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Archive for August, 2009

©PLEASE NOTE THAT THIS IS INTELLECTUAL PROPERTY AND THIS IS COPYRIGHTED INFORMATION.  USE OF THIS INFORMATION IN REPRODUCTION or ANY OTHER MANNER CONSTITUTES COPYRIGHT INFRINGEMENT AND IS A CRIME PUNISHABLE BY LAW©

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 12/2010).  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 

See the blog about the Journals at:  www.therevelationpaintingjournals.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 regarding 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 endeavor 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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When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.

Revelation 6:7-8 NIV

Revelation 6:8 Aramaic NT: Peshitta
ܘܚܙܝܬ ܤܘܤܝܐ ܝܘܪܩܐ ܘܫܡܗ ܕܗܘ ܕܝܬܒ ܥܠܘܗܝ ܡܘܬܐ ܘܫܝܘܠ ܢܩܝܦܐ ܠܗ ܘܐܬܝܗܒ ܠܗ ܫܘܠܛܢܐ ܥܠ ܪܘܒܥܗ ܕܐܪܥܐ ܕܢܩܛܠ ܒܚܪܒܐ ܘܒܟܦܢܐ ܘܒܡܘܬܐ ܘܒܚܝܘܬܐ ܕܐܪܥܐ ܀

I have to admit that I was petrified these days regarding my discovery of the skulls and the races in my previous blog regarding the Four Horsemen.  I was sure I was wrong about the Pale horse.  In the Aramaic Bible (first translations), it states that the Pale Horse is the Green Horse.  It was shocking to me, a massive mistake in my understanding of what I read…see, this is why I have all kinds of bibles now!
And behold a green horse, and his name that sat on him was death, and hell followed after him, and power was given unto them over the fourth part of the earth
Odor, color changes, and bloating of the body during decomposition are the results of putrefaction. The lower part of the abdomen turns green due to bacteria activity in the cecum. Bacteria break down hemoglobin into sulfhemoglobin which causes the green color change. A formation of gases enters the abdomen which forces liquids and feces out of the body. The gases also enter the neck and face, causing swelling of the mouth, lips, and tongue. Due to this swelling and misconfiguration of the face, identification of the body can be difficult. Bacteria also enter the venous system causing blood to hemolyze. This leads to the formation of red streaks along the veins. This color soon changes to green, through a process known as marbelization. It can be seen on the shoulders, chest and shoulder area, and thighs. The skin can develop blisters containing serous fluid. The skin also becomes fragile, leading to skin slippage, making it difficult to move a body. Body hair comes off easily. The color change of the discoloration from green to brown marks the transition of the early stage of putrefaction to the advanced decompositional stages.
See the cited article here:  http://en.wikipedia.org/wiki/Decomposition

Also from Wikipedia:   http://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse

The fourth and final horseman is named Death. Of all the riders, he is the only one to whom the text itself gives a name. Unlike the other three, he carries no weapon or other object (but some versions say that Death carries the scythe, symbolizing that he is the Grim Reaper); instead he is followed by Hades.
The color of Death’s horse is written as khlômos (χλωμóς) in the original Koine Greek, which is often translated as “pale”, though “ashen”, “pale green”, and “yellowish green” are other possible interpretations. The color suggests the sickly pallor of a corpse. The natural colors of horse coats that could be indicated include dun, palomino, buckskin, or one of several color variants with dilution genes.
How absolutely appropriate!  The riders’ name is Death and he is in stages of decomposition with his green horse.  Now I have to look at decomposition bodies, I have to study them and see the true colors of early decomposition.  It is amazing, the work required to create this painting.  There is obviously never a dull moment!

So the error remains close to the surface of my brain, haunting and taunting me.  I thought:  Why in the world would the Pale Horse actually be green, such an unnatural color?  Then last night I was watching Dr. G.- Medical Examiner.  She was talking about a young man who died and was decomposing earlier than normally expected.  She said:  “Decomposition turns the skin a blue-green color.”  I found myself sitting upright and at attention!  Wikipedia talks about the decomposition process and its stages.  Here is a part of it (where the green comes from):

 Putrefaction

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In effort to create precise measurements of individuals of The Revelation Painting, the study of human bone structure lead me to Forensic Anthropology.  It is imperative that I understand the measurements and calculations required to create the correct perspective of various races of human beings.  This study became extremely important in The Four Horsemen scene previously mentioned.
Based on Forensic Anthropology’s scientific calculations, the length of a man (or woman) can be measured by several bones for a relatively accurate overall height.  I used the length of the average Caucasoid male to calculate the total height and reverified by art anatomy standards.  With those two techniques applied I have calculated the height of the white horses’ rider to be 5’7″ based on his position in the painting.
The calculations based on art anatomy are as follows:
Femur (the long bone of the thigh) is on average the length of 2 heads.  In this case, the riders’ head was approximately 8″ in length (top to bottom)= 16″.  Then I used the scientific calculation used in Forensics:
Length of the femur (16″ or 2 heads)X 1.88+32=5’7″.

Now I am able to calculate the height of all riders not only based on their position and persective, but also the base caculation of the white horses’ rider!  Therefore, all measurements will be scientifically correct.

 
The face of the rider will be designed around the general skull shape.  This is what lead me to discover the calculations required for accurate perspective in this massive design.  The bottom of the sketch exhibits the “general” layout of the horses’ areas in this scene.  In the upper left the white horse was estimated by the size of the area it will occupy, then sketched loosely to get an idea of the head size, as noted by the numbers to the left 1-4 (which are feet then unmarked in inches-estimated).

The entire page length of this sketch was suprisingly 8″, the exact size of the skull.  This gave me a raw look at the size of the head which is close to actual human size.  The white horse is the furthest back in the painting…he is receding.  By looking at the size of the black horses’ space and that he is the closest to the viewer, he and his rider will be over 9′ tall…IMAGINE!

I produced an error in the initial calculations.  I was under the impression that the scientific calculation made the length of the femur itself and calculated initally on that finding (in black), then I “saw the light” (in blue) and correctly calculated the length.  Through my research, ancient men used to be shorter in stature than they are now in modern times, so his total height is most likely correct for his time.

Please examine the sketch and if you see ANYTHING you would like to bring to my attention, please do so.

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In this scene (Scene 1) Joseph is in “the spirit” and is not seen.  Jesus is before him telling him to write the things he sees.  Jesus holds within his hand 7 stars.  Originally I had Jesus standing forward and stiff, when actually he should have been facing GOD who is captured in Scene 2 above and to his right.  I also needed to measure through the human skeleton his actual body proportions as noted below.

Now Jesus is turned toward GOD holding the 7 stars and they are uplifted toward GOD as they represent the seven churches.  He also stands among 7 candlesticks which represent the 7 spirits.  There are 24 elders in the background here although they are mentioned in Scene 2.  I added them for substance within Scene 1 as Joseph is not visualized.  They represent the unity or transition of Scene 1 to Scene 2.  For better understanding, please read the beginning of Revelation and you can imagine the scene.

Blue indicates the skeleton, red and pencil, the robe.  Jesus’s face is illuminated by the presence of GOD, as well as how he is described.  It is very difficult to turn written text into visual art.  I do not know the race of Jesus, his skin color, or any other details beyond those written in Revelation where he is described as follows:

 

 12Then I turned to see the voice that was speaking with me. And having turned I saw seven golden lampstands;
 13and in the middle of the lampstands I saw one like a son of man, clothed in a robe reaching to the feet, and girded across His chest with a golden sash.
 14His head and His hair were white like white wool, like snow; and His eyes were like a flame of fire.
 15His feet were like burnished bronze, when it has been made to glow in a furnace, and His voice was like the sound of many waters.
 16In His right hand He held seven stars, and out of His mouth came a sharp two-edged sword; and His face was like the sun shining in its strength.

 

The only part of Jesus’s skin which would be exposed is the hands, but if they are together the glow of the stars which will be illuminated through fiber optics will drown out the color of the skin.  The face will be illuminated through paint and not fiber optics.  As brighter white placed on paynes grey would create the light of a window in the darkness…illumination with merely ghostly facial features.

The candle sticks are also difficult.  Can you imagine how many kinds of candlesticks there are?  Tall ones, short ones, fat ones, skinny ones, every color of gold…pale, shiny, ornate.  It seems an easy task, but is not!  I have decided to use ornate, golden candlesticks with 24K gold leaf.

Please examine the scene and offer suggestions.

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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.
  
   

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.
 

  

 

 

 

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CUSTOM MADE WOODEN CANVASES

In creating The Revelation Painting, it was apparent that the weight of the stones and the need for sturdy canvases to hold the fiber optics were going to require wooden canvases.  In the case of the fiber optics requiring small holes drilled from 1-6MM, a cloth canvas would not suffice.  It was estimated that six canvases would be needed to house the fiber optic cables and four to hold the weight of the stones.

Fiber optic cables are delicate and will not tolerate numerous placement and removal as the painting moves from location to location.  The idea to drill holes and securely fasten the delicate cables is what brought me to the design of custom-made wooden canvases with drilled holes to accommodate various sizes of cables fixed securely into place with clear adhesive.

   

 Various sizes and adapters are available to create the light effects from a light source.  Obvious decreased movements and coiling of the frail cables would increase the life of them before replacement was required.  Designing custom canvases 48” x 48” from wood that fit flush with the cloth canvases was no easy task.  Measurements from the side were calculated at 1 ½” combined.

I consider myself an artist and not a carpenter.  It was very difficult for me to try to measure and calculate the needed design as doors were going to have to be on the backs of six canvases to carry the cables securely during transport.  I sketched a rough design and ran an ad for a carpenter, aka woodworker with tools to build the canvases.

 

I need someone to build 10 canvases, high quality 48″x48″x 1 1/2″, some with doors on the back. These canvases will be painted on; fine art and have to be sanded and smooth. Some will have small holes drilled in them. I do not have tools, so you need your own tools. I will buy the supplies at your direction regarding the type of quality, lightweight, non-warping wood required. I have a cloth example (without doors on the back) to go by for design purposes. I will need a quote from you regarding what you will charge for all 10 canvases. I hope that you can deliver them when done or I will rent a truck to pick them up. You will be required to sign a waiver if injury occurs in the creation or delivery of these canvases that I will not be held responsible.

I was amazed at the response!  After a week or so of careful consideration, I chose a man who may or may not be listed in The Journal of Acknowledgement for his significant contribution toward the creation of the painting based on his decision.  (Please see:  www.therevelationpaintingjournals.wordpress.com regarding this powerful journal.)

The most difficult part of designing the canvases are the side frames which can only be 1 ½ inch combined; the ¼” Birch plywood, the frame, and the width of the latch.  The main problem is finding the correct cut with the application of the latches where the canvas is not forced to sit out from the wall at a wider distance than the cloth canvases.  Solid construction is important here due to weigh.

The remaining four canvases are located at the end of the painting where the twelve foundations of crushed gemstones are found.  It will be interesting to calculate the exact weight of the stones.  (I will deduct the weight of the finished wood canvas, the adhesives and lacquers from the total weight after the stones are applied.)  Just carrying the crushed stones reveals pounds of weight!

 

I considered and am still considering tracks of LED lights to illuminate the crushed stones through small holes.  The stones, their magnificence of sparkle and light-play is best observed through illumination.  Time will tell regarding this decision.  Many other components were required as well for the completion of fully functional canvases to withstand the test of time.

The main component of the canvases is of course the wood it is made from.  Several carpenters recommended Birch.  I did not know much about Birch, only that I needed a wood that would not warp, could handle the weight and liquid applied to its surface.  I researched Birch and found interesting facts.  I felt this would be a good choice of wood from which to build the canvases.

  

Birch is a tight and solid wood species that grows in North America and is from the Betula Family, closely related to Beech and Oak. The two most common types of Birch are Paper and Yellow in North America but there are over 50 species found throughout the world.  Birch trees grow an average height of 70 feet with a diameter of 2”.  The bark rolls and peels spontaneously but gets thicker with age.

Birch lumber is used for many, many products from skateboards, to canoes, artist easels, paper and cabinets.  It is chosen for its fine and uniform texture.  It is nearly odorless and is also chosen for long burning fireplace wood.  Once it is dried it resist decay and fungus.  It is fairly priced and the type of Birch chosen for The Revelation Painting was Birch plywood, quarter inch.  Birch plywood is created from lamination of Birch veneer and is light but strong.  It is fine grained and pale.

 

Other parts associated with the custom wood canvases:

CONTINUOUS HINGE POLISHED BRASS FINISH

 HIGH QUALITY .04  GAUGE STEEL, 36″  BY  1.5”

SLOTTED ADJUSTMENT HOLES EVERY 9TH HOLE

1-1/2″ Metal Re-enforcing Corner Angle Plate
1-1/2 x 3/8 inch 4 hole zinc plated plates.
 

 

Brass Plate Flat Strap Hanger
Total length 1-7/8 inch Width by 1/2 inch
 
Nickel Flush Drawbolts  –   Approx. 1-1/2″ x 3″

Oddly enough, I consider this painting bringing Revelation to life and I found this interesting fact regarding Birch (from Wikipedia):

Birch trees are associated with the Tír na nÓg, the land of the dead and the Sidhe, in Gaelic folklore, and as such frequently appear in Scottish, Irish, and English folksongs and ballads in association with death, or fairies, or returning from the grave.

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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.

 

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