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  1. Transformation (Go to Facebook to see the post, it is unbelievable!)
    Monday, January 02, 2012
  2. Tears of the Warriors
    Monday, January 02, 2012
  3. The Tuskegee Experiment II (From Truth-The Hemorrhage of Pigs!)
    Monday, January 02, 2012
  4. The Tuskegee Experiment (From Truth-The Hemorrhage of Pigs!)
    Monday, January 02, 2012
  5. Wolves in Sheep's Clothes-The "Charities"
    Monday, January 02, 2012
  6. Who Are You?
    Monday, January 02, 2012
  7. The Color Orange
    Monday, January 02, 2012
  8. The Color Red
    Monday, January 02, 2012
  9. Facebook Mobile Photos
    Monday, January 02, 2012
  10. 02/10/2011 Suffocation
    Wednesday, February 09, 2011

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  1. Sev on The Journal of Dreams 01/02/2010
    2/8/2011
  2. Martha S on SAPPHIRE-Foundation Stone II
    2/7/2011
  3. katey on SAPPHIRE-Foundation Stone II
    2/6/2011
  4. lisa on Tools-My Custom Stone Crusher!
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Transformation (Go to Facebook to see the post, it is unbelievable!)

Today I made plans to live my life like I was just born today knowing what I know now. When have you ever seen such a beautiful rainbow? — withRevelation Rising.
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Tears of the Warriors

Tears of The Warriors (The Journal of Visions)

by The Revelation Painting on Saturday, December 31, 2011 at 5:03am

Within The Revelation Painting, there are many significant messages which are subtle and some not so subtle.  These messages make up the very fiber of the canvas from which the painting has been created.  Between Scenes V and VI there is a war amongst the angels in effort to lock up the Devil for 1000 years.  There are many warriors in this section of the painting, including Native Americans, African-Americans and women, to name a few.  The focus of this section is to educate, highlight the plight of these groups of people and to magnify injustices suffered.

 

While researching this section of the painting it was not difficult to see the recurring connection of European Americans (The White Horse) and their roles in the ultimate destruction of culture, pride and freedom in the name of progress.  The core of this scene is profound where you will see the wounded fighting for their very lives, as well as the unity of groups of humanity desperately trying to hold on to self.  It is a sad and inspiring scene, not meant to glorify or magnify the events, but meant to show the proof of events as they occured and ultimately to reveal the core of destruction.

 

Education and accurate history is very important in this section of the painting.  The Revelation Painting is a painting within a painting and the first impression is that you are seeing Revelation of the Bible in the seven scenes.  The angels are warriors of God in battle with the Devil but when you look closely, they begin to ...

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The Tuskegee Experiment II (From Truth-The Hemorrhage of Pigs!)

Tuskegee Syphilis Experiment PART II

by Truth on Wednesday, December 28, 2011 at 3:17am
From: http://www.rbs2.com/humres.htm (There are many experiments on this site)

 


Tuskegee syphilis experiment

The deliberate failure to treat a group of male Negroes in Macon County (near Tuskegee), Alabama who had syphilis begun in 1932 and ended, by unfavorable publicity, in 1972. This experiment is difficult to discuss, because so much was wrong with it. In my opinion, there are three major mistakes. Page citations are to Bad Blood by James H. Jones, a historian and scholar in bioethics.

  1. The U.S. Public Health Service (PHS) began using penicillin to treat syphilis in 1943 (p. 178) and penicillin became generally available in 1953 (p. 211). Despite this safe and effective treatment, which would have halted the progression of syphilis in the subjects, penicillin was deliberately withheld from the subjects. Not only did the PHS not give penicillin to their subjects, but the PHS (1) repeatedly distributed lists of names of subjects to local physicians and instructed the physicians not to give penicillin to these subjects (pp. 144-45, 162-63) and (2) supplied sham "treatments" (e.g., aspirin at p. 147, 160) to subjects, in an attempt to discourage subjects from seeking treatment elsewhere. The failure to treat this communicable disease violated Alabama law. (pp. 178, 212) In 1950-51, the PHS knew "that we have contributed to their ailments and shortened their lives." (p. 182) In the 1970's, the PHS offered the pretexual and lame excuse that penicillin would have harmed the participants if it had been given (pp. 8, 195), but when penicillin ...
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The Tuskegee Experiment (From Truth-The Hemorrhage of Pigs!)

Tuskegee Syphilis Experiment

by Truth on Wednesday, December 28, 2011 at 3:00am


The Tuskegee syphilis experiment (also known as the Tuskegee syphilis study orPublic Health Service syphilis study) was an infamous clinical study conducted between 1932 and 1972 in Tuskegee, Alabama by the U.S. Public Health Service to study the natural progression of untreated syphilis in poor, rural black men who thought they were receiving free health care from the U.S. government.

 

The Public Health Service, working with the Tuskegee Institute, began the study in 1932. Investigators enrolled in the study a total of 600 impoverished, African-American sharecroppers from Macon County, Alabama; 399 who had previously contracted syphilis before the study began, and 201 without the disease. For participating in the study, the men were given free medical care, meals, and free burial insurance. They were never told they had syphilis, nor were they ever treated for it. According to the Centers for Disease Control, the men were told they were being treated for "bad blood," a local term used to describe several illnesses, including syphilis, anemia and fatigue.

 

The 40-year study was controversial for reasons related to ethical standards; primarily because researchers knowingly failed to treat patients appropriately after the 1940s validation of penicillin as an effective cure for the disease they were studying. Revelation of study failures by a whistleblower led to major changes in U.S. law and regulation on the protection of participants in clinical studies. Now studies require informed consent (with exceptions possible for U.S. Federal agencies which can be kept secret by Executive Order), communication of diagnosis, and accurate reporting of test results.

 

 

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Wolves in Sheep's Clothes-The "Charities"

Water Aid, a charitable organization in America, incorporated in Delaware with corporate offices in NY. David Winder, President and CEO (current) *April 1, 2008 - March 31, 2009 compensation includes annual salary and, if applicable, benefit plans, expense accounts, and other allowances. Compensation information for Mr. Winder is not available at this time. Past CEO Patricia Dandonoli received $281,866 in compensation for the year ended March 31, 2009. Duh...expected.
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Who Are You?

Who Are You?

by The Revelation Painting on Monday, December 26, 2011 at 2:15am
Even though we are human and we have been alive for a long time as a species, we take that for granted.  Have you ever just sat and wondered exactly who you really are or where you came from?  I mean REALLY came from?  Like you, I never really thought about it until I began working on The Four Horsemen of The Revelation Painting.  It was the rider's of those horses who showed me something I would have never seen otherwise.  As I read and tried desperately to "read between the lines" about the horses and their independent missions or meanings, I started to see that each horse represented an amount of time on this earth!  Evolution and change, social responsibility and unity were just a small part of it.

 

Then I found myself absorbed in the Locust of Scene IV which were described as first and foremost, "the face of a man".  I became confused as I began to sketch this "face of a man".  I thought: "What man, from what period of time, what race or all races?"  As you can see, it is not an easy task when you think about the simple sentence: "The face of a man."  This is where Physical Anthropolgy becomes important.  This is where philosophy hits you on the head like being struck with a hammer!  You start to think: "Really, who am I and where DID I come from?"

 

I suppose this is were religion comes into our lives and we just accept the God made us.  We are supposed to believe in "blind faith" that it is ...

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The Color Orange

The Color Orange

by The Revelation Painting on Tuesday, November 15, 2011 at 3:08pm


Please note all photographs are meant for educational purposes and the copyright remains attached to their rightful owners.  If you are the owner of any photograph in these blogs and would like it/them removed, please contact me.
The colour orange occurs between red and yellow in the visible spectrum at a wavelength of about 585–620 nm, and has a hue of 30° in HSV colour space. It is numerically halfway between red and yellow in a gamma-compressed RGB colour space, the expression of which is the RGB colour wheel. The complementary colour of orange is blue. Orange pigments are largely in the ochre orcadmium families, and absorb mostly blue light.

 

The colour orange is named after the orange fruit, after the appearance of the ripe fruit.  Before this word was introduced to the English-speaking world, the colour was referred to as ġeolurēad (yellow-red).  The first recorded use of orange as a colour name in English was in 1512, in a will now filed with the Public Records Office.

 

Burnt orange has been in use as a colour name for ...

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The Color Red

The Color Red

by The Revelation Painting on Tuesday, November 15, 2011 at 2:17pm

Red is any of a number of similar colors evoked by light consisting predominantly of the longest wavelengths of light discernible by the human eye, in the wavelength range of roughly 630–740 nm. Longer wavelengths than this are called infrared (below red), and cannot be seen by the naked eye. Red is used as one of the additive primary colors of light, complementary to cyan, in RGB color systems. Red is also one of the subtractive primary colors of RYB color space but not CMYK color space. Sometimes certain shades of red are even used to symbolize anger, or aggression.

 

The word red comes from the Old English rēad.  Further back, the word can be traced to the Proto-Germanic rauthaz and the Proto-Indo Europeanroot reudh-. In Sanskrit, the word rudhira means red or blood. In the English language, the word red  is associated with the color of blood, certain flowers (e.g.  roses), and ripe fruits (e.g.  apples, cherries).Fire is also strongly connected, as is the sun and the sky at sunset. Healthy light-skinned people are sometimes said to have a "ruddy" complexion (as opposed to appearing pale). After the rise of socialism in the mid-19th century, red was used to describe revolutionary movements.

 

Red is used as a symbol of guilt, sin, passion and anger, often as connected with blood or sex.  A Biblical example is found in Isaiah: "Though your sins be as scarlet, they shall be white as snow."   Also, The Scarlet Letter, an 1850 American novel by Nathaniel Hawthorne, features a woman in a Puritan New England community who is punished for adultery with ostracism, her sin represented by a red letter 'A' sewn into her clothes.  This all comes from a general Hebrew view inherited by Christianity which associates red with the blood of murder, as well as with guilt in ...

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Facebook Mobile Photos

https://www.facebook.com/media/set/?set=a.314307348581659.87950.100000071900264&type=3

Sorry there are other photos mixed within them.
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02/10/2011 Suffocation

It seems a lifetime since I last saw The Revelation Painting.  As a sadness that clouds your dreams and visions, I wait patiently for its return.  All the paint and other elements, including the journals are under 2 hours away from me, yet it feels like halfway across the globe.  You have to know what you are looking at and looking for in this world and I am looking at time passing me and looking for a way out.

Wondering if I have been ambushed by some unseen force, I am determined to reunite and complete this massive endeavor.  My focus is currently on the remaining components needed, the drive to become free from my current circumstances, and to realize that as a reasonable person, I am fully capable of moving forward out of this fish bowl in which I am suffocating.


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The Revelation Painting ©

©PLEASE NOTE THAT THIS IS INTELLECTUAL PROPERTY AND THIS BLOG, SUBSEQUENT BLOGS AND THEIR CONTENT IS COPYRIGHTED INFORMATION. USE OF THIS INFORMATION IN REPRODUCTION or ANY OTHER MANNER CONSTITUTES COPYRIGHT INFRINGEMENT AND IS A CRIME PUNISHABLE BY LAW©

THE REVELATION PAINTING overview

Inspired from a childhood experience, The Revelation Painting has been an 12 year endeavor to not only create a magnificent and historical work of fine art, but to combine worldwide effort through the use of natural resources in creating the painting-the first of its kind.  Drawing attention to the details is what ultimately creates "the whole picture".  It is not just about a valuable stone, more importantly a valuable people.  Precious and semi precious gemstones were gathered and crushed into shards for Scene VII of the painting which is the core of global participation.

By collecting stones from all over the world, their beauty shed an illuminating light on the people and cultures who build their homes and lives upon such beauty.  In admiring the stones and their originations, one begins to admire the people and their cultures.  Striving for an exposure unlike any other creating a kind of visual and artistic peace around the world!  Imagine the hypnotic effect of the bluest sapphire from Sri Lanka combined with customary, bright colors of  Sri Lanka's people...astounding!  To learn more about Sri Lanka, visit: http://www.info.lk/srilanka/srilankaculture/index.htm

The Revelation Painting is a massive work of art measuring 12 feet by 40 feet with seven magnificent scenes, along with sub scenes used as transitional areas between scenes.  Thirty canvases measuring 48″ X 48″ are required for the creation of the painting.  The canvases are gallery wrapped cloth and custom-made wooden canvases required to carry the weight of gemstones and storage of elements of the painting.  This painting will travel the world in exhibition and is history in the making scheduled for release in December 2011.  Seven custom journals will accompany the work as noted below.

In this world of turmoil and unsettling conflict around every corner, something very beautiful can be created through resources not commonly used to create unity and world peace.  Twelve total years will be dedicated to exposing the beauty of world resources, its people, spirit, culture and soul.  It is a “presence” of beauty for by the world and for the world, a form of visual peace.  Many inequities have arisen throughout the world and transformed once very beautiful resources into material items from which to be killed for simply possessing them. 

The core of The Revelation Painting is to generate not only awareness but revenue for unfortunate members which live in some of the most valuable lands in the world yet have minimal necessities to survive.  In many countries, basic human rights are being violated, people are starving to death and families are being murdered for precious gemstones.  It is somewhat ironic that I, as an artist crush those very stones.  The weight of humanity far outweighs the value of a diamond.  Read about "blood diamonds":  http://en.wikipedia.org/wiki/Blood_diamonds

The Revelation Painting  also incorporates fiber optics, 3D “flip” graphic resources, thermochromics and other things commonly not seen in fine arts.  Each gemstone holds a sacred place in the painting which is identified in one of seven journals being created simultaneously titled: The Stones.  The journal includes information about the stones and it’s origin related to the painting.  One of the mysteries of Revelation have been uncovered in this section of the painting!

The other six journals are:

The Journal of Dreams
The Journal of Visions
(which also includes the last year of the making of the painting in a diary format)
The Journal of Measures (and Numbers)
The Journal of Sketches
Truth-The Hemorrhage of Pigs!
Journal of Acknowledgment
, the most important journal in the series acknowledges the participation no matter how great or small toward completion of this masterpiece. It discloses not only individual contributions but information provided by the contributor and advertising if desired of their businesses, personal information, a message to the world, dreams and aspirations. Essentially whatever the contributor wants to say to the world!

Please see more information specific to each journal in the Journal Overview.

Scene II GOD measures 14 feet by 9 feet and is alive with color and energy, moving on the canvas and illuminated. As the audience becomes hypnotized by the sparkle and light, the painting begins to bleed before their very eyes: Truth-The Hemorrhage of Pigs!  Transformation of religion becomes political and the viewer finds himself looking at a painting within a painting.  Here is where the initial interpretation becomes a battle of good and evil throughout the painting.  A hidden mystery is disclosed here, then the painting returns to the beauty of brilliant, white light and energy!

Over $2500.00 of high quality acrylic paints were used to create the Devil due to his remarkable, highly textured reptilian skin.  Real gold was used in various areas of the painting!  Human hair was used on some characters to enhance realism, embedded and combed into the heavy lacquer becoming a part of the painting forever.  High gloss polymers mimic fluids suspended on the canvas.  A mystery of religion, politics and humanity is revealed within the Four Horsemen scene which will be disclosed later in the blogs to follow!

Please subscribe to the blog for regular updates. The painting will be shown via live webcam in mid (est., June) 2010 with the artist working on it…THE FINALE'. You can find yourself sitting in your own home yet behind the artist watching work on the final details!  There will be scans of the work and updates of all aspects of the wonderful creation starting in January 2011. You will view the last year of the making of this historical painting. It is a painting to the people for the people. You and the world are a part of it!

Please note that all aspects about the painting will be blogged including but not limited to:  Letters written soliciting sponsorship and/or investors, auctions, advertising of the painting, in addition to specific blogs related to the making of the painting.  You will not be solicited but will have access to where the areas of participation are offered such as having your name embedded in the painting as a crusader of good in the visible but invisible battle of good and evil which is occurring right before your eyes!
It is exciting, original and Revelation is Rising!

Researching The Painting

INFORMATION ACKNOWLEDGMENT and COPYRIGHTS

Please note that the pictures and information used in the researching blogs remains copyrighted to their rightful owners.  The world wide web is considered a public domain and as an artist I do use images and information found there in research and in the creation of this painting although no images are copied into the actual making of the painting.  All authors are credited for their contributions as appropriate.  If you, as an author see your information here, please contact me for submission into The Journal of Acknowledgment where you will be forever associated, along with many others with the making of The Revelation Painting and thank you in advance.

A prime example is the human skeleton and photos found which may show the number of ribs, the shape of bones, and the correct anatomy.  Please realize that research is required to create masterpieces in art, as DaVinci studied corpses in order to learn correct and precise human anatomy as well as other aspects of this painting or any worth while endeavor.  I would like to personally thank the authors of this published information for the opportunity to learn and grow from their hard work and intelligence.  I would also like to thank them for helping to create history in the making.  If you are the owner of any information used in these blogs and feel that you have been violated, please feel free to contact me for removal of the information or other concerns.

Research required...

I found that many people read The New International Version Bible or a similar bible for its ease of understanding and I to use it in some parts of the making of the painting.  I prefer the Aramaic Bible for accurate translations.  The Aramaic Bible is the first translations into English which if you were to read it conflicts with todays versions.  Information about the Aramaic Bible can be found here:
http://www.v-a.com/bible/

Excerpt:  ..."Jesus the Messiah spoke in the Galilean dialect of the Ancient Aramaic language. This is the language in which the disciples and the apostles preached the Gospel and the scribes recorded the Scriptures. The New Testament has been preserved in this sacred, scribal language since the Apostolic Age. The whole Bible was originated in this language. The translation that you find on this website is made from the original Ancient Aramaic Scriptures directly into English, bypassing the errors of translation introduced in the Greek Original, the Latin Vulgate and all the Western translations made from them"...


http://www.aramaicbiblecenter.com/biblecenter.html
  
An excerpt from that site:..."When scholars realized the Bible had been physically handed down in manuscripts that are not identical to one another, they set out to establish what the sources of the written form of the tradition were, in number and kind, and whether the process of transmission was reliable. At first this required that the known manuscripts be catalogued and compared. Then a critical edition could be prepared, which showed where the major variations in wording and placement of biblical texts occurred. The goal of this level of biblical study, called textual criticism, was to establish a trustworthy text."...

Another prime example which is very familiar to us is The Pale Horse.  According to the first translations, The Pale Horse was actually a "green" horse.  Please see the blog about this finding regarding The Pale Horse.  In creating a masterpiece it is imperative for me as the artist to try my best to be precise in every aspect of the painting.  My research comes from many, many avenues and when a discrepancy in information is found, I try very hard to find the correct answer.  I am human and may still make mistakes.  It is always important to keep an open mind, imagination and an analytic mind when it comes to facts.  An excellent website I frequently use which has many different bibles:
http://www.biblegateway.com/

From the Aramaic Bible:
Rev. 6:8 
And I looked and, behold, a [pale] greenish horse, and the one seated on it, his name is Death, and the netherworld clings* to him. And he has been given authority over a quarter of the earth, to kill by the sword and by famine and by death and by carnivorous creatures of the earth.

Compared to The New International Version Bible:
Rev. 6:8
I looked, and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.
 
The New American Standard Bible:
Rev. 6:8

8I looked, and behold, an (Q)ashen horse; and he who sat on it had the name (R)Death; and (S)Hades was following with him Authority was given to them over a fourth of the earth, (T)to kill with sword and with famine and with pestilence and by the wild beasts of the earth.

Art is a different way to look at the bible and colors in art are the foundation.  It is easily seen that stated color or colors can create an entirely different image.  Perhaps no one has ever noticed the difference which I highly doubt, or the artist just chose the more natural appearance, or tired to associate the horse with what people can relate to.  It is interesting to read the differences and see their impact on religious beliefs.  Do you believe something entirely different that what was originally written in the bible?  A good question.

Be a Part of History in the Making!

THE REVELATION PAINTING©

Be a part of history in the making. This is a huge 12 feet by 40 feet mural-like painting!  Imagine having your individual name, someone you love or organization’s name imbedded within the Mona Lisa or other famous, historical painting!  The Revelation Painting is HUGE!  A massive 12 feet by 40 feet and a world-wide collaborative effort painted by one artist yet it involves contributions from all over the globe. Nothing like this has ever been done in the history of art!  You can be a significant part of it!***

For your donation toward completion of the work: ($10.00) your name will be placed in a Journal of Acknowledgement which will be published about the painting along with 6 other journals. You will be forever known throughout history as a contributor toward this visual peace effort and historical work of art.

For donations of ($50.00) or more your name will be placed in the Journal of Acknowledgement as well as given a one page advertising area. You will be able to use this one page space (average approximate journal size 8″ x 5″, type only) for business advertising, a personal message to the world, or whatever you would like. Where else can you pay for advertising at that price especially associated with a history making piece of art?  Being tied to this painting will reap unlimited exposure world-wide!

For donations of ($100.00) or more, your name will be placed in the Journal of Acknowledgement, receive an advertising area in the journal (as noted above), and your name or business name will be placed within the painting itself and will remain there forever in history!  You will also receive a private invitation for the painting’s reveal and opening in December 2010!  Imagine being able to show friends and family that you are serious about peace and change for generations to come and that you value unity in the world!  You will be able to locate the specific name you choose in the Journal of Sketches.

(PLEASE USE THE PAYPAL BUTTON ON THE HOME PAGE TO SUBMIT DONATIONS OF ANY AMOUNT. DONATIONS OF $1000.00 OR MORE WILL RECEIVE ALL ITEMS LISTED ABOVE, AS WELL AS AN ARTIST SIGNED JOURNAL OF SKETCHES PERSONALIZED FOR YOU TO MEMORIALIZE YOUR CONTRIBUTION AFTER THE JOURNALS ARE PRINTED AND RELEASED IN 2010-2011.

Minimally ten percent of proceeds will also be donated to several Nobel charities on a quarterly basis and you also are a part of ...

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Alpha-The Beginning...A Story of the Gatekeeper...

Dreams 07/1998

Dreams

This blog is copied from The Journal of Dreams. One of seven journals to be published after the painting’s release in 12/2010. A time investment of twelve years will be complete at that time. The Journal of Dreams begins in July 1998 after awakening from deep sleep July 13Th, 1998 and realizing night was filled with dreams of The Revelation Painting.

July 12Th, 1998

Today is my mother, Mary Ann’s birthday. She seemed somewhat sad earlier on the telephone talking about a project she was working on and asked for my help. I obliged knowing it would be a futile effort this time as it had been for the past 10 years.She had been tied up working feverishly on Spindletop, Texas and her belief our family was the original owner of that land. Although we had been down the road to Spindletop many times in the past, I felt obligated to help her, to give her hope in her desolate life deep in the West Virginia mountains.

Mary Ann

Mary Ann

She is a very skilful, self-taught painter but has lost her desire to paint in the past years becoming consumed by isolation and depression. I remembered her telling me once that when my youngest sister left home, she would have no reason to continue life. My sister had moved out some time before. When my mother said that, I gazed deeply into her blue eyes for any sign of untruth and it was not there. She was telling me that she would die of loneliness whether from a broken heart or suicide, it was clear that she was serious.

Whether the Spindletop endeavor was a delusion or not, Mary Ann was my mother and not only did I know what she meant by stating she would have no reason to continue life, I knew that focus on Spindletop would create a kind of child in the house she so longed for, missed, and it would ultimately save her life. Nearly everyday I called her and talked about Spindletop and the information I had found in the libraries, Internet, and other sources. It kept her busy and that kept her alive.

There were three things that would fire up passion in my mother; Spindletop, talking about her paintings, and asking her to relive the story of her death when she was twelve years old. We had talked about Spindletop for months, then months became years, and for some reason, ...

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The Layout-General

THE LAYOUT

 
This is the main canvas design of the painting requires 30-48″ x 48″/4 foot x 4 foot canvases. The canvases are numbered on the backs and in The Journal of Measures (and Numbers) for ease of work processes. As noted in the first scan, each small box represents a 6″ x 6″ square within the total 48″ x 48″ canvas. Twenty canvases are the highest quality cloth, gallery wrapped canvases 1 1/2 inches thick. Gallery wrapped canvases are reinforced and have a frame ...
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Dedications

Dedications:

To my children:

This journal, associated journals and The Revelation Painting are dedicated and belong to my three children in effort to help them understand that sometimes in life, there are things beyond our understanding and that we are all placed on this earth for a reason.  We may never know our own specific reason if we do not search for answers and look for beauty in ordinary, not just extraordinary things.  Ultimately, we are the masters of our own destinies ...

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COLOR!

Mixing Colors and the color wheel


PRIMARY COLORS
Red + Yellow = Orange
Yellow + Blue = Green
Blue + Red = Purple or Violet

Definition:
The primary colors are red, blue, and yellow. These colors cannot be mixed by combining any other colors, they are dominate in all bases of color in some form or another, and they are the basis for making most other colors.

One could argue that a pure pigment of a color such as orange (the concrete color of an actual orange) is not red or yellow in theory but if you tried to reproduce that exact orange color with paint, it would be rapidly noted that it cannot be done without the red or yellow use of primary colors.

Of course, the more of one color used, the more change is seen in the color or hue, eg., 1 drop of red and 10 drops of yellow will create a more "light orange" effect than 1 drop of red and 5 drops of yellow which will create a "rich orange" effect.

SECONDARY COLORS
Red + Orange = Red-orange
Yellow + Orange = Yellow-orange
Yellow + Green = Yellow-green
Blue + Green = Blue-green
Blue + Violet = Blue-violet
Red + Violet = Red-violet

Black or white paint added to any color makes the color darker or lighter. White and black are absolute or neutral colors. White will create a pastel effect and care should be taken in using it. A translucent white lightens without substantial changes in hue (the color of an object but more technically, the quality of a color and the dominance on a wavelength). It allows the color to pass through.


COMPLIMENTARY COLORS

Regarding the color wheel, complimentary colors are the colors opposite of one another which as seen above fall into many shades. It is advisable not to mix the complimentary colors unless you are looking for a gray, black, white (which is difficult) or a brown color, otherwise termed "mud", where too many colors or opposite colors are mixed. Mud is often created.

Please see wikipedia for information on colors:
http://en.wikipedia.org/wiki/Primary_color
http://en.wikipedia.org/wiki/Complementary_color

Color is easily considered a science and even more complicated color wheel exist.
I personally like the wheel below,  'The Real Color Wheel" provided by:
realcolorwheel.com/tubecolors.htm


Much more information regarding color (blogs) to follow.

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Measure of Skulls in Racial Identification

Measure of Skulls in Racial Identification

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 perspective, but also the base calculation 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 surprisingly 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 initially on that finding (in ...

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Human Anatomy

HUMAN ANATOMY

Creating a massive painting from small sketches involves not only the correct anatomy calculations but also the ability to take those calculations and increase them substantially.   Measurements used were based in science and art and the human figure divisions and understanding them were and remain imperative.   In my search for perfectas, it was obvious that the foundation of individuals within the painting started simply with the foundation-the skeletal system.   Artist used to take cadavers apart in order to see the construction of the human body from the skin to the bones and it is easy to understand exactly why once the design process begins.


Elementi di anatomia fisiologica applicata alle belle arti figurative. Turin 1837: Francesco Bertinatti [anatomist]: Mecco Leone [artist]


If the subject were created just by using scientific calculations for an average person, the character of the person would be lost.   In art the development of personality is what gives the painting or other art a meaning and connection with the audience.   Creating a human subject without character would create a void in conception.    Perspective is a major issue in a painting this size.   Often looking upward at the scene is very different from a head on approach.   At any given time, the canvases may require taking down and bringing the painting to eye-level.   Creating movement within the characters also changes visual proportion discrepancies through illusion, although they are most likely accurate proportions.

 

Anatomically, the human body for art purposes works well when separated into units such as the skull, the spine, the thoracic cavity (chest), spine, and so on creating a combined unit from its individual pieces.   Resources from which to study included medical, art, anatomy, photos, and forensic anthropology.   To calculate the basic size of bones related to height, I found simply that the humerus bone (upper-long arm bone) was approximately one and a half the length of the head on average.   The shorter bone of the forearm (the radius-thumb side) equals about one head length and the opposite side-ulna measures about 12” elbow to wrist.

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Tools-Custom Wood Canvases

CUSTOM MADE WOODEN CANVASES

In creating The Revelation Painting, it was apparent that the weight of the stones and the need for sturdy canvases to hold the fiber optics were going to require wooden canvases. In the case of the fiber optics requiring small holes drilled from 1-6MM, a cloth canvas would not suffice. It was estimated that six canvases would be needed to house the fiber optic cables and four to hold the weight of the stones.

Fiber optic cables are delicate and will not tolerate numerous placement and removal as the painting moves from location to location. The idea to drill holes and securely fasten the delicate cables is what brought me to the design of custom-made wooden canvases with drilled holes to accommodate various sizes of cables fixed securely into place with clear adhesive.

   

 Various sizes and adapters are available to create the light effects from a light source. Obvious decreased movements and coiling of the frail cables would increase the life of them before replacement was required. Designing custom canvases 48” x 48” from wood that fit flush with the cloth canvases was no easy task. Measurements from the side were calculated at 1 ½” combined.

I consider myself an artist and not a carpenter. It was very difficult for me to try to measure and calculate the needed design as doors were going to have to be on the backs of six canvases to carry the cables securely during transport. I sketched a rough design and ran an ad for a carpenter, aka woodworker with tools to build the canvases.

 

I need someone to build 10 canvases, high quality 48″x48″x 1 1/2″, some with doors on the back. These canvases will be painted on; fine art and have to be sanded and smooth. Some will have small holes drilled in them. I do not have tools, so you need your own tools. I will buy the supplies at your direction regarding the type of quality, lightweight, non-warping wood required. I have a cloth example (without doors on the back) to go by for design purposes. I will need a quote from you regarding what you will charge for all 10 canvases. I hope that you can deliver them when done or I will rent a truck to pick them up. You will be required to sign a waiver if injury occurs in the creation or delivery of these canvases that I will not be held responsible.

I was amazed at the response!  After a week or so of careful consideration, I chose a man who may or may ...

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Tools Required for the Painting

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 ...

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Tools-My Custom Stone Crusher!

 
MY CUSTOM STONE CRUSHER

 

MY TOOL

 

 

 

For over nine years I tried to crush gemstones by various methods. I lost many, got hit in the face many times, essentially I would consider it a very dangerous job!  Round stones become projectiles…believe me!

So I see a man on Ebay who sells gold mining tools and think:  “Wow, he might be able to design me a tool.”  The tools he was selling were far too big to crush a carat stone. I wrote him, told him what I needed, the specifics and he made the tool by welding it, and shipped it while the metal was still hot!  He was truly what you call a “God-send”.

The tool was designed to fit flush internally with the inner base in order not to get small pieces of stones trapped in any fissure lines. He dropped hot metal (steel) into the barrel and quickly brushed it with a steel brush to make it shiny, smooth inside.

This device is heavy, I thought it might break my scanner glass so I placed it in two scans. The plunger (I call it) is solid steel with a welded pipe vertically and a hollow handle welded horizontally. It is a very powerful tool!  I destroyed some quartz (as practice pieces) in the beginning until I got the exact range to smash the stones.

The main thing I learned about using this tool is that although you are smashing very valuable stones and breaking them into shards, you still need to be gentle and respectful or when you lift the plunger, you may be left with colorless white powder!  It is also great for anger management issues~!

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Jasper-Foundation Stone I

JASPER

THE FIRST FOUNDATION OF THE NEW CITY-SCENE VII



JASPER a quartz as clear as crystal

JASPER a quartz as clear as crystal

Personal Note:

Please note that the information listed is derived from many sources and research regarding the stones is ongoing.  It is difficult to use information of our current times when in biblical times that information may have been different ...

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SAPPHIRE-Foundation Stone II

SAPPHIRE-Foundation Stone II



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 ...

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CHALCEDONY-Foundation Stone III

CHALCEDONY

THE THIRD FOUNDATION IN THE NEW CITY SCENE VII

Chalcedony is a quartz, specifically a micro crystalline (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 micro crystalline 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 antinflammatory, 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.

More to follow.

EMERALD-Foundation Stone IV

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 ...
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Sardonyx-Foundation Stone V

SARDONYX-The Fifth Gemstone

 

 

SARDONYX-variety of onyx. Gr. sardōnux, presumably f. sārdiosSARDIUS + ónuxONYX.
Onyx is cryptocrystalline Chalcedony Quartz. The name Onyx comes through Latin to Greek and means fingernail or claw due to the fleshy resemblance.

In ancient Greek times, nearly all colors from white to black were called Onyx.  It was during the Roman Empire when onyx began to refer to dark brown and black.  In the Roman times, Sardonyx was highly valued as it was used for official seals, as with Chalcedony, it did not stick to the wax used to seal documents. In modern times when we think of onyx, we think of a black stone although onyx comes in a myriad of colors:  Shades of brown, brown-red, reddish-orange, orange-yellow, white and banded which is the common if not black.   The brownish-red to orange, to white is Sardonyx (Sard meaning “shades of red”).   The use of sardonyx appears in the art of Minoan Crete, notably from the archaeological recoveries at Knossos.   Onyx was used in Egypt as early as the Second Dynasty to make bowls and other pottery items.

 

Sardonyx is abundantly found in the world, nearly every place where Quartz is mined.

 

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Sardius-The Sixth Stone

Sardius


The 6th Stone

http://en.wikipedia.org/wiki/Carnelian

Carnelian (also spelled cornelian) is a reddish-brown mineralwhich is commonly used as a semi-precious gemstone. Similar to carnelian is sard, which is generally harder and darker. (The difference is not rigidly defined, and the two names are often used interchangeably.) Both carnelian and sard are varieties of the silica mineral chalcedonycolored by impurities of iron oxide. The color can vary greatly, ranging from pale orange to an intense almost-black coloration….

A Stone of flesh color is a significant clue behind the meaning of the use of this stone in the 12 foundations of The New City. Its placement as the sixth stone also bears significant meaning. Wikipedia explains the meaning behind the name:

…The word carnelian is derived from the Latinword caro, carnis meaning flesh, in reference to the flesh color sometimes exhibited.    According to Pliny the Elder, sard derives its name from the city of Sardisin Lydia, but it more likely comes from the Persianword sered, meaning yellowish-red.

Carnelian is considered the stone of enlightenment. Its orange color creates happiness, warmth and energy. Believed to shield the wearer from anxieties and fears, creating reduced stress and is used in some cultures to bring a sense of peace and clear negative energies.

Ancient Egyptians fancied Carnelian jewels as noted by the tombs of Egypt being adorned with many carnelian pieces. Egyptians believe the stone assisted in the afterlife in helping the soul pass into the next world protecting the traveler from evil. Buddhists in China and India created amulets inlaid with Carnelian and other semi-precious stones, ...

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Chrysolite-Stone Seven-The Division Line

Chrysolite-Stone Seven-The Division Line

In anticipation of controversy about this stone and its modern color and shared meaning, I thought is was important to look up the origin of the name and discover the historical changes which have occurred. Chrysolite means “golden stone”; Greek chrysos = golden or yellow plus lithos = stone in Greek. For the purpose of The Revelation Painting, that color definition is correct and the reason it is correct will be revealed closer to the release of the painting.

  http://www.mineralatlas.com/australian_minerals/new_zealand.htm   

Origin: Blackhead Quarry, Dunedin, Otago, South Island, New Zealand Sample size: about 2 mm crystal Sample owner: Vic Cloete

Mineralogists categorize Chrysolite and Peridot under the one species: Olivine.   Numerous colors are included within the clear to green ranges but the general consensus is the colors of Olivine vary from light straw yellow, gold-yellow, to yellowish-green, are known as Chrysolite ; and the deep yellow-green, is called Peridot. The chrysolite is the “golden stone” of the ancients, and was at one time considered of very great value, even more than a diamond. 

Chrysolite is the seventh stone, seven is known as God’s number, and as you will see it is a division line between two important messages hidden within the structure of The New City and the city’s true meaning. Coming across some information I have yet to find again, I originally and mistakenly learned that Chrysolite was a Beryl which I have found recently to be untrue. I believe the mistake was made when confusion occurred between Chrysolite and Chrysoberyl. 

This magnificent specimen photo was borrowed from: http://silver-rockets.com/tag/meteorites/ of the Fukang (meteorite); The Fukang meteorite was found in the mountains near Fukang, China in 2000. Pallasites are a type of stony-iron meteorite with beautiful olivine crystals.  
CHRYSOLITE, is transparent variety of olivine. The true chrysolite of the modern mineralogist is a magnesium silicate. Certain kinds of topaz, from the Schneckenstein in Saxony, are known as Saxon chrysolite. The transparent yellow chrysoberyl with a ” brilliant” cut can and has be mistaken for a yellow diamond. This gem is also often mistaken for the chrysoberyl.  The name, earlier in time was used for yellow varieties of tourmaline and topaz. 

Chrysolite is harder than glass, but not as hard as quartz. The finest specimens are noted to come from Egypt and from Brazil. The stone is commonly found in certain volcanic rocks and as noted in the meteor photo above. Other localities where the stone ...

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Scene I Jesus and John

Scene I Jesus and John

In this scene (Scene 1) John 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 John 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:

 

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Scene I The Candlesticks

Lampstands and Candlesticks

One would think that drawing and designing a lampstand or candlestick should be an easy task, but I have to tell you, it is not!  There are many ideas which float endlessly through my mind as an artist and in Revelation, it is even more difficult to think of a candlestick tall enough for Jesus to walk amongst without looking award.  Then comes the general shape, the color, and so many other aspects it can easily become an overwhelming task.

Relics and artifact Lampstands have been excavated in Palestine and other locations throughout the world.  The designs revealed many uses in design.  The wicks were made from flax and the oil was obtained from olives which would light the lampstands for long periods.  Lampstands are mentioned throughout the bible and signifies the light, as the Lord which illuminates one's way.  In Revelation, it is thought that the churches are signified as the shine of the world is lit by lampstands.

Candlesticks or Lampstands...not as easy as it seems.  For the painting I have chosen Candlesticks.  I did not realize the complication of a candlestick until I started to sketch it, then it was even further complicated by the design.  In searching various candlesticks the "ornate" candlestick appeals to me as an artist but the GOLDEN candlestick is mentioned.  My interest is to combine the golden and ornate.

"...And in the midst of the seven golden candlesticks, one like to the Son of man, clothed with a garment down to the feet, and girt about the paps with a golden girdle...."

This is the first scene, the one that draws the audience forward.  My next conflict was the shape of the candlestick and the height.  I have decided the height will range from 3 to 6 feet, the candlesticks will have visual similarities, and the most important aspect is that the seven candlesticks represent not only the shine of "the way", the illumination of God but also the light of the world.  In this scene the seven represent:

..."As for the mystery of the seven stars which you saw in My right hand, and the seven golden lampstands: the seven stars are the angels of the seven churches, and the seven lampstands are the seven churches..."

The dilemma is the visual representation of all aspects but overall the emphasis should be placed on the GOLD and the LIGHT.  White fiber optics will be used in this section to create the luminous glow required.  The fiber optics will also light the seven stars.  Sketches are to follow.  Below please see various candlesticks I am using for reference.

 


 


 


 


 


 
This is a very good example of the oil holder but should flames come from all of the arms of the lamp or just the top?

 

These are my absolute favorites so far but will require length and weight in their structure, along with an oil holder at the top and the holder is where I may place faceted gems to tie end Scene 7, The New City where over $140,000.00 of crushed gemstones are used.  This is a perfect opportunity to show the beauty of the twelve precious and semiprecious stones.

I amazingly stumbled across the definition of a candlestick or lampstand.  If you remember, in my previous blog (above), I was searching for what it/they must look like.  I was in turmoil and personal arguments with myself about EXACTLY what it has to look like.  Why was it so important to me?    In my effort to create a candlestick I found it very difficult.  This is the description I found in Exodus.  Ponder this:  Why is it so amazingly descriptive?:

The Golden Lampstand


..31 “Then you shall make a lampstand of pure gold. The lampstand and its base and its shaft are to be made of hammered work; its cups, its bulbs and its flowers shall be of one piece with it. 32 “Six branches shall go out from its sides; three branches of the lampstand from its one side and three branches of the lampstand from its other side. 33 “Three cups shall be shaped like almond blossoms in the one branch, a bulb and a flower, and three cups shaped like almond blossoms in the other branch, a bulb and a flower—so for six branches going out from the lampstand; 34 and in the lampstand four cups shaped like almond blossoms, its bulbs and its flowers. 35 “A bulb shall be under the first pair of branches coming out of it, and a bulb under the second pair of branches coming out of it, and a bulb under the third pair of branches coming out of it, for the six branches coming out of the lampstand. 36 “Their bulbs and their branches shall be of one piece with it; all of it shall be one piece of hammered work of pure gold. 37 “Then you shall make its lamps seven in number; and they shall mount its lamps so as to shed light on the space in front of it. 38 “Its snuffers and their trays shall be of pure gold. 39 “It shall be made from a talent of pure gold, with all these utensils. 40 “See that you make them after the pattern for them, which was shown to you on the mountain.
New American Standard Bible Copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation, La Habra, Calif.

In continuing research I found that even Moses had trouble designing and making it!  It has specific weights and measurement, carvings,...I am out to create the perfect candlestick!

http://truthofland.co.il/menora_form/form.htm

GOD-Scene II (Part I)

Scene II GOD

(PART I)

According to the “dream” my mother had where she saw God, she stated that he was so bright that she knew if she had not been meant to be there that she knew she would have went blind.   She was unable to see the detail of his face because of the light but she knew he was a man.   This is where the brilliant, white light originated for Scene II of the painting.   Initially I contacted NASA for a light so bright that it would insult the eyes but not cause permanent damage.   I wanted the pupils to jerk in constriction.   NASA never responded.

Knowing early on that another form of brilliant, white light would have to be substituted, I was stumped.   Considering everything from flat panels to full spectrum lighting, I became frustrated and put that part of the painting on hold for quite a long time.   I thought that maybe I would have a chance with NASA engineers if there was more to show them.   I considered all the money America has contributed to NASA’s dreams and I believed (still naive) that they would make a light for The Revelation Painting.

 

Time passed, days were like months and months like years before I thought of it again until one morning I had awakened from a dream.   The dream was to run the bright, white light cables of fiber optics through the canvases.   That idea was also no easy task!  I began to research fiber optics and light sources.   There were no flat light sources but the cables were flexible enough to use in each canvas, bundled together and coiled into the back of the canvas.   The total length of various size cables would reach around 20-30 feet, maybe more.

 

Since I had read in Revelation what is described as God’s image, I was thrown back in believing the “white light” theory as Revelation did not focus on the brilliance of the white light, in fact it really did not talk about it at all:

 

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Scene II The Four Living Creatures (EAGLE)

The Four Living Creatures
(Working Images) 
 
And before the throne [there was] a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, [were] four beasts full of eyes before and behind. And the first beast [was] like a lion, and the second beast like a calf, and the third beast had a face as a human, and the fourth beast [was] like a flying eagle. And the four beasts had each of them six wings about [him]; and [they were] full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come. (Rev. 4:6-8)

This is an important part of The Revelation Painting for me. I believe I have been drawing eyes my entire life for this!  Although I remember trying desperately to draw these creatures when very young, I could not master it. Giving up on it for many years, again, here I will try to recreate what I have seen related to Revelation 4:6.

My main problem here are the bodies of the creatures because the bodies are not mentioned. In order to paint the portions mentioned; the faces-A lion, calf, human and eagle I will paint those images but make the fiber optics of GOD and the brilliant white light shine into their chest where the bodies nor the feet will show.

Using actual white feathers in this portion, I will apply them with glue and varnish, making them smooth, highlight them using gouache and thinned paint, then paint the eyes on them. I would prefer the eyeballs protrude in all directions, which will require countless hours of work. Below is an example of the feathers sealed which have the basic eye color applied:
 



 

As you can see at the bottom tips of the feathers, detail work will be required to make the feathers match and not appear as though the creature has been "ruffled". It is imperative to pour lacquer into and onto the scene when it is complete to decrease opportunistic decay from underlying air bubbles over time.

 

The face of the eagle is a rough sketch. Research is required to make it appear realistic. I sketched the head in all different directions and felt that the eagle, since he is the end creature would look best if he were looking outward at the audience. His eyes will be larger and yellow/gold.


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God-Scene II Truth-The Hemorrhage of Pigs!

Truth-The Hemorrhage of Pigs!

I locked the Hemorrhage page at www.therevelationpainting.com requiring a password to see it. The reason is that religion is a touchy subject and I may sound harsh to some people and/or groups as I make my case regarding what Truth-The Hemorrhage of Pigs! is all about.

The second reason is that recently, a friend of mine was contacted by a government entity which cited them for "talking about the government". I do not want to blacklist myself before I even get started. I know that this painting will grow tremendous controversy. It already is.

I will only write blogs about the mechanism of the bleed, the design and measurements, and the sketches regarding this section of the painting and forget about the "politics" behind it. In other words, discussing the art of it will be the priority until later on when the password protection is removed.

To remind you about the Hemorrhage section of the painting  Scene II GOD; it is where the brilliant, white light of God begins to bleed from the application of thermochromic pigments that when heated to approximately 88 degrees will turn from a red (slightly pink due to the saturation of pigment) to a clear.

The painting will require heated light sources to keep the red pigment at bay, then when the lights are out, the painting begins to bleed Truth-The Hemorrhage of Pigs!  When the lights are turned back on, the painting will return to the pristine, brilliant, white light of God once again.

Here is a general design of the effect, of course you will not see a change here, it is an illustration. I am working on learning to video certain things to make short youtube videos to place here on myspace and at www.therevelationpainting.com in anticipation of my June videos actually painting the painting.







The following are views of the Hemorrhage effect. The first is when the pigment is cold (under 88 degrees) but the colder, the better but not freezing. It arrives in various forms; a powder, a slurry, a paint or ink. This medium was a slurry. The area TEST is where I wanted to see the black thermochromic related to being covered by the red and their reactions.

The following pictures is the pigment heated with a ...
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The Black Horse-A Nine Year Old Practice Piece

THE BLACK HORSE
 

A nine year old practice piece
Please note that the true height of this horse and rider are over nine feet on the canvas and that this horse is in the audience’s face.
If we think about these horses as segments of time* in lieu of what they stand for, the black horse carries the balances. For me that means equality and justice. Throughout history if we look at time and where various equalities meant more than ever before, that is the time we currently live in. Think about it…womens rights, smokers rights, gay rights, human rights, racial and ethnic rights, world rights, human rights,…Who was the father of equality?  Who stood up for rights of equality more than anyone in history?
Martin Luther King
and he is the rider of the Black Horse.
“…a “BLACK HORSE” appeared and went forth, whose Rider held in his hand a “pair of balances,…” 
 
I am still negotiating whether to have this horse facing forward and reared. I think that presence would be astounding but would take the faces further away from the viewer. Here the faces are too significant in this portion of the painting. The rider is higher than 6 feet on the painting without the horse reared and the perspective from below looking upward may interfere with the true message in this scene.
This is still very much a working piece.
 

Behold…THE BLACK HORSE!
 

 

If you noticed that the horse looks as though it has human hair, that is because it does!  This particular horse has human, black asian hair. The hair here is not embedded in the painting at the mane but is in the tail area giving a raw example of both applications. I have learned a lot in the past nine years while working with hair and incorporating it into a work of art. Although it may seem an easy task, working with the fragile hair is often times trying and disappointing. Please note that these new techniques are incorporated within the copyright registered with the U.S Copyright Office as new and experimental artistic techniques tied to the many never before seen techniques required to create The Revelation Painting.

*Please watch for the ...

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The Black Horse-Dr. Martin Luther King Jr.

Dr. Martin Luther King Jr.and The Black Horse

We spoke earlier about The Four Horsemen representing races of people and I mentioned that if, by chance these horses represented spaces of time as well that we would be currently living in The Black Horses time. I had chosen Dr. Martin Luther King as the rider of The Black Horse simply because the literal sign of the times is focused on equality of some proportion-civil rights, worker’s rights, veterans rights, equal rights, smokers rights, gay rights, womans rights, unborn rights, etc…

Rev 6:5  And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand.

 

The Black Horse carries “the balances”, or scales and scales measure equality. Used as an icon in the courts, it would seem that the balances also measure justice, as in “the scales of justice” where evidence is weighed. Appropriately we have also learned that on “Judgement Day” when the book of life is opened, we will be accountable for the deeds of our life whether good or bad. Could it be that good and bad will be measured by balances?

Back to equality. Dr. Martin Luther King is an icon of equality. He not only fits the race required for The Black Horses’ rider, he also fits the cause: Equality. It is only appropriate that he is The Black Horses’ rider. The role is too significant that he played in changing the world to ignore and should be illuminated, thus never forgotten. He was the father which birthed modern day of battles dealing with equality in any manner. Numerous hours were spent sketching Martin Luther King.

Many sketches will be in the Journal of Sketches. Roughly the first sketch and final painting are revealed here in this blog. Martin Luther King is nearly completed here:




Interesting fact: Martin Luther King, Jr., was originally named "Michael King, Jr.," until the family traveled to Europe in 1934 and visited Germany. His father, Michael King Sr., soon changed both of their names to Martin Luther in honor of the German Protestant leader Martin Luther.
From the Journal of Measures (and Numbers)...
As Michael King ...

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Four Horsemen WORKING IMAGES

Please note that you will have to keep coming back to this blog as it is edited with new images throughout the next few months. 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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This Black, Black Horse-Working Images 2

This black horse has been painted and repainted at least 30 times!  I feel comfortable with the base body and shape now but am concerned regarding a probable miscalculation of the horse size v.s Martin Luther King Jr.'s size.  Most artist have problems with math, as do I.  It is imperative that I calculate the small sketched to match the large painting and it is difficult!

I have learned to sketch my work now, where I did not before.  Learning patience is also an attribute which is growing in me.  Although I have become very frustrated at times with the black horse, I forced myself to continue because I saw it as a challenge that I have had to endure and finally have the mind set to complete.  The main source of perspective came from this photograph I found on google.  Please note that I do not take any credit for this photograph and thank the artist/writer/editor for publishing it.




Author: Howard Norfolk
Title:  A Tour of China in Winter, Part 1d: The Beijing Museum of Natural History

www.aquarticles.com/articles/travel/Norfolk_1... 

So from the beginning the sketch was useless.  I would paint the sketch and it looked too small for Martin Luther King's body.  Since the face was so imperative, I based the entire horse's size from this 18" head.  If the rear looked in correct proportion, the front of the horse was off and visa-versa.  Only after finally setting myself free from the fear of making it too large, I conquered the black horse~

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.  I have learned a new technique of painting here.  Holding the brush gently enough yet twisting it at the same time yeilds a 30" strand of paint!  The knees 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 Four Horsemen-Pale Horse-Working images 3

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….

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The Pale Horse and The Medical Examiner

The Pale Horse (and the Medical Examiner)

When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth. — Revelation 6:7-8 NIV

Revelation 6:8 Aramaic NT: Peshitta
ܘܚܙܝܬ ܤܘܤܝܐ ܝܘܪܩܐ ܘܫܡܗ ܕܗܘ ܕܝܬܒ ܥܠܘܗܝ ܡܘܬܐ ܘܫܝܘܠ ܢܩܝܦܐ ܠܗ ܘܐܬܝܗܒ ܠܗ ܫܘܠܛܢܐ ܥܠ ܪܘܒܥܗ ܕܐܪܥܐ ܕܢܩܛܠ ܒܚܪܒܐ ܘܒܟܦܢܐ ܘܒܡܘܬܐ ܘܒܚܝܘܬܐ ܕܐܪܥܐ ܀

Translation:
 
"… And behold a green horse, and his name that sat on him was death, and hell followed after him, and power was given unto them over the fourth part of the earth …"

I have to admit that I was petrified these days regarding my discovery of the skulls and the races in my previous blog regarding the Four Horsemen. I was sure I was wrong about the Pale horse. In the Aramaic Bible (first translations), it states that the Pale Horse is the Green Horse. It was shocking to me, a massive mistake in my understanding of what I read…see, this is why I have all kinds of bibles now!


So the error remains close to the surface of my brain, haunting and taunting me. I thought:  Why in the world would the Pale Horse actually be green, such an unnatural color?  Then last night I was watching Dr. G.- Medical Examiner. She was talking about a young man who died and was decomposing earlier than normally expected. She said:  “Decomposition turns the skin a blue-green color.”  I found myself sitting upright and at attention!  Wikipedia talks about the decomposition process and its stages. Here is a part of it (where the green comes from):

 Putrefaction:

Odor, color changes, and bloating of the body during decomposition are the results of putrefaction. The lower part of the abdomen turns green due to bacteria activity in the cecum. Bacteria break down hemoglobininto sulfhemoglobin which causes the green color change. A formation of gases enters the abdomen which forces liquids and feces out of the body. The gases also enter the neck ...
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The Four Horsemen-A Mystery Unveiled!

©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©

The FIRST MYSTERY OF REVELATION

THE FOUR HORSEMEN

 

A long time ago, when I was still considered a child trying to sketch what was envisioned and dreamed regarding this painting was impossible. Believing it just was not my time, that I had not yet earned the right, life continued on. Although I had made bets with myself to read the entire bible, often becoming discouraged because I did not understand what was read and still do not…mostly. I would put the bible up and forget about it.

Somewhere along the line after reading or hearing that if you simply ask for understanding, you will receive it. I also read it not to test God, but the rebel I am and have always been went ahead and tested him. I asked for understanding. Sometime later, I read Revelation like I always did, as an artist and not a religious person. I got to the Four Horsemen and found my heart pounding in realization…
I had earned the right, I finally understood!

My intentions are to create a magnificent work of art and theories were not a part of this endeavor initially. Through life experiences it was coincidental that knowledge helped me to see the core meaning of The Four Horsemen. The realization came through a dream, in the middle of the night after months of neglecting the painting. It became the key which started the engine once again and passion was the fuel!


Anthropology

Once widely used to classify races of humans and still used in Forensics and medical sciences, I find it interesting that the four primary races match the colors of the horses in overall color, (please see blog regarding the Pale Horse separate from this entry) as well as the roles the horses represent. The terms are not used as much publicly due to the “offensive” projections people feel they create. For this piece, I will use them for scientific and artistic purposes in order to express my theory as I see it artistically. My intentions are genuine. All I can tell you is if you feel offended, close the blog.

Theoretically, the Caucasian-white, Australoid-red, Negroid-black, and the Mongoloid-pale (In art the lightest basic color in the color scale before white, classified as “pale”). One could argue the “pale” theory but I am not here to argue that, I am here to express my theory as an artist, keep an open mind, continue researching the subject and make sure I have scientific evidence and ...

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Research The White Horse-Scene III

The Four Horsemen Scene III

The White Horse

Taken from the Aramaic Bible translation

Revelation chapter 6
   
2. And I looked and there appeared a white filly,* and the one riding on it has a bow, and a wreath was given him, and he emerged* to conquer wherever he may conquer.

6:2*Lit. Ar. idiomatic construction: "And I saw and there [became] a [young female] horse white."

 

The first difference in translation can be easily seen, it is “a filly”, where other bibles note the translation to be simply a white horse.   Although technically a white filly is a white horse but the femininity is important here, otherwise it would not have originally been written that way.   I found myself searching for the ancient meaning of riding a young, [white], female horse compared to riding a muscular, male, [white] horse especially since this rider was given so much power.   It seemed contradictory for one given the power to conquer.   This is what I found:

 Mares (female horse) were the best mounts for raiding parties, as they would not nicker (a horse's sound) to the enemy tribe's horses, warning of their approach. The best war mares exhibited great courage in battle, taking the charges and the spear thrusts without giving ground. Speed and endurance (not becoming exhausted easily, not quitting) were essential as well,…

 

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The Locust Scene IV

The Locust-Scene IV  Artist Personal Reflections


 



 



In the beginning when I started studying The Locust for Scene IV it became readily apparent that it would be no easy task. The Locust were described with "face of a man, hair of a woman, teeth of a lion, iron breastplates, golden crowns, feet like a horse and tails like scorpions."  Beyond the face of a man and hair of a woman, I had a lot to research and will write about all of that later.

The thing I would like to discuss now was the answer to a dilemma that had me baffled for a long time and today after visiting the "bug show" at the local Botanical Gardens, I found the answer!  Upon painting the first Locust and researching iron breastplates, since the scene was ancient, it was only appropriate that the iron breastplate had a patina of age about it. Usually iron is rust and brass a blue-green patina.

After making the iron breastplate and starting the rust (red-orange-brown) patina, it was much too dark for such a dark scene as the creatures were ascending from a bottomless pit or Abyss (that was also another reason the eyes of several locusts were light colors, in order to add color to an otherwise dark scene.)  My direction changed to the blue-green for patina in effort to brighten the creatures against the grey/black.
 
 
 
 
As seen above, the breastplate is too blue but looks good with the black highlights of the muscular design of the breastplate.   Although I thought to change it several times, something forced me to keep it this color.   What I learned today was shocking and immediately I understood the true meaning behind the color I thought I had chosen.   This is one of those “weird” things that have to do with the making of this painting.
 
What I learned today was information regarding the Emperor Scorpion; a solid black scorpion with a secret.   I was busy looking at the design and structure of the tail which is what I needed to see ...
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Forward Momentum

It is time to get back into gear. I spent the last few months in useless “marketing” efforts trying to gain corporate sponsorship for this massive painting. I have come back to my senses and realized I, and I alone are the master of this painting’s destiny. Never do I, or have I started at the bottom and worked my way up. I have this simple philosophy:  Start at the top! It could end up in a tragedy or success because at the top, the only place to go is down. The key is once you get to the top, you never let go!

 
Sir;

 

I am the creator of a massive work of art called THE REVELATION PAINTING which measures an incredible 12 feet by 40 feet!  Not since DaVinci’s time has there been a religious painting of this magnitude.
This painting is history in the making!

I am writing you Sir in effort to gain your support. I am an American born artist but the significance of this painting is paramount. I would like to release this painting from Italy with the support of the church. There has been nothing throughout history which can match the true magnificence this painting.

The painting is alive and moves with fire, passion, and energy!  It bleeds on the canvas and returns to its original state. There are messages within the painting written backwards and the painting changes to other paintings in front of the audience’ eyes, true awe and spectacular!

There are mysteries of Revelation which are uncovered within the painting which will change what we previously knew about the book of Revelation. It is well worth the churches time to look into this painting and I would be honored as the artist.

I have been working on this painting for the past 11 years, it is what I
would consider a “life’s work.”  I have received materials for this painting from around the world, making it a true global effort. Please feel free to contact me at any time.

I have created a blog in order to help create vision at:  www.therevelationpainting.com  
I am creating public interest very rapidly!  This is the last year of the painting’s creation which has been kept a secret until now. It is exciting and I would very much appreciate your attention above all which have the opportunity become involved.

Respectfully yours;

Below, you can see a summary (Please note I am not a professional marketer, just an artist working independently on all aspects of this painting):

—ABOUT THE PAINTING—
The Revelation Painting©
“La pittura ...

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Learning Through Revelation(s)

Learning religion through repeated Revelations…

The definition of religion:

1. a set of beliefs concerning the cause, nature, and purpose of the universe, esp. when considered as the creation of a superhuman agency or agencies, usually involving devotional and ritual observances, and often containing a moral code governing the conduct of human affairs.

THINK ABOUT THIS:  A MORAL CODE GOVERNING THE CONDUCT OF HUMAN AFFAIRS…

 

THE REVELATION PAINTING truly started out as a painting of Revelation-seven scenes but now it has become a crusade of truth. I have been working on this painting for 11 years and always knew I had a fail-safe in the churches and others with income that has been generated and continues to be generated by you and me and our families and friends. After all, we supported their “glory” in their “crusade of Christ” for centuries and continue to do so, surely, they would reciprocate and support our dreams, and aspirations…right?  Wrong!  My emails must be considered spam…spam is essentially considered garbage, therefore my dreams are garbage and I am worthless yet my money buys their mansions and Ferraris, Rolls, fancy $40,000.00 gowns, their yachts, their summer house, their winter house, their fall and summer houses and the houses in between, their trips all over the world, their jets, their drugs, their private parties, excessive weddings, and divorces, essentially their very excessive lives!  If it all sounds ludicrous, that is because it is!  I am not saying all churches take advantage of faithful souls but some do!

I waited until the last year before the completion of the painting to request sponsorship from one or some of the 50 MEGACHURCHES in America. Naïve, I believed the churches I saw on TV, the ones with the biggest flat screens they make all over their “arenas” of a church, the ones which sit bright white on hills in every city packed full of believing, generous souls. These are the churches on TV with over 10,000 members in a church so horribly big that it is an arena!  I wrote them less than 2 months ago and they deleted my email without even reading it and it said:  “God’s Work” in the subject line!  It’s not that I wrote one church or ten churches, I wrote fifty churches! 

So from there, I went to “charitable organizations” like Habitat for Humanity where I offered 10% of my Ebay sales toward their charity. I figured an eye for an eye. They could advertise me and I would give them 10% of the proceeds. They deleted my email without reading it and the subject line said:  “Big Donations”. ...

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The Revelation Painting Journals

©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 in(projected 12/2010). I have chosen to publish parts of 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, and 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.

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 (and Numbers)

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 ...

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12/31/2009 One Year-The Finale'

12/25/2009  One Year-The Finale'

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The Journal of Dreams 01/01/2010

The Journal of Dreams-The Finale’

January 1, 2010 · Leave a Comment

Today marks the twelfth year of the making of The Revelation Painting. The official website goes up today and there have been countless hours spent looking forward and preparing for today. I cannot believe today is here!  Although it is exciting, it is scary as well. Today the realization hit me that it is serious now, more serious than it had been for these twelve years. My mission is now etched in concrete and I alone am the master of its destiny. What will it be like to awaken to the painting away from me a year from now, for the first time as it travels the world?  Like a child leaving home for the first time, I know it will sicken me. What will it be like to go to sleep and not see the visions of what to paint tomorrow?

Time and creation is an odd thing for the human psyche. This painting has become a part of me, my companion that I have toted with me for a lifetime. Panic has not set in yet as I continue to enjoy the time I have to make this painting come alive. I wonder if Michelangelo felt this way when he had to let go of his most magnificent works…forever?  Although I planned for the painting to travel to world with its messages, the world seems like a very huge place now and in the light of recent events globally, what if the turmoil of a country had a direct impact on the survival of the painting?  I just keep imagining pieces of the painting scattered among the ruins of a once vibrant city…an artist’ imagination.

Let me live for today and not let my imagination spoil my dreams. Today will be spent with constant updating of social pages to increase the flow of people, awareness of the painting and to create a following. I had run ads for a marketer who would work in their spare time (currently without pay), to promote the painting but received no response. I can understand that simply because it is not their dream. I imagine the value of the painting will soar and we could have made an arrangement. Nevertheless, I will market it as best I can and try to build a network, offer incentives and maybe even ownership of pieces of the painting for a limited time. That way people who are in need, will receive but not as charity.

Today is the first day of the rest of my life and yesterday is gone forever. There ...

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The Journal of Dreams 01/02/2010

The Journal of Dreams 01/02/2010

January 2, 2010 · Leave a Comment

I am astounded and crushed with disappointment and in the turn out for the new site. I am unsure exactly what I was expecting. I will have to test every aspect of the site and see if it is appealing, discover its faults, look at all available options and fix them. I like to think I am intelligent enough to do that. I feel angry, wondering if this dream is clouding my judgement, but most of all, I feel hurt. I thought that the site would bring people from all over the world, exploding in interest…well, it did not and tomorrow is another day. Maybe my resistance against religion is playing a role in this, something that I cannot see…like faith. I have always said I have to see to believe and maybe that is wrong. If there is a God,, that means there is a Devil and maybe he is trying to stop me, it is a religious painting after all.

Today I have four canvases to paint, The Four Horsemen. This will be the 9th time I have repainted the black horse. He is stubborn. The vision I had in my head is not easy to paint and I am realizing that I must set myself free in order to paint him. Every time it is his body which looks out of proportion compared to the rider and the horse’s own head. I imagined the horse to be much bigger than I am allowing myself to paint him. I went through the sketches in the Journal of Measures and can see that he is over nine feet tall but I keep painting him seven feet tall. It requires a lot of white paint and I made a critical error using red permanent marker because I could not see the correct pencil lines to follow, now blue, yellow and lead. The red marker keeps bleeding through the white requiring coats of paint.

Another mystery I have yet to uncover is that I have over 10.000.00 views on my combined sites and only 6 comments. Do people think I am insane, or full of shit, or what?  At least if they do, I wish they would say it. I checked and rechecked the comment ability on my sites and even had my daughter write a test comment from her computer and it works. What could be keeping people from commenting?  I will look for a site analytic program that can tell me where these views are coming from for the official site. I imagine people reading the blogs with their eyes ...

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The Journal of Dreams 01/03/2010

The Journal of Dreams 01/03/2010

January 3, 2010 · Leave a Comment

I work at night, thirteen hours in a very fast paced and busy emergency room. I have been a nurse longer than I have been a painter. Sadness overwhelms me often times when caring for sick people. There was a time in my life when I had no respect for life, drove my car 168 miles an hour, tested destiny and lived like there was no tomorrow. It was during that time I attempted to sketch The Revelation Painting several times and finally came to the solid conclusion that I had not earned the right.

After becoming a nurse I went straight into the critical care and emergency areas. It was high paced, high stress, and in dealing with life and death on a daily basis, after five years my respect for life changed. I found myself telling people how stupid it was to drive a car over the speed limit. Images of torn and broken bodies were stamped into my memories and I had become a changed person. It was also during this time I began having episodes where I would go blind for 30 minutes at a time.

Stress was taking a toll on me. The blindness was induced by migraines without the immediate pain, at least until the next day where 1/2 of my brain felt as though it had been crushed!  During this time I began to gain weight and my signature even changed. When a person’s signature changes, it is considered a major life event. I had not even thought about The Revelation Painting for several years, favoring writing poetry, learning to paint independently and planning to publish a book.

The truth of the matter was that I knew Nursing was not what I wanted to grow old doing. I began searching for a way out. I thought that travel nursing would give me an opportunity to find a place where I felt at home as a nurse, where I could back off of the high stress, go back to school and move forward instead of breaking my back, not sleeping well, smoking more, not managing my finances, essentially living like a life-saving zombie. I was saving everyone but killing myself.

At work one night I was in a hurry and didn’t know how to use a piece of equipment. I was taking care of a full blown, dying HIV patient and through my own ignorance ran a needle full of blood all the way up my index finger. It did not penetrate my finger but I was closer to dying than ever in ...

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