Today I finished the surfaces of all eight sides of my Plaster of Paris and Encaustic Accordion Book, as per Bridgette Guerzon Mills‘ instructions in Patricia Baldwin Seggebruch’s book Encaustic Revelation: Cutting Edge Techniques from the Masters of Encausticamp. I had to wait for the plaster pages to dry before continuing with their further embellishment. According to Bridgette, the drying can take from a few hours up to 24 or more. Well, I don’t live in Las Vegas and here in Kent, the drying took about 3 days. Good old damp England.
In the first picture, I’ve begun adding colour to the pages to bring out their textures. I did this by layering and fusing alternatively, encaustic medium and yellow ochre oil paint. You can see the difference between embellished and unembellished page – how the texture has been brought out by the treatment.
In the second picture, I’ve added a layer of Burnt Sienna oil paint. Bridgette suggested Burnt Umber. I chose the Sienna as it is redder. I wanted a redder base than Umber because the images I’m going to fuse to the pages of the book are images which originated in regions of France inflicted by Terre Rouge – a heavy red clay difficult for agriculteurs to cultivate).
The third image is a close-up. I love this process and the surfaces it produces. No two pages are alike.
My book’s golden rather than red. Except for the page joints, which I made from strips of muslin, not plaster and they’ve taken up the encaustic medium and oil colour more than the plaster pages.
Then I ran into a problem. I can’t get the images to adhere to the pages. Frustrating.
Well, tomorrow is another day, as Scarlett would say. Tomorrow I must sing, too. Practice. Chilcott’s A Little Jazz Mass. Rutter’s Psalmfest. The concert is Saturday. There is one more rehearsal, during this week, then a workshop/rehearsal Saturday afternoon, then the concert, for which I must also bake a cake.
Have you made an inch of art today? I’d like to know.