Encaustic Workshop Techniques

Catherine Keebler at Paula's Workshop in Santa Fe

  Beyond Technique

In each workshop I help you advance your work by connecting with its deep source within, and providing the skills to execute your ideas. I review basic principles of art and design where needed. All assignments and exercises are open-ended, allowing you to find a unique approach. With my insight and experience in encaustic painting and monotypes, I can be a catalyst and a guide to move your work forward. --Paula


All Santa Fe workshops take place Paula Roland's fully equipped studio, with amazing material resources, and her art works as inspiration.

CELEBRATING 23 YEARS OF CREATING AND TEACHING! Roland demonstrates the behavior and properties of the materials so that desired outcomes can be replicated. All the while, she embraces the mercurial aspects of this spontaneous and freeing approach to encaustic.

TOPICS VARY BY WORKSHOP AND LEVEL. Refer to specific workshops for techniques offered.


We cover safe practices, grounds and substrates, fusing with torch, lamp, and heat gun. Further topics: translucency, glazing, texture, smooth surfaces, layering, scribing, excavating, wax and oil stick, collage, stencils, image transfers and more. The Mark-making/Carbon Mash Up includes working with graphite and India Ink in unique ways developed by Paula Roland.

Discussions include developing the work's content and finding your unique voice with the medium. Also covered: Setting up your encaustic studio, tips for working larger, shipping, and care of encaustic works.


  • Navigating the Roland HOTbox efficiently.
  • Interesting exercises that quickly inform ways of working in a fun way.
  • Comprehensive health and safety for encaustic.


  • Framing, mounting, and other options for traditional and free-hanging paper presentation.
  • Monotype tools, techniques and approaches, including additive and subtractive, calligraphic or over-printed, and balance of spontaneity and structure.
  • Mastering the use of a wide range of papers, and each with their own quirks and peculiarities.
  • Layered “passes” for depth, translucency, and blended color.
  • Building surface texture.
  • Mastering interdependent variables (temperature, wax, paper, pigment load).
  • Registering prints in many ways.
  • Stamping, stencils, block-out.
  • Color and  translucency in several ways.
  • Warmed drawing with mixed media on prints and waxy paper
  • Working large and printing scrolls with combined techniques. (Advanced classes and Mentoring Sessions may use the HOTbox Grande 42" x 60" plate).
  • Registered prints with borders, like traditional prints, or printing edge-to-edge.
  • Work on experimental surfaces (paper, Xerox, photographs, cloth, etc).
  • Wax batik-like resist on paper.
  • More! Techniques are added continually, as new ones are developed!



      Intermediate Monotypes and specialty workshops (Carbon Lab and Mark-making) include  new monotype techniques and some of the following:
        • Developing content while improving skills
        • Review and refine techniques (see above)
        • New techniques and approaches to creating monotypes
        • Troubleshoot technical and compositional issues
        • Mark-making on and off of the HOTbox
        • Encaustic collage on paper or panel substrates
        • Dipping paper in wax
        • Pouring wax
        • Inventive ways to utilize the HOTbox
        • Painting and drawing with graphite, ink and other carbon based materials. Unique techniques developed by Paula for use in her own works.


        Encaustic Monotype is an innovative, contemporary process and a painterly approach to printmaking. Experimental and freeing, the encaustic monotype may be used with a range of imagery and styles while tending toward abstraction. The process combines the ancient painting medium of encaustic with the popular monotype process. 



        Encaustic paint crayons (beeswax and professional grade pigments in solid form) are used to draw upon a heated metal plate. The wax melts instantly and may be manipulated with brushes and other tools. Absorbent paper is laid on the plate and the image is transferred to the paper without a press, using only the pressure of the hand. Variations in type and absorbency of paper, work surface temperature, pigment load, and the translucency of the wax make the encaustic monotoype an excellent tool for the creative process, honoring spontaneity and the artist's intention.


        • Review of techniques above, as applicable
        • Additional techniques to meet your identified specific needs
        • Work in encaustic painting, mixed media, printmaking, 3d, Installation, or combinations
        • Individual consults with Paula
        • Feedback from peer paticipants / guest artists
        • Develop content and strategy
        • Working large (on double HOTbox, HOTbox Grande, or large paintings)
        • Incorporate works with your studio practice
        • "Workshop" a new idea or create works for a project or exhibition
        • Furthering professional development through identified topics


        ABOVE LEFT: Details of Palm (L) and Field (R), layered and backlit encaustic monotypes by Paula Roland, at ArtSantaFe art fair.

        ABOVE RIGHT:  Language of Beauty XII, encaustic monotype on Shikoku paper,  39 x 25 inches, by Paula Roland


        Monotype or Monoprint--are they the same? Both are prints, images that employ an intermediary step, created on a smooth substrate (the plate) and offset onto paper. Though these terms are often used interchangeably, there is a difference.                 

        READ About Edgar Degas: A Strange New Beauty     

        Monotypes are "one-of-a kind".  Edgar Degas and Paul Gauguin called them "printed drawings". It is the immediacy, spontaneity, and intimacy of the artist's "touch" that attracts artists and collectors to these works. Monoprints, on the other hand, have a portion of the image permanently marked into the print plate, i.e., etched or carved, and only a portion that is applied free-hand. The monoprint is part of a series, each varying slightly. 

        Monoprints are editioned and limited in number which is reflected in the signing of the print. The monoprint may be traced to Rembrandt, who was able to change day to night by the way he wiped the ink on his etched plates. (Jung, William,History of the Monotype, 1996). 

        Encaustic Monotypes and Monoprints are still in their infancy as an art form, unknown to many in the art world. It is exciting for artists and collectors to be present at the birth of a new and unique art process!

        In Paula's ENCAUSTIC MONOTYPE WORKSHOPS, techniques build logically upon each other. You are in the hands of a veteran teacher and gain confidence as Paula helps you meet your goals and guides you to find your unique voice with the medium. These workshops are also an excellent introduction to the use of encaustic for painting, collage and mixed media.




        Paula's personal works utilize encaustic prints in unusual and exciting ways, including installation art, large scale prints, reconfigured print collage, and combined with encaustic painting. She shares her ongoing discoveries with students and her continually updated workshops are suitable for repeating, as many do! Visit Paula's art website, PaulaRoland.com, to experience her range of accomplishment with encaustic printing and painting.


        NO PRESS IS USED! Studying with Paula may save you months,

        perhaps years of trial and error with encaustic monotype and

        works on paper.