Tag Archives: fiber optics

The Journal of Dreams 01/25/2010

I have worked on the Scene II God sketches and am finding some problems.  I had originally planned to make a fiber optically lit area which concentrated in about a 3 foot area dissipating over approximately 5 feet to the left and 6 feet to the right.  The problem is that I did not consider placement of the Four Living Creatures or the effect of where the 24 elders would be.  The scene is further complicated by the 7 candlesticks or the one candlestick with 7 candles in it.

I had planned to make the light the center focus but to do that, the frame of the wooden canvases (built to hold the fiber optic cables, with doors on the backs).  The wooden canvases are being made and will have to be used as originally planned.  The key is to shrink the core size of the bulk of the light and make it widely scattered as it comes off the core.  Holes will have to be drilled through art which is already completed.  There is a big risk to this plan.

I could jeopardize the finished work by drilling through it, or drill first, but then I would have to work around the finished work.  That, to me causes far more problems than completing it then drilling.  I am considering using the color wheel, pastel fiber optics in the scattered holes away from the core.  Then the changing color will take away from the loss of light from not drilling through the frames and decreasing the canvases integrity.

The Four Living Creatures will have so many eyes that pupils and holes will be difficult to distinguish since that part of the painting is up around 10 feet from the viewers direct vision, which is an asset in this section.  The drilled holes of light do not actually need to be through the creatures but the effect of “being in God’s light” is important I feel to show that these creatures are a significant part of God as they are with him at his throne.

The 24 elders (priest) are undecided  at this time.  I am thinking to making them somewhat blurry from the light of God and not detailed, just the likeness of 24 men.  The 2nd part of the painting; Truth-The Hemorrhage of Pigs! also poses another problem.  With thermochromics, the rule is “the thinner, the better” and with the clear to red it is imperative not to have any thicker areas because it will remain pink.  Red is a hard pigment to work with.

To solve this problem, I was thinking about very thin plexiglass since thermochromics have to be replaced (washed off and re-coated) around 1-2 times a year.  If the plexiglass was removable, it would be a much simpler task and re=coating would be easier as well.  The plexiglass would be thin enough not to add width to the painting and make it seem uniform.  I will have to get the plexiglass cut in a custom drip pattern to appear as though blood is running down.

What I imagined to be a simple and fast scene has truly become very complicated.  This scene is most likely the most important of the entire painting.  It moves and is brightly lit, and it bleeds.  I will also be using the crushed rainbow quartz, the glitters of “diamond dust”, hologram and plain white.  This scene will need the strongest sealer I can find due to the wear and tear and the elements used to create it.  I am always focused on the painting’s ability to withstand the test of time.

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The Journal of Dreams 01/20/2010

The four wooden canvases are up and ready for the creation of God!  This is a dangerous project.  Since I live in an apartment, I really cannot hammer big nails in the walls to hold these wooden canvases so I had to be creative.  Each canvas is held in place be strips of silk tape and tacked to the wall.  Every few hours, the right top one works its way forward and I have to re-tack it.  I think it is a little warped.  Hopefully in adding the moisture of paint and re-tacking it often, the minute warp will resolve.  In the interim, I have to be extremely careful not to let it fall.  Due to the weight of it, it would cause damage to itself and/or the environment.

This area is what I have dreamed about my entire life and it is exciting to think about starting it.  The upper left canvas is the core of where God will be,  Originally he was going to cover 4 canvases in a circle of light but the wood-worker brought up a good point about drilling holes through the frames and the mismatch of light.  If holes are drilled through the frames in the amounts needed from 2mm-6mm, it would destroy the integrity of the canvas.  If I tried to expand light from one canvas to the other, there would be a line of no light where the frame is.  I made the core of light on the upper left-a circle taking up nearly the entire canvas.

I searched and searched for the sparkle I imagined for this section.  Glitter which encompasses all the colors of the rainbow, although the bible mentions an “emerald” rainbow around God, I do not believe it means green.  I believe the rainbow to be reds and oranges as noted in blogs I have written about the stones of The Revelation Painting-specifically The New City.  I am looking at 6 coats of the brightest white, followed by placement of the rainbow in reds and oranges around the throne.  The throne is also a problem.  What kind of throne?  I researched in google images for pictures of thrones and am undecided.

If the light is bright and brilliant, I may be able to make only pieces of the throne visible under shadows which block the light, like from the wings of The Four Living Creatures.  I thought this would be an easy section to paint, prehaps the easiest of the entire painting but am fast learning that it may be the most complicated scene!  I had problems with the candlesticks early on and now the throne.  From my mother’s description in her story of God, she said he was the “brightest light”.  About 10 years ago I contacted NASA for a custom-made light that would insult the eyes but not harm them.  I never heard back.

It seemed as though The New City would have been the finale’ of the painting but it now seems nearly every scene is a finale’ in itself.  If I can imagine it all together, I would see the attraction for the lights and movement in Scene II (including the Hemorrhage-the bleed), but now The Four Horsemen of Scene III has become very dramatic, and Babylon will sparkle prehaps more than the crushed stones of The New CIty!  It is a magnificent work of art.  I cannot wait to see it all together myself.  I just keep imagining myself standing before it, all put together for the first time.  The news cameras are there, so many people and I bust out crying.