Tag Archives: golden acrylics

THE REVELATION JOURNALS I-VII

THE REVELATION JOURNALS I-VII

November 4, 2009

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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 release dates for the journals: 12/2013-2015). 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

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 huge project, 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 project 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!

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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Side Note:  HAPPY ST. PATRICK’S DAY!

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The Journal of Dreams 01/14/2010

Golden acrylics are one of the most expensive paints to paint with, so much so that I will have to find another way to create the rich texture of the sky.  I want it to rise up from the canvas at least 2mm-3mm, even 4mm of possible.  Upon working on it, it was with rapid realization that I noticed the sky requires too much paint to achieve that deep texture.  My favorite art supply store is Michaels where just about everything I need for the painting can be found there and if it is not, it can be custom ordered.  The other evening I was there, exploring my options and saw texture building mediums.  Tonight I will go there and see what I can find to build texture.

The plan is to use Van Gogh’s Starry Night technique but to an extreme.  I had read that when Van Gogh made that painting his sight was so deteriorated that the painting reflected how he had come to actually see things due to exposure from the toxic elements of the paint and pigments he used.  Paint in modern times is supposed to be free of those life altering toxins which is imperative for artist’ like me who have a very real habit of licking their paint brushes.  Further research revealed to me that the Old Master’s often times licked their brushes too.  No reason for it was found in my research but I know why I lick my brushes and probably why they did to.

Often times when painting, an artist mixes a custom color that is difficult to duplicate.  I find myself adding saliva to the brush to fade the last remaining color away.  I used the technique as a shadowing effect, especially with darker colors leaving the same color as mixed, just fading away.  I am unsure if the Old Master’s used the technique for any other purpose other than the reason I use it.  I am unsure when I started doing it, finding myself with a colored tongue is what brought it to my attention, then I realized exactly when and why I do it.

A while back I had run across an old art store going out of business.  They had some powdered pigments in the brightest oranges and yellows.  I bought them for a substantial discount.  Somehow I had looked right past the skull and crossbones on their labels as I focused on the vibrant colors.  That was about 10 years ago and I haven’t ever opened them, afraid of forgetting and licking them as it has become second nature for me.  They sit on a shelf where I admire them but am unsure of myself in the middle of painting to remember they are poison.