"Breezy" is painted from my imagination, and is an example of why I paint and draw often from the live model. When painting with molten, pigmented beeswax (encaustic) such as this painting, each time I add new wax I fuse it into the underneath layers with a propane torch, therefore the hot wax is moving about much of the time. Suddenly a figure's hand might be where the elbow should be. With knowledge of the live figure in my mind, using the propane torch I can move the wax back into credible positions when necessary. This 12"x12" encaustic painting is in a wide gold frame. -Janet Amundson-Splidsboel
Although I paint landscapes, both in the studio and plein air in the field, I find that more often than not I return to the face and figure in my painting. Most of my
paintings are based on drawings done in live model groups and most of them are of women. I am drawn to the aura of women of the Art Deco period but I am currently focused on painting the modern but still universal and timeless woman. I primarily paint in oils, and encaustic. Encaustic is painting with molten, pigmented beeswax. In my encaustic works I do not use photocopies; even details are painted with layers and lines of molten, pigmented beeswax. Contact me at firstname.lastname@example.org.
Beeswax and damar resin are melted and dry pigment is added for color. The tins of molten wax and colored pigment are kept in a molten state on a heated griddle. Bristle brushes are dipped into the molten wax and quickly used to paint upon the painting surface, which is usually a board such as untempered masonite, wood, or some form of art panel. Each time wax is added to the painting it must be fused into the previous layer of wax. I use a propane torch to fuse the wax. Various scrapers are used to scrape off unwanted areas of wax as the work progresses. This process is repeated many times. There are usually 20 or more layers of wax in a completed piece.