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These are the journals associated in part with The Revelation Painting.

The blogs are rough drafts of sections of the journals which will be published after the painting is released-projected 2012, (projected journal releases 2013-2015).  I have chosen to publish these blogs and not keep them private as it will give the audience an opportunity to learn and grow with The Revelation Painting in this last year which I term:  The Finale’.

The blogs are in no particular order visible to you but they are being separated into their respective journals behind the scenes.  These journals hold several mysteries unveiled in The Book of Revelation from the bible which have been missed throughout history and once revealed will change history as we know it.  So you are reading history in the making!

The Revelation Painting is created for the people of the globe and for the past eleven years, people have participated in its creation.  The overall endeavor is to create visual peace in these times of turmoil throughout the world.  It is an opportunity to focus on something beautiful and designed to place the viewer in awe.  Please see the blog about the painting at:  www.therevelationpainting.wordpress.com

The Journals included with this painting are as follows:

Journal I  The Journal of Dreams

This journal summarizes where and how the painting originated, the initial attempts at its creation, essentially the beginning of the work through its completion.  Background on the artist, past experiences, current experiences and thoughts, ideas and feelings while working on this masterpiece are captured within the pages of the journal.  It contains rare insight into an artist mind while working on a masterpiece!

Journal II  The Journal of Visions

Exploring imagination and visually preparing for this endeavor, the journal recalls where the vision arose and how it developed throughout the twelve total years required to complete The Revelation Painting.  It explores the artist views and personal battles with religion, God, the “calling” as a messenger to complete this massive religious painting.

Journal III  Journal of Measures

The Journal of Measures covers not only the grids and precise measurement required for a 12 foot by 40 foot creation, but the numbers and coincidences found throughout the twelve years required to complete the painting.  Small sketched works were required to become at times “larger than life”.  The journal is in graph form to help facilitate readability and understanding of the creative and sometimes scientific processes required to manually enlarge drawings without the aid of electronics or other artificial means.

Journal IV Journal of Sketches

Preliminary thoughts are sketched and worked through in order to create the perfect scene, exactly how the artist conceptualized the painting upon completion.  Starting often times as merely stick images, working through to the completed characters or scenes.  The journal also includes required experimentation to create a painting which would be durable enough to withstand the test of time, e.g., the effects of the raw mineral sulfur and its acidic effects on cloth canvas.

Journal V  The Stones

In depth coverage about the stones of the twelve foundations noted in The New City are covered in this journal.  Geological, metaphysical, spiritual and origins are also covered.  Stories about global participation in obtaining the stones are also covered.  Tools, lacquer, and very significant mystery of Revelation is disclosed in this journal.

Journal VI  Truth-The Hemorrhage of Pigs!

The artist reveals the profound change made in the painting in 2009 and how it occurred.  Where religion became political and how it forced the artist to find a way to make the painting stay in its original religious state, yet in moments change into a political piece revealing corruption and essentially crimes against humanity!  This is the climax behind the story of The Revelation Painting which will shock and astound followers of the series when it is realized that there has been a battle of good and evil within the painting the entire time!  The painting bleeds-a hemorrhage and returns to its normal state right in front of your eyes!

Journal VII  Journal of Acknowledgement

This is the journal where all participants globally are acknowledged for their participation in the attempt and completion of The Revelation Painting.  A one page advertising area is offered (text only, no photography), to advertise business, make a statement to the world, or anything the author wishes.  Contributions can range from a comment, marketing, to sponsorship or obtaining materials.  Everyone is acknowledged, some to the point of limited ownership of a random section of the painting! 

SO COMMENTS ARE VERY SIGNIFICANT IN THESE BLOGS-THE MAIN PAINTING BLOG OR THE JOURNALS.  PLEASE EXPLORE WAYS TO MAKE THE PAINTING BETTER, OFFER MARKETING, DONATIONS, IDEAS, GEMSTONES WHATEVER YOU CAN…IT WILL PAY OFF AND AT THE VERY LEAST, YOUR SELECTED (WHAT YOU CHOSE) INFORMATION WILL BE ASSOCIATED WITH A HISTORICAL PAINTING IN THE JOURNAL OF ACKNOWLEDGEMENT!

The journal titles are written in english and subtitles of the journals as well as subtitles of the scenes of the painting are written in random languages.  The journals will be designed appropriately and with the highest hand quality a painting such as The Revelation Painting deserves and designed to last more than a lifetime.

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Jacinth-The 11th Stone

October 7, 2009

Jacinth

The 11th Stone of The Revelation Painting

–noun
a female given name, form of Hyacinth.

1.  a bulbous plant, Hyacinthus orientalis, of the lily family, widely cultivated for its cylindrical cluster of fragrant flowers in a variety of colors.

2.  any of various similar or related plants, as the grape hyacinth or the water hyacinth.

3.  a plant fabled to have sprung from the blood of Hyacinthus and variously identified as iris, gladiolus, larkspur, etc.

4.  Mineralogy. a reddish-orange zircon. (Current times)

5.  a gem of the ancients, held to be the amethyst or sapphire.

Also called jacinth for defs. 3–5.

Origin:
1545–55; < L hyacinthus < Gk hyákinthos blue larkspur, also a gem of blue color; cf.
jacinth

SAPPHIRE

Sapphire (Greek: σάπφειρος; sappheiros) is a gemstone variety of the mineral corundum, an aluminium oxide (α-Al2O3), when it is a color other than red, in which case the gem would instead be a ruby. Trace amounts of other elements such as iron, titanium, or chromium can give corundum blue, yellow, pink, purple, orange, or greenish color. Pink-orange corundum are also sapphires, but are instead called padparadscha.

http://en.wikipedia.org/wiki/Sapphire

Rough Blue SapphireSapphires are mined from alluvial deposits or from primary underground workings. The mining locations include Myanmar, Madagascar, Sri Lanka, Australia, Thailand, India, Pakistan, Afghanistan, Tanzania, Kenya and China. The Logan sapphire, the Star of India and the Star of Bombay originate from Sri Lankan mines. Madagascar leads the world in sapphire production (as of 2007) specifically in and around the city of Ilakaka.  Prior to Ilakaka, Australia was the largest producer of sapphires (as of 1987).  In 1991 a new sapphire occurrence was discovered in Andranondambo, southern Madagascar. That area was industrially exploited since 1993 and has been almost abandoned few years later because of difficulties of exploiting sapphires in their bedrock.  In the United States sapphires have been produced from deposits near Helena, Montana. Gem grade sapphires and rubies are also found in and around Franklin, North Carolina.

There will be a blog posted at:  www.therevelationpainting.com in the http://overview.therevelationpainting.com section which will disclose exactly how this stone fits into an historical mystery about The New City.  This mystery has been missed throughout time and will create world-wide recognition!  It IS without a doubt the most pertinent discovery in the history of religion.  The disclosure of that mystery will be later this year, most likely in July.  Other blogs leading up to this finale’ are regularly being posted.  Come visit me:  www.therevelationpainting.com

 

 

Acrylics are my paint of choice.  I paint fast and the number one reason is drying time.  Often times I blow dry my work as I paint.  Oils are magnificent but offer a burden for me in control.  The oil is slick and difficult to control especially for detailed work.  I painted one oil painting in my life and what should have taken a couple of hours, took over 3 weeks to dry!  The modern acrylics of today in my opinion, offer the richness and brilliance in color like oils.

Pigments are mixed with various clear lacquer and other mediums.  For The Revelation Painting some pigments include minerals, tree barks, fruits, flowers, or plant parts.  Minerals are also used to create vibrant, color fast scenes.  All paint applied is UV protected and the painting upon completion will be sealed with a UV protecting clear coat which is the substance used to seal cars!  This will create gloss and durability in effort to create a magnificent work of fine art which will withstand the test of time. 

All of these are important aspects of creating art.  UV protecting prevents yellowing over time.  Archival canvas with limited acids were specifically chosen for this work.  I do not use gesso as a primer and have been known as a paint waster.  I prefer to build the color through layering for a solid pigment, and a rich finish.  Some of the painting will have an instant coffee “wash” applied for antiquing techniques. 
As stated in previous blogs and information about this painting, there are never seen techniques used in the creation of the work.

Golden Heavy Body Artist Acrylics 4 oz

My favorite all time paint is Golden Fluid Acrylics.  They are the thinner version of Golden Heavy Body paints, which are my second favorite paint.  I paint with much control and attention to detail.   Abstract work is difficult for me as I have not learned how to “let go” of tight lines.  Although I may think outside of the box, I have not yet learned how to paint outside of the box.  Much effort and consciousness is utilized to bring fluidity and flowing lines to my work.  Although it is a difficult task, I strive to “open” my paintings which finding the balance between detailed control and the freedom of expression. 
.
The total estimated cost of the paints used in this painting is well over $35,000.00.  Please note that the paint comes in 1 ounce, 2 ounce, and 1/2 ounce vials.  Imagine 12X40 feet and an ounce of paint!  The average price of any one of these paints run from $4.50-$15.00 or more depending on the series and/or color.  Actual 24K gold flakes are used in some scenes which also adds a hefty price tag to the piece.  Texturizing is very important and where layers and layers of real paint are used in lieu of texturizers and molding, the actual cost of paint becomes astounding!

For example, the highly textured Devil in this painting was created by large “dabs” of paint, left to almost dry, then gently and specifically pressed causing a realistic reptilian skin.  Wax paper is used to prevent pulling of the nearly dry paint leaving holes.  The Devil required nearly $2500.00 worth of the most expensive red and orange hues. (Reds are usually higher priced).  The “dabs” pressed measure vertically 2-4.0 mm which is thick for paint on canvas.  Underlying browns were used for contrast and depth perspective, as well as swirled into the reds and oranges in effort to created texture within texture. 

Scene 2-God required various layers of the most luminescent white paint and mica to provide a glow unseen anywhere else in the painting.  Great care was taken and careful consideration regarding the second scene within the scene of God;  Truth-The Hemorrhage of Pigs!, where the bright white was repainted with thermochromic paint to create the red hemorrhage.  The high risk of yellowing overtime and temperature change will require specific retouching over time and the directions specific to the retouching techniques will be written on the back of those canvases. 

In addition to the mentioned acrylic paints and custom pigments, I will also be using Liquitex products which are also higher quality acrylic paints.  Those of you who know paints, know the quality of these paints and for those of you who do not know paints, here is some information borrowed from the Golden website:

http://www.goldenpaints.com/products/color/fluid/index.php

GOLDEN Fluid Acrylic Color Lines Fluid Colors
Fluid paints contain near the same pigment strength as Golden Heavy Body colors in a pourable, low viscosity formula.
Fluid Iridescent / Fluid Interference
Familiar for their radiance, GOLDEN Iridescent Colors produce a luster by themselves, with other colors, or mixed with mediums.
GOLDEN Interference Colors offer a unique “flip” when viewed from different perspectives.
Historical Fluid Acrylic Hues
GOLDEN technology uses contemporary pigments to create hue combinations of these traditional colors; combining the integrity of the past with today’s requirements for quality, lightfastness and safety.
Matte Fluids
Provides a uniform flat finish in a wide variety of concentrated colors.Fluid Acrylic Colors

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colors with very thin consistencies. No fillers or extenders are added and the pigment load is comparable to GOLDEN Heavy Body Acrylics.

Unlike mixtures of heavy-bodied paints and water which produce weak color and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with other GOLDEN Products. Blend with Airbrush Medium for spray application. Excellent for fabric application.

Please see the colors on the website.