It seems that I am the only person who wants to use this utility.  Allow me, then, to add a few more things that I have been working on.

One might refer to these items as baked goods as they represent the application of fire to one form or another of plastic. The first image began as a sheet of expanded polystyrene that was scored with a knife and scorched with a propane weed burner. This process opened the score lines and created checkered patterns which guided my application of paint and varnish.

11-11-11 #2 P&R

The next is an example  of slump molding where a sheet of plexiglass is laid over various objects. Heat from the propane burner causes the plastic to soften and assume the underlying shapes to a degree.  This and a few other pieces in this post employ an application of interference paint.

11-11-11 #3 P&R

This is a further version of the  above composition.

11-11-11 #4 P&R

Another slumped plastic object much worked over.

11-11-11 #5 P&R

This rather tidy triptych started with the expanded polystyrene upon which a design was painted in tempera. The paint served as a barrier to the flame. I have used common mud to much the same effect.  The scored and scabbed surface was then covered in powder which filled crevices. This was fixed with a layer of varnish and highlighted with touches of interference paint.

11-11-11 #7 P&R

At some point I had painted a checkered pattern on the back of a clear sheet. It was insipid, so I decided to put it to the torch. Some fallen branches served as the underlying forms.  Highlighted with interference paint. Note the variation in the surface caused by bubbling of the plastic. I had initially tried to avoid bubbling but came to embrace it as an enriching effect.

11-11-11 #8 P&R

This is another example of a back painted panel that underwent the slump forming process.

11-11-11 #10 P&R

Finally, a rather aggressive example of over painting.  I invited my son Bret to add the red additions.

11-11-11 #11 P&R