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. 

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. 
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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.