encaustic art lesson 04 - get bigger

by: artsencaustic

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[0.24]
kostik our lesson for getting bigger you're still using the encaustic car wax blocks the small painting iron and the sealed non-absorbent painting card although bigger sizes will be used this time work areas roughly the same always disposable paper underneath painting card on top waxes on one side heated tools on the other in your working hand and the tissues for cleaning and polishing in the back take the cable in if you're left-handed so that is out of your way and set it on low to start off with these are standard non small paintings the iron very easily covers the card so skies and the actual landscape itself the darker colors underneath are easy to put on the dabbing is really done in just two or three strokes and then the edge of the iron very easily running through that wax so small cards are quite easy to work on and are very good for learning your techniques on put a detail with the birds and flowers just to make it a bit more realistic and then lightly polishing remember once it's cool and you have your sort of greetings card postcard size so those principles can now be developed into a larger a5 painting this is one we're going to do and here you just need to load the iron in the same sort of way lots of white wax because this is the light in the picture and then I'm using a dark blue pink and a yellow to put the colors in and you'll see I'm wiping down the card this time but of course it doesn't cover the whole card so you just load the iron in exactly the same way as you already have done same colors blue pink yellow and then start off where you've finished off last time and you complete the card but you get this line left across it so in order to get rid of that very simply on this size of sky which fits across the iron you just iron over it very very lightly try not to push too hard if you push too hard you can pull waxes off so just very very lightly and whilst you keeping this band form the colors won't mix very much but as soon as you start working off slightly to one side like I'm doing here then you start to create more texture which is great for light and that's what I'm looking for was light so there's somewhere for the eye to go now we're going to make mountains in this so you need liquid wax on this front triangle of the iron and we're going to use this edge the right-hand edge which will be touching down on the card working from the left across to the right to spread the wax a bit like a knife spreading honey quite liquid honey or something like that you'll see that the wax is dribbling down the bottom of the iron here and then we're just working across in a sort of Knight making a graph really pointed peaks and pointed valleys as we work across you might have to load it a couple of times like I've done here don't worry about the darkness in the middle it will all sort of come together in the end some green wax now and just very very lightly almost not touching the iron onto the car just onto the wax that's already there deposit some of it and then work a bit harder and a bit stronger going across and then the dabbing now on bigger car this is more difficult so you have to put the bottom of the card against the iron and then sort of press it flex it with your fingers behind so that the top edge of the iron doesn't actually touch the card your fingers are acting as the pivot that the card bends upon now same loading as for the sky but this time we're going to make water so it's a very narrow band if you notice not very wide at all and then keep the card edge vertical to the way that you drag the ion so dragging down towards yourself is much easier than trying to drag across and just go very smoothly very slowly don't stop one movement and you get a nice reflected sky water color now darker colors this is for the foreground got a spot on the water there but it doesn't matter and here I'm using darker tones of what's in the sky which is darker blue brown and a sort of cerise color and very very gently dab that onto the foreground you don't really want the iron to remain in contact for very long otherwise you're going to melt the wax that's already there and then you'll lose the clarity of the color so you want this to be nice and dark and strong you see the bands of colour are getting stronger and darker as they come towards the bottom of the card an illusion of depth now to enhance that illusion of depth you just work with the iron across those bands of horizontal work making vertical lines and this pushes the horizontal stuff further behind so it's now definitely behind and you can load the arm with color like this off a block that you've got sitting by your work area and as you deposit that then the colors much stronger so you can actually put fresh wax into the painting you don't have to always just use the colors that are always there using this like the edge of a palette knife I guess and this builds up a better dimension gives detail to the foreground sort of definition now the stylus is a heated low heat tool and I'm going to make a spot and then flick it out twice in one direction and then turn the card and flick it in another direction to create the wings for dragonflies do another one down here and it's much easier to turn the card than it is to try and maneuver yourself around the painting and then take a something that'll tone in so I've used blue here to tone into the painting and put the body on so I've got a sort of a big one on little one and now back to the flowers again remember random is the thing that you're looking for here some bigger blobs little blobs and sort of just spatter them on if you can go over dark areas then you'll see that color better just for the illusion of the painting and if you use some of the darker tone this is the more purpley a pinky color then that sort of gives the idea of shadowing and enriches the foreground so though we've got dragon flying the flowers oh dear I got a spot on there never mind just use a scribing tool and scrape it off very gently and then when all that's done make your tissue pad and lightly polish from the lightest areas down over to the darker stuff so that's our a5 painting done now let's move on to an a3 landscape and to get started roughly draw it out on some scrap paper just to give an idea of where you're going and then on the painting card deposit from the iron the colours where you want them but rather than trying to smooth all together with the iron this time we're using a hot-air gun this is an electric paint stripper can get very hot so be careful when you're using this but what you can see the advantage of using it is that as you blow the wax around there are no iron marks now wrap the cable of the iron around your arm so that you can work freely and then load it well as we did before in the last painting with quite liquid wax and then smooth across to create your horizon remember to leave the light that you've created in the sky this is a bit blown out by the lights in the studio this box here is in order that we can have space underneath the card without having to hold the card and then I can put one hand under the card to support it whilst I'm dabbing on the darker color for the foreground and this helps to avoid getting all those iron marks that's so annoying this is a tissue torsion for rubbing away wax and it's just the pure rubbing and the friction of that rubbing that creates enough heat to wipe the wax off to make the stream so just gently work down and watch very carefully don't over rub this you can see all the wax coming off and here's a little tip before you start doing details take a piece of tissue make it into a little strip and then slide that strip down into the front of the iron like this so if you're using this type of iron it stops blobs unexpectedly coming out onto your painting now this is foxglove painting so I've got two colors the cerise red violet and the pink and I'm just putting the iron in each one alternately and then using the tip to create that triangular form another little tip you can put a piece of card on top of your painting and then rest waxes on that so nothing gets damaged when you're working inside a bigger picture it's quite a useful technique I'm just building out with different sizes of foxgloves and now craning in so on that white stream by craning in I can sort of reflect colors that are in the rest of the picture in the sky in the foreground and then rub them in with your finger to make them sort of smooth and fudged in polishing start again a lighter color working down over the main area of the picture and this is just to sort of clean the thing up as we're going along now again with the stylus random strokes using pink here which is the light color and spreading that around the picture and varying the shades so that you've got some lights and dark and then a bit more coloring we can put in some more shadow areas and then sort of blend them in with the finger as we work towards our bigger picture foxgloves so painting iron is one of the things you need in the answer you get waxes in card but you'll need bigger card than is in there to do these some of these pictures the low heat stylus is a great tool has different heads and all of this has shown on the bigger picture DVD and you can always think about exploring ideas for your next lesson but this was lesson



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Working on bigger card sizes needs some adaption and changes from the simpler small postcard sized cards. This short program shows a progression of sizes being created as landscape subjects, but the ideas they contain also apply to other subjects on bigger card stock. Learn about mountain forms, a lake, foxgloves and a stream too.
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