I set up a makeshift encaustic studio in my basement and began experimenting . Having just come back from New York I was inspired by gorgeous views of the Mohawk River seen from the train but my efforts to interpret these scenes in encaustics fell short . I began searching for workshops and by a lucky twist of fate discovered an 8 week workshop right here in St . Louis which gave me a much broader base of knowledge about encaustics . I learned that by applying pigment sticks and oil paints directly onto an un-pigmented encaustic wax surface and fusing it I was able to create delicate , painterly landscapes infused with light and color .
My basic process begins with 3 coats of encaustic gesso on a cradled birch board . When dry I warm the board and brush on a layer of encaustic medium as a base coat . I fuse the heck out of this layer to make sure it grips the gesso ’ d surface well . Next I tape a 1 / 16 dam around the sides and pour on a layer of encaustic medium . When cool , this smooth translucent surface is ready for color .
Using my hands I compose the image by rubbing very thin layers of oil color , fusing as I go . The fusing process melts the surface slightly so the wax captures the color . I brush on another layer of encaustic medium , let cool , scrape smooth and fuse . Next comes another layer of color rubbed in by hand and then fused . I continue to repeat alternating layers of oils and medium until the image acquires enough brilliant luminosity that it feels as though you could sink right down into its depths . My last layer is always more oil color rubbed in and fused . Sometimes I punch up the color in certain areas using pan pastels . If I am using metal leaf in a piece it is always applied over the last layer of wax . I seal the metal leaf with clear shellac and then apply more oil color to the metal leaf to integrate it with the surrounding image . When dry I apply Gamvar only to the metal leaf to seal it .