Tag Archives: encaustic painting of abstract shapes

A Piece of Me #43, encaustic on panel over linen. 21 x 13.3 cm or 5 1/4 x 8 1/4 in. Final Version.

A Piece of Me #43, encaustic

A Piece of Me #43, encaustic on panel over linen. 21 x 13.3 cm or 5 1/4 x 8 1/4 in. Final Version.

A Piece of Me #43, encaustic on panel over linen. 21 x 13.3 cm or 5 1/4 x 8 1/4 in. Final Version.

A Piece of Me #43, encaustic on panel over linen. 21 x 13.3 cm or 5 1/4 x 8 1/4 in. Version #1.

A Piece of Me #43, encaustic on panel over linen. 21 x 13.3 cm or 5 1/4 x 8 1/4 in. Version #1.

Another graphical composition. This one, the tip of my linen jacket top right, against a light yellow stuccoed wall with two strong shadows left and right. The panel as substrate was not heavily textured (like collage or pastiglia) but I had glued some linen to it before coating it with gesso. I have already seen in the past that untreated panels (so plain wood) do react differently to paint than those with a covering of linen or cotton. The cloth covered ones are somehow softer, more receptive, while the wooden ones are harsher, more clinical. It’s a touchy-feely thing that comes down to the surface’s ability to absorb and respond to the paint.

All this to explain my dissatisfaction with the first version pictured above, right. Partially due to the receptivity of the substrate, the shadowed sections were just too opaque and heavy. There had been too much build up of impasto paint, especially along the inner edges, making the painted panel feel thick and overworked. So I decided to melt off the shadowy section and repaint it. I am more satisfied with the final version now, above left, as well as spotlighted above (online only). There is more light in the shadows. While I was at it, I also lightened up the yellow wall. Got a little heavy with the tooth brush speckles though, so I may need to edit a few of those out? But for now, I’ll let it sit.

Description of the overall project here. Technical write up of using encaustic for an indirect painting technique here.