Still working on fine lines

I think I might be on track
this is just an exercise on how I can apply fine layers and have some control

Further developments

after watching Jenny Sage's work, based on pigment in wax
I couldn't resist to play
this is the result

it is still a bit milky as it is "hot of the press"

it has tissue paper as base, the clear EM, pigment pressed/polished in and

a "3 minutes live drawing ink sketch" (one of mine) added

The wax will clear with time

this time with tissue background

#5
with tissue background

background is tissue application melted in, covered with a thin almost transparent white layer,

chair cushion is tissue paper


I think this series is coming to it's end

again, it's a learning curve
an exercise of different applications and how to treat and apply the wax
trial of different brushes and how they work













Conclusion Brushes:

Hake brushes, they really work best for fine applications, for thinner layers,
less "droppy" drops (which have to be melted flat again), need less time to clear the surface with heat















---  against these, the cheapest Bristols work well for other things, like texture and playing

• I cut them down to have few hairs left
• cut them up for different effects, etc.
• treat them badly for textures

they do leave a lot more wax behind though.................

Still working Encaustic out #3 & #4

#4 a Victorian Frame

 

Not a lot of added paint, the chair itself is very thin layers of oil pastels, the background has been finished with oil paint rubbed back

 

I think I am improving slightly, but can tell you, fusing is explosive, one nano-second too long and puff, you are in trouble and a lot of work ahead to restore



#3 Chair




I scratched the chair's lines the 'dry' brushed the encaustic until there were all this bumps of paint, didn't like the surface as was so painted another layer of Encaustic Medium on top