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Latest update:
May 29, 2010
 

Historical techniques and equipment    

 A heated palette is used to melt the colors and keep them molten. From archeological findings, it seems that the Greek painters used bronze boxes containing hot coals. Over the box was a grid of depressions for holding molten colors and keeping implements warm.

Tools for applying wax

Pliny mentions three tools for applying the paint:
the cestrum, the cauterium, and the brush.

The cestrum (from the Greek for point),says Pliny, was used for working on ivory. It was pointed on one end like a stylus and flattened or spoon-shaped on the other end. Its use can only be guessed at, but, as noted previously, it may have been to inscribe into the ivory and fill the incisions with paint.
The cauterium (branding iron), also known as rhabdion (little wand), was spatular on one end and rounded on the other. Both the cestrum and the cauterium were made of bronze and probably heated on the palette and used to model and fuse the paint.
The brush was originally used only for tempera painting. Crude brushes were used for applying wax paint to ships, but early encaustic panel painting seems to have been laboriously done only with the metal tools.
Pliny says that brushes were later adapted for encaustic work. Many of the Fayum paintings show the marks of both brush work and modeling.

Supports

The Fayum portraits were painted on thin, slightly curved wood planks.
The Fayum portraits were often painted over the raw wood itself. They were worked opaquely up from dark to light tones. A gesso ground of hide glue and gypsum was also used.

Modern Techniques

Encaustic has a long history, but it is as versatile as any 20th century medium. It can be polished to a high gloss, it can be modeled, sculpted, textured, and combined with collage materials. It cools immediately, so that there is no drying time, yet it can always be reworked.
The durability of encaustic is due to the fact that beeswax is impervious to moisture. Because of this it will not deteriorate, it will not yellow, and it will not darken. Encaustic paintings do not have to be varnished or protected by glass.

Earlier attempts to revive encaustic failed to solve the one problem that had made painting in encaustic so laborious — the melting of the wax. The availability of portable electric heating implements and the variety of tools made the use of encaustic more accessible.
The modern Encaustic painting iron and pen are especially developed to melt and spread the wax on the desired surface. Other interesting tools are the paletta and the heat-resistant sponges.
Although some artists make their own coloured waxes from scratch, it is much easier to buy them ready-made. To order waxes or other Encaustic equipment please go to Supplies.

For supports almost any material can be used. Beginners in Encaustic use a specially sealed Encaustic paper, on which the wax can easily be moved around.

More advanced artists apply the Encaustic wax to wooden panels, glass, cardboard, candles etc.
There really is no limit to what you can use!

You will find one of the best research and information on modern techniques in painting with wax on the website of my good friend Michael Bossom, the author of several books on Encaustic.
Get yourself a cup of coffee and a big notebook, allow lots of time and go here:
http://www.encaustic.com/techniq/fineart/fineart.html

   Thea Haubrich, Homage to Emily Carr – 2003, Encaustic on paper