Art Supply Warehouse; (Raleigh North Carolina) 1-800-955-6778 www.aswexpress.com and www.aswsale.com
Jerry’s Artarama ; (North Carolina) 1-800-827-8478 www.jerrysartarama.com
Cheap Joes ; www.cheapjoescatalog.com/index.asp
Dick Blick ; 1-800-828-4548 www.dickblick.com also local retail store in Roseville very cool store, helpful staff)
Wet Paint; 1684 Grand Avenue, St. Paul, MN 651-698-6431, www.wetpaintart.com
Daniel Smith; 1-800-426-6740 www.danielsmith.com
Northstar Watermedia Society ; Meets on the 3rd Thursday of the month at Centennial United Methodist Church 1524 W. County Road C2,
Roseville MN. Membership : Dick Graves, 2750 N. Dale #51, Roseville, MN 55113, . www.northstarwatermediasociety.com.
Minnesota Watercolor Society; Meets monthly September-May at Christ Presbyterian Church, 6901 Normadale Blvd., Edina, MN (Corner o 70th St. S.
and Hwy 100). Membership Chair, Marian Alstad, 4011 Chicago Ave. S., Minneapolis, MN 55407-3142. . www.minnesotawatercolors.com
Karlyn Holman Is a wonderful resource for all things and a wonderful and sharing teacher. She has written books on watercolor techniques She has
many DVDs and mats available on her web site. Karlyn lives is Washburn, WI. 715-373-2922. www.karlynholman.com
This is my studio at home.
We converted our 2nd story master bedroom into my
studio. The two roof windows give me plenty of light
as well as fresh air.
This is where I spend a lot of my time designing and painting.
The classes are taught downstairs by converting the dining room and living room into a classroom.
BATIK BASICS © 2013
By Carol Spohn
• Ginwashi rice paper
• Watercolor paint, I prefer transparent colors
• Wax Paper
• Micron Pigma #.01 or Sakura Identi-Pen Dual Point marking pen or Sharpie Extra Fine marker (black ink)
• Your usual painting supplies which should include at least 2 water containers, paper towels, pop up tissues,
brushes (#6 and #14 round), a spray bottle
• Batik supplies: Canning wax, electric fry pan, various sizes of paint brushes for wax, iron, newspapers (not the
• Optional- Caran d’Arche Neocolor II artist water soluble crayons or any other brand of water soluble wax crayons.
General Concerns When Using Rice Paper and the Wax Batik Process:
• Ginwashi rice paper has little sticks of wood/fibers in the paper.
• The paper has a right and wrong side. The smooth side is the right side. It is easier to draw on the smooth side.
• When tracing the pattern, use a black permanent waterproof ink. Some pens say they are waterproof and they
are not permanent for watercolor purposes. Double check by wetting and trying to smear the ink with your finger.
• When tracing, place the wax paper between the rice paper and the pattern.
Transferring the Pattern:
• Trace the pattern on the Ginwashi paper. Place the pattern on the table, then place a sheet of wax paper on top of
it, then place your rice paper on top, smooth side up. The wax paper will protect your pattern from the ink bleeding on it.
• Use your permanent pen and draw every line that is on the pattern. Sign the painting with your pen which will
assist you in determining the right and wrong side of the painting. s the batik process progresses, it gets more difficult to
tell which side of your painting is the right side but you can tell but looking at your name.
• Do not let the tip of your pen rest on the rice paper, is will suck up the ink and give you a blob of ink. This also
means that you DO NOT want to slowly trace the pattern.
• Use canning wax that you buy in the grocery store.
• Use an old electric frying pan to melt the wax. Check out garage sales for one. Once you use the pan for wax that
is all you can use it for.
• Heat the wax to 180-200 degrees. The wax SHOULD NOT boil. It has to be hot enough to keep the wax very
liquid, but not so hot that it boils. If your wax is too hot, it can start on fire.
• You need separate brushes for waxing. Once you use them for waxing, you cannot use them for anything else.
The wax will never come out of them. You should have a variety of sizes, for example a liner, a round (about a size 8)
and a 1” flat brush.
IT IS IMPORTANT TO REMEMBER THAT ONCE THE PAPER HAS WAX ON IT; THE PAPER WILL NO LONGER
ACCEPT PAINT. THINK AND DOUBLE CHECK BEFORE YOU WAX OUT A PORTION.
• Use wax to protect the painted design underneath the wax and to save highlights. Waxed areas will also give us a
• Do not use the hair dryer on your batik with the wax paper under it. Some of the wax from the wax paper may seep
on to your rice paper.
• When you wax, place the wax paper under the rice paper for support.
• YOU CAN ONLY WAX ON DRY PAPER. PLEASE MAKE SURE YOU RICE PAPER IS TOTALLY DRY BEFORE
APPLYING THE WAX.
• When you paper is wet, it is very fragile. Be careful that you do not poke a hole in it.
Painting on Ginwashi Rice Paper:
• Keep in mind when applying paint that it will seep outside of your design into your background, and this is OK as
long as you soften the edges so there are not any hard lines. Soften edges using water and a clean brush. You can
control the bleeding somewhat by using less water in your brush and not using as much pressure on your brush and by
not painting to the edge of your design.
• Another way to control the bleeding is to place a clean tissue under the painting while painting that element. When
finished with that specific element, remove the tissue and throw it away so it does not bleed back onto the rice paper.
• I usually spatter wax all over the piece before painting. It provides for unity and hides areas where you slop wax on
your piece by mistake.
• Wax the painted shapes you wish to save. It is IMPORTANT that the paper is DRY before you wax over a shape.
• Wax creates a hard line. Make sure you want the wax where you place it. Look at your waxing diagram and make
sure you are finished painting an area before you wax it. You cannot remove the wax while painting, only at the end.
After You are Finished Painting.
• Wax out your entire piece. Be through. Wax horizontally and then vertically to make sure you do not miss any
• YOU MAY CHOOSE TO SKIP THIS STEP AND THE NEXT. Let the wax dry, remove from the wax paper from
the batik and crumple the waxed batik into a ball. Crumple gently but firmly. Crumple over an open grocery bag
because this will be messy. Small cracks in the wax are fine. Smooth out your painting onto your wax paper but do not
peel the chucks of wax away.
• Mix a puddle of purple or blue paint (or any dark mixture from your pallet) and brush over your painting. You can
choose to paint just certain areas or paint it uniformly over the entire painting. This color will seep into the cracks and
will add some areas of dark unto the rice paper.
• Choose where you want the spots of purple and choose how many. Make these spots of color small. Gently blot
the beads of color with a tissue to remove any unwanted paint.
• Wax over the entire painting. This time, the wax can be applied over the wet paint. Do not over-brush the wax;
doing so will give you streaks of color instead of just dots of color.
• Cool the batik and remove the wax paper.
• Put the completed batik between layers of newspaper. Use at least 5 layers of paper over and under the batik
painting. Iron with a hot dry iron. Change the newspaper when it is saturated with wax. Continue to iron and change
the paper until no wax is seen on the newspaper, it usually takes about 3 ironings.
• The finished painting can now be mounted on a white background with double stick tape. I have used watercolor
paper or mat board for the support board. The support board has to be white to “pop” the batik. My experience is that
taping the support paper and placing the batik on top of the tape sticks better than trying to apply the tape to the back of
• You may be able to paint over areas with your watercolors. It depends on how well you ironed out the wax.
• I have had limited success in trying to paint over an area with watercolor. In my experience, the wax prevents it
from soaking into the painting and forcing the color damages the paper.
• It is usually best to do a minimal amount of corrections and allow the freshness of your painting to show through.
Batik is not an exact painting process and should be appreciated as such. Don’t overwork your painting.
• You can do a limited amount of correction by using artist watercolor crayons on your piece, after it is ironed and
before it is mounted on support paper. The colors won’t match exactly so be cautious.
• To use the watercolor crayons, you can scribble onto your batik and then soften with a damp brush, or you can
apply your damp brush to the crayon and then paint on your piece.
• After mounting the batik on the background paper, if the signature is not easy to read because it has painted over
it, also sign the support paper under the batik.