All in the Golden Afternoon- English Rose from Alice in Wonderland. Based on Marianne Faithfull. Pencil and watercolor on thick Canson Acrylic 185 lb/400 g paper. She is sealed with Krylon Matte Finish spray. Available in my shop~
I first read Alice when I was 8. My school library had a volume with both Wonderland and Looking Glass in it. Of the 2, Looking Glass was my favorite and inspired me to play chess with my brother non stop. I’ve drawn quite a bit of Alice’s world over the years and I keep coming back to a wonderful mash up of 60s mod/psychedelic England. That inspired me to draw a lovely Wonderland Rose that bears a resemblance to the amazingly talented Marianne Faithfull. If you love the 60s I highly recommend her autobiography.
“Twinkle, twinkle, little bat!
How I wonder what you’re at!
Up above the world you fly,
Like a tea tray in the sky.
Twinkle, twinkle, little bat!
How I wonder what you’re at!”
As I mentioned before, Elstir is supposedly an Irish version of Esther, which means “star”. I like that she’s my dark star. I finally scanned her in and tried to color correct her so that she’s close to her real colors, at least on my mac. And to wrap this painting up, here is a collection of my Elstir wips that were originally on Instagram~
Before Pinterest I used to have stacks of paper all over. I’ve written before about how Pinterest’s feed change made it useless, but it’s still very useful if you actually need a place to store images.
The idea, drawing, and color palette for Elstir came first. But afterwards I went through some of my favorite boards, like Magick and Princess Witch Palette so I would have a concise (for me) set of images to keep me on track through painting. Even though I painted her in September and October, I feel like Elstir is more of a Winter painting than and Autumn painting. Now that we are back from a ridiculously terrible family Thanksgiving trip, I can finally look through my sketches to see what to do next. Ideally I’d like to finish a couple of drawings before I start another paintings, but we’ll see ;D
I finally finished Elstir. She started as a postcard for the Bat World Sanctuary charity. I liked the drawing so much that I really wanted to make it into a painting. I’ll eventually scan her in and add her to my portfolio, but until then I took some photos. The top picture is the closest to her actual color- at least it is on my mac screen. The middle one isn’t too far off, but the third one I had to angle a bit because I wanted to try and photograph the gold paint, which is no easy task. Now I know why some of Klimt’s paintings look marvelous and some look terrible. When I captured the gold, the rest of the picture bleached out, but when I got the rest of the picture, the gold disappeared. Oh well. She’s lovely in person. Well, as lovely as a monster can be, I suppose 🙂
gouache, acrylic, white charcoal, and gold paint
12″ x 16″
I wanted a name that meant “star” and stumbled upon an Irish version of “Esther,” which is “Elstir.” I already had decided that her bat ears would be wrapped like double hennins. She wears a thick medieval style crown with a bat cameo in the center. She has a shear white veil embroidered in gold stars and gold edging. Her eye makeup is actually a very deep blue.
Painting wise, I’m very satisfied with her. She hits that sweet spot that I was trying to express- my love of medieval illuminations, like “Tres Riches Heures,” Russian miniature lacquer box art, Andrew Wyeth’s lovely tempura paintings with their delicate hatching, Van Gogh’s beautiful movement, every Pre-Raphaelite ever, and obviously my beloved Klimt. Klimt with his long necked, long fingered women who are either beautiful or ugly, depending on who you ask.
I learned something very, very important from this painting, and that is, that I have to make smaller paintings. Elstir is 12″ x 16″ and she took a long time due to my meticulous painting style. My next paintings and drawings are all 9″ x 12″, like “Roxanne.” I do wish I could paint looser and in a smoother manner, but it doesn’t please me personally. Whenever I’ve painted in a smoother style things start to feel too soft and rubbery. I like all the hard little lines, imperfectly blending when you’re close. They give my eyes something to grab on to. It’s very much like the sensation I have when I watch the sea or a great mass of trees on a hill. I never get tired of looking at all the tiny colors.