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 is an abstract artist who works primarily with encaustic. She also specialize 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?
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. 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.
4. 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 paper to panel. It is archival, acid-free and allows for some repositioning if needed. The paper adheres well to panel.
I apply the glue directly onto the panel (a very thin application) and then lay down the paper.
5. 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.
6. 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.
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.
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