Encaustic casting from letterpress type

The non-existence of time
(Lucretius 'On the Nature of Things' First Century BC)
Encaustic and graphite

Below left, the type set and ready to cast, right, casting in raw state.

More work with cast encaustic

Woodworm Residuum
Cast encaustic with oil stick

I liked the exquisite patterns left by woodworms in our firewood

More cast encaustic

Beach Residuum No.2

More work with cast encaustic

Beach residuum
Below: Adding colour to the wax before burning in

Cast wax encaustic

Data Residuum
Encaustic Casting (from computer circuit board),
with oil stick.  See below

Clay mould ready for hot encaustic medium

Casting ready to clean up and trim

Craters perhaps?

Moon with Craters
Graphite, oil paint acrylic on illustration board

I put a piece of polythene film over the crackle medium while I shaped it into a mound, when I lifted the polythene off it made holes in the surface, I liked the effect and enhanced it with acrylic paint and graphite, then pewter oil pigment to highlight the edges of the 'craters'.  (The thicker the crackle medium the larger the crazing.)

'Rift'

Rift
Acrylic on illustration board

Dark Side

Dark Side
Acrylic media on heavy card

I like the way the red glows through the cracks on the 'planet'.

More cracks

I'm continuing to work out how to control the scale of the 

crazing. It takes several days for cracking and curing to take 

place before you can add other media.

Experiments with crackle products continue

Pyramid

Acrylic media on illustration board

 

Experiments with crackle

Space Rock

Acrylic on illustration board 90x90mm

'Web and Steel'

'Web and Steel'
Encaustic collage with two solar plate prints on mulberry paper on card

'Web' Solar plate print with encaustic

'Web'
Solar plate print on mulberry paper collaged with encaustic
onto heavy card

I made this solar plate a few years ago by creating a negative on the computer, from a photogram of a cobweb in my garden onto which I had sprayed photographic fixer solution. I gently pressed the photo paper against the cobweb to transfer the little droplets of fixer solution to the paper then I processed it in the darkroom. 

After rediscovering the plate the other day, I decided to print it on mulberry paper, which is very thin.  The encaustic medium makes it quite transparent with a soft sheen - not really visible in this photograph.