MPO triadic question

Step by step MPO creation of Triadic Question encaustic cold wax painting
Triadic Question - a painting using dry pigment and Master Paste Original Medium. Follow the process of it's creation - use the slide show at full screen size for easy viewing.
Triadic Question - a painting using dry pigment and Master Paste Original Medium. Follow the process of it's creation - use the slide show at full screen…
Dry pigment, MDF board (unsealed) and Master Paste Original wax medium.
Dry pigment, MDF board (unsealed) and Master Paste Original wax medium.
Ready to mix with the mixing knife on a stainless steel sheet - MPO and some white pigment powder
Ready to mix with the mixing knife on a stainless steel sheet - MPO and some white pigment powder
Combine the pigment powder with the MPO carefully at first and make sure they are thoroughly mixed before application.
Combine the pigment powder with the MPO carefully at first and make sure they are thoroughly mixed before application.
First application of white MPO onto raw MDF board (medium density fibreboard) - applied with the mixing knife.
First application of white MPO onto raw MDF board (medium density fibreboard) - applied with the mixing knife.
Detail of the white MPO now thinly spread onto the MDF board
Detail of the white MPO now thinly spread onto the MDF board
Working area for mixing the next colour - a dark brown pigment.
Working area for mixing the next colour - a dark brown pigment.
The brown MPO now applied - there is no preconceived image being created - the process is to follow and develop with intuitive artistic senses.
The brown MPO now applied - there is no preconceived image being created - the process is to follow and develop with intuitive artistic senses.
Detail of the stainless steel sheet and the mixing knife blade
Detail of the stainless steel sheet and the mixing knife blade
This proportion of pigment powder to Master Paste Original medium will produce a very strong and opaque paint.
This proportion of pigment powder to Master Paste Original medium will produce a very strong and opaque paint.
The light Ochre toone applied to begin some possibilities of highlighting.
The light Ochre toone applied to begin some possibilities of highlighting.
Strengthened tone and edges using a mix of blue and dark brown pigmented MPO.
Strengthened tone and edges using a mix of blue and dark brown pigmented MPO.
A soft green hue is introduced to emphasise the forms now emerging - inparticular the trees. These trees are probably an expression of a walk (with camera in hand), taken a few days earlier through a pine wood.
A soft green hue is introduced to emphasise the forms now emerging - inparticular the trees. These trees are probably an expression of a walk (with camera in…
Using pigment powders allows easy colour mixing and rich hues to be created adn used. I find the MPO will harden fastest this way - there are no other ingredients to dry off (like oil in oil paints).
Using pigment powders allows easy colour mixing and rich hues to be created adn used. I find the MPO will harden fastest this way - there are no other…
Whoops! Too manic and too much pressure led to me breaking one of my mixing knives!
Whoops! Too manic and too much pressure led to me breaking one of my mixing knives!
By now, this figure is emerging on the right hand side of the painting.
By now, this figure is emerging on the right hand side of the painting.
Another layer of tones adn shading over the green by using some darkbrown and blue mixed pigmented MPO.
Another layer of tones adn shading over the green by using some darkbrown and blue mixed pigmented MPO.
Light is introduced to enhance the story that is beginning to appear in a more concrete shape now. The yellow is added with the mixing knife and also by use of finger tips, especially for the light beams and the subtle translucent strokes .
Light is introduced to enhance the story that is beginning to appear in a more concrete shape now. The yellow is added with the mixing knife and also by use of…
Again, darker coloured MPo is used to strengthen edges and solidify forms.
Again, darker coloured MPo is used to strengthen edges and solidify forms.
Lots of white added here to 'brighten up' the whole lighting feel in the image. The saturation of light on the tree trunks is applied.
Lots of white added here to 'brighten up' the whole lighting feel in the image. The saturation of light on the tree trunks is applied.
... and again, darker coloured MPO is used to tone back down the over-lit scene adn anchor a sense of greater solidity.
... and again, darker coloured MPO is used to tone back down the over-lit scene adn anchor a sense of greater solidity.
Detail taken at a wide photo angle to show another perspective of the figure by the light emitting doorway.
Detail taken at a wide photo angle to show another perspective of the figure by the light emitting doorway.
That little heart seemed to pop out of nowhere after I used my finger tip to work a bit in this area.
That little heart seemed to pop out of nowhere after I used my finger tip to work a bit in this area.
The surface is fairly flat with low level texture, but the quality of richness in that textural surface is wonderful.
The surface is fairly flat with low level texture, but the quality of richness in that textural surface is wonderful.
Detail of the middle figure with an almost tangible face.
Detail of the middle figure with an almost tangible face.
Closer look at the tree edge and branch detail. The surface richness is easy to see here.
Closer look at the tree edge and branch detail. The surface richness is easy to see here.
Another close-up of the tree details and a look at how the layering can build up a superb interplay of colours.
Another close-up of the tree details and a look at how the layering can build up a superb interplay of colours.
Light and shading - built up by see-saw application of lighter, then darker layers.
Light and shading - built up by see-saw application of lighter, then darker layers.
Wonderful example of the flavourful surface being created over this board. The wax is not thick, but holds impressive textural quality despite this economic and painterly approach.
Wonderful example of the flavourful surface being created over this board. The wax is not thick, but holds impressive textural quality despite this economic and…
... a detail of the background which could so easily become a landscape in it's own right.
... a detail of the background which could so easily become a landscape in it's own right.
... another glimpse of that largest figure and the whimsical tranparency associated with it's formation.
... another glimpse of that largest figure and the whimsical tranparency associated with it's formation.
The larger figure, left undefined in face - that is part of the Triadic Question in the title.
The larger figure, left undefined in face - that is part of the Triadic Question in the title.
The final piece is 752mm x 467mm - this was fused with a soft open flame torch, carefully just bringing the surface to the melt point of the wax. Afterwards it was buffed to a velvet sheen with a soft cloth.
The final piece is 752mm x 467mm - this was fused with a soft open flame torch, carefully just bringing the surface to the melt point of the wax. Afterwards it…
This was the new can of MPO after I had finished this painting which is
This was the new can of MPO after I had finished this painting which is
Mixing knife, Master Paste Original and dry pigment colours.
Mixing knife, Master Paste Original and dry pigment colours.