The existing pool. Water can make an attractive transition between garden and countryside. Here the detailing of the pond is natural, with boulders used to make an informal surround.
Id : a rendered digital painting of binx and andhera on a stone building and vegetation landscape. Binx is standing on the steps of large stone stairs and leaning over the stone railing with a soft smile to tie a piece of yellow fabric on andhera's arm. She has big brown moth wings with a golden key design and moth antennas over their chin length hair. She is wearing a yellow and cream dress, with puffy sleeves and a slit in the cream body of the dress showing the yellow underskirt. Many purple and red lost objects are sewn onto the dress such as earrings, keys, socks, flowers, scissors etc. Andhera has his back to the viewer, on horseback and looking up at binx with the same soft expression. They're wearing an iridescent dark purple armour with crystal-like designs, goldwn earrings, and holding a crystalline black halberd. Shining yellow moths are flying around them, purple roses are blooming, and a slight border frames the image with cristals, thread, keys and moths./end id
im normal and spent a normal amount of time, effort and thought on this
The irony of Killers of the Flower Moon telling the story of how the Osage people were ignored despite the insane amount of corruption and tragedy they went through because it just wasn’t a big enough deal. Now the movie gets ignored and doesn’t win a single Oscar, getting snubbed for best adapted screenplay nominations and Lily Gladstone giving a beautiful performance of a tragic story, losing to Emma Stone, who for the record is an incredible actress, who plays a literal child in an adults body who finds “sexual liberation,” which is an incredibly gross story, but is more sensational than the murders of the Osage people and therefore it can win an Oscar everyone thought Gladstone had in the bag. The way history repeats itself, with the tragic story of the Osage people being ignored again and again because it just wasn’t a big enough deal to matter frankly pisses me off.
Reminiscent of an Elizabethan knot garden, this plan is meant to be viewed from a height. Box-edged beds are filled with an informal mixed planting of shrubs and herbaceous plants.
Well, a few times I was asked to show the process of miniature paintings on stones, and here is my first attempt to capture and explain it. Warning - I only have my phone's camera at my disposal, so the quality is not very good.
Firstly - an idea for the image. Every stone has something in its pattern that can be a starting point for developing an imagery. The stone I picked for this one is a beautiful Picasso jasper, and in this case I was looking for a stone for a specific idea I've already had in mind. Spontaneous improvisation dictated by the stone's pattern is also great but I decided to pick something more definitive for better illustrating the process.
This jasper's pattern already has outlines that can be developed into a landscape without painting it over too much. I don't like it when stones are just mindlessly covered by slapping a random image on it, ignoring the colours, textures and patterns.
Here's the idea - ruins of an amphitheatre overgrown with red gladioluses. I know, I know, but I'm very interested in the initial mystical sacrificial background of gladiators. So here it is, arena covered in red, swords in the sand, but it's finally quiet.
Before we start, a stone must be varnished - minerals are porous, and lacquer smoothes its surface. I paint with tempera - most artists who work in lacquer miniatures use oils, but tempera allows quicker process, which is important for me. I'm autistic and my executive dysfunction makes working with oils difficult - my sudden bursts of activity won't match with drying timings and such. So, tempera for me.
Starting with sketching the outlines of the ruins and painting our light source, the sun and red clouds. I'm trying to work with a palette that the stone already has and make the painting as harmonious as possible.
Erasing auxiliary lines as we continue.
Done with the first layer - the walls and the sky. After the paint dries, I apply varnish (I use Novol clearcoat, car varnish - it's very durable). There can be as many layers as you need.
Now - the flowers and details.
After the painting is finished, it'll need several layers of varnish. And some fine sandpaper (1500) in-between the finishing layers for better grip.
And here it is! time to think abou a necklace for this one.
I'm not sure how useful I can be and what aspects you would like to know, so feel free to ask. I'm not sure I can make a good enough video with my current phone, so this'll have to wait. I tried to skip all the musings about ideas and finding stories, but whatever. And the time needed for work - I don't know. There was a month-long pause in the making of this one, due to a couple of emergencies that knocked me down for some time, and it's not easy for me in general due to my mental state - sometimes I can make a painting in two days, sometimes it takes years, nothing is certain with me, especially now. But well, here's what I do.