GOD Scene II (Part I)

September 30, 2009

Scene II GOD
(PART I)

According to the “dream” my mother had where she saw God, she stated that he was so bright that she knew if she had not been meant to be there that she knew she would have went blind.  She was unable to see the detail of his face because of the light but she knew he was a man.  This is where the brilliant, white light originated for Scene II of the painting.  Initially I contacted NASA for a light so bright that it would insult the eyes but not cause permanent damage.  I wanted the pupils to jerk in constriction.  NASA never responded.

Knowing early on that another form of brilliant, white light would have to be substituted, I was stumped.  Considering everything from flat panels to full spectrum lighting, I became frustrated and put that part of the painting on hold for quite a long time.  I thought that maybe I would have a chance with NASA engineers if there was more to show them.  I considered all the money America has contributed to NASA’s dreams and I believed (still naive) that they would make a light for The Revelation Painting.

Time passed, days were like months and months like years before I thought of it again until one morning I had awakened from a dream.  The dream was to run the bright, white light cables of fiber optics through the canvases.  That idea was also no easy task!  I began to research fiber optics and light sources.  There were no flat light sources but the cables were flexible enough to use in each canvas, bundled together and coiled into the back of the canvas.  The total length of various size cables would reach around 20-30 feet, maybe more.

Since I had read in Revelation what is described as God’s image, I was thrown back in believing the “white light” theory as Revelation did not focus on the brilliance of the white light, in fact it really did not talk about it at all:

REV 4:2 At once I was in the Spirit, and there before me was a throne in heaven with someone sitting on it. 3 And the one who sat there had the appearance of jasper and carnelian. A rainbow, resembling an emerald, encircled the throne…

 In my dream, God was white light and a lot of it.  I had not seen God in the dream, only the answer to my lighting problem.  My mother had told me he was bright, white light and after all Scene II of the painting was entangled within this white light of God.  I began to research more.  (The blog regarding The Stones of the New City foundations shed immense light on the “appearance of jasper and carnelian and the Emerald.  This information was not discovered until 2009.)  Diligent searching for what God looked like brought me to:

Ezekiel 1:1-14 (New International Version)

Ezekiel 1

The Living Creatures and the Glory of the Lord

 1 In the [a] thirtieth year, in the fourth month on the fifth day, while I was among the exiles by the Kebar River, the heavens were opened and I saw visions of God.

 4 I looked, and I saw a windstorm coming out of the north—an immense cloud with flashing lightning and surrounded by brilliant light. The center of the fire looked like glowing metal, 5 and in the fire was what looked like four living creatures. In appearance their form was that of a man, 6 but each of them had four faces and four wings. 7 Their legs were straight; their feet were like those of a calf and gleamed like burnished bronze. 8 Under their wings on their four sides they had the hands of a man. All four of them had faces and wings, 9 and their wings touched one another. Each one went straight ahead; they did not turn as they moved.

 10 Their faces looked like this: Each of the four had the face of a man, and on the right side each had the face of a lion, and on the left the face of an ox; each also had the face of an eagle. 11 Such were their faces. Their wings were spread out upward; each had two wings, one touching the wing of another creature on either side, and two wings covering its body. 12 Each one went straight ahead. Wherever the spirit would go, they would go, without turning as they went. 13 The appearance of the living creatures was like burning coals of fire or like torches. Fire moved back and forth among the creatures; it was bright, and lightning flashed out of it. 14 The creatures sped back and forth like flashes of lightning…

I began to measure and sketch exactly what it would take and the size of it to magnify the importance of this scene.

 
Transitional scene from scene I to II


Measure of Jesus, therefore God (in a sense)

 
Working it all out


The fiber optics and their distances

Please note this is a continuing work in progress and subsequent blogs will be posted in the titles of GOD-Scene II (part II), (part III), etc…

Truth-The Hemorrhage of Pigs!


I locked the Hemorrhage page at www.therevelationpainting.com requiring a password to see it. The reason is that religion is a touchy subject and I may sound harsh to some people and/or groups as I make my case regarding what Truth-The Hemorrhage of Pigs! is all about.

The second reason is that recently, a friend of mine was contacted by a government entity which cited them for “talking about the government”. I do not want to blacklist myself before I even get started. I know that this painting will grow tremendous controversy. It already is.

I will only write blogs about the mechanism of the bleed, the design and measurements, and the sketches regarding this section of the painting and forget about the “politics” behind it. In other words, discussing the art of it will be the priority until later on when the password protection is removed.

To remind you about the Hemorrhage section of the painting  Scene II GOD; it is where the brilliant, white light of God begins to bleed from the application of thermochromic pigments that when heated to approximately 88 degrees will turn from a red (slightly pink due to the saturation of pigment) to a clear.

The painting will require heated light sources to keep the red pigment at bay, then when the lights are out, the painting begins to bleed Truth-The Hemorrhage of Pigs!  When the lights are turned back on, the painting will return to the pristine, brilliant, white light of God once again.

Here is a general design of the effect, of course you will not see a change here, it is an illustration. I am working on learning to video certain things to make short youtube videos to place here on myspace and at www.therevelationpainting.com in anticipation of my June videos actually painting the painting.

 

  

   

The following are views of the Hemorrhage effect.  The first is when the pigment is cold (under 88 degrees) but the colder, the better but not freezing.  It arrives in various forms; a powder, a slurry, a paint or ink.  This medium was a slurry.  The area TEST is where I wanted to see the black thermochromic related to being covered by the red and their reactions.

The following pictures is the pigment heated with a blow dryer (for faster) response and true color.  It is important to apply one thin coat because the red is very hard to work with due to the remaining pigment when cooled.  In the painting (if you read the “EMERALD” blog, and God’s EMERALD rainbow, you will see the pink does not matter.

Actual changing times required are available by clicking on the photos here.. 
 

  

  

  

 

 

 This is a very important component of the painting.  Please see the GIVE/TAKE page to see how you can help keep this section of the painting alive!  The life span of the pigment on the painting is approximately 6 months where it will then require a “tune up”.  I realize that one day the effect will happen no more and hopefully “things” which brought it to this point are resolved in the world and it will not matter by then.

   

Please see the GIVE/TAKE page at www.therevelationpainting.com

a “tune up”.  I am well aware that this effect will diminish over time and will one day not be a part of the painting.  Hopefully by that day, the things which triggered this section will exist no longer and the world will have changed for the better. require 6 months, when the painting will approximately is thermochromics for ways you can keep this very important section of the painting alive.  The life of

  

 
 

requiring a password to see it.  The reason is that religion is a touchy subject and I may sound harsh to some people and/or groups as I make my case about what Truth-The Hemorrhage of Pigs! is all about. 

The Four Living Creatures
(Working Images) 
 
And before the throne [there was] a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, [were] four beasts full of eyes before and behind. And the first beast [was] like a lion, and the second beast like a calf, and the third beast had a face as a human, and the fourth beast [was] like a flying eagle. And the four beasts had each of them six wings about [him]; and [they were] full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come. (Rev. 4:6-8)
 
This is an important part of The Revelation Painting for me.  I believe I have been drawing eyes my entire life for this!  Although I remember trying desperately to draw these creatures when very young, I could not master it.  Giving up on it for many years, again, here I will try to recreate what I have seen related to Revelation 4:6.

My main problem here are the bodies of the creatures because the bodies are not mentioned.  In order to paint the portions mentioned; the faces-A lion, calf, human and eagle I will paint those images but make the fiber optics of GOD and the brilliant white light shine into their chest where the bodies nor the feet will show.

Using real white feathers in this part, I will apply them with glue and varnish, making them smooth, highlight them using gouache and thinned paint, then paint the eyes on them.  I would prefer the eyeballs protrude in all directions, which will need countless hours of work.  Below is an example of the feathers sealed which have the basic eye color applied:  

  

As you can see at the bottom tips of the feathers, detail work will be required to make the feathers match and not appear as though the creature has been “ruffled”.  It is imperative to pour lacquer into and on the scene when it is complete to decrease opportunistic decay from underlying air bubbles over time.

  

The face of the eagle is a rough sketch.  Research is required to make it appear realistic.  I sketched the head in all different directions and felt that the eagle, since he is the end creature would look best if he were looking out at the audience.  His eyes will be larger and yellow/gold. 

  

The texture of the feathers are seen here.  One thing I learned in painting the sky in the earlier blog was that the texture is forgiving.  If it is highlighted as above but not appealing, you can highlight it in a different color or tone to pick up more detail as long as the paint is thin.  The thicker, the more it takes away the depth. 

  

Eyes will be basic painted color, then detailed with colored pencils and spots of light added.  I thought about other types of eyes, from animals, birds, and fish but will stick with humanistic eyes with various sized pupils.  I once read that artwork is more appealing if the pupils are larger but will not follow that rule today, at least not for the eagle because his pupils are relatively small.  

Please watch for progression blogs to follow.

The Locust Scene IV

September 28, 2009

The Locust-Scene IV  Artist Personal Reflections 
 In the beginning when I started studying The Locust for Scene IV it became readily apparent that it would be no easy task.  The Locust were described with “face of a man, hair of a woman, teeth of a lion, iron breastplates, golden crowns, feet like a horse and tails like scorpions.”  Beyond the face of a man and hair of a woman, I had a lot to research and will write about all of that later. 

  

The thing I would like to discuss now was the answer to a dilemma that had me baffled for a long time and today after visiting the “bug show” at the local Botanical Gardens, I found the answer!  Upon painting the first Locust and researching iron breastplates, since the scene was ancient, it was only appropriate that the iron breastplate had a patina of age about it.  Usually iron is rust and brass a blue-green patina. 

After making the iron breastplate and starting the rust (red-orange-brown) patina, it was much too dark for such a dark scene as the creatures were ascending from a bottomless pit or Abyss (that was also another reason the eyes of several locusts were light colors, in order to add color to an otherwise dark scene.)  My direction changed to the blue-green for patina in effort to brighten the creatures against the grey/black. 

(working images)

    
  As seen above, the breastplate is too blue but looks good with the black highlights of the muscular design of the breastplate.  Although I thought to change it several times, something forced me to keep it this color.  What I learned today was shocking and immediately I understood the true meaning behind the color I thought I had chosen. 

This is one of those “weird” things that have to do with the making of this painting.   What I learned today was information regarding the Emperor Scorpion; a solid black scorpion with a secret.  I was busy looking at the design and structure of the tail which is what I needed to see for the painting.  The rest of the scorpion did not matter to me because I was not using any part of it other than the tail.  The curator was talking about the scorpion’s nocturnal life and how the night vision worked to see prey. 

Emperor Scorpion (Natural Light)

   I had not really heard much of it as I was trapped deeply within the tail and its structure.  I did not see the black light flashlight the curator held above the scorpion until the curator turned it on.  The scorpion began to glow a magnificent blue-green!  It was a remarkable and powerful sight.  I knew my expression was priceless when immediately I realized the purpose of the blue-green color and its significance in the painting. 

 

Emperor Scorpion (Black Light)

 Not only was the blue-green the correct colors of the scorpion but also fit within the scorpion’s mission coming up and out of the bottomless pit in darkness, so the illumination of each other and to have vision in the darkness of the pit.  It is odd how the components of this painting come together.  I have learned to wait and see with the things I am not satisfied with because sooner or later the “real” meaning reveals itself.  

Take a minute to read the blog on the white horse’s original translation.  It was filly; a white filly.  Find out the difference between a plain white horse and a white filly.  What I found out about the white filly was also surprising.  See the other blogs at:  http://overview.therevelationpainting.com