Step One: Preparation
Pick your colours and peel them. Don't worry about keeping them pretty, get a blade and strip those suckers. Your necessary supplies will be canvas, a hair dryer (an extra 5 points if it's pink) and possibly a fork if you need extra finger protection. I had read on another blog that a fork might be a good idea, but as I had a bunch of brand new crayons, it wasn't really necessary.
Though I was looking for it to look random I knew I wanted a few things: I wanted strong colour contrast and opportunities for gradient tones.
Step Two: Start Pushing
Start heating and moving pigment around. I was surprised by how the crayon broke down through the process; this might have been because I was using no-name brand crayons, but you could clearly see the pigment suspended in a clear oily wax when thinly spread on the white surface. I found heating up the crayon prior to touching it to canvas helped distribute the maximum amount of colour. Also, you might not be able to tell, but I stuck with darker colours to compensate for weak tones. Remember to keep changing the direction of your canvas so that you don't fall prey to an unintentional pattern.
Step Three: Consider the Whole
For me, keeping it organic meant that it the colour shouldn't just end at the edge of the canvas. Using a two inch wide canvas, it would look pretty odd to have it blank or harshly trimmed in a solid colour. Propping up the canvas let me work at the sides of the canvas.
I'd say it's a vast improvement on the blank canvas I have kicking around my desk. For me, this is a great way to bring a pop of life into a room. I think it would feel more complete with a contrasting geometric silhouette or even if it were a proper triptych. I will probably revisit it again in the future with variations on this method, so keep an eye out for Pushed Pigment redux.