it’s funny. usually it’s me that’ll go have a look at what jim’s painting, and immediately spot something wrong. usually i blurt it out rather triumphantly.
well jim did the same t hing to day. he walked by my painting, sitting in teh back hall, and stopped suddenly because he’d seen something wrong.
the chair leg. i’d painted the shadow right over it, hadn’t i. well yes. so i need to scrape it off with my fingernail.
but it took me a little while to do it, several days i guess since my last post, and every time he passed the painting it jumped out at him.
i put him out ofhis misery today.
there wasn’t much to be done to finish it. you probably can’t tell any difference and haven’t been able to for several sessions. it’s all subtleties.\it’s nitpicky fussy layers upon layers of paint that doesn’t want to go down except in glops, and dry quickly and get sticky.
on the other hand, that’s the beauty of wax. endless layers of mostly transparent, actual depth, real optical mixing of colors. such a nice thing.
i finally gt hold of some quinacridone gold. it’s a color i found at daniel smith years ago, and with rich green gold it is my favorite color, especially thin. i wanted to buy some dry pigment, but nobody sells it. in fact, nobody hardly sels it in tube colors. so i found guerra paints because people in the forums led me there thanks folks, and they’ve bought up all the remaining quinacridone gold because they think it’s a nice color too. it was a car color. it was discontinued in 2996? and nobody’s wanted to paint cars that color since. i find that hard to believe, because it’s a beautiful shiny transparent gold. now, rich green gold probably turned out looking like snot green wen they sprayed it on cars. do they still make that? axomethine yellow?
anyway, i talked to the helpfull guy at guerra, who told me that no i didn’t want it in dry pigment form because i couldn’t possibly mull it fine enough to be transparent when made into paint. at best i could end up with a burnt sienna color. so, i got an alkyd dispersion, which basically resembles owoodstain in consistency and smell. they make the pigment into a water dispersion as well, for people who work in acrylic or watercolor or egg tempera. but i’m working with wax at the moment, so water kind of doesn’t work very well, so i’m stuck with concentrated stain.
i dipped my smallest palette knife into it, very thin, and let it finish dripping, and then let it continue finishing over my palette and then wiped it off of the palette knife, and my hand, a very thorough stain, like instant tan only this looks convincing. but orange.
then i added a small palette knife full of wax medium (beeswax and orange oil) and mixed it up. it was very strong.
i put it on the chest of drawers to the right. it needed it. then i stuck it on the windows and on the blanket rack and on the chair, and a little on the lights and the folding screen.
for soe reason i found the quinacridone gold covered the whites as well as the darks, which would make it opaque. perhaps i used it way too thick even at the dilution i mixed it up to, maybe i should have used one drop to a knifeblade full of wax. i slathered it on with an old brush that i hadn’t bothered loosening up in turpentine first
i singed it. in quinacridone gold. which doesn’t look too thick over the white, and was hard to make clear at the further dilution i had to make in order to sign my name.
the next step is to take it down to the studio and fry it.
i fried my daffodil experimental painting the other day. about a mnoth ago i picked a daffodil and cut it n half lengthwise and put it down on a board, and covered it with paste wax. and then i let both halves sit. i suppose i should have fused the one half right away, but i couldn’t bring myself to melt a perfectly good flower.
so both halves exuded this watery brown stuff about a week later. they’re all dry and somewhat dessicated now, under the wax.
i was on the pohone to my ex the other day, and so annoyed with how he was going on that i turned on the heat lamp and fused one half of the daffodil painting. i didn’t even think about it, because i was on the phone, being annoyed. i just went ahead and melted the half until the whole half of the painting was clear molten liquid, with a dried half of daffodil in the midst of it.
i haven’t seen it since. it has gone back to being translucent and semi opaque now, undoubtedly. the other side will still be somewhat sticky as it continues to dry as the solvent evaporates. whether it will have to be heated at all if i let it sit long enough is one of the experiments i’m doing with this painting.
i’ve sent off two of my early encaustic paintings as presents. i gave the dragon to my brother, a dragon, who lived in taiwan and taught engligh. and i gave the icon to a real monk friend of mine, and had it blessed by an orthodox priest for use as an icon. so that’s cool.
now that i’m finished with this painting, i’m going to finally get to the things that have been hanging over the chair in the picture, which is several wall hangings i’m also making as gifts. and then i have to pull out my silk table again and get started teaching myself a new trick.