how do you portrait... how

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I had the awesome privilege of working on Redbull’s Music Academy NYC street campaign again this year, which is starting to go live around Brooklyn in the form of murals by the ever-amazing painters at Colossal Media (I can’t imagine trying to copy photorealistic art onto a big wall—those guys are so good but they probably also hate me at this point lmao). 

Anyway, I did portraits of Gucci Mane, Alice Coltrane, Jenny Hval, and Solange, so if you see their faces around the city this month, let me know!

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♦ ART COMMISSIONS ♦

Hey guys! I am in a bit of a financial bind and could really use some help! I’m discounting commission prices for a while, for any of you who may be interested. Series canon, original characters and creatures (fantasy or otherwise) are all welcome. References are great but a good description works as well! Nudity is fine. Email me for a quote on multi-character and full body pieces! Please contact via email as tumblr tends to eat messages. Signal boosts are super appreciated!!! ♥ ♥ ♥

email/paypal: acastoe@gmail.com

Portrait Power Rankings: How Do You Even Paint a Baby Anyway edition

Think “little man from the Renaissance,” floofy collar and all. That should do it.
Ranking: TOTAL AMATEUR
(Jean-Honoré Fragonard (1732–1806), Head of a Boy (called Alexandre-Évariste “Fanfan” Fragonard) (detail), c. 1785, oil on card. The Huntington Library, Art Collections, and Botanical Gardens.)



Give it a gigantic forehead and no neck, and surround it with people that clearly want nothing to do with its baby nonsense.
Ranking: NOVICE
(Matteo di Giovanni (1435–95), Virgin and Child with Saints Jerome and Sebastian (detail), mid-15th century, tempera on canvas, transferred from panel. The Huntington Library, Art Collections, and Botanical Gardens.)



Babies like scones, right? Make it look like its mouth is already full of scone, but it’s trying to shove even more scone in. And make it be asleep.
Ranking: COMPETENT
(Thomas Gainsborough (1727–88), The Cottage Door (detail), c. 1780, oil on canvas. The Huntington Library, Art Collections, and Botanical Gardens.)



Giant forehead (but yes on the neck this time). Sadistic look in its eye. And twirling a blood-spattered toy held together by a nail.
Ranking: KEEP PRACTICING
(Charles Amédée Philippe van Loo (1719–95), The Artist’s Son, Louis (detail), 1764, oil on canvas. The Huntington Library, Art Collections, and Botanical Gardens.)



Babies look like hunched over, stoned aliens, right?
Ranking: PROFICIENT
(Francesco Francia (c. 1450–after 1526), Virgin and Child with Saints Anthony and Francis (detail), c. 1490–1505, tempera and oil on canvas. The Huntington Library, Art Collections, and Botanical Gardens.)



Make it have lipstick on, but the lipstick is smeared all over its face. And it’s trying to hand a flower to a barely clothed lady. Plus, it’s concerned. Very concerned.
Ranking: ADVANCED
(François Boucher (1703–70), Venus and Cupid (detail), 1769, oil on canvas. The Huntington Library, Art Collections, and Botanical Gardens.)



Curly gold locks, chubby cheeks, and the expression you have when you’re stuck in a meeting that’s dragging on forever and ever and ever and ever and ever but you’re trying to still look professional.
Ranking: MASTER
(Cosimo Rosselli (1439–1507), Virgin and Child in Glory (detail), c. 1470, tempera with gold leaf and gesso on panel. The Huntington Library, Art Collections, and Botanical Gardens.)



We’re overthinking this. It’s simple. We were all babies once, right? And now we’re adults. So babies are pretty much just miniature adults. So make it a tiny adult, but naked and with no eyelashes or eyebrows. And it’s being held by someone with REALLY LONG FINGERS.
Ranking: NAILED IT
(Attributed to Adrien Ysenbrandt (c. 1500–51), Virgin and Child (detail), early 16th century, oil on panel. The Huntington Library, Art Collections, and Botanical Gardens.)

If I had been human, I would have laughed. Two Mianaais before me. Neither trusted the other to hold this interview unsupervised, unobstructed. Neither knew the details of the destruction of Justice of Toren, each no doubt suspected the other’s involvement. I might be an instrument of either, neither trusting the other. Which was which?

– Ancillary Justice

“The other side has a network here. That’s what you’re saying.”

“We’re not on either side,” I reminded her. “And of course they do. Everywhere one side is, the other side is. Because they’re the same.”

– Ancillary Sword

Keep reading

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Oh, and if anyone wanted to see my digital painting process for this silly portrait, the image directly above is a gif (Seems to not work on mobile in tumblr app though, grarrrrh. Seems to work in my mobile browser though when I copy paste the link http://krozinworks.tumblr.com/post/140462319435/oh-and-if-anyone-wanted-to-see-my-digital ) that shows some of my steps (be prepared to see some clunky wip shots!)  :) :)

Times change and so must I…We all change when you think about it, we’re all different people, all through our lives, and that’s okay, that’s good you gotta keep moving, so long as you remember all the people that you used to be. I will not forget one line of this, not one day, I swear. I will always remember when the Doctor was me.