“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~
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.
Coppola and Eiko on Bram Stoker’s Dracula, part 1.
This movie introduced me to the work of Eiko Ishioka, costume designer extraordinaire. Coppola’s Dracula has problems, mostly stemming from the stilted acting of Reeves and Ryder (I still remember the horror of realizing that Ryder had limited range. Up till then, she was my favorite actress), and the intentional hamminess of the rest of the cast. It also introduced me to Gary Oldman. Although I had seen “Sid and Nancy,” Oldman’s submersion into Vicious’s persona was so complete I overlooked him (I was a Johnny Rotten fan anyway). But with Dracula, I sat in the theater spellbound. A quarter of the way through the film I looked at my sort of boyfriend sitting next to me and realized that our relationship wasn’t going to be long term. He was a total Harker and I wanted Dracula. I wanted a consuming love that would cross oceans of time for me. That level of craziness would characterize all of my subsequent relationships. I’m an emotionally reserved person and it takes serious devotion to lure me into expending any actual emotion.
“The luckiest man who walks on this earth is the one who finds true love.”
Coppola wanted Eiko’s costumes to be the scenery. Her artistry tells more about the characters than script.
“What devil or witch was ever so great as Attila whose blood flows through these veins?”
“I never drink… wine.”
“Do you think you can destroy me with your idols? I who served the cross, I who commanded nations, hundreds of years before you were born?”