after putting a top coat of wax on the koi painting and setting it aside, i decided i needed to do a painting that was supposed to look like it was, so i decided to paint my studio equipment, a theme i revisit every once in a while, a documentation of how i work.
so welcome to my studio, hastily made-over for encaustic, which means to say everything to do with oil painting, which i was focussing on immediately before this, has been cleared aside or thrust away. you see my wax mediums in their jars – beeswax and turpentine in a gel consistency, beeswax in mostly turpentine for something very thin, and beeswax and turpentine so thick you have to carve it out to use it.
in front of these you can see my palette, such as it is. you’ve missed the stage where i was keeping all my pigments in powder form right on the palette. what you’re seeing is yesterday’s batch of pigmented wax medium, which hashardened somewhat over night, that i then mix more wax medium into until it’s like butter.
i just wanted to start the painting. i’m not sure how realistic i can get given the pasty nature of how the wax goes on. i’m not very good with the palette knife yet, and so my lines are blotchy and unsure. i may well become seduced by the wax and end up making something that bears little resemblance to something you would see with a sound mind and body.
the last thing i did before coming upstairs and getting sick from the turpentine fumes was to take one of my new woodcarving tools and scratch some of the marks i made on the palette with my knife, while painting the koi painting that i did right before starting this one.