Hi everyone, I thought I'd walk you through this in-costic painting. It's 12 by 12 inches on ampersand panel. As you can see I've already started it and that tin that circled here is my Hermany Gray. It's like a Hermany mud. It's got a lot of colors in it and I use it to de-saturate some highly saturated colors. And here I'm adding a bit of in-costic medium to thin out the yellow, brushing it on with a chip brush. Really enjoy my chip brushes. They're very inexpensive and if you kind of wipe it pretty fast across the panel you get a pretty thin layer. It also helps if you preheat the panel before you apply the wax. Adding a little bit more in-costic medium, a little bit more Hermany mix, that de-saturates my colors. And now I've gone a little bit cool into a Thalo Blue Glaze. Just brushing it over and following my intuition as to where to put the colors. I have no pre-plan as you can tell. Moving things around on my hot plate and I'm adding some burnt scarlet to the Thalo Blue. And that Thalo Blue and the burnt scarlet is going to make sort of a purplish color. And then I thin it out with a little bit more in-costic medium. A lot of this video is time-lapse so things are taking a little bit longer than what you see. So when I fuse and when I put the paint on, I don't think I'm really doing it all that fast. I actually am spending a lot more time. So now I'm adding that burnt scarlet glaze and building layers. And of course you want to fuse between every layer. So I use up the rest of my burnt scarlet glaze. And notice the values all go in pretty mid-tone. And then I just elevate it on these four creadled panels that are surrounded with Reynolds rap or foil to protect the wood. And it just helps me to elevate it and bring it closer to the camera. And again I'm using these Ampersand and Costic Board panels which I really love. Because you don't get many pinholes. And if you sweep back and forth with the whatever you're using to fuse with, you have fewer and fewer pinholes. And that's the kind of surface that I prefer. Everybody's different though. So now I'm adding a bit of off-white to the yellow, making a tint. And putting it on, it looks kind of murky, but I kind of know what I'd like to see there. And I'm just working a bit by bit across the panel. And adding a little bit more white from a titanium white R&F pigment block right into the pan. And that way you can just add just as much as you need. Deluting it with an Costic medium. Getting it to be the right consistency, the right opacity versus transparency. And adding a little bit of that yellow into the pot or the pan. All right, I brushed it on and go over it a few times. And you can see that there is definitely a texture below there. This is definitely time-lapse right now. I'm going to elevate it and fuse the definition of an Costic is to fuse to burn in. So make sure that whenever you add a layer of wax that you fuse it in. So there I'm showing you close up. This sweeping of the torch or heat gun. Now I'm going to add some Costic medium pellets. They're kind of a shortcut to making your own blocks and they melt really quickly. And now I'm going to add some India ink with a fine brush. This is straight ink and it will beat up at first but if you are kind of persistent with it, you'll get a little bit more of a thick layer. And here you can see I'm using pretty thin brush so that I can get some really defined and thin marks. You want to really let any type of ink dry completely before you fuse it in. But you do want to fuse it in lightly. Before I fuse it, I come in with a Mark making tool and I'm just gouging into the ink and lifting, making some marks which I love. And by this time the ink has already dried. So I'm actually making these marks in the dried ink. And then I use my ceramic tool and make a little bit thicker marks. Pre-random. Rebelling the underlayers. And drawing the upper area to the lower area. And revealing some of those nice reddish marks in the lower right hand corner. Here's some close ups. Time to fuse again. And now I thought I would try some of these Dr. pH Martins India Inks they're colored. And they're fun to use and I just chose an iridescent gold ink here. Shake it up first and I try putting it on there and then I notice it's kind of thick and I spread it around, you know, with just the applyer but I also spread it around a little bit with my hand as well. Just noticing that it's kind of thick. So I'm spreading it with my finger. It's still wet. It's quite beautiful. You can't really see it all that well here but you want a few set in once it's dry. And then I'm just going to dilute it now in this side. It's actually the cover of one of my candle tins. I save those because I don't cover my waxes but I save the covers and use some for mixing other things like waxes and inks. And then I just happen to have some of that inky water to dilute it. It's not, it's actually a lot clearer. It's not all that black. And then brushing it on to the panel again. It's a little bit thinner. It was around a little bit easier with the brush and spreading it around a little bit at your distance. And then taking a paper towel and moving it around a little bit more. I'm actually lifting a bit of it off too. And adding some to the lower portion to tie things together. A little paper towel. I love the burnt scarlet made by R&F pigments and I often will clean my palette with a paper towel just to, you know, if I want to have a bigger mixing area or if I'm putting a tin down, I'd like to put it down on a clean part of my palette instead of a lot of and caustic paint. So there's my burnt scarlet. I've diluted that again to make it into a nice beautiful warm reddish glaze. And I'm really adding just a final touch here on the top. It's a half circle. And then I also tried some gold leaf. And there are a couple, you know, there are a lot of different brands actually. So you can just try, if you ever want to try this saw, just try the different brands. And this one happens to be kind of adhered to the plastic sheet. They're not always like this, but this particular brand is. So I can work with it pretty well. So first I tried this one and I tried Cricket. This silver metal leaf is made by Cricket. A lot of you might have a Cricket machine I don't, but I'm just using the papers. And this one is silver. I'm actually using the wrong side. I, this first time I've used it. So you want to put the shiny side up, which is kind of counterintuitive. But once I figured it out, I get the hint that I have to have the shiny side up. And so I'm adding some very thin marks using an embossing tool. You could use a pen or any sharp object to press that into the surface. And then now I'm going to fuse it in lightly. I really did like the effect of the metal leaf. It kind of added just a little bit of shine. I didn't want too much. Just a little touch. And so here I'm fusing it in. And the final step is that I like to clean off the edges of my panel. And a real nifty way to do it is just on your heated palette. And if you've got any stubborn wax, use your ceramic loop tool to get any extra wax that didn't melt on your palette. I don't have to hold it there very long. Most of it will come off with a paper towel. But my ceramic loop tool is used to get any remaining wax on the edge. And that way I can pop it into a frame. Still cleaning my palette because when I put the edge on there, I don't want to pick up more wax. So you kind of want to clean your palette first. And do all four sides. Just hold it there until you see it melt and then have a paper towel ready and waiting so you can mop up the melted wax. And then, you know, don't forget the back. Oftentimes there's a few drips on the back side. And you could either heat that on the back of, heat that on your palette or just use a ceramic loop tool. Usually it comes off quite easily because it hasn't been fused. It just got there because you had wax laying around somewhere. I'm very easy to get that off. And now it's finished. So here it is. I call it Wheaton Field. And here are some close ups. Thanks everyone. Bye now.