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| Creating Movement and Depth with Mixed Media by Cynthia Mosser |
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My use of mixed media emphasizes color and movement through the building of many overlapping organic shapes. I am able to create visual interest through the use of a whole host of art supplies, all of which I can use on Ampersand Encausticbord™. The working process I incorporate involves drawing, painting and a final application of encaustic medium. This topcoat of wax creates a clear veil through which the painting can be viewed and provides the illusion of depth. The ability to layer different media is my key to a successful painting. I almost always start with Encausticbord™, a wood panel with an absorbent ground developed by Ampersand and R&F Handmade Paints. Because of its special surface, not only can Encausticbord™ handle all my favorite materials, but it also readily accepts encaustic paint. The cradled versions of Encausticbord™ are the best option for my work. I use two depths: ¾" if I know I need to frame the artwork or the 2" deep cradle for a presentable, ready-to-hang work. For this piece, I used an 18"x18"x2" deep cradle.
2 (not shown) After finishing the decorative line work, I paint over it with a light wash of Golden® titanium white fluid acrylic paint using a 3" gesso brush. This white wash diffuses the stark contrast of the black lines and allows the patterns to show through. Sometimes, I add a hint of color to the wash to warm up the cool white background. 3 Next, I start painting on the board using a variety of Golden® acrylic fluid paint colors. I like their immediate flowing viscosity, so color mixing and application is a snap. Small paintbrushes are my absolute favorite for control and precision. The 20/0 script liner, along with many of the other Ultra Mini brushes suit my needs perfectly. I intentionally leave a multitude of unpainted spaces for the next final step. |
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4 After I am finished painting, I add a layer of transparent encaustic medium to create that extra bit of depth and interest. Generally, it’s not a standard practice to use acrylics under encaustic, but since I use extremely thin layers and leave so much of the white absorbent surface of Encausticbord™ open, I don’t encounter any problems. I use a recipe of 1 tbsp crushed gum Damar resin to 8 tbsp beeswax pastilles to seal the work. I heat the Damar and pastilles together in a metal pot on a heated palette until the two have melted, then stir well until they create a uniform consistency. Once the mixture is ready, I strain it through a cheesecloth to remove any impurities. 5 Then, I apply it to the board with a 2.5" natural bristle brush. I fuse the wax with a heat gun until I have a glossy, evenly melted surface.
6 Finally, I incise designs into the warm wax with a sharp tool. 7 Once the wax is cool, I add either white or burnt umber oil paint thinned down to a glaze with linseed oil and mineral spirits, allowing it to sink into the incised lines for contrast. Using a soft cloth dipped in mineral spirits, I wipe away the oil paint leaving behind the color in the incised lines. On the paintings to which I add the oil paint glaze, I apply a somewhat heavier sealing layer of wax to prevent the wiping and rubbing from removing too much of the surface. 8 Once the oil paint has dried, I gently polish the finished painting with a chamois cloth.
Materials List: Click here for a PDF version of this article.
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