Encaustic with a Textile Sensibility • Daniella Woolf
Encaustic with a Textile Sensibility • Daniella Woolf


Hi, I am Daniella Woolf, and can you believe that I have
used all this material in this workshop? I started as a fiber artist,
and in 2001 I found Encaustic
and I mixed those two things together
so happily I call my workshop, “Encaustic with a Textile
Sensibility” and I would like to share
that with you. So…let’s begin! ♪ music ♪ So this is a piece called
“Beauty’s Family I” And I have been intrigued with eucalyptus leaves for ages. Because their color is so
unbelievably fantastic. Where I walk the dogs
in a place called “Lighthouse Field”,
there are these leaves which are so varied in color. I seem to try and pick up the pink ones the most. In combination they just they really do it for me. So I started sewing these pieces maybe not so successfully, and found that it really needed a
stabilizer on the back. So used to use the fabric softening sheets that
came out of the dryer. I found that was really
good. And then I found that
dictionary pages worked really well. So I would sew the leaves down to dictionary paper, and then I would take
a craft knife and remove every other layer
of the paper. So that I would get my stripes. You know I always have
to have my stripes and things. And then they would get
dipped in a vat of wax. This has already been dipped
but reactivating it is perfectly fine. So you can see the richness and
the gorgeousness of that color. The wax saturates and makes the color look just so
absolutely gorgeous. So now I am going to put a little water
on the surface and burnish with the water. You will start to see that image lifting up a little bit. And then I can rub the excess paper off with my fingers. If I have a glove on, I will not get enough traction. So what is fun about this is that the color will come through those areas where there is
not any of the toner transfer. I am going to wipe away the excess
with paper towel. Squeak it around a lot, and there is two ways
to deal with this. One is that you can fuse so that the toner gets embedded into the wax. Any residual paper is going to
come up and the wax is going to come up
and pull that paper down to the surface. So I am going to do this in
2 different ways where where I am going to fuse it, using what is like a little
teeny licking motion. If I go… see how that paper is
coming up? And clouding a
little bit? When I do this licking motion, and I go maybe a little too far I can break up that image. If I do not want to
do that, I can simply coat it with medium. And it will protect that. available at:
www.gallipublishing.com

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