Fabulous demo, Dietlind! A couple of questions: 1) Do you fuse the remaining area of the panel to smooth the surface? I find that it can be tricky getting it to smooth out without disturbing the stencil area. 2) Could you describe how you achieve the the gold background of the maple leaf painting (the one where the leaf appears upside down) ? I have now tried 3 times to achieve the look you have created, but to no avail!! That painting is really exquisite! Thank you!
Hi Maggie. Thanks for your comment! You could fuse the rest of the surface carefully if you wanted a smoother contrast. I have tended to leave the brush strokes because I like how they look with Pigment Stick rubbed in. In terms of the gold background on the maple leaf piece that you are referring to - the background on that piece is actually Turkey Umber Pale. I didn't use the blending medium first before I applied the Pigment Stick and if you do that the Pigment Stick can leave a little bit more of a "stain" on the encaustic. This can also happen if you don't wait for your piece to cool and harden before rubbing the Pigment Stick on it - the oil paint wants to adhere to the encaustic more strongly and resists being wiped away. I'm glad you liked that piece. The extra gold sheen was actually unintentional! :) It looks more gold in certain lights. Ancient Gold encaustic and Pigment Stick are the BEST. -Dietlind
@@dietlindvanderschaaf3964 I've done similar things placing leaves on paper with printer's ink and pressing them, or putting the ink on the leaves and pressing them upside down. With encaustic, you are getting more dimensions.
