Fraternal Foliage, mixed media on encausticbord, 2011
Cynthia Mosser has been creating mixed media for a number of years. She has been drawn specifically to Encausticbord™ because its absorbent ground can handle the range and layering of mediums she uses and because the cradled versions are ready for exhibition or sale without the need for additional framing. Cynthia says she also prefers the velvety surface of Encausticbord because she finishes her work in encaustic which not only requires a rigid support, but also a heat resistant substrate.
In this featured article on our Ampersand website, Cynthia shares her step by step painting process through a very detailed, movement-rich abstract piece. Cynthia will walk you through creating one of her paintings, referring to the specific materials and tools she uses as well as sharing photos along the way.
• Electric or cordless drill with small drill bit for hinge screws
1. Using the blue painter’s tape, mask the edges of the Claybord™ Box lid surface and the top of the box base. Using a foam brush, paint the sides of the lid and the base sides with the Iron Surfacer from the Rust Kit. Let dry completely. Then paint a second coat and let dry over night.
2. Using a clean foam brush, paint a coat of the Rust Antiquing Solution over all of the Iron Surfacer painted surfaces. Let this dry and cure and then paint another coat. If you want a uniform shade of rust, paint subsequent coats with the foam brush. If you want a more random rust finish, use a sea sponge and sponge some areas lighter and some areas heavier. Let each coat cure in between. Repeat layers until you are pleased with the finish. Do not seal. Let the box and box lid dry completely over night after before moving onto next step.
3. Remove all of the masking tape from Claybord™ surface. Plug in the hot plate and heat the Teflon pan. Place several pieces of natural beeswax in pan to melt. While the wax is melting, cover the wooden sides of the box lid with painter’s tape. Pre-heat the lid’s Claybord surface by running the heat tool over the surface until it is warm. Using the hake brush, paint a single layer of beeswax over the entire box lid surface then fuse (reheating with the heat tool until surface just appears shiny). Allow to cool.
4. Paint a thick layer of shellacover box lid with a new foam brush. Let dry.
5. Using the butane torch, burn “spots” into the shellac on the box lid. Do this by first placing the flame directly onto the shellac and when it begins to burn the shellac, pull the flame away when the spot is the size and shape you wish. Repeat this over the box lid, moving the torch to where you want a new spot to be, until you are pleased with the pattern. Let the lid set overnight.
6. Spell out the word “trinkets” with copper letters and glue into place on the front of the box lid. Attach the enclosed hinges to complete the box–be sure to pre-drill the holes for best results.
Caution: Please use extreme care when using heat and open flames in the studio and always keep a fire extinguisher on hand.
Step 1: Mask the top and inside edges of the box
Step 2: Paint on Rust Antiquing Solution
Step 3: Apply beeswax
Step 4: Apply shellac
Step 5: Burn spots onto the shellac with butane torch”
Step 6: Apply copper letters to the front of the box
We are back from a successful trip to Phoenix where we attended the annual NAMTA (National Art Materials Trade Association) trade show. We showcased a number of new display items for retailers for the Fall Back to School Season. If you missed us at the show, be sure to contact us for pricing and details on these great new displays for your store. And artists, be on the look out for these displays this Fall!
First, we have a new Artist Panel™ Pallet Stacker. Easily unload it right from the truck into your store. Available in both mixed 3/4″ and 1.5″ profiles or in just the 1.5″ profile. It comes with the bright green skid!
New Artist Panel Pallet Stacker for Fall
Next, we have a new product. It’s a smooth version of the Artist Panel™ that can be used with oils, acrylics and mixed media. It’s perfect for the artist who prefers a smoother surface in contrast to the canvas texture of the standard Artist Panel. Portraits, landscapes, this is your surface. The 1/8″ profile fits nicely into pochade boxes as well. Prices to artists start as low as .59 each! This little counter top display was very popular at the show. Contact us if you’d like to get one for BTS.
New Smooth Artist Panel in a compact counter top display for Fall
And, we have these fun Gessobord™ blow-out multi-pack boxes. Each box comes filled with Gessobord and priced to sell. We have four varieties available each packed with top selling skus. Contact us for pricing.
Gessobord Blow-Out Sale Multi-Pack boxes for Fall
And last, but not least! Scratchbord™ artist Linda Sheets designed six new scratchbord kits and showcased them at the show. The new kits feature the most adorable characters. She created over 100 monkeys and dogs in scratchboard for our dealers over the course of the show. The new kits will be available in stores for Fall. Contact us for pricing and availability.
In the past, I painted on stretched canvas, gessoed Masonite boards, and other wood panels for a very long time. Then, I discovered Ampersand panels about ten years ago when I was first introduced to encaustic. I purchased some small 5”x7” Claybords to use for experiments and ended up doing a series on them using vintage postcards and encaustic.
“Arrived Alright”, 5”x7” postcards and encaustic on Claybord, 2003
Around the same time, I began using the cradled Claybords for my oil paintings. I loved drawing with charcoal on the clay surface and also rubbing thin layers of oil paint to achieve a luminous light.
Lisa Pressman, “At the Moment”,
24”x24”, oil on Claybord™, 2005.
Lisa Pressman, “Walking the Line”,
36”x36”, oil on Claybord™, 2010.
Today, in the studio, I have 4 – 36”x36” cradled Claybords up and working for my upcoming show at The Rosenfeld Gallery in Philadelphia, January 2011.
Recently, I was asked by Ampersand to try out their new product specifically made for encaustics called, Encausticbord.They wanted to see what I thought of their new product in comparison to the Claybord I have been using over the years. Happily, I created a list of my top five favorite things about this new surface to share with you.
Top five reasons to use Encausticbord
I love when I bring home my nicely packaged and ready to paint Encausticbords. I am so busy with the multitasking of a studio practice, my art business, teaching, and family responsibilities, the faster I get going in my studio, the better. No building, no sanding, no gesso, no drying…just get working. They are gallery ready. Paint, wire, deliver, done!
2. The Surface
The surface of the new Encausticbord™ is very smooth, easy to draw on and whiter than white. It is as great as the Claybord to draw on, but more absorbent with more tooth, so the inks, charcoals and pastels really soak in as opposed to on the Claybord where their tendency is to “slide” across the surface. When you apply wax to the Encausticbord™, the light showing through the layers is bright white vs. the soft eggshell or cream color of the Claybord.
3. Multimedia Compatible
In my work, I combine wax, ink, charcoal, collage, soft pastels, R and F pigment sticks and oils. I have found that all of these materials respond beautifully to the Encausticbord™ surface.
4. Absorbent, Durable and Tested
I like to know that I am using a product that is tested for absorbency, durability and archival quality. The ground was tested by both R&F Handmade Paints and Ampersand, so I am confident that there will not be any cracking. It is also resistant to extreme heat from not only heat guns, but also torches. The larger panels are structurally braced, so I haven’t experienced any warping.
5. Great for teaching, demos, workshops
I have found that by using Encausticbord with beginning students, it eases the learning curve because it is already the right surface for encaustic and needs no preparation. There is no second-guessing as to whether or not the ground will perform.
She began her studies in ceramics, sculpture and painting at Douglass College, NJ and finished with a Bachelor of Art. Next, she received her MFA in painting from Bard College.For more information about the artist and her exhibition schedule, visit her website and her blog.