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HOLIDAY GIFT IDEAS!
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Let's Get Started!
Intro Set
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This is an ideal way to get started with encaustic painting. This set contains 1.5 fl oz Hot Cakes each of Titanium White, Bismuth Yellow, Naphthol Red, Ultramarine Blue, Wax Medium, and Slick Wax.
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Classic Painter's Choice
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For the painter at heart, this set is comprised of colors that many professional artists use in their palettes. Colors included are 1.5 fl oz each of Cadmium Yellow Light, Yellow Ochre, Cadmium Red Light, Alizarin Crimson, Cerulean Blue, Ultramarine Blue, Viridian, Burnt Sienna, Raw Umber, and Titanium White in our Hot Cake metal tins. Also included is Wax Medium and Slick Wax in 6 fl. oz. refillable metal tins, an Enkaustikos Hot Wax Pen with four tips, a Temperature Regulator, one Hot Brush Attachment, and one 3/4 inch Enkaustikos Hog Bristle Brush.
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Contemporary Set
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This set features contemporary colors and an array of specialty hot tools to create unlimited surface textures. You will receive 1.5 fl oz each of Citron Green, Anthraquinone Orange, Quinacridone Red, Anthraquinone Blue, Bone Black, and Titanium White in our Hot Cake metal tins. Also included is Wax Medium and Slick Wax in 6 fl. oz. refillable metal tins. Tools included are the Enkaustikos Hot Wax Pen with four tips, the Muller, a #6 Hot Brush, a C-5 Fine Line Wax Pen Point, the 1/2 inch Single Line Wax Pen Point, a Multi Line attachment, and a Temperature Regulator.
View all of our sets here |
FREE PAINT OFFER!
Each of our sets also include an empty tin and a mail-in coupon for a free Hot Cakes refill. Simply select any 1 fl oz Hot Cakes Refill from our 82 color palette and Enkaustikos will mail you free 1 fl oz Hot Cakes refill with a matching label for your tin.
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FEATURED
PRODUCT
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Impasto Wax
If you're looking to add texture or sculptural elements to your work but don't want to use so much paint, Impasto Wax is the sundry you're looking for! You can build up layers with Impasto Wax and then paint over the layers with your color of choice.
Enkaustikos blends their highest quality pharmaceutical grade beeswax with a pure translucent white microcrystalline wax to produce Impasto Wax. Impasto wax allows artists to inexpensively add actual dimension and sculptural effects to encaustic paintings. Encaustic painters often use Impasto Wax when doing the "Slip and Score" technique that is common in ceramics. This technique refers to the method of scoring or scratching lines into the surface of a chunk of wax that will be attached to the substrate, dipping the scored side into the molten impasto wax, and sticking it to the substrate. Available in 8 oz (236 ml), 16 oz (472 ml) resealable bags.
Extra Precaution: The Microcrystalline wax used in Impasto Wax is a petroleum-based wax, which will give off vapors in the molten stage. Therefore extra consideration should be taken to provide proper ventilation within your studio.
Click here for more information on Impasto Wax
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ARTIST INTERVIEW - DAVID A. CLARK
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David A. Clark originally began his career as an artist working as an actor. During that time David worked with many cutting edge directors including the visionaries Robert Wilson and Peter Sellars. In his thirties David transitioned into television production and worked on the production staff of the hit show "Sex & the City" for six years. After "Sex" David returned to painting full time.
David's encaustic print work has drawn attention for it's graphic style and fineness of execution. David has exhibited nationally showing his work in numerous shows in the last year including the 33rd Bradley International Print and Drawing Exhibition and ACE at the Palm Springs Art Museum. David also presented Monoprinting with Stencils as part of the Monotype Marathon this year at the 5th International Encaustic Conference in Provincetown, Massachusetts. David is currently preparing for an upcoming solo show of his prints at the Process Museum in Tucson, Arizona. That show will be devoted to a single encaustic print of David's and the more than 100 process pieces that went into it's creation.
David lives and works in Palm Springs, California. He took some time to answer a few questions regarding his encaustic work. You can view the entire interview here.
 | | Big Idea #2 |
Q: How did you first learn about encaustic painting and how long have you been working with this medium? I was first exposed to encaustic through the work of Jasper Johns and Lynda Benglis in the 1970's but I was too young to really know what I was looking at. Then about 4 years ago I was exposed to the work of Miranda Lake. Her work started me investigating encaustic. I found Joanne Mattera's book and that became an enormous resource for my more concrete investigation into the medium. Not long after I got Joanne's book I saw the Jasper Johns Grey show at the Met in New York which had a lot of Johns encaustic work in it side by side with his works in other mediums. Seeing that show blew the top of my head wide open. There was no going back for me after that.
Q: What do you enjoy most about this medium?
Well, I do a lot of printing with encaustic, and there are things that specifically happen while printing that send me into a kind of trance of materials: the way the wax moves and shifts, the vibrant color, the crazy visual accidents that happen, and the tactile qualities of the wax really feed my love of the medium. It's very much an "in the moment" practice. I'm constantly asking myself, "what do you see?" or "how does it feel?" while working. Those tactile intangibles in the moment are where the gold comes from. And the materials fuel that "in this moment" need. You have to be really present while working with encaustic which is a challenge, but when it flows it flows and there's nothing like it. But, the bottom line is how the medium supports the intention of my work. There is some special magic that occurs when I am working with wax, and I feel that what I make is more directly connected to my intention, like I am somehow fusing my impulses into the work. It's hard to articulate, but very tangible.
 | | Big Red Arrow #1 |
Q: What do you like least about this medium?
That's like asking me to reveal a pet peeve about a trusted friend. I'm not sure there is anything I don't like. I guess if I were hard pressed I would say that I don't like tracking wax all over my house. But that's my fault, not the medium's.
Q: How would you describe your encaustic artwork?
I'm not in love with the term "encaustic artwork". The materials I work with happen to be wax and resin and pigment, but the work that results from the collision of those materials is just the work. It's the inevitable conclusion of an idea that was translated into a physical form with wax and pigment and paper or whatever it is I'm working with. My work in general is inspired by the idea of the impulse and the movement, both physical and mental, that results from putting ideas and thoughts into motion.
 | Be the Arrow - Open the Box - Let Go
Encaustic monoprints on crushed Asuka paper shirts
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Q: Where do your ideas come from for your pieces? Do you have a vision before you start painting or does it develop as you work?
Depending on what I'm working on, I almost always have a specific idea of what I'm doing and where I'm going when I work. I think one of the unique things about working with encaustic is that you have to be prepared when working. By that I mean that you have to have everything at hand. If you are painting you need to have all of your paints heating and the tools and materials you think you might need available because a lot of the flow of the process is about keeping things at the right temperature for what you are doing technically. When I am printing I lay everything out in advance on tables so that I have absolutely everything I might need at hands reach. Because the materials are fluid and change from moment to moment you need to be prepared to print what you see as it is happening. You need to be reaching for the paper while you are thinking, "gee I should print that." Because if you wait and have to search for the right paper or tool or whatever the moment will be gone and you will have missed the opportunity to print something extraordinary. You have to be right on top of it and moving with the materials, so it's crucial to be prepared, unless of course you like cursing in your studio at all of the missed opportunities.
View the rest of the interview at encausticpaints.com
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