Setting up an encaustic studio on a budget. Hardware, panels, pigments, grounds, medium, sources. The devil is always in the details, and the details are in this very inexpensive book. Publication date: April, 2013.
As a graphic designer and photographer I worked with contrasts and hard edges most of my life. Any idea of painting never occurred to me over all those years. Then, a few years ago, a number of things happened more or less simultaneously.
This all occurred over a span of about four months. And, finally, almost without making any decision, I unboxed the watercolors I'd been buying (for absolutely no reason) over many years and began adding to them. Then every time I could afford it, I bought a brush, or another color. Finally, in April of 2009 I actually began to paint.
I went after Vermont in color. A very different approach than that of my b/w Vermont photographs. After a couple of years I looked at what I was doing and realized that I had been steadily moving toward deep, intense color. I realized that I was trying to do with watercolor something it really wasn't meant for.
I next tried oils, a medium in which it was much easier to get more intense colors. In the middle of this I went to an exhibition which included an encaustic work. Though it wasn't highly colored, this particular piece appealed to the printer in my soul
I had never heard of encaustic before. Back home I began to read its history and to look at the modern revival it was enjoying. From my intaglio days I had several bags of good pigment powders. With my Christmas money I bought the equipment and the rest of the ingredients I needed to work in this medium. And, now (early 2013), I think I have found my grail of color. Though I am just beginning my exploration of this medium, I like very much what I am learning. It is not as easy as the oil or the watercolor, but I like that it has opportunities for accidents. And, of course, the deep and shining colors have me in thrall.
See this page for detailed background information.