A very abstract floor tile piece. Foreground, right. So I allowed myself to use undiluted mars black for the final accent touches (how daring!). Compositionally then, there were two parts, a dark upper quarter and a light, bottom three quarters. I tried to be sure to bring touches of each into the other chromatically, to assist in the creation of an overall unity within the painting.
Also, I used a lot of different tips and tricks to enhance texture and workability of the paint: the iron/cheesecloth trick and the loaded toothbrush-splatter trick. But one of the most interesting effects occurred during the “burning-in” phase. The surface was fairly loaded with brushwork in different tonalities. Some areas were thicker than others. So when I held the heating lamp over the panel to burn-in the paint and seal it to the panel, some areas began to pool more quickly than others. No problem. I watched and waited. Then because some pigments are naturally heavier than others, as they remelted on this flat surface, a mottled look began to appear which enhanced the original mottled look of the tiles. Nice, like clouds drifting in the sky. Fluid. And as they cooled – cast into stone.
Description of the whole project here. Technical write up of using encaustic for an indirect painting technique here.