Color as material, not finish — tested across crayon, encaustic wax, and pure pigment, with mixing ratios and chromatic sequencing as rigorous as the forms themselves.

Each pigment's physical properties are as integral to the model as its form. The series begins with melted Crayola crayons, cast into chromatically sequenced cubes and aediculae — establishing a methodology of material recomposition and formmaking the rest of the series builds on.

Next, encaustic wax as medium — beeswax and carnauba hardener, tested in catalogued proportions to assess how ratio affects material behavior. The pigmented wax is cast to replicate color adjacencies from Morandi and Marden, in massings extrapolated from Egyptian false tomb doors.

It ends in pure pigment, using a pastel-making technique: pigment mixed directly with gum tragacanth binder and cast into blocks. The same process is used to construct a masonry model of Froebel's Fifth Gift.

Throughout the series, chromatic composition followed the same rigor as construction — measured ratios and swatched tonal adjacencies — treating pigment as a building material with its own physical logic.