#canvas&surfaces

[biggest-gaudiest-patronuses]

finally at that age where i'm thinking i should get a tattoo. not bc i feel strongly about it, just seems like a waste not to. i've got so much skin i'm not using

[foxika]

I wonder if you'd mind taking a brief survey?

so i finally started severance. sleepy fox on his own below

[ravinoforre]

It's a little bit late, but Happy Anniversary to Pokémon Colosseum! This took the best part of a month to complete (working on and off). Likes and reblogs heavily appreciated! Acrylic on canvas, 30 x 40

The two paintings side by side on my wall (as a side note, both of these were signed digitally on their solo photos for me to show online, since I didn't want to risk messing them up with my inconsistent squiggly signature or have the pen misfire horrifically ^^' )

[faaun]

the way that diff languages sound r so fascinating they're all different and all so vivid

[crazysodomite]

i consider traditional art to be much harder than digital (not to mention more expensive) but onw thing im jealous of is the possibility of effortlessly creating texture

[artemlegere]

Corinne at Cape Misene

Artist: Francois Gerard (French, 1770–1837)

Date: c. 1819-1821

Medium: Oil on canvas

Collection: Museum of Fine Arts of Lyon, France

Corinna

Corinna or Korinna was an ancient Greek lyric poet from Tanagra in Boeotia. Although ancient sources portray her as a contemporary of Pindar (born c. 518 BC), not all modern scholars accept the accuracy of this tradition. When she lived has been the subject of much debate since the early twentieth century, proposed dates ranging from the beginning of the fifth century to the late third century BC.

Corinna was from Tanagra in Boeotia. The Suda, a tenth-century encyclopedia, records that she was the daughter of Acheloodorus and Procratia, and was nicknamed Myia (Μυῖα, "the fly"). According to ancient tradition, she lived during the fifth century BC. She was supposed to have been a contemporary of Pindar, either having taught him, or been a fellow-pupil of Myrtis of Anthedon with him. Corinna was said to have competed with Pindar, defeating him in at least one poetry competition, though some sources claim five.

Corinna, like Pindar, wrote choral lyric poetry – as demonstrated by her invocation of Terpsichore, the Muse of dance and chorus, in one of her fragments. According to the Suda, she wrote five books of poetry. Her works were collected in a Boeotian edition in the late third or early second century BC, and later Hellenistic and Roman texts of Corinna derived from this.This Boeotian edition was produced in a scholarly format, with titles for the poems; it may have also included accent marks and hypotheses, but is unlikely to have included line numbers.

[moliathh]

I have a headcanon that Alucard is actually a really good artist. It's just a side of him no-one sees or expects, with him being so murder happy and unhinged all the time. He's usually too bored by it though, and is only really motivated to draw when something catches his attention enough for him to capture it. So, when Integra ages into an elderly woman, he draws her. This is because he find old age, and Integra's old age, very beautiful (we've seen him express that a few times in canon). So he patiently and lovingly captures her in great detail, making Integra feel happy and comfortable with her age :-)

OH HOW ADORABLE ... I have thought that he would've loved to trace his fingers over her wrinkles, not to smoothen them over, but to know and memorize the time maps of her years he lost now laid across her skin. Integra might have felt silly at first, that he is always touching her faces at her permission, or stroking over the hardened lines and lumps from her knuckles to each bump of her fingers, and he would always be so fascinated with eyes rounded and focused and everything. She would blushed over the attention and tried to brush it off that there was nothing attractive over an old hag like her and he would've looked at her a bit bewildered as if she wounded him. I don't think he would have to wax poetry about how well she wore time. The evidence was clear for all to see but her, and he often jests so much i fear she can only laugh at his theatrics. She was well over 50 and while she still blush, just his words wouldn not ruffled her feathers the way it did when she was 22-23ish something. But him painting? That's new! Definitely VERY new for her! Oh and he's painting Her ??? His eyes hold her face while his fingers stride across the pages, and he was uncharacteristically still when he draws. She obviously have to get on with her daily works and doesn't have time to dally around trying to sneak a peek. And she had learned to stood her ground against him watching her like a hawk years before, because predators chase preys who run, so she could only blame the years of absence, or his presence, that pricked goosebumps on her skins whenever his eyes landed on her again, every stroke across the canvas was a brush she physically feel, and just from his eyes alone. I figured the attention was not unpleasant to her, because it was a very visible message, that she was desired, she was looked at, was touched and reimagined. It would've convinced her of Alucard's sincerity about her age and his feelings. And given her time to examine her feelings as well.

I have thought of Integra as a painter too. How she would've done still life and scenery at young age as basic etiquette training, maybe some sketches of the people around her, maybe she stopped doing portraits for a while when Arthur died. If she draw him then it would've been his sickest days she had to see, and that wouldn't be what she want to remember him as. After then her profession was too stacked for paintings. And then Walter and Alucard was gone too, she would've started drawing Walter, her old butler that she remembered by folds of wrinkles and not whatever she had seen his last day. And she drew Seras, the same face every years passed by, same consistent smile and same bright eyes even if her colours changed. There are more people coming into her life. They changed of course, most people do, but none was too sudden for her. If asked, she could picture them in her head and draft out something from her memory. But I fear it was not as easy for her when it comes to Alucard. He was fleeting, everchanging, his features flunctuate outside of time. Nothing she had drawn could've captured what he was. But she could pin down the weight of his presence seeped off her memory onto the canvas as if he was there, physically, beneath her, between her thighs as she crawled over the canvas laid flatback on the cold tiled floor and striked black over white. One canvas, two and then ten concentratedly black doused canvas scattered across her room like her casted shadows he so oftenly resides in, each is a dog crate, or cat, her Schrodinger's cat. If she could childishly pretend he was her placid little sheep, soundlessly asleep inside her hand-drawn boxes, then he was.

On a side note, I have always think this painting reminded me of their relationship:

"The Painter and the Pianist (Pittrice e Pianista)", 1910 By Lionello Balestrieri

The Pianist was engrossed in their own play and The painter was struggling with their progress, slumped fowards the canvas and all. Both have their back on each other, the Pianist couldn't have seen what the Painter had painted but surely the Painter could've heard the Pianist just fine. Will the Painter turn back to the Pianist or will the Pianist's music could anyhow inspired the Painter. To me, Alucard was the Pianist, neck deep in his own endeavours between death, of his own or others. Integra was the Painter, she struggled with herself, of not knowing what she wanted and what she would choose. She was aware of Alucard and possibly her feeling for him, which was burdening her, but he was not or pretend not to be aware of his feeling for her. Whether the case, it would've been the Painter, Integra, choice to initiate contact. She could confronted him about it, as the Painter turn to the Pianist, or, inspired by the Pianist's music enough that the Painter continues their solitary affair, she could've resigned to keep sending him on little suicide missions he always begs of her and by thus, keep fulfilling her duty, even if he might've dropped anytime.

[blorboresidue]

do kind of miss writing on pots and I only remember how much I miss it when I see other pots with writing on them where the artist clearly chose the form based on what would be easiest to write on rather than what would look interesting or feel satisfying to hold

[rosieofcorona]

been watching scott waddell paint on instagram for the last few weeks and it's. captivating

[xpuigc-bloc]

COLOSSAL

“Unearthing Buried Gods.” Michael McGrath

Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

November 6, 2024

Art

Kate Mothes

From fanged cats and all-seeing ravens to anthropomorphized botanicals and disembodied faces, Michael McGrath’s uncanny works nod to the symbol-rich, flat compositions of folk art or “naïve” painting. His mixed-media works combine materials like graphite, oil paint and oil stick, ink, and acrylic on a variety of surfaces, including wood, canvas, and burlap.

Inspired by the expansive scenes of contemporary artists Peter Doig and Mamma Andersson, and self-taught artists Henry Darger (1892-1973) and William Hawkins (1895-1990), McGrath harnessed a narrative approach in his own practice. “I decided to experiment with figures and storytelling in my painting,” he tells Colossal. He also counts Jim Henson among his influences.

“Threats and competition for tiny vampires” (2023), graphite, colored pencil, and India ink on wood panel, 14 x 11 inches

Populated with an array of characters, from trees with alarmed expressions to tiny, fairy-like black critters with bulbous wings and long legs, McGrath delves into mysterious, emotional tales with plots as enigmatic as they are supernatural.

The artist’s interest in painting evolved from an early fascination with design, especially album covers and advertising in magazines like Spin and Thrasher. “I never had the patience to develop classical skills, so I focused on dimensional and collage work for a while, until I eventually decided to invest more time in painting,” he says.

McGrath’s work will be part of an online group show with MePaintsMe, Slight of Hand, which opens on November 12. In February, he will also have pieces on view in a group show at Court Tree Collective in Brooklyn.

“Monster control, future systems No. 3,” (2024), acrylic, oil stick, and oil on canvas, 78 x 120 inches

“Night float, threat window” (2024), oil and oil stick on canvas, 60 x 48 inches

“Hunting songs” (2024), oil, oil stick, and grease pencil on linen, 30 x 24 inches

“Muppet moon nightmare choir” (2024), acrylic, acrylic yarn, embroidery thread, painted canvas, and burlap on burlap, 40 x 30 inches

“Moon float” (2024), acrylic, watercolor crayon, enamel, and oil pastel on canvas, 60 x 48 inches

“Stories to frighten your children with and dangerous literature” (2023), oil, oil pastel, and acrylic on linen, 30 x 40

“Cat song, moon riot, No. 2” (2024), oil on canvas, 48 x 36 inches

[dilfslayer1080p]

Breaking in a new easel. Give me your worst oil painting ideas.

[lovely-cherubs]

Ninjago #1: Nerissa

Character Information:

Full Name: Princess Nerissa Nesryn Vandervelde Yang Moondin of Merthelia

Alias: Nerissa Moondin (human alias), Princess Nerissa, Princess of Merthelia, Ruler of the Merfolk

Voiced by: Laura Post (regular voice), Melissa Medína (siren form) (fantasy casts)

Race: Northern Mermaid/Siren/Human Hybrid; Merthelian

Gender: Female

Sexual Orientation: Pansexual

Love Interest: Lloyd Garmadon (current), Cornelius (formerly), Vanora (formerly)

Occupation: Heir to the throne of Merthelia

Affiliation: Northern Pod, Kingdom of Merthelia, M3RMAID Trio (along with Nerissa and Lyra)

Neurodivergent Label(s): ADHD (inattentive form), Autism Spectrum Disorder (ASD)

Love Interest: Lloyd Garmadon (current), Cornelius (formerly), Verena (formerly)

Personality: Bright, sassy, rebellious, witty, stubborn, blunt

Loves:

Seafood

Collecting shiny things

Embracing her Northern Merfolk heritage

Learning more about Merthelia and her culture

Creating potions and spells

Surface Dweller food

Lloyd Garmadon

Hates:

Her kingdom's overbearing rules

Her exes

The racism against Northern Merfolk

Small talk/superficial conversations

Being forced to conform

Lack of personal space

Prince Kalmaar

Elemental Power: Essence

Abilities:

Essence Manipulation

Telepathy

Telekinesis

Hydrokinesis

Hydro-Thermokinesis

Hydro-Cryokinesis

Cryokinesis

Atmokinesis

Aerokinesis

Gelidkinesis

Substanciakinesis

Volume Reduction

Invisibility

Invisibility Detection

Enhanced Senses

Extraordinary Physical Strength

Shapeshifting (Mermaid to Human and vice versa)

Limited Transformation

Echolocation

Enhanced Regeneration

High-frequency Scream

Speed-Swimming

Water Maneuverability

Fang Retraction

Enhanced Bite

Poison/Venom Immunity

Bioluminescence

Zoolingualism

Relatives:

Queen Nereida (mother, OC)

King Delmaar (father, OC)

Cecelia (Aunt: mom's side, OC)

Alexandria (Maternal Grandmother, OC) (Deceased)

Friends:

Ollina Trudene (best friend, OC)

Lyra Petrúnelludóttir (best friend, OC)

Nya (close friend)

Sora (close friend)

Claudette Wellington (close friend)

Cole

Jay

Zane

Kai

Benthomaar (Bentho)

Home: Kingdom of Merthelia, Ninjago Island

Next up are Ollina and Lyra :D

Note: I do not own anything except for Nerissa's concept board, which I made using Canva. All credit goes to the actual artists.

[fluentisonus]

so much respect for ye olde sailors I've spent all week hauling around about 80 sq m of canvas & I'm so sore

[ventricide]

oh boy 2am, time to post a wip doodle of my uman oc

[harrylights]

i wish that grieving got easier the more times u gotta do it

[danmeichael]

both ad lib lovers and the summer hikaru died to something really interesting wherein they take typical genre conventions and set-ups of BL and place them into a genre other than romance, while still portraying the romantic undertones. where the summer hikaru died does this with horror, ad lib lovers does this with comedy.

as opposed to hikaru's focus on horror, in ad lib lovers, jealousy, desire, and a fear of inadequacy and loving someone more than they love you is portrayed through the lens of improv. this accurately depicts that having a crush on someone as an adult is humiliating.