I make my recent Endangered Species series on a 24 ” x 16 ” format on pieces of MDF ( medium density fiberboard ) covered with an encaustic gesso . I then apply three coats of clear wax and two coats of Titanium white wax , torching each layer as I go and making sure the wax is as smooth as I can get it so the alcohol inks can easily slip and slide around . After some experimentation using a variety of alcohol ink colors , I chose just five for a more monochromatic effect . Sometimes I will add a shiny silver alloy to the mix or a bit of Rosewood to draw the eye to a particular spot on my image . I apply these inks using a variety of watercolor brushes , including a script liner for long fine strokes of color . Then I am ready for the fun .
I begin each Endangered Species by painting the head of the jellyfish . Next , I look at photos of actual jellies to reference their shape and form . The rest is intuitive . Blowing the inks with compressed air creates trailing tentacles that flow from the head of the jelly to the bottom of the picture plane . By torching a thin application of amber shellac , I can emulate the web-like transparent bodies of these creatures .
Once applied and followed by a drop or so of alcohol , the inks will start to separate into several surprise colors . I also discovered that a flame would appear if I put a small circle of ink onto the surface , added a drop of alcohol , and then lit it with my pencil torch . It leaves an interesting color / texture and concentric circle effect when the flame burns out .
I ’ ve enjoyed using my mini soldering iron too . If I lightly touch it to my painted areas , a small round indentation appears in the wax . I then fill the hole with a small brush full of colored ink to create textural interest .
I make my own frames to protect the edges of the work . I use 1 ” x 2 ” pine and apply a stain varnish that I buff after each coat . The pine darkens slightly with time .