product highlights

Product Highlights

Featured Products

Check out these products!

find out more about it here…

Art Alternative Markers
Description
Ideal for art, crafting, home and office, these markers work well on paper, metal, ceramic, metal or plastic. The alcohol-based ink is water-resistant and permanent. They are durable and provide bold, long-lasting color, great for everyday use or for art projects. The fine tip markers feature a 4.2mm felt nib ideal for fine lines and writing; the extra-fine tip features a 1.2mm felt nib for extra fine details. The 2-piece sets include one fine tip and one extra-fine tip marker.

https://i0.wp.com/www.macphersonart.com/catimg/549_1.jpg?resize=437%2C437&ssl=1

 
Dual Tip Marker Sets
Art Alternatives
Description
These acid-free, water-based dual tip markers feature a fine tip for outlining and detail, and a 2mm nylon brush tip for shading, coloring and blending. They work well on all paper surfaces; use them for coloring, art, illustrations, doodling, journaling, hand lettering or sign making.
https://i0.wp.com/www.macphersonart.com/catimg/548_1.jpg?w=750&ssl=1
Brause Nibs

Brause

Brause Calligraphy Nib Founded in 1850, Brause manufactures steel nibs for writing, drawing and calligraphy. Brause nibs can be found in the toolbox of many calligraphers, lettering artists, penmen and illustrators and are considered to be among the best on the market.
Image result for brause nibs display
Derwent Inktense Travel Kits
A new way of painting with Derwent Inktense, with 12 pans of color contained in a portable travel set.
image 0
This set provides the unique Inktense formulation found in Derwent’s Inktense Pencil and Block ranges. Unlike traditional watercolor, washes of vivid paint can be applied without dissolving previously dried layers. This means you can build up color and create shadows and tone with underpainting. The ink-like colors are vibrant and intense, and are permanent once dried.
Inktense paints can be applied on traditional watercolor and heavy weight papers but are also suitable for painting on fabric and for a wide range of fine art and craft projects. 
Professional quality colors that are 100% lightfast.
Contents: 12 Inktense pans (Sherbet Lemon, Tangerine, Scarlet, Fuchsia, Navy Blue, French Ultramarine, Turquoise, Ioanian Green, Light Olive, Red Oxide, Sepia Ink and Antique White), 1 mini waterbrush, 1 sponge and five integrated mixing palettes.
Derwent Inktense Paint Pan Travel Set Palette #2
Finetec Paint
Image result for Finetec product Display
Finetec Artist Mica Watercolors are made with mica, a natural mineral that shimmers and shines. They are a natural product that offers a wide variety of metallic shades from gold and silver to iridescent, pearl shining colors. They’re ideal for adding special effects and highlights to watercolor paintings and also for calligraphy – can be dissolved with water and applied with a brush,
Blend Mica Watercolors to create unique shades. Colors adhere to all absorbent surfaces, including paper, wood, and gypsum. Pans measure approximately 1-1/16″ in diameter.


Pebeo Message Mug
Special Sale Item
Pebeo 20 ml Duo Message Mug Kit, White
by Pébéo
Design your own mugs
Three assorted colors, which are dishwasher resistant (after baking)
Includes Chalkboard paint to create a surface for chalking on the mug
Kit also includes includes chalk, brush and guide
Personalize your mugs
Image result for Pebeo Message Mug Porcelaine 150
The in-store discount will be 70% off
Description
Retail 70% off 80% off
Kolinsky #12 Round $225.05 $67.52 $45.01
Kolinsky #14 Round $319.20 $95.76 $63.84
Kolinsky #1.5” Flat $405.80 $121.74 $81.16
Kolinsky #1” Flat $238.05 $71.42 $47.61
Kolinsky #0.75” Flat $151.50 $45.45 $30.30
Kolinsky #0.5” Flat $95.15 $28.55 $19.03
EXTREME Kolinsky Brushes
Over the years, we have observed a shift in the quality of Fine Artist Brushes. As the market drives prices down, eventually a lowering of quality can occur. Richeson has sought out the world’s finest brush maker to produce a Kolinsky watercolor brush that will exceed the dreams and demands of the most discriminating painter. Each brush is carefully created by hand using only the highest possible percentage of male hair.
Quality to challenge any Kolinsky
watercolor brush
Loads and releases color evenly
Point and snap that painters
dream and yearn for
Made by skilled German artisans


 
What is Kolinsky?
The first known use of the name Kolinsky was around 1851. The term refers to several varieties of Asian Weasels. Most typically referenced is the Marten weasel. The yellowish brown tail from the weasel is used to make high grade artist brushes.  The finest Kolinsky hair comes from the Kolin Peninsula and then from a very high ratio of male hair to female hair. The female lives in an underground burrow and is rarely outside. The male is the hunter and forager. He hunts to bring food back to the family. Because he is outdoors most of the time, his coat is rich and thick and long. Their natural diet is one reason why farming these weasels has never been very successful.

           
Introducing

Cotton Art Panels

Dots ‘N Doodles now has a variety of sizes of the Cotton Art Panels available in stock.
Jack Richeson Cotton Canvas Panels have a soft tooth finish, which makes them the perfect painting surface for oils, alkyds, acrylics, and casein, and other water-based paints. They are warp-resistant and moisture-resistant because they are mounted on high-density fiberboard. Our canvas panels are coated with high-quality acrylic gesso that acts as an archival barrier between the HDF and canvas, and the canvas is triple-primed.
They come in three textures: Extra Fine, Fine and Medium Surface- Extra Fine, which is smooth and perfect for portrait painting; Fine, which has slight texture; and Medium, which has texture.
Perfect high quality for professions at a price even a student can afford!
Please enable images
Portable Painter Watercolor Palette
Compact Lightweight Versatile
WATERCOLOR PALETTE
Portable Painter
Price $29.95
Sale $24.99
at Dots ‘N Doodles Art Supplies
Portable Painter includes: two detachable water containers, two folding palettes with many mixing wells, paint tray with twelve empty half-pans*, synthetic folding double-brush and anodized aluminum clasp.
Imagine Painting Anywhere, Anytime! This watercolor palette fits effortlessly in a pocket or purse so it’s always with you. At about the size of a smartphone, it converts instantly to a complete watercolor rig ready for your twelve favorite colors. The new Portable Painter is all this and more. It’s great on a tabletop, but on uneven surfaces, the built-in water containers excel as a sturdy pedestal base. Perhaps most surprisingly it can even balance on a knee. This allows your hands to be completely free to hold both paper and brush, so it’s ideal for urban sketching, plein air and art journaling. Whether you’re on a trail in the Sierras, at a sidewalk café in Venice, or even at home, you’ll find the Portable Painter is the ideal compact watercolor palette. Artists will love its quality construction and attention to detail including: unique built-in water containers, brush rests and folding, synthetic double brush. Try it and we’re confident the Portable Painter will become your new travel companion. ​
 Reviews
click on image below
https://i2.wp.com/i.ytimg.com/vi/mKu7g0cnqtk/sddefault.jpg?w=750&ssl=1

Piñata Alcohol Ink

Was $11.99

Sale  $9.99

4 fl oz/118.29 ml (Item JFC3)

Pinata Alcohol Ink
Sale 4 oz only
Piñata Colors are highly saturated, fast-drying alcohol inks for any hard surface, including glass, metal, plastic, ceramic, stone, leather, resin, polymer clay and more. Indelible and impervious to water once dry, Piñata Colors clean up with alcohol and re-wet themselves, allowing for unique effects and techniques not easily achieved with water-based systems. As a dye-based, highly transparent ink*, Piñata Colors are unparalleled for vibrancy, and only the most lightfast dyes have been selected for the palette. Acid-free with excellent adhesive properties, Piñata Colors have become the go-to inks for any non-porous surface.
*Metallic Colors
Our pigmented palette of Piñata inks has grown!
Pinata Metallics
 
034 Copper and 035 Brass are beautiful metallic colors made from real metal pigments (like the super popular 033 Silver and 032 Rich Gold) that glisten and shine. The metallic white 036 Pearl is made with super reflective mica pigment and is terrific for mixing with the dye based colors to create entirely new palettes of pearlescent inks. These three new colors are opaque, lightfast and shine with unparalleled luster. 
Blanco 030 is also an opaque, pigmented color, used for creating tints and pastels.
The metal particles are tiny and they lie flat which produces a highly reflective, smooth metal surface. They can be applied to almost anything: paper, plastic, wood, glass (for decorative purposes only), canvas, metal, foil, ceramic, rubber, vinyl…you name it!
The Piñata metallic colors are perfect for scrapbookers and paper artists whenever a true metallic is desired, as well as for oil painters, acrylic painters, window painters, sculptors and crafters of all kinds.
Please enable images

Please enable images
Please enable images

I gotta tell you…I’ve tried out a bunch of pens and this one works great.  Inexpensive, well balance and solid feel

Image result for caran d'ache Infinite Ballpoint Pen

Inspired by color, the 888 INFINITE® collection is designed as a companion for daily life at the office or when traveling, consistently pervaded by the joy of different hues. The ballpoint pens feature a streamlined design with vibrant colors, accentuated by the metallic tip connected to the hexagonal body emblematic of the Maison Caran d`Ache. Produced in synthetic resin, the body and clip of this writing instrument display the varied nuances of the Caran d`Ache palette. Available in 10 colours.

$5.79

Bruynzeel Design Color

Image result for bruynzeel colored pencils

Design Colored Pencils
Perfect colored pencils have an outstanding color transfer and tinting strength not only when coloring, but also years later. The tinting strength and light fastness of Bruynzeel Design colored pencils are objectively judged recently by KM Art Material Magazine, which recommended these colored pencils as the best choice.

Bruynzeel Design colored pencils are made from high-quality color pigments. That makes it easy to apply several layers of color on top of each other. The core has a thickness of 3.7mm.

Bruynzeel Design Colored pencils are available as 48 separate colors and as a luxury boxes of 12, 24 and 48 pencils.

Van Gogh Oil Colors

Painting with Van Gogh oil colors is a joy. Whatever oil color technique you choose, the pasty paint gives a beautiful result. Choose from a wide and balanced palette. In addition to the lively colors, you above all opt for the certainty of a good oil paint. The fineness, the color intensity, the high content of pigment and durability contribute to the ultimate expression of your inspiration. Van Gogh oil colors are available in a wide range of 66 colors in various tube sizes, sets and artists’ boxes.

• High quality
• Strong and intense colors
• Easy to mix and use
• High pigment level
• Uniform degree of gloss and thickness of the various colors
• Good to excellent light fastness for color retention over time

Image result for Van Gogh oils

Quality, that’s what you choose

A new idea, a new discovery. That is what every artist is constantly looking for. Van Gogh is the brand for the adventurous, studying artist that is always on the lookout for the best way to tell his or her story. The artists’ paint Van Gogh remains as innovative and modern as Vincent Van Gogh was in his time. Every day we are trying to provide you, our source of inspiration, with a complete line of artists’ materials. From acrylic colors to oil colors, and from water colors to oil pastels.

Did you know that Vincent Van Gogh painted not only oil paintings, but also beautiful water colors? And that he developed from a realistic to a more impressionist painter, refined his pointillism technique and eventually focused totally on experimenting with colors? Vincent continued to reinvent himself and dared to go that step further. Van Gogh challenges you as well, to develop your own unique way of working with a complete assortment of quality artist paints.

The Derwent Inktense Paint Pan Travel Set

https://i0.wp.com/az31609.vo.msecnd.net/assets/images/widgetImages/2476197f0c269-9d6e-4541-a5a9-0749ba2dc2d1.jpg?resize=750%2C141&ssl=1

The Derwent Inktense Paint Pan Travel Set contains the unique Inktense formulation found in our pencil and block ranges. Unlike traditional watercolour, washes of vivid paint can be applied without dissolving previously dried layers.

Features

https://i0.wp.com/az31609.vo.msecnd.net/assets/images/widgetImages/248241976c9e0-18f4-436e-8321-fcd8ccbd554e.jpg?w=750&ssl=1

    • Vibrant – Inktense creates vibrant, intense ink-like color which remains fixed once dried
    • Versatile – Suitable for use on paper and fabric for a wide range of fine art and craft projects
    • Portable – Ideal for travel with everything needed to paint on the go
    • Unlike traditional watercolor, washes of vivid paint can be applied without dissolving previously dried layers
  • Professional quality, all colors in this set are 100% light fast

 

Understanding the Techniques of Pouring Acrylics

While the practice of pouring artist paints is certainly not a new way to apply paint, achieving consistent results can be frustrating and costly. However, it is vital to the process to conduct experiments to gain the knowledge of what are the most critical controlling factors which preside over paint pours.

Studio Preparation

Crazing

Image 1: This tinted GOLDEN Self-Leveling Gel “skin” shows the crazes that developed during the drying process.

One sure way to improve the odds for successful pouring is to start with a clean studio. Acrylic pours are relatively slow drying paint layers and dust can easily become imbedded into the film. Take some time to free the immediate workspace, sweeping the floor and wiping down surfaces around the studio. Next, be sure the table top or floor you are working on is also clean and level. Even slight angles can cause issues with pours. Put down fresh poly plastic sheeting on the surface which will protect the surface and help later on by preventing your artwork from becoming glued to the work surface, as pouring products creates puddles and drips that can travel off of the canvas or panel. Finally, control the temperature and humidity level in the studio as much as possible. Dry climates increase the chance of crazes developing – fissures resulting from liquid acrylic products skinning over during initial drying while the underlying liquid paint is still very fresh. The skin shrinks and tears apart resulting in unwanted physical textures known as a “craze” (see Image 1).

Painting Substrates

The most predictable painting surface for pours is a sealed panel. This surface is less affected by the weight of the wet product compared to stretched canvas. Of course, the panel needs to be resistant to warping from water, thus sealing the surface with one or more coats of acrylic medium (or paint) is helpful. Conversely, this advice may be counter-productive if your technique relies upon the surface absorbency and/or the ability to curve the substrate in order to control the paint movement. This is why testing is such a critical factor even when using products that other artists find successful. If working on stretched canvas is vital to your process, you may be able to eliminate the sagging by stretching over a wooden panel or using a cardboard block between the stretcher bars.

Paints and Mediums used for Pouring Applications

Free-flowing liquid paints and mediums are at the heart of the pouring process. Adjusting the viscosity and flow rate to work in tandem with how you want the paints to interact with each other is key. Obviously, products like GOLDEN Fluid Acrylics and High Flow Acrylics are more practical when doing pours than thicker Heavy Body Acrylics. This is not to say you cannot use Heavy Body paints, but they will first require thinning with water, acrylic medium, or both. A great approach for thinning Heavy Body paints without a loss of film strength is to first mix a thin acrylic medium such as GAC 100 with water (1 part medium to 1.5 parts water, and then use this mixture to thin the paints as much as desired). This mixture assures quick thinning but contains enough acrylic binder so that you still end up with a pourable paint instead of a color stain mixture. Since Fluids and High Flow Acrylics are already pourable, this step isn’t required to work with them, but sometimes it is necessary to adjust these paints as well. GOLDEN Airbrush Transparent Extender is also a valuable medium for adjusting paints. This product is a similar consistency to High Flow Acrylics, containing flow improvers and leveling additives.
Although most acrylic mediums are inherently pourable, some are better suited for pouring than others. GAC 800 is a medium specifically produced to modify paints for pouring, such as when pouring a puddle onto a paint surface. The GAC 800 mixes readily with the Fluid Acrylics and this combination is the least likely to craze during drying. It’s still possible GAC 800 may craze, but this is usually the result of too much paint being added and in turn, countering the acrylic solids level or the pour has been applied in too thick of a layer. A great starting point is to mix 1 part paint into 10 parts GAC 800 and limit the thickness to how far the product will spread. In other words, pour the product into a pancake puddle, and let it seek its own thickness without impeding its flow by use of a taped off or dammed edge. Once these tests are done you may want to try other paint amounts and use edges to control the flow, but be wary of too thick of a pour to start. The biggest negative attribute of GAC 800 is “dry state clarity”. This medium retains a slight cloudy quality making it a poor choice as a clear topcoat or even transparent color layer.
Other mediums to experiment with include GAC 500, Polymer Medium (Gloss), Fluid Matte Medium, Self-Leveling Clear Gel and Clear Tar Gel. One important note worth mentioning is that these products were not developed with defect-free pouring in mind, and although smooth thin layers are possible when using them, they are not free of issues and limitations. For example, a common misconception is that Self-Leveling Clear Gel can be poured liberally and spread around with palette knives, trowels and squeegees and level perfectly upon drying. This is not the case, and some tool marks, however slight, will likely remain in the dried layer. Tool shape and application technique are critical to their success, and artists who have mastered their use have spent many frustrating nights in their studio figuring out the best application method that provides the desired results. As a place to start, use clean, large tools with smooth edges and carefully spread the product in multiple thin coats until the desired effect is attained. Allow one to three days drying between coats to reduce the chance of crazing and don’t be put off if every layer isn’t a perfect epoxy like surface, as perfection is nearly impossible to attain in layers of air drying products.

GAC 800 Pour

Image 2: GAC 800 blended 10:1 with GOLDEN Fluid Acrylics creates solid color pours that retain crisp edges between each color.

Pouring Application Techniques

There are as many methods as there are product combinations to try. First, appreciate each paint color as its own unique formula and pigments vary in their density and ability to move and spread. The same is true for the many acrylic mediums produced. Now factor in the addition of water, Retarder, or diluted Acrylic Flow Release. Toss in the impact of the painting substrate and studio environment and suddenly, predictable pouring seems unattainable. The way to best describe the approach to pouring applications is the concept of setting the stage to allow the products to do what they want to do; in other words, controlled chaos. And if you don’t take good studio notes to identify how each painting is created then you’ll never be able to reproduce a great effect when they happen. That said, here are some common methods and beginning mixtures to try out:

  • Thinned Color Washes – High Flow Acrylics are ready to use for this application. The colors will readily move and interact. Try them neat, mixed with mediums like Airbrush Transparent Extender or GAC 500 and let gravity move them around. Fluid Acrylics will require at least 10% additions with water to allow them to freely move about. Note: high additions of water increase surface tension, which can be countered by adding in 2 or 3% Acrylic Flow Release into the water prior to using it to thin paints. Do not over-add Acrylic Flow Release as it does not help improve flow, it’s intended to reduce surface tension which happens quickly.
  • Solid Color Pours – As mentioned previously, GAC 800 is a great medium to use with Fluid Acrylics for making colored pours (see Image 2). Ideally start around 10 parts GAC 800 to 1 part Fluid Acrylic, mix and store the paint overnight in a sealed container. This allows the bubbles incurred during mixing to rise and pop, resulting in clean pours with sharp edges. These mixtures produce clear color edges. Solid color pours can be used over an entire canvas, but avoid damming up the edges during drying.
  • Adding Isopropyl Alcohol into Acrylic Paint – Alcohol is less dense than water, and evaporates quickly once it hits the surface of a pour. Unlike other applications, the alcohol amount for this technique is relatively low because once the effect happens and it escapes the fresh pour, there needs to be sufficient time for the normal acrylic paint curing process to

    Alcohol Pour

    Image 3: Pours of GAC 800, GOLDEN High Flow Acrylic & Isopropyl Alcohol create cellular patterns as the alcohol tries to escape the paint during drying.

    occur to avoid film formation issues. An effective starting recipe is 2 parts GAC 800, 1 part High Flow Acrylic, and 1 part 70% isopropyl alcohol. Create 3 or more paint mixtures in containers which can be shaken without spilling and carefully pour one color on top of another. Dense pigments like Titanium White should be used as the final layers so that the more aggressive colors below will push up through and create the cellular effects (see Image 3).

Conclusion

As with any new painting technique, do not be discouraged if the desired results don’t happen immediately. Good note taking is critical for successful pours of acrylic paints and mediums. If you find yourself at the crossroads and need additional guidance, please contact the Materials Specialists with your questions!

Check out these cool family friendly glass painting ideas with Marabu glass paints


QOR

Although I haven’t yet painted on it I have to say the QOR watercolor grounds go on to the substrates beautifully. So far they work better than other grounds that I have applied but I will make my final judgement after I paint on them – so keep posted for more feedback. I think they are going to be fabulous … making unusual surface a watercolor surface.
Grounds Product Information
QoR Grounds offer watercolorists three easy to apply products for use on surfaces such as wood, canvas, and paper. They are flexible, absorbent, acid free, and compatible with watercolors, acrylics, and drawing media (pencil, ink, etc.). They may also be tinted with small amounts of acrylic paints without noticeably altering the absorbency. Adding more than 5% acrylic paint will begin to change how color washes behave.
QoR Grounds may be blended together in any amount or layered on top of one another to create custom surfaces.
Preparation
Watercolor papers do not require extra preparation before applying QoR Grounds.
However some materials such as hardboard or linen can cause a yellowish-brown discoloration known as SID, or Support Induced Discoloration. If SID is a concern, apply two coats of GOLDEN GAC 100 or Polymer Medium Gloss, and let fully dry before applying the QoR Ground.
QoR Watercolor Ground
QoR Watercolor Ground is a liquid prep coat that can be applied to a variety of surfaces, such as paper, canvas and panel.Purpose – A brushable base coat useful for creating a smooth hot press paper-like absorbent surface.
Use as Ground – Allows for watercolor techniques on virtually any paintable substrate. The smooth surface remains flexible with a soft feel. Use to create custom watercolor panels or canvases. After the last layer has been applied, allow 24 hours or longer to fully dry before applying paint washes.
Application – Apply two or more coats of Watercolor Ground to paper, panel, canvas or other desired surface. Allow sufficient time (usually 24 hours or more) for the layers to fully dry before applying watercolor washes. Up to 20% water (5:1 ground to water ratio) may be added to improve leveling. Watercolor Ground may be sanded for a smoother surface, with wet sanding providing the best results. Avoid coarser grits as they can leave scratches that will become highlighted when washes are applied to the surface.
QoR Light Dimensional Ground
QoR Light Dimensional Ground can be applied smoothly or used to create texture.Purpose – creates a lightweight dimensional, absorbent surface, similar to cold press watercolor paper. It can be applied smoothly or used to create a highly textural layer.
Watercolor washes lift easily, including colors that are usually listed as staining.
Application – Apply with brush, knife or trowel as desired, and allow to fully dry. This product is non-leveling and will retain the tool marks in the dried surface. Use a wet application tool to create a more even layer. Thicker applications may take several days before they are ready to be painted.
 
 
QoR Cold Press Ground
QoR Cold Press Ground is textural and fibrous, creating a surface responsive to watercolor washes.Purpose – Creates a rough paper-like surface that easily accepts color washes and produces variations in staining. The fibers in Cold Press Ground are synthetic and will not break down from acids or age.
Application – Apply Cold Press Ground with a palette knife or trowel. Apply evenly for a smooth paper quality or vary the application for increased texture. Once applied, wet the application tool and use to smooth the surface to create a more even layer. Allow the layer to fully dry. Thicker applications may take several days before they are ready to be painted.
Protecting Painted Watercolor Grounds
Although these grounds are not made with cotton rag like many watercolor papers, they are still absorbent materials. Because of that, watercolors painted on them will need to be protected against environmental factors such as humidity, pollution, dust, handling and sunlight. To achieve this, QoR Grounds can either be framed like traditional watercolors done on paper or they may be varnished. For complete instructions, please review the information sheet Varnishing Watercolors.
I had the opportunity to try the Porcelaine 150 and Vitrea 160 by Pebeo and I have to say – It was FUN, easy and worked really well.  I had several chipped dishes that I was about to discard.  So I decided to try and rescue them by disguising the chips;  now this is now work of art but it worked for me and quite frankly I got over my hesitation of using them.  It was easy, no fuss no bother and can be used to decorate almost anything
Specialized Pan Pastel Kits
Cretacolor Calligraphy set

Ecoline liquid water color

Ecoline liquid water color

Whether this involves artistic impressions, product design, illustrations, fashion design, calligraphy or children’s drawings, the brilliant colors of this liquid water color paint bring every piece of art to life.

• Available in 46 brilliant transparent colors and 2 opaque colors (white and gold) in 30 ml, 490 ml and 990 ml
• The color range includes the three primary colors lemon yellow (205), magenta (337) and sky blue cyan (578)
• Handy Brush Pens are also available, ready for immediate use. Available in 29 colors.
• Good adhesion to water color and drawing paper and board
• It is not waterproof when dry, so you can work on it “further” by wetting what is dry once more
• Store the original works of art in a portfolio for optimal color retention

—————————————————————————————

NEW: Mod Podge ® Clear Acrylic Sealer:


Easy-to-use spray protects paint, lacquer, varnish, stain, glue, wood and other porous surfaces. Creates a strong, crystal clear and non-yellowing acrylic seal. Reduces tackiness, a common issue with decoupage projects. No runs or drips. Dries quickly.


Can this be used over painted rocks?
This product can be sprayed over paint after it has cured completely.
Yes. When applying make two light coats instead of one heavy one.

Dots ‘N Doodles September Newsletter
TIPS on using POSCA Markers
Posca tips
How to prime POSCA?
Shake the marker vigorously with the cap securely attached in order to move the ball inside the barrel. On a test sheet, press the tip down several times to start the paint flowing. Replace the cap tightly after use.
Posca tips
How to use POSCA brush?
Shake the marker vigorously with the cap securely attached in order to move the ball inside the barrel. To use the marker, remove the cap and the protection on the push button. Press and hold the push button to start the paint flowing. Replace the cap tight after use.
Another tip: You do not need to press the push button for too long and only once the cap has been removed.
Why should I test POSCA before use?
Paint flow is controlled by a valve and a piston mechanism. To regulate and optimize the flow, try on a piece of paper before use.
Another tip: Keep the scrap paper in case you need to prime POSCA again.
What are Posca’s paint characteristics?
The paint is both opaque and fluid, smooth and dense with a wide coverage. It can be mixed, diluted and overlaid. The rendering is similar to that of acrylic. So, how to mix colors? You can mix them directly onto the surface as long as the paint is wet. There’s no need to pre-mix them in a different bowl or palette. It is ideal to overlay colors. As the paint dries quickly, you can cover a layer by a new one within a minute and without smudges. Even light colors can perfectly overlay with dark ones.
Is POSCA’s paint permanent?
POSCAs are water-based pigment paint markers which can write on any surface. Paint is permanent on porous surfaces, and removable on non-porous surfaces such as glass. You can further optimize its adherence by following one of the next three steps: apply a varnish (see the workshop with salt dough magnets), bake in the oven (ceramic…) or iron (see the ecological bag workshop).
Is POSCA refillable?
You cannot refill POSCA. Some users do reuse paint from one marker to another, in particular to mix colors. Mitsubishi Pencil Company has however not designed it for that use.
What is the drying time?
The drying time is extremely quick. Generally, the paint dries quicker on porous surfaces than on smooth ones. In any case, wait a few minutes and the paint will be dry.
Are tips replaceable?
The tips of the following references can be replaced when dirty or worn: POSCA PC-1M, PC-3M, PC-5M, PC-8K and PC-17K.
Posca tips
What should I do when the tip has dried?
Don’t panic if you have lost the cap and the tip has completely dried. Thanks to the piston and valve mechanism, you can flow paint once again by priming the POSCA marker again.
Another tip: In case the tip is extremely dry, you can take it out simply by pulling and rinse it with water.
How to avoid bleeding?
The valve and piston mechanism prevents bleeding. To control the flow, press the tip down on scrap paper when priming POSCA.
What do you mean by Watercolor effect?
You can create great gradation effects with Posca’s paint, also referred as a watercolor effect. You only have to be careful you perform it before the paint dries. Once the paint has dried, you cannot dilute it but you can overlay the colors
Posca tips
How to correct a mistake?
If you have missed a line or got the wrong color: overlay! With POSCA, you can overlay colors as many times as you wish.
Another tip: Wait until the first layer has dried before applying another one.
Can I use Posca to paint on skin?
POSCA can easily be cleaned off the skin and is non-toxic. However, it is not a cosmetic and has not been tested against cosmetic or dermatology standards. The manufacturer will therefore not be responsible for possible reactions on the skin if used incorrectly.
Is Posca Toxic?
POSCA’s paint is water-based, without solvents and is odorless.
In fact, beekeepers use it to identify the queen in beehives! A color corresponds to each year which enables them to determine the insect’s age.
Can children use them?
POSCAs are water-based markers. They are odorless and totally safe for children to use. However, as they are quite technical, we recommend them for children over 5 years old.
Posca tips
How to store your makers?
POSCAs can be stored horizontally or vertically. However, it is preferable to store POSCA brush horizontally. The ball inside the barrel enables paint to flow at any time. The paint being perfectly preserved in the barrel.
Do I need some specific material to use POSCA?
You do not need material such as a brush, a cloth nor water: POSCAs enable you to paint neatly and accurately. You do not need any additional materials.
PAPER Tracing paper, photo paper…
POSCA markers adhere perfectly to all types of paper and cardboard such as tracing paper, photo paper or cardboard. The paint does not bleed through paper and is resistant through time. The adherence can be further optimized using varnish.
Posca tips
POSCA’s on Fabric
POSCA can write on any type of fabric and is resistant to washing once it has been ironed. We have tested POSCA’s compatibility on a wide selection of fabrics such as cotton, silk, linen and leatherette. Of course, the resistance will depends on the type of fabric. To fix colors, iron the fabric on the reverse side, using no steam.
Posca tips
To optimize adherence, wash the fabric before customizing with POSCA. On delicate fabrics, we suggest you start drawing outlines and then color progressively in order to avoid bleeding.
MINERAL Perfect adherence
POSCA is impeccable on clays, stones and rocks, cement etc… Its adherence is perfect and the line definition is fine. You can apply a varnish or bake in the oven (depending on materials) to optimize its adherence and resistance. On smooth or shiny surfaces, make small circular and regular movements when painting to achieve a neat result.
CERAMIC/PORCELAIN
POSCA is ideal for creative works. Your works can evolve following your inspiration. Once baked in the oven, they will become permanent.
WOOD POSCA is ideal for wood
POSCA is ideal for creations on wood. See the rendering on different kinds of wood and the steps to follow to optimize your works’ freshness.It absorbs quickly into untreated wood, should be mostly dry after about 5 minutes, it was good after 5 on smooth non absorbent surfaces
Posca tips
METAL Indoor and outdoor
We have tested POSCA’s adherence, line definition, resistance to rubbing, to water… on aluminum, iron and coated steel.
PLASTIC
All types of plastic Did you know that POSCA’s paint adheres perfectly to latex? That it can be fixed on vinyl or PVC by ironing under a cloth? To discover POSCA’s proprieties on all types of plastic, read here!
GLASS
Choose: permanent or non-permanent?
POSCA writes on glass and can be cleaned off with a damp cloth*. Your creations and markings on glass can be either non-permanent or permanent once baked in the oven.
Posca tips
MORE
POSCA can also write on:
Smooth and raw leather, suede and even wax or eggshell.
Encaustic Supplies At Dots ‘N Doodles
R&F Encaustic Wax

What is Encaustic Paint

Encaustic is a wax based paint (composed of beeswax, resin and pigment), which is kept molten on a heated palette. It is applied to an absorbent surface and then reheated in order to fuse the paint.  The word ‘encaustic’ comes from the Greek word enkaiein, meaning to burn in, referring to the process of fusing the paint.  Although they come from the same root word, ‘encaustic’ should not be confused with ‘caustic,’ which refers to a corrosive chemical reaction. There is no such hazard with encaustic.

Opulence. Encaustic is perhaps the most beautiful of all artists’ paints, and it is as versatile as any 21st century medium. It can be polished to a high gloss, carved, scraped, layered, collaged, dipped, cast, modeled, sculpted, textured, and combined with oil. It cools immediately, so that there is no drying time, yet it can always be reworked.

Wax is its own varnish. Encaustic paintings do not have to be varnished or protected by glass because encaustic, which is the most durable of all artists’ paints, is its own protector. This is because beeswax is impervious to moisture, which is one of the major causes of deterioration in a paint film. Wax resists moisture far more than resin varnish or oil. Buffing encaustic will give luster and saturation to color in just the same way resin varnish does.

No yellowing. Encaustic paint will not yellow  or darken. However, wax itself is photoreactive, so unpigmented encaustic medium that has been kept in dark storage will darken slightly. When re-exposed to light that darkening will bleach out.

No solvents. Encaustic paint does not require the use of solvents. As a result, a number of health hazards are reduced or eliminated.

Getting Started

Understanding Encaustic
Encaustic is a beeswax-based painting medium that is worked with heat.  It can be used as a luminous traditional painting medium, but it also has the potential to obscure the boundaries between mediums like no other art material, resulting in works that are just as much about painting or sculpture as they are about photography, drawing, printmaking, installation or a variety of craft techniques. Artists of all kinds are discovering its unifying potential, unique properties and versatility.
Painting with encaustic is a multi-step process.  First, the paint must be melted, or liquefied.  Next, the molten paint is applied to a porous surface. Then the applied wax is reheated, or fused into, the working surface, allowing it to form a good bond.  As a final option, the cooled paint can be buffed to bring up the luster of the wax and resin.

Basic Set-up Suggestions

•  You will need a clean level counter or worktable to put a heated palette on.  When setting up your worktable take into consideration the space that your palette will occupy and give yourself extra room for additional
materials. 

•  You will want to make sure that your work area has proper ventilation. Exhaust fans in windows, cross-ventilation, or a studio ventilation system are all good options.  It is important that you have a source of fresh air in your workspace. 

•   It will be imperative that you have adequate electrical outlets available for use. Consider that you will have a palette, possibly a heat gun and/or other tools that will require electricity and it will be helpful to position your workspace accordingly. 

•  Keep in mind that anytime you use heated tools/equipment it is recommended that you have a burn kit and a fire extinguisher on-hand for safety purposes. 

Work Surface

A counter or table to hold an electric palette, heat gun, tools and your work-in-progress.

Ventilation

Though not unpleasant to smell, wax fumes should be treated like solvent fumes.  A well-placed window fan should be adequate for a small set-up.  Click here to read our Ventilating Your Studio for Encaustic Paints Technical Sheet.

Safety Precautions

Your workspace should be free of any solvents and flammable materials.  A burn kit and fire extinguisher are also recommended.

Tools and Equipment

Heated Palette

The heated palette is an essential tool to the encaustic artist.  It provides a surface to heat and mix encaustic paint and medium on. Less expensive alternatives to purchasing a custom palette include electric skillets, crock-pots or electric griddles.  R&F’s heated palettes are designed specifically for encaustic  painters and feature an anodized aluminum surface which prevents reactivity that could discolor pigments.  The versatile aluminium surface also makes it easy to see paint colors. Regardless of the palette you select, it is important that it be equipped with temperature controls.

Palette Surface Thermometer

It is crucial to be able to monitor the surface temperature of your palette.  A surface thermometer can easily assist you in monitoring the temperature of your palette (the safe working temperature for encaustic paint ranges from 180-200°F). For this reason, R&F offers a heavy duty Thermometer that sits on top of your palette surface.

Fusing tools

As you apply layers of paint to your support you will want to fuse (or re-heat) each layer to ensure that it is adhered to your ground or substrate.  It is important to fuse between layers to prevent them from separating.  There are two methods for fusing; either indirect (heat gun, torches, light bulbs, or sunlight) or direct (tacking irons, spatulas, heated brushes, plaster tools, palette and paint knives, etc.)

Brushes

Use natural bristle brushes only;  synthetic brushes can burn and melt on the palette.

Mark-making Tools

Any type of mark-making tool will work with Encaustic paint.  We recommend etching, wood carving dental, sculpture, and clay working tools.

Supports

For best results, encaustic should be painted on a rigid, absorbent, and heat resistant surface.  Examples include: wood (maple or birch plywood), heavy watercolor or printmaking paper glued to board, or raw canvas glued to board (avoid pre-gessoed canvas boards).  Please note that you can use  paper as your support, but you will want to consider the size and rigidity of the paper. 

Three-dimensional or sculptural work that is porous and rigid can also be used. Plaster, stone, wood, terra cotta, or cast paper are all acceptable surfaces to work on. 

Soy or Paraffin Wax

There are two options for clean-up, either Soy or Paraffin wax.  We recommend using soy wax for clean-up because soybeans are a renewable resource, while paraffin is a petroleum based product.  An additional benefit to using soy wax is that it can be washed off with soap and water leaving brushes supple.

Palette cups

Great for keeping melted waxes separate on your palette.  R&F carries heavy aluminum and steel alloy rectangular palette cups in two sizes (sm|lg) to fit our 40 ml and 104 ml cakes.

Encaustic Paints

There really is no general recommendation for a starter palette of colors, since different artists have individual preferences, but we recommend that you choose a good balance of opaque and transparent colors.  Try starting with a red, yellow and blue, and build from there.

 

 

 Encaustic Colors
What distinguishes our paint as handmade is the intensive labor involved in making paint solely from its base ingredients of pigment and medium. We want the individual characteristics of each pigment to show through. This means that the formulation and milling of each pigment must be tailored to its particular traits. Each of our colors, therefore, has a slightly different feel to it. Each batch is milled in small carefully controlled batches. 
R&F’s encaustic paints are currently made in 84 vibrant colors plus encaustic medium and impasto modeling wax.

Size Information

    • 40 ml cake = 2½” x 1¼” x ¾” (6.4cm x 3.2cm x 1.9cm)
    • 104 ml cake = 3½” x 1½” x 1¼” (8.9cm x 3.8cm x 3.2cm)
  • 333 ml cake = 5″ x 3½” x 1¼” (12.7cm x 8.9cm x 3.2cm)

 

In our work we use only legal software. www.cheapsoftware.com – one of the sites where we purchase program. All our machines are programmed using Solidworks 2016 Premium, located here. Buy OEM software enables us to significantly reduce the price of our paints.
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
    •  
       
       
  •  
     
     

Our Colors

102 colors in pigment stick | 84 colors in encaustic

 

History of Encaustic

Encaustic painting was practiced by Greek artists as far back as the 5th century B.C.  Most of our knowledge of this early use comes from the Roman historian Pliny the Elder whose Natural History, written in the 1st century A.D. was a monumental encyclopedia of art and science. Pliny seems to have had little direct knowledge about studio methods, so his account of techniques and materials is not thorough, but his discussion gives us an idea of its general usage. According to Pliny, encaustic had a variety of applications: for the painting of portraits and scenes of mythology on panels, for the coloring of marble and terra cotta, and for work on ivory (probably the tinting of incised lines).

Wax is an excellent preservative of materials. It was from this use that the art of encaustic painting developed. The Greeks applied coatings of wax and pitch to weatherproof their ships. Pigmenting the wax gave rise to the decorating of warships and later, merchant ships. Mention is even made by Homer of the painted ships of the Greek warriors who fought at Troy. The use of a rudimentary encaustic was an established practice in the Classical Period (500-323 BC). It is possible that at about that time the crude paint applied with tar brushes to the ships was refined for the art of painting on panels. Pliny mentions two artists who had in fact started out as ship painters.

[Pliny’s account of artists and their practices is in Book 35 of his Natural History]


Encaustic and Tempera

Encaustic on panels rivaled that of tempera in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow involved technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly lifelike. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time.


Encaustic in Sculpture

We know that the white marble we see today in the monuments of Greek antiquity was once colored, either boldly or delicately and that wax was used to both preserve and enhance that marble (see “Polychromy in Greek Sculpture” below). The literary evidence of how this was done is scant. The figures on the Alexander Sarcophagus in the archeological Museum of Istanbul are an example of such coloration, although it is not clear how intense the original color was.

The methods used to color the marble probably varied. They may have been painted with encaustic or painted with tempera and “varnished” with fused wax.

A 4th Century BC terracotta krater vase in the Metropolitan museum depicts a painter applying encaustic to a sculpture of Heracles while his servant heats up metal spatulas on a charcoal brazier.

The Fayum Portraits

Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st and 2nd centuries A.D. by Greek painters in Egypt. A significant Greek population had settled in Egypt following its conquest by Alexander, eventually adopting the practice of mummifying their dead. The portraits, painted either in the prime of life or after death, were placed over the person’s mummy as a memorial. The custom of funeral portraits did not begin until after the conquest of Egypt by Rome and lasted about two centuries. The portraits represent the converging influence of Egyptian religious ritual, Greek aesthetic and Roman fashions and social ranking.                                             
       
Many of these pieces have survived to our own time, and their color has remained as fresh as any recently completed work.

The great period of economic instability that followed the decline of the Roman Empire and the change in cultural values caused encaustic to fall into disuse.  Some encaustic work, particularly the painting of icons, was carried on as late as the 7th century, but for the most part it became a lost art.  It was replaced by tempera, which was cheaper, faster, and less demanding to work with.

The Revival

18th & 19th Century Revivals. The roots of modern encaustic painting go back to the 18th century when antiquarians, excited by the archeological discovery of the buried cities of Pompeii and Herculaneum, strove to rediscover the techniques of the ancient painters. Encaustic was further explored in the 19th century as a way solve the problem of dampness faced by mural painters in northern climates. Although the practice did not become widespread, there were some amazing successes, such as John LaFarge’s murals for Trinity Church in Boston.

20th Century Revival. In the first half of the 20th century, the invention of portable electric heating implements made encaustic a far less formidable technique. Numerous artists were drawn to experiment with it and apply it to their individual styles. Robert Delaunay, Antoine Pevsner, Diego Rivera, Rifka Angel, Karl Zerbe, and Victor Brauner were early exponents of the revived technique.

Alfonso Ossorio, Jasper Johns, Lynda Benglis, Robert Morris, Nancy Graves, Mia Westerlund Roosen, Robert Rauschenberg,  are prominent among the many artists who turned encaustic into a modernist and cross-disciplinary medium, extending its use from painting to collage, assemblage, sculpture, and printmaking.

1940s. First commercial encaustic. The latter part of the century saw a further explosion of encaustic painting propelled in part by the availability of commercial encaustic paint, first introduced by Torch Art Supplies in New York City in the late 1940s.

1988. R&F Handmade Paints. The tradition of commercial encaustic was continued after Torch goes out of business when their paint maker, Richard Frumess founded R&F Handmade Paints.

1995. Encaustic Workshops. R&F began teaching the first regularly run encaustic workshops, first in art centers, then, in 1996, in its factory building in Kingston, NY. The workshops were held year around in formats ranging from 1-5 days and cover both 2- and 3-dimensional uses of encaustic. In 1999, R&F began setting up regional workshops in throughout the country. In 2004 R&F developed collaborative workshops with other workshop organizations, combining encaustic with photography, printmaking, and papermaking.

1997. Encaustic Works biennial. R&F inaugurated the first of its biennial exhibitions of encaustic work with the intention of creating an ongoing record through the exhibit catalogues of encaustic’s growing role in contemporary art making. Jurors included artists, gallerists, and curators, such as Stephen Haller, Judy Pfaff, Mia Westerlund Roosen, Tracey Bashkoff, Joan Snyder, Heather Hutchison, and Joanne Mattera. Over the years, the biennial itself evolved into a curated exhibit in print. The 2014 exhibit will be curated by Michelle Stuart.

1999. The Montclair Art Museum in Montclair, NJ, held the first museum show dedicated to encaustic. Waxing Poetic: Encaustic Art in America. The essays in the accompanying catalogue provide a comprehensive history of encaustic painting from the 18th Century onward.

2001. Joanne Mattera’s The Art of Encaustic Painting became the first technical and contemporary overview of encaustic to be published. Since then numerous other books, essays, and instructional DVDs have come out.

The ferment from all of these developments resulted in numerous encaustic related exhibits and the formation of encaustic networks and conferences and events. The International Encaustic Artists was founded in 2005 and holds its annual encaustic conference event, EncaustiCon, in a different city each fall. The International Encaustic Conference founded by Joanne Mattera in 2007 is held yearly in June in Provincetown, MA in conjunction with Truro Center for the Arts at Castle Hill.
 
press this link to go directly to R&F

Available at Dots ‘N Doodles Art Supplies
Please enable images

Please enable images

Please enable images