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THE REVELATION PAINTING-A MYSTERY REVEALED
This is a true revelation about The Revelation Painting. Throughout history it has been missed and will change religion, as well as history as we know it to be regarding Revelation in the bible. After working on this painting for the past 13 years I realize exactly how something of this magnitude was missed. Upon crushing stones for the painting I began to see how the colors created something very familiar although it was not fully apparent at first. Initially I saw the stones of the twelve foundations just as anyone else but then started to see a pattern. Intermittently within the pattern some stones seemed out of place. I began to research the origins of the stones, ancient known colors, their original names, ancient descriptions and then I realized what the stones meant. A story unfolded before my eyes!
The first stone of the twelve foundations is Jasper (please see the blog on Jasper and subsequent stones). I imagined a “New City” in the sky; the heavens and thought the correct stone was Ocean Jasper; a blue stone. I began requesting Ocean Jasper from all over the world. It was through a dream that I realized my mistake only 10 years later. A dream lead to the discovery and it was as though a tape recorder played the sentence: “His face shone like the sun, as a precious gemstone as clear as crystal; a Jasper stone.” Day and night the words taunted me. I researched Jasper; a quartz and realized that it was the clear, brilliance of quartz crystal which reflects small rainbows within it similar to a diamond effect! What better a stone to signify the pure cleanliness, shine and glory of God himself? A city which “shines like the sun”.
Sapphire followed but the common blue sapphire was not correct either. Upon researching the colors of Sapphire, I was in awe to realize that red Sapphire is a Ruby! I placed a Ruby for the second stone of the foundations and threw caution to the wind. It was a very expense risk and the first time I smashed a ruby into shards I thought I would pass out but interestingly enough, it was comfortable and extremely natural. Mingling ruby with the quartz began to create a fading effect, like dry pigments; the richer the mixing the darker the color, so a small amount caused a pink effect fading to a rich, translucent red-the hallmark of the brilliance only Ruby has. Little did I realize at that time the translucency also played a significant role in the meaning of the New City and the twelve foundation stones.
The third stone, Chalcedony was also known for its sky blue, heavenly color. Now, against the red and clear it was obvious that the blue was incorrect. According to the pattern of color I was trying to discover, it was apparent the Chalcedony was minimally red-orange, if not solidly red. I researched Chalcedony and once again was surprised to find that red is a rare color of the stone. The red of Chalcedony is more opaque that the Ruby. When I looked at the red color it reminded me of blood; the red-orange color of blood and it was like the brilliance of God was bleeding, fading like a slow bleed. It was only destiny that the next stone-Emerald was red. I battled over my theory and knew that at one time Emerald had to have been a red stone. I started from the beginning.
Emerald is a Beryl. Beryl’s come in all colors, including red. After intermittently learning about stones, it was when the economic crisis in the United States prompted me to start collecting a “nest egg”, something that would always have value throughout time like gold, platinum, precious gemstones… I looked for the rarest gemstone in the world and found beyond my wildest imagination red Beryl, a red “Emerald” or Bixbite! I still faced the dilemma of why the only Emerald I had ever known was green. I found that in the 1800s green Beryl was separated from the family and man called it Emerald! I had found the discrepancy amongst the stones and within the fade from translucency to opaque, the deepest red of Bixbite is the color of blood! My New City was bleeding!
What is the most powerful sacrifice made for humanity in the bible? Jesus shed his blood and died for our sins so that we will have everlasting life. Everlasting life in God’s New City! How appropriate for a New City-God’s New City, a new and pure beginning to shine in his image first and foremost. Secondly, to never let us forget the sacrifice which was made-Jesus’ blood and ultimately his life? The first six foundations show glory, a slow bleed, a vanishing bleed through Sardonyx and Sardius (Carnelian) turning red-orange to orange, and the seventh stone (a division stone from one message to another yet overlapping to connect the meanings of a promise), is Chrysolite-gold, like the streets of the New City shiny like glass.
The following colors after Chrysolite are the seven colors of the rainbow in their correct order. A rainbow signifies a “promise” as noted in the story of Noah’s Arch. Personally I would imagine that within the New City there would include a promise of purity, overall good and God’s plan. As I have stated before: I am not religious but I am learning to make my own decisions. If I were God I suppose I would have hidden astounding clues within my work which is what prompted the many mysteries within The Revelation Painting. It is an exciting time and Revelation is rising!

The New City of Revelation and its 12 foundations
The stones are in their correct order.
This information is copyrighted by its author © 2009
Discovery of this information is protected under United States Intellectual Property Laws. Any infringement upon this intellectual property constitutes a violation of those Laws and is subject to criminal prosecution.

RAINBOW

Revelation is about sevens and mysteries. There are seven colors in a rainbow. The seventh stone from top to bottom in the mentioned in the foundations is Chrysolite which signifies a division line within the foundation stones between two messages.

JASPER (QUARTZ)
Rev. 21:11 …“It shone with the glory of God, and its brilliance was like that of a very precious jewel, like Jasper, clear as crystal.”

JASPER-QUARTZ "As clear as crystal"

SAPPHIRE (RUBY)
Every color of the stone Corundum is considered a ”Sapphire” except for red. The red Sapphire is a Ruby.
Translucent red fading from the clear…starting to bleed…

SAPPHIRE (RED) RUBY

CHALCEDONY
More opaque, a richer red-a rare color…heavier bleeding…

CHALCEDONY (RED-OPAQUE)

EMERALD
A Beryl. In the 1800’s, man removed the green Beryl from the Beryl group and called it an Emerald. Is this the Emerald mentioned in the foundations of the New City? It fits perfectly into the scheme of color and meaning.
RED Beryl-Bixbite, the rarest gemstone in the world!
The feedback about this stone is amazing, many people are attracted to it compared to other stones of the painting and ask constantly what kind of stone it is. Why would that be?Why does the stone fall in this position within the foundations? Does it symbolize the rarity of Jesus’ blood? Only 60 pounds of this rare stone was ever mined!
(This gem is typically heavily included, opaque, and the faceted Gem is very expensive. You could expect to pay $20,000 to $25,000 for a one (1) carat Red Beryl; RED EMERALD!)

EMERALD (RED) BIXBITE

SARDONYX
Blood (red blood cells and yellow plasma)
The blood is now fading from red to orange.

SARDONYX (Red Orange Transition)

SARDIUS
Carnelian-pure ORANGE transitional stone into the remaining rainbow. The second color of the rainbow.

SARDIUS-CARNELIAN

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CHRYSOLITE-Beryl. Heliodor-golden, the streets of the New City are also gold like glass. This is the separation line between two messages.

CHRYSOLITE (Beryl-Golden)

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BERYL
YELLOW

BERYL (YELLOW)

TOPAZ
Green

 
 
 

TOPAZ Green

CHRYSOPRASUS
Chrysoprase BLUE…rainbow blue (teal) reference the rainbow.

Chrysoprasus-Chrysoprase Blue

JACINTH
Hyacinth in ancient times and Hyacinth is Sapphire.
Sapphire or mixed Zircon (red/blue) INDIGO

 
 
 

JACINTH (HYCINTH-Sapphire Blue)

AMETHYST
VIOLET

 
 
 

AMETHYST Purple

The New City built by GOD will shine in the image of God’s glory (as noted above-the “shine”) as Jesus’ blood flows to let us never forget the sacrifice he made. The blood separated by the golden division line from blood to the seven (remaining five) rainbow colors in their correct order, of a promise of God’s love.

RAINBOW-A promise!

 

THE REVELATION PAINTING
Please note the most of the stones mentioned have a spectrum of colors, which exhibit fading and transitional properties from one stone to another, therefore one color of the rainbow to the next, e.g. A Ruby may be represented in pink to red in various shades and a Topaz can range in the green-blues, among other colors. Amethyst can be seen in darkest purple to violet to an almost clear (among other colors), which could be considered blending with the clear Jasper and starting the process all over again.
CONTACT: inquiries@therevelationpainting.com

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Come see the progress!
http://www.therevelationpainting.com
You are the first to see it.

A very large piece of  The Four Horsemen scene will be on the site by January 31st!  It can be found in the photos and there will be a blog about it describing the making of this section.  Hope to see you there! 

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RUBY-Red Sapphire (translucent)

RUBY-Red Sapphire (translucent)

 

 

SAPPHIRE

RED SAPPHIRE = RUBY!

The Second Foundation-Scene VII

 

 

As noted in the first blog of the stones, the meaning the stones used to create The New City holds within them a mystery of Revelation which was discovered while crushing the stones.  This mystery will change history and religion as we current understand them related to Revelation, it is history in the making!  Please note that in ancient times stones were classified differently than today and were not a separated family with different names as we see today.

 As noted in the first blog about the stones, research is ongoing regarding the stones, their dates of origin, name origins, when and/or if they became classified as separates from their original families due to color or other contributing factors.  Sapphire is a stone which has numerous separations as you will see in the Jacinth blog.  Once all blogs have been written it will become apparent that the current classifications are what ultimately changed the meaning.

 Sapphire is corundum and is currently (in modern times) the non-red variety of corundum, the second hardest natural mineral known to mankindI have not been able to distinguish when in time the color separation of corundum occurred other than the given name was used in the 19th century, and when the red sapphire became classified differently from the corundum family.  The red variety of corundum is Rubyall other colors became called sapphire, even pink.

RUBY-red sapphire (translucent)

RUBY-red sapphire (translucent)

 Corundum in all colors is known as sapphire except the medium to dark red tones which in modern times characterize ruby.  Sapphire is commonly known as blue yet colors which make up this family of mineral, when applied correctly include yellow, brown, green, black, purple, orange, pink, colorless, and ranges within those colors.  Although this blog is about Sapphire or Ruby, it is worth mentioning the stone Jacinth was Hycinth in ancient times, which is Sapphire.

 A one carat ruby can range in price, according to color, size, clarity and cut to over $10,000.00.  The quality makes the difference and the bigger the stone, the more it is worth.  For example, in 2008 in Geneva through Christie’s (auction sale) a ring “The Graff Ruby sold for $3,647,480.00 which per carat was $425,000.000.  Rubies are often times worth per carat, more than diamonds…Amazing!  

 The Revelation Painting requires  gemstones crushed into shards including rough and faceted where appraisals were not obtained beforehand.  I do not know if the rough gems I crushed wher in fact worth $425,000.00 per carat or not.  It sounds ludicrous but the message of the painting in my eyes is worth far more than a monetary value.  A simple personal philosophy is that I cannot take this painting when I leave the earth, but I can take the impact it made upon the world!

Rough Ruby
Rough Ruby

 

 Also, some faceted stones from Thailand and other Asian countries were lead glass filled which is considered “enhanced or treated”.  Although still ruby, flawed, it is a process where the natural feathering or flaws within the stone is lead glass filled which eliminates the flaw and adds weight to the stone.  Sellers are supposed to disclose this process but do not readily do so.  The stone after time returns to its flawed state.  In the painting, although thousands of dollars worth of rubies were used, some were “enhanced”.

 The spiritual meaning of ruby includes wisdom related to spiritual matters, confidence, helps to focus concentration, offer contentment and peace, and is commonly known as the stone of life and energy.  (As in the Jasper blog, please remember-LIFE and ENERGY as it relates to the uncovered mystery of the stones in the foundation of The New City).  The ruby is considered the most powerful gem in the universe!  The gift of ruby symbolizes friendship and love.

 Rubies are found in many parts of the world and have been mined for centuries.  Burma is the main source for the finest rubies but in recent years very few quality rubies have been found.  The finest ruby color is known or described as “pigeon’s blood”.  Other areas where rubies are mined include:  Kenya, Greenland, Tanzania, Vietnam, Nepal, Thailand, Cambodia, United States, Tajikistan, Afghanistan, and Pakistan as well as other locations.

 The name ruby was derived from the Latin word ruber which means simply “red”.

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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 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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CHALCEDONY

THE THIRD FOUNDATION IN THE NEW CITY SCENE VII

Chalcedony is a quartz, specifically a microcrystalline (the crystals are too small to be seen by any other means other than high magnification) quartz.  Named after the ancient seaport of Chalcedon in Turkey or Greece (I will research more into the origin and edit appropriately).  It is usually sold as Chalcedony if translucency is visible and of a single color.  Other microcrystalline sold under various names which do not meet the before stated criteria.  Visually Chalcedony is the finer specimen.  An example stone not meeting the criteria is Jasper; a close relative, (please see the blog on Quartz).

 Chalcedony comes in a variety of colors and is most known for its sky blue.  Initially a far better stone in the 12 foundations to illuminate the heavenly blue skies I imagined.  Upon soliciting stones from all over the world, it was the blue which I requested unknowing then, it was the wrong color.  My collection of carat weight Chalcedony in rough and faceted form is vast in the blue colors.

I only found within the last year that it was the red I needed for accuracy in the mystery I have uncovered about the foundation stones which have been missed throughout all time!  Translucent red chalcedony; otherwise known as Carnelian, owes its red to color to hematite (iron oxide).

 

RED CHALCEDONY

 
Chalcedony has been used as an ornamental throughout time all over the world in carvings and jewelry and is known by several names including:  Agate, Bloodstone, Carnelian, Chrysoprase, Onyx, Sardonyx, Plasma, Sard, among other names.  Interestingly enough several of these stones are mentioned within the 12 foundations of the New City.  Many of the stones are related, or very closely related in fact.
 
Chalcedony is said to aid in prevention and curing of melancholy and driving away evil spirits, and a preventive of danger during sinister events.  It is known as an antinflamatory, lowers fever, helps the eyes, eliminates fluid retention, decreases blood pressure, helps the body with changes in temperature.
 
 Chalcedony is found worldwide but main sources are:  U.S., Brazil, Madagascar, India, and Uruguay.  Chalcedony is one of the earliest materials used by humans; flint is a form of chalcedony, and these hard stones were made into weapons and tools.  Hot wax does not stick to chalcedony, so seals were made of it in ancient times.
 
 

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EMERALD

The Fourth Stone

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.  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.

 

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©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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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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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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Please note that you will have to keep coming back to this blog as it is edited with new images throughout the next few days.  The text will remain red until the blog is complete letting you know it is still a working image.  Please feel free to rss for updates as they are posted.  These are cell phone images, sorry.  Thank you

 

The Four Horsemen

My studio space only allows four canvases to be placed together at a time.  This is where the Journal of Measures (an Numbers) comes in handy.  I can look at the general layout and know how much space I have to work on a piece of the painting.  Last night I placed four canvases together and drew out the sketch from The Journal of Sketches.  As I mentioned before, horses are my weakest area.  After countless attempts, I feel satisfied with The Black Horses head, yet it still requires a lot of detail.  The body though, currently has eight different legs!  I will have to decide on the legs I want a little later.  The Pale Horse is around 2 feet tall and The Black Horse around 7 feet tall!  The horses are marching forward, that is why the same leg (right front) is lifted in both horses as they march in a uniform manner.  I may lighten The Black Horses eye a little later.  The decision to make the horse standing toward the viewer seemed the best direction.
GENERAL SKETCH (Still creating this scene):

The Black Horse’s chest is centered between four canvases.  There is a reason for that, it is the center of attention in the group of four.  The Pale Horse is the next, The Red Horse (not pictured yet), then The White Horse in the distance (not pictured yet).   


 
 

 

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