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Q&A-Elizabeth-Schowachert Mounting an encaustic monotype to a panel

Mounting an Encaustic Monotype to a Panel

Q&A with Elizabeth Schowachert

In this post, artist Elizabeth Schowachert answers questions that I put to her about mounting encaustic monotypes to panels.

About Elizabeth Schowachert

Elizabeth Schowachert

Elizabeth Schowachert is an abstract artist who works primarily with encaustic. She also specializes in crafting silicone tools for the Roland HOTbox, high-quality sumi-e style horse hair brushes and mark-making tools.

Visit her website Elizabeth Schowachert Art to order art tools and brushes.

1. What are some of the reasons you choose to mount monotypes on panels?

I personally like the way the prints look mounted on a 2-inch cradled panel. Mounting flattens out the print, giving it a very clean look. Mounted monotypes have a different look/vibe than framed works on paper and this offers an alternative, which some collectors may prefer. Mounting monotypes is also a lot less expensive than framing. And mounted works can command a higher price than just selling the print unframed. Framed and mounted monotypes, command a similar price.

2. What do you look for in a panel?

I start with high-quality birch panels. I have all of my cradles custom made to the specific sizes I need or prefer, usually with a 2-inch cradle. I typically pay between $20 to $50 per panel.

3. What papers do you choose for monoprinting?

I use high-quality handmade paper typically. I travel to Asia somewhat frequently, so I buy paper in Taiwan – traditional handmade Asian calligraphy papers (smooth). I also use MASA and KOZO which I buy from Paper Connection. I do sell traditional handmade Asian white scroll paper in my store.

4. Do you use less expensive paper when mounting a print to a panel?

The quality of the paper is important, so I try to stick with papers that I know will create a crisp print (paper that has a nice smooth surface and is absorbent). Some papers have a lot of sizing in them, making them a little less absorbent, but still work well for encaustic monotype. If the paper is not as absorbent, then the wax can sometimes spread on the paper creating less crisp images.

Masa Paper (or affordable Hosho) is a versatile machine-made Japanese paper. One side is smoother and shinier than the other, which is toothy. Masa is an inexpensive paper that performs well for encaustic monoprinting.

5. How do you prepare a panel for a monotype?

The way I prepare the panel has to do with a couple of factors. If I want the paper to remain “White” then I gesso the panel with R&F gesso. If the paper is very translucent, then again, I will more than likely gesso the panel. I don’t always gesso, oftentimes I will adhere the work directly on the panel.

6. How do you adhere the paper to the panel?

I use Talas Jade #403 PVA adhesive. This is by far the best product I have found to adhere the paper to panels. It is archival, acid-free and allows for some repositioning if needed. The paper adheres well to the panel.

I apply the glue directly onto the panel (a very thin application) and then lay down the paper.

7. Do you put encaustic on top of the monotype?

I don’t typically put encaustic on top of mounted monotypes, but I have in the past. Adding wax on top of the monotype will soften images (can smear if not careful applied), change the color of the paper, and make everything darker.

I use a lot of India ink and alcohol ink on my monotypes and sometimes, collage. Just depends on the piece.

8. Are you concerned about protecting parts of the paper that are without wax?

I always, as the last step, spray my mounted pieces with Lascaux UV Protectant 2. It not only protects from color fading (if you use alcohol ink for example) but also helps to protect the paper.

9. Resin on top of monotypes

I saw that you’ve done resin on top of some monotypes. What brought you to that?

Sometimes if I want a really rich, detailed finish then I will use resin. I don’t do it often, but for some work, I feel it is the best way to present the work

Resin works well on monotypes, it can really create vivid colors and bring out a lot of details. Like anything, however, I think it would be used sparingly, it can be overdone for sure.

Encaustic Monotype coated in Resin by artist Elizabeth Schowachert,

Do you have more questions for Elizabeth?

Many thanks to Elizabeth for taking the time to answer my questions. If you have a question for Elizabeth about this process, please add it in the comment section below.

About Ruth Maude

I enjoy experimenting with a variety of encaustic materials, techniques and tools. Everything I learn pushes my creative journey in new directions. I share what I've learned with other artists through my blog All Things Encaustic.

Visit My Website
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8 thoughts on “Mounting an Encaustic Monotype to a Panel”

  1. Thank you for this post
    wanting to know if you can reccomend a resin brand .over encaustic monoprint…never done before..

  2. My encaustic monotypes are quite saturated, so I am hesitant to use glue to adhere them to a panel. I tried using encaustic medium but to disastrous effect. Unless you press on the paper, you end up with air bubbles, but when I pressed (covered with newsprint) to remove the bubbles, lots of the surface paint melted. The painting was effectively ruined.
    So I am at a loss on how to mount on panel, or even frame one of these paintings.

  3. You mention that you collage with you monotypes, how do you adhere the collage pieces to each other? When using inks in what part of the process do you add them, before or after the wax has been applied?


  4. I have some encaustic “monprint” style pieces. I have handmade paper with several layers of tissue weight paper adhered to it via wax on the palette. I have mounted to panel with Liquitex heavy gel medium and put under weight for 5+ days. Should I expect it to be permanent or possibly have problems?
    Thanks so much for this post. Informative.

    1. Hi,

      Thank you for the comment 🙂

      Typically if I am mounting a piece of encaustic work on paper that has been saturated with wax (as it seems your work might have been since you are working with papers that were adhered together using wax and the hot palette) I use clear encaustic medium, as most other adhesives do not work well when the paper is heavily saturated with medium. Also, Liquitex is an acrylic based product which is not recommended for encaustic work (acrylic and encaustic medium don’t work well together – acrylic is not absorbent, so that wax does not have anything to grab and hold onto. Over time the encaustic and acrylic mediums will typically separate). Encaustic monotypes (in general) are not totally saturated with medium and therefore they will adhere to panel – and I recommend the Talas Jade #403 PVA adhesive as it works very well and is archival. Hope this answers your question 🙂 Happy New Year

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