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paucinia hasn't been invited to a tournament for a long time (people tend to forget paucinia's there) so the council has to make some effort to discuss who'll represent them, even if the answer is obviously brigid
clockwise from far left: morton (wolf), beatrice (spaniel), agatha (afghan hound), ken (border collie), brigid (badger), phyllida (cat-skunk? i think?), four unnamed extras and benno (chihuahua)
brigid turning up to this meeting in chain mail isn't meant as a power move, she just wants to give them confidence she's ready and tooled up for the job
morton isn't disputing their choice so much as he's arguing that paucinia ought to decline on principle any invitations to tournaments because they're regressive glorifications of militarism. beatrice: well yeah, but it'll be fun, we ought to get out of the castle more often
agatha carries a torch for brigid and is heartstruck by her bravery (rightly, tournaments are dangerous). ken is mightily relieved that it's not him, but only because jousting etc is a huge faff and keeps you away from the beer tent
for phyllida it adds a fun new dimension to her ongoing flirtation with brigid. which is kind of irony-laden and mostly to tease others, since they both know brigid's chaste and unbothered and doesn't pick up those kind of signals anyway
and benno finally has something to tell in his dispatches home
(the extras, well - they're starved of gossip and this is all very exciting for them)
hello folks, good to be back making art again!
costumes plundered from the waterhouse and leighton wardrobes, plant cuttings taken from burne-jones and morris's gardens. i wanted to do a piece with lots of characters and the kind of flat quasi-perspective you see in some tapestries and murals. and i think there's some interesting kinship between furry self-indulgence and pre-raphaelite self-indulgence (or i just like them both)
clockwise from far left: morton (wolf), beatrice (spaniel), agatha (afghan hound), ken (border collie), brigid (badger), phyllida (cat-skunk? i think?), four unnamed extras and benno (chihuahua)
brigid turning up to this meeting in chain mail isn't meant as a power move, she just wants to give them confidence she's ready and tooled up for the job
morton isn't disputing their choice so much as he's arguing that paucinia ought to decline on principle any invitations to tournaments because they're regressive glorifications of militarism. beatrice: well yeah, but it'll be fun, we ought to get out of the castle more often
agatha carries a torch for brigid and is heartstruck by her bravery (rightly, tournaments are dangerous). ken is mightily relieved that it's not him, but only because jousting etc is a huge faff and keeps you away from the beer tent
for phyllida it adds a fun new dimension to her ongoing flirtation with brigid. which is kind of irony-laden and mostly to tease others, since they both know brigid's chaste and unbothered and doesn't pick up those kind of signals anyway
and benno finally has something to tell in his dispatches home
(the extras, well - they're starved of gossip and this is all very exciting for them)
hello folks, good to be back making art again!
costumes plundered from the waterhouse and leighton wardrobes, plant cuttings taken from burne-jones and morris's gardens. i wanted to do a piece with lots of characters and the kind of flat quasi-perspective you see in some tapestries and murals. and i think there's some interesting kinship between furry self-indulgence and pre-raphaelite self-indulgence (or i just like them both)
Category Artwork (Digital) / All
Species Unspecified / Any
Size 4471 x 2160px
File Size 4.36 MB
Listed in Folders
Couldn't agree more! You instantly get an earful of bustling and overlapping conversation and rustle of varied clothes, and the sense of engaged community rallying to produce a consensus even as the personal relationships outlined in the description all gain urgency and tension, and the picture draws you in and keeps you among the onlooking extras, and you hate to leave this place.
A framed copy of this drawing, along with the supplementary text, should be hanging on the wall of every classroom where character design and visual storytelling are studied, and the world of fiction would become twice as deep and interesting within a decade.
A framed copy of this drawing, along with the supplementary text, should be hanging on the wall of every classroom where character design and visual storytelling are studied, and the world of fiction would become twice as deep and interesting within a decade.
This may represent a few days' worth of work and specific research, and half a lifetime of honed intuition, taste and knowledge of people and art, but there's an entire age of humanity compressed and refined within the borders of this piece.
Your works breathe subtle, but profoundly mature and considerate love for art, and for people, and for people who appreciate art. Thank you for enriching the world so!
The star-crossed tragedy of the over-cautious Agatha and the brave, stoic Brigid on display here is the perfect drop of salt into the otherwise heady cup of wine this scene represents.
Also, at first I thoughtlessly thought the arches of the background belonged to some massive bridge in the distance, with the scene taking place on some outdoor medieval patio or something, and it's only just occurred to me that those belong to windows. In any case, I love how Brigid is perfectly centered under one of those arches, looking like an icon of a chivalrous saint.
Your works breathe subtle, but profoundly mature and considerate love for art, and for people, and for people who appreciate art. Thank you for enriching the world so!
The star-crossed tragedy of the over-cautious Agatha and the brave, stoic Brigid on display here is the perfect drop of salt into the otherwise heady cup of wine this scene represents.
Also, at first I thoughtlessly thought the arches of the background belonged to some massive bridge in the distance, with the scene taking place on some outdoor medieval patio or something, and it's only just occurred to me that those belong to windows. In any case, I love how Brigid is perfectly centered under one of those arches, looking like an icon of a chivalrous saint.
There are many reasons a person could decide to frequent these gallery sites, and on FA in particular, one might imagine that someone like you quietly crafting your rich psychological dramas in the corner could get overlooked or left unappreciated in the predominant steamy porn studio atmosphere of the site (as enjoyable as that atmosphere can get, and as technically sophisticated as the modern day pornography has gotten).
But I've found your works in the Favorites collections of enough people clearly capable of seeing and loving the manifold kaleidoscopic depths of your works. My comment here was spurred specifically by having noticed Ophryon's admiring remark.
Thank you for making an exception to your usual rule of silently appreciating the feedback! Almost every work you have published here is worth a couple paragraphs of attentive examination, and many pieces are strong enough to drive one to weeping adoration, and consequent novel-length proclamations of the same. It's not just the subtle creative adventurousness, or the calm earthy pastels, or the complex thoughtful scene design.
It's the people your works feature -- the gracefully aged and aging, the hurt and recovering, the narrowly and innocently obsessed, the world-weary, the ones committed to being fiercely hedonistic despite lacking the youth and the money, the chronically anxious, the chronically ill, the ones riven in five directions by the kind of troubles that people get into after their thirties (if they're lucky).
The sweet, clever people salvaged from different time periods, too. The people cracked, weathered and patched up, aristocrats and punters both, all depicted as living lives worth living, finding joy in strangest of places and taking their burdens and curses in stride, but also showing their vulnerability and admitting it when they get lost, and need a comforting shoulder.
It's all special. It's honest art at its simplest and at its most refined, art hard at work making sure the subtle virtues of this world is seen and appreciated.
But I've found your works in the Favorites collections of enough people clearly capable of seeing and loving the manifold kaleidoscopic depths of your works. My comment here was spurred specifically by having noticed Ophryon's admiring remark.
Thank you for making an exception to your usual rule of silently appreciating the feedback! Almost every work you have published here is worth a couple paragraphs of attentive examination, and many pieces are strong enough to drive one to weeping adoration, and consequent novel-length proclamations of the same. It's not just the subtle creative adventurousness, or the calm earthy pastels, or the complex thoughtful scene design.
It's the people your works feature -- the gracefully aged and aging, the hurt and recovering, the narrowly and innocently obsessed, the world-weary, the ones committed to being fiercely hedonistic despite lacking the youth and the money, the chronically anxious, the chronically ill, the ones riven in five directions by the kind of troubles that people get into after their thirties (if they're lucky).
The sweet, clever people salvaged from different time periods, too. The people cracked, weathered and patched up, aristocrats and punters both, all depicted as living lives worth living, finding joy in strangest of places and taking their burdens and curses in stride, but also showing their vulnerability and admitting it when they get lost, and need a comforting shoulder.
It's all special. It's honest art at its simplest and at its most refined, art hard at work making sure the subtle virtues of this world is seen and appreciated.
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