/ladle it back into the large pot. Now you are ready to pour this into your cookie sheets, muffin trays or whatever shape of mold you like to use!
Be sure to cover the top of the trays with old cardboard or in my case plastic storage bin tops so that wax does not pick up dust from the air as it cools.
Once the wax has had some time to cool off it will start to do some interesting things so sneak a peak every so often!
Now that the wax has completely cooled off in your cookie sheet take either a heated spatuala or a utility knife and cut the wax into whatever useable size you see fit.
Note: The amount of medium homemade compared to one large cake of store bought medium.
I prefer to store mine in large freezer bags to keep them dust free and easy to access. Store all of your materials in a container and label it so everyone knows that old crock pot and cookie sheet can no longer be used in the kitchen.
Congratulations you have just earned your cooking badge, revel in the knowing of the process your materials were made with! Now go paint something! Thanks to my sweetie pie Michelle for taking the photos!
This piece will be on view at Atelier6000, in Bend, Oregon from March 1st to the 31st. The exhibition “The Stolen Image” is based around artists that use a transfer techniques in their work. This piece is an encaustic monoprint on steel of one of my recent drawings. If your going to Oregon stop in and check it out!
The Suffolk Art Center in Suffolk, VA is putting on a show titled Abstracts: Borrowed from Reality with the help from curators Pam Rogers and Trudi Van Dyke. The show will feature a number of artists who recently exhibited at the DC Art Center aswell as 6 of my own works, including the piece above Medias. The show will open on March 9th and run to April 15th.
More good news: my piece Chauliodus sloani was recently purchased at the Torpedo Factory Art Centers Patron Show Auction. My work was on donation and all proceeds go to benefit the Torpedo Factory Art Center in my home town Alexandria, VA! Thanks to those that purchased works and for supporting the arts!
Rain Barrels such as the one pictured can be found @ EcoWise
My new series is about the final voyage of the whaleship Essex and its demise by ramming of an angry sperm whale leading to a harrowing 89 day, 2500 mile drift by whaleboat. Accounts from the few survivors have inspired sections of the whale attack in Melville’s, Moby Dick, and cannibalism in Edgar Allen Poe’s Narrative of Author Gordon Pym.
To me the voyage and tragedy represent a different era of American history. One that is built primarily on the quest for whale oil. Aside from the obvious romanticism of man at sea and the hardships thereof, the dubious task of taking down so large a mammal by hand relates humankinds ability to willingly enter into stupendous circumstances and risk everything. Harpooning a whale could take the better part of the day, with the whole whaleboat team rowing for miles upon miles to kill the whale and then haul it back to the boat for processing. That of course is if the whale didn’t rend their boat to splinters and send them all awash with a flick of its tail. Whaling was a primal enterprise and truly, few lines of work were as dangerous or as grizzly. These whale crews were also explorers, escaped convicts and slaves, outcasts, and men searching for themselves at sea. Their trade put them not only at risk of the elements, but presented enormous strain on their bodies, psyche, and thus their futures.
My series is not about glorifying the hunt or the killing of these whales, but it is about the idea of setting yourself adrift and truly pursuing something. I am interested in thinking about what these people experienced not in the eye of the whale or moment of the hunt, but in the world and sea around them as they drift the vast oceans and brave the unknown and volatile environment so far from the comforts of land. The pieces focus on place, in fact specific points on the map, and distinct moments as I see them through the eyes of those who may have traveled before me. They are not based on photographs and internet queries, but narratives and course plotting’s of travels past and of ideas of an invented ocean that perhaps my history as a human knows better than my own eyes.
This series is still being built and the ideas around the pieces must to have room to grow and evolve, but for now this is the path I have laid out to navigate.