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EMERALD-The Fourth Stone

 

Red Emerald-Bixbite

 

Beryl has been considered a valuable gemstone since prehistoric times. There are many colors of beryl known under many names. Green beryl is called emerald. In the 1800s green beryl was removed from the beryl family and called emerald. Blue beryl is aquamarine, colorless is goshenite, pink is morganite and yellow is heliodor ranging from a bright yellow to a honey-golden yellow.

Red beryl is extremely rare and mimics shades of red from bubble gum to to scarlet, or the color of blood. Mainly found within the Wah Wah Mountains of Utah, only an estimated 60 pounds were ever mined in the history of the world! Some smaller amounts have been found in other countries recently. Oddly enough it seems people are drawn to this stone yet do not understand why. The reason will be revealed later via an exerpt from The Stones Journal.

Blood?

 

The most common thread between this stone, its rarity, and the similar color of blood is in fact that the bible pounds a message to its readers that we should never forget that Jesus shed his blood for our sins. What better way to elevate the significance of that sacrifice than to mark it with the rarest gemstone in the world? These facts seem confusing but within The Revelation Painting there is a mystery of Revelation which has been overlooked since the bible was written and it will be revealed in The Stones Journal. Once revealed, the mystery is easily seen in the painting. The price for red beryl or Bixbite is astronomical! For one faceted carat, you can expect to pay $20,000.00 or more. Although I have obtained 6 carats of rough stone and the collection required for this section of the painting (an estimated 272 carats) will obviously have to be forfieted in lieu of a replacement stone of similar color or some other meaningful way to express the significance of this most important section.

I once spoke to a man who had worked in the mines in Utah and asked for the owner’s contact information. He was very put off when he found that I needed to crush it for the painting. He went on to say that the stone was highly coveted and that the owner would never sacrifice it for the painting. I will never know if I do not ask, so time will tell if the mine owner will sacrifice a handful of the stone.

(THIS SECTION WILL BE UPDATED as developments occur)

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The Black Horse is moving right along.  His body will be complete by the 01/31st and the head will follow.   The orange is the fire of Hell which follows The Pale Horse (see the working images blog for The Pale Horse).

Keep in mind, you are seeing 64 square feet of the painting here which was a challenge in perspective!  The Black horse will be over 9 feet tall when completed.   Martin Luther King’s foot is an actual size 12 in the painting, just to give you an idea of his size on canvas.

The high gloss emulsion required to seal the real hair onto the canvas for the mane (and tail) creates a glare on the photos and for that I apologize.  I will have to have professional quality photos taken at a later date.  The balances, or scales are incomplete.

The swirling fur pattern is seen here, as well as the lines of the 48″ x 48″ canvases.  Martin Luther’s feet hang in the wheat and barley which is still incomplete.  The highlights of the horse’s musculature id Interference Blue (a metallic blue powder).

The dead, black-green grass of The Pale Horse coming will crash into the live wheat and barley grass of The Black Horse.  I like the dirt division line but am having a problem making The Pale Horse look further away.  The green and beige grasses need to be taller, brighter and more detailed to make the perspective of distance.

Wheat and barley, incomplete.  The kness with fur detail.  Martin Luther’s toes are hanging down here and still incomplete as well.  I am considering something in the background but am unsure what may be there at this point.  It is a lot of space.

Close up of the real hair, unfinished as well.  I used far more hair than I wanted.  It has been a long time since I worked with the hair and forgot just how overwhelming it can be.  The picture is blurry and I will be taking more.  The hair also requires much more for finishing to create the effect of being “a part” of the painting.

Watch for more….The completed 64 square feet will be at:  www.therevelationpainting.com before it is here.

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The Pale Horse is still a work in progress.  His rider will be a skeleton.  The Pale Horse’s rider is named Death so I painted not only the horse with the green tint of decomposition (see the Medical Examiner blog), but the grass dying as he rides over and near it.  The orange is the base of Hell which follows.  There will be a mystery embedded here when it is complete.

This is the second horse I painted from The Four Horsemen scene.  Although the canvas is 4 feet by 4 feet, I thought that painting him in the center would surely give room for distance and perspective but I was wrong.  He will not be as far back as I originally calculated.  There will be a blog to follow about the meaning of the horse’s related to time and their significance.  The Pale Horse’s time is coming, maybe closer than I was originally thinking.  It may have been meant to be this way. (CLOSER) 

Please note the color is off here.  The horse is actually greener than it appears here.  I am still working on this horse.  I have taken the “hump” from his neck behind his head in order to show more of his skeleton rider.  I like the eyes, they are from the original attempt of the horse’s face when I did not realize hors’e eyes are on the sides of their heads, not the front.

From the front perspective looking at the horse, the right eye is darker as it is in decomposition.  Some of the green hue is seen here.  The horse will have a human hair mane and tail-blond with green highlights.

Watch for more….The pictures will be at:  http://photos.therevelationpainting.com

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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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