Amy Royce

Fine Art Waxes and Prints

Posts in the Encaustic Techniques category

Tectonic. Planetary. Maps. Fossilized. Aerial.

These words come to mind when I pull the collagraph plate off of the fresh, curing plaster. Ghostly ink embeds itself into the bright whites. When I brush on more ink or watery paint al fresco, it soaks deeply into the fine-grained relief. This is the time to further scrape and shape the surface and edges. I then allow the plaster to dry and fully cure on the wood substrate. The whites get brighter, chalky, textured in places, smooth in others. In the dry high desert climate, it soon becomes another surface to draw upon: graphite, charcoal, more ink. Shards of plaster are applied to deepen the relief. Finally encaustic paint is poured on, brushed on, manipulated with heat and tools. Layer after layer the surface changes.

Satisfying.

Plaster printmaking and encaustic, work in progress Plaster printmaking and encaustic, work in progress Plaster printmaking and encaustic, work in progress Plaster printmaking, works in progress Plaster printmaking and encaustic, work in progress

 

Amy Royce Making PrintsI had a lot of fun with IEA-PDX during our retreat in Bend to learn Encaustic Collagraphs with Ron Schultz at Atelier 6000. I always learn a lot from other media, so I can take what I learned and apply it in some form to my painting practice. Whether it’s picking up a new tool, or a new way of thinking, I always feel inspired. In this case, it’s a perfect bridge between encaustic painting and printmaking because the encaustic medium is used to build and manipulate the surface of a plate to be inked and printed onto paper. Next I can take it “full circle” and embed the prints in my paintings, or of course, offer the unique prints as an affordable way to build an art collection.

 

 

 

 

 

 

Here are a few of the results:

untitled18untitled17untitled2untitled7untitled13untitled10

 

More Collagraphs 

 

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