
Category Artwork (Traditional) / Fantasy
Species Unspecified / Any
Size 1280 x 910px
File Size 323 kB
Both in form and spirit, this piece may be described as taking after this picture, as well as a number of similar olden pieces that can still be found on your site and dA gallery; the trait that sets those pieces apart from your other styles and depiction tactics is their focus on the narrative aspect, eschewing seamless smoothness and jewellery-grade details in favour of an impressionist accuracy of emotions and thoughts resonating between the interacting characters. The pictures of that kind also have the merit of stylistic proximity to the conventions of medieval relief and tapestry artwork, and that semblance subtly connects the viewer’s perception to that period.
This picture’s evocative power could be further attested to on a more modern level by bringing this image to your attention. The red-furred, horned character on the right is called Hiroshema; she or he is a mystical, nature-affiliated creature that is something is of a mentor and warden to the other person in the picture.
But it’s been a digression lacking in brevity, while the picture and the events that fall within its scope still need addressing.
The actors of this pieces are abundantly remarkable, yet mythologically recognizable enough to weave a sense of secure familiarity. The one on the left, a young teal-eyed and teal-horned faun, is very human in appearance, the tail long enough to girdle a tree, hooves and floppy ears notwithstanding, and is possessed with the characteristic youthful energy that prohibits the kid from sitting straight and prim, especially when being educated by seniors. The creature opposite to the faunling shares just enough features with the little one to establish the kinship of the two, but the proportions of the beast are neither fully human, nor completely animal, driving home the point of its alien nature – at least to the viewer, but not, perhaps, to its native environs. That said, I wouldn’t accuse the elder creature of being malformed – its shape is merely bizarre, but fairly logical after a brief pause for pondering, and the puzzling ways of its ontogenesis are presented as new discoveries to the young enthusiasts of the zoologically dubious.
The interaction between the characters is presented wonderfully, augmented by the stylistic choices as mentioned earlier. The blue butterflies that may be related to the ones in “A Bit of Styxx and Frazzles” are probably being deliberately observed and studied in a direct or metaphorical manner by both luxuriantly rusty-haired beings in this painted slice of their day, with the younger one eagerly marveling at the way the insect, usually so fickly mobile, seems to tamely answer the welcome for landing on the elder one’s extended arm. Alternatively, the elder beast could be attempting to get some particularly profound and boring philosophical message to the kid, while the latter, being a kid, cannot help itself regularly failing to follow the thread of the lesson, and instead becoming engrossed by random bugs dodging the elder’s meaningful gestures.
The landscape providing the stage and props for the play is craggy, mountainous, stern and hard, which is a perfect highlighting device for the tender moment of peace shared between the beast-folk. The ravine between the two could be called a symbol for the generational divide, but is mostly a brilliant compositional trick, showcasing the fog-obscured rocky abyss beyond, and introducing idle dynamic to the piece by setting the characters on opposing elevated pedestals, inviting the eye to see-saw back and forth during observation.
This picture’s evocative power could be further attested to on a more modern level by bringing this image to your attention. The red-furred, horned character on the right is called Hiroshema; she or he is a mystical, nature-affiliated creature that is something is of a mentor and warden to the other person in the picture.
But it’s been a digression lacking in brevity, while the picture and the events that fall within its scope still need addressing.
The actors of this pieces are abundantly remarkable, yet mythologically recognizable enough to weave a sense of secure familiarity. The one on the left, a young teal-eyed and teal-horned faun, is very human in appearance, the tail long enough to girdle a tree, hooves and floppy ears notwithstanding, and is possessed with the characteristic youthful energy that prohibits the kid from sitting straight and prim, especially when being educated by seniors. The creature opposite to the faunling shares just enough features with the little one to establish the kinship of the two, but the proportions of the beast are neither fully human, nor completely animal, driving home the point of its alien nature – at least to the viewer, but not, perhaps, to its native environs. That said, I wouldn’t accuse the elder creature of being malformed – its shape is merely bizarre, but fairly logical after a brief pause for pondering, and the puzzling ways of its ontogenesis are presented as new discoveries to the young enthusiasts of the zoologically dubious.
The interaction between the characters is presented wonderfully, augmented by the stylistic choices as mentioned earlier. The blue butterflies that may be related to the ones in “A Bit of Styxx and Frazzles” are probably being deliberately observed and studied in a direct or metaphorical manner by both luxuriantly rusty-haired beings in this painted slice of their day, with the younger one eagerly marveling at the way the insect, usually so fickly mobile, seems to tamely answer the welcome for landing on the elder one’s extended arm. Alternatively, the elder beast could be attempting to get some particularly profound and boring philosophical message to the kid, while the latter, being a kid, cannot help itself regularly failing to follow the thread of the lesson, and instead becoming engrossed by random bugs dodging the elder’s meaningful gestures.
The landscape providing the stage and props for the play is craggy, mountainous, stern and hard, which is a perfect highlighting device for the tender moment of peace shared between the beast-folk. The ravine between the two could be called a symbol for the generational divide, but is mostly a brilliant compositional trick, showcasing the fog-obscured rocky abyss beyond, and introducing idle dynamic to the piece by setting the characters on opposing elevated pedestals, inviting the eye to see-saw back and forth during observation.
A few days ago I came across this artist
http://man-arenas.tumblr.com/
His art felt familiar to mine, but fresh, new and invigorating. I've fell in love with his work and have been newly influenced, so chances are you might see more watercolors like this one in the near future but maybe with a new flair.
Thank you for introducing me to that artist, all those images are wildly powerful and chillingly well-drawn. There is a wide of range of styles to be found in that gallery, too, but there are some pervasive technical elements binding them all, all soaked in rich narrative. That tree-leaf-robed old man does look like he could be from "The Secret of the Kells", or grown-up Ayden rearing a spirited protege of his own.
It's great that even a high-level artist like yourself can still find someone else tofaun over look up to and refine your own distinct style by setting it against the other style, comparing, competing and becoming inspired.
I wonder if that gallery's flavour caption, "Drawing better Worlds" is in any way a reference to the Weyland-Yutani corporation's "Building Better Worlds"(it's a an important element of the "Aliens" franchise).
It's great that even a high-level artist like yourself can still find someone else to
I wonder if that gallery's flavour caption, "Drawing better Worlds" is in any way a reference to the Weyland-Yutani corporation's "Building Better Worlds"(it's a an important element of the "Aliens" franchise).
Oh there are a lot of artist I faun over, too long a list really.
I'm glad you like his work as much as I do, currently I'm obsessed.
I don't know what his caption means. His comic books are all in french, so english might be his second or third language. If that has anything to do with it?
I'm glad you like his work as much as I do, currently I'm obsessed.
I don't know what his caption means. His comic books are all in french, so english might be his second or third language. If that has anything to do with it?
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