Time for my 2014 print clearance!! :D 11x17 discontinued and overstock are 10USD each (normally 40USD each)! Buy 5 get 1 free! Huzzah! Shipping is 10 within the US, 30 international~


Note me here or note me there, either way it’s ALL GOOD. I take payment via paypal and I’ll send you your total when you order. :]

you can also order regular prints with these to save on shipping. <3<3<3

PS. it should also be noted that folks in Savannah can just come pick them up from me somewhere and don’t have to pay shipping rofl.

Part of Your World

 - closed rp with phoenixqueenofsilvermoon 

 With that, Roy G. Biv was safely stashed.  She hoped it was anyway.  The broken ship was parked in a semi-circular pit lined with loose tiny stones and ringed with green alien grasses.  She’d stripped the branches off more green plants – tall ones, with hairy tines arranged in tufts along thick pithy stems loaded with sticky stuff — and draped them over the top of the ship’s hull.  Still, those Reflectors had better work against Terrestrial radar the way that salesman said they would, or whatever camouflage she used now wouldn’t make any difference.  

This area looked pretty uninhabited. Roy’s sensors still caught a whiff of various industrial Human-made pollutants but that was to be expected.  The people here actually burned carbon-based material for fuel!  Oh they had a few other methods to generate power, including a leaky system of radioactives that made her protomass lurch at the thought of it, but “petrochemicals” were what they mainly used.  Some if them even smelled nice after processing.  Gasoline, for example.  A daub behind each audial and you’d smell like you’d just spent a fortune in some Iocon perfumery.  But once they burned them — nasty stuff! She was glad Roy burned energon.  It was hideously expensive and hard to come by, but it burned cleanly.

She was an oddly streamlined ‘bot for a four-wheeled grounder.  She was the same colour as a Vehicon and she’d been shot at more than once by her own side in the heat of battle because of it.   Up close she didn’t look anything like those poor drones.  She was obviously a fem and her face was her own.  She was a simple monochromatic purple from head to pede, broken only by a few dull grey strips.  From a distance she looked a little like a Terrestrial dragonfly, having two automotive tail-fin “wings” on her shoulders and two longer jointed panels that hung down at a slight angle to her sides. She was tall, but “all struts and beams”.  She’d never make warrior class, not at her weight and strength level.  At her left hip she carried what looked like either a short sword or a very long knife. She had no other visible weapons.  A small Autobot symbol rested at the base of her throat. Not that much of this would mean anything to a Human observer.  To them she’d look like a giant mechanical woman with tires on her heels.  Once she got to a roadway she’d better change or there’d be trouble.

  She hoped she was close to a town – a small one, for preference.  THAT was the best hunting ground!  And if some poor lone Human did see her root mode it would take weeks for the story to leak out to their media, and even then no one would believe him.  She patted a small pouch at her other hip.  Yes, these would do nicely.  

*   *   *

The road felt strange under her wheels – almost spongy.  It was so much softer than the metal fairways back home.  She wondered briefly if there was any point in transporting some of this “tarmac”  stuff home in the future.  Maybe the rich would buy it, a sort of outdoor carpet for pampered pedes.  There will always be people with more credit than sense, she thought.  Solus knows she’d once made her living based on that premise.

A few buildings - a Human house? Quite possibly - could be seen over the horizon.  Not to big, nor too fancy, but just right for her kind of prey.  She stopped short of the buildings and did a brief scan– no large lifesigns. Somewhere a set of chimes could be heard tinkling in the wind.  Those were pretty.  And a good sign – folks wary of intruders didn’t leave things lying around in the open.  

She changed out of alt mode and crept closer to the house.  Her right hand instinctively went to the pouch, rattling something inside.  This was going to be prime territory to find something new for her collection!

by *unSpookyLaughter

I’ve been chipping away at lightfastness testing my paints.

What is lightfastness?
Basically, it means how well a pigment can resist change in the light.  So a paint with excellent lightfastness is very stubborn, and a paint with poor lightfastness fades or turns into a different color.  Opera Pink, Genuine Alizarin, and Rose Madder are some well known non-lightfast colors.

There are many different ways to test your paints for how lightfast they are at home.

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hime-levi asked:

do you mind me asking what kind of paint you used in the parrot piece you did? the one where you uploaded a wip of you making it?

Hi there! I used Dr Ph. Martin’s Hydrus liquid watercolours. They come in small dropper bottles, and the colours are lightfast. The colours are extremely vibrant and really pop - I bought them from Takapuna Art Supplies in Auckland :)


The Lyra Rembrandt Aquarell watercolour pencil lightfast experiment has been concluded. I put this up on February 10, 2015 and kept it in my window till April 12, 2015. Two days longer than I was going to keep it taped to the window exposed to direct sunlight.

As you can see the colours held up very well to two month exposure to direct sunlight. I may say with confidence, for myself if anything, that the Lyra Rembrandt Aquarell coloured pencils company lightfast ratings are not a marketing ploy.

The chart is now filed in my binder for the Reference Project of Multimedia.

Lastly I may also that the paper held up to the test very well, which is good. The paper did get dirty from the window and winter time condensation on the glass. I should have scrubbed the window clean before beginning this experiment. I should point out that also demonstrates that the colours also held up very well considering the condensation and dirt.

The paper used is Bee Paper Company Heavy Weight Premium Drawing Paper, 110lbs/179gsm, 25% cotton, sized to accept light use of wet media, watercolour, gouache, and acrylic, also for use with pencil, pen, charcoal & pastel, and acid free, made in the USA. (I got the paper for charcoal sketching.)

I shall clean my windows up nicely for the next experiment, which shall be the Kuretake Gansai Tambi watercolour set of six I own. I have been curious to their lightfast capabilities since I do enjoy their watercolours.

by unSpookyLaughter

About a year ago I started testing my paints and watercolor markers to see how they fared when exposed to the great enemy of paintings - sunlight.

What am you looking at here?
Brand - I stuck in some initials to indicate brand.  DS is Daniel Smith, MB is Maimeri Blu and so on.

The name of the color - this is the name the paint manufacturer gave to their paint.  Names are not regulated, and if they want to name their paint something like “Physical Photoshop” they can, but possibly not without making a special deal with Adobe.

The pigment name - These are regulated, and are usually displayed in fine print somewhere on the tube or pan.  They

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(((muse is thrashing in her sleep thingie response)))

Lightfast’s audile twitched. What was that? She ignored the sound and refocused on the never-ending job of resoldering. Blasted ship was always cracking here or falling apart there. Roy was probably more solder than anything else by now.

There is was again. She turned off the torch, sat it back on it’s rig and listened. Tiny little sounds, coming from the next room over?

She carefully went to investigate, trying to be quiet. Phoenix had fallen asleep in the Doll’s House and she didn’t want to wake her over something trivial, like yet another loose panel or squeaky seam.

The House was neatly arranged as always – not really a house but a series of shelves, each set up like a sort of two dimensional Human-furnished room. Phoenix was sprawled across the four poster bed. She’d nodded off while going through a shoebox of brick-a-brac on Light’s behalf. Some things were just too tiny for a Cybertronian Light’s size to catalogue, even with her tweezers.

She discovered the source of the sound: Phoenix was moaning in her sleep, tossing under the granny square afghan Light had (tried to) drape over her.

As if the Human were made of glass, Light reached over and every-so gently stroked her back.

“Hey, easy now, “ she said, in her quietest tones, “It’s alright. You’re safe. I’m here.”


((My response!))

Phoenix jolted awake with a terrified yelp, eyes wide and frantic.

“I-Insecticons…f-fighting…Energon, buzzing, wailing…!” She starts to sob, hugging the bot’s finger.

She’s shaking very badly. “T-Tried to f-fly away…”

‘The lightfastness rating printed on a paint tube label is an indication of the resistance a hue has to changing when exposed to light. Colors can lighten and fade, darken or turn grayer. The result: a painting that looks dramatically different to when it was created.

The system or scale used for rating the lightfastness of a paint and printed on the label depends on where it was manufactured. Two widely used systems are the ASTM and Blue Wool systems.

The American Standard Test Measure (ASTM) gives ratings from I to V. I is excellent, II very good, III fair or non-permanent in artist’s paints, IV and V pigments are rated poor and very poor, and not used in artist’s quality paints.

The British system (Blue Wool Standard) gives a rating from one to eight. Ratings of one to three mean a color is fugitive and you can expect it to change within 20 years. Ratings of four or five means a color’s lightfastness is fair, and shouldn’t change for between 20 and 100 years. A rating of six is very good and a rating of seven or eight is excellent; you’ll be unlikely to live long enough to see any change.’

Equivalents on the two scales:
ASTM I = Blue Woolscale 7 and 8.
ASTM II = Blue Woolscale 6.
ASTM III = Blue Woolscale 4 and 5.
ASTM IV = Blue Woolscale 2 and 3.
ASTM V = Blue Woolscale 1.

— Written by artist, Marion Boddy-Evans

#artMaterials #artTerms #lightfastness #permanence

Meet the blogger: Auripigmentum

Auripigmentum or Orpigment  is a deep orange-yellow colored arsenic sulfide mineral (As2S3) which pretty much means ist beautiful AND deadly! ♥ It is found in vulcans, low temperature hydrodermal veins and hot springs.

It’s a really old artist pigment that’s been used like forever because of its beautiful, almost golden color until the 19th century where it’s been replaced by artificial, less toxic pigments like chrome yellow.

Sources state it to be more durable in oil-based mediums and it’s mostly been detected in oil- and tempera techniques (though you can’t be really sure what “tempera” entails beause medieval sources use this word for any mixture without a label. Seriously there are recipes with garlic!). It’s lightfast with an intensive color.

Some of its other names are: King’s yellow, chinese yellow, persian yellow, arsenic yellow and spanish yellow.

And now: Have a selfie!

by unSpookyLaughter

A little over a year ago I started testing my paints and watercolor markers to see how they fared when exposed to the great enemy of paintings - sunlight. I hadn’t planned to leave the swatches up for so long, but many of them fared very well!

PBr7 – Daniel Smith German Greenish Raw Umber
Taped to window on May 24, 2013
Removed from window on July 23, 2014
Results: no change
My results seem to match the information given by the manufacturer.

Daniel Smith Sleeping Beauty Turquoise Genuine
Taped to window on May 24, 2013
Removed from window on July 23, 2014
Results: darkened and no shows signs of green-brown, almost like the dark

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Photo source: Too Much White Paper
Text source: Rembrandt (Royal Talens)

The Lapis Lazuli, literally ‘stone’ (Latin) and 'blue’ (Persian). 'The blue gold’

Ultramarine is a colour that has appealed to one’s imagination since the early Middle Ages. These days it is impossible to imagine the standard palette without this intense blue with its excellent lightfastness. However, up until 1828 only the natural variant was available. An expensive affair, all the more so since this pigment cost more than pure gold.

Originally Ultramarine was obtained from the semi-precious stone Lapis Lazuli, literally 'stone’ (Latin) and 'blue’ (Persian). An extraordinarily laborious and expensive process, whereby the stones are ground by hand and all the impurities are removed. The best quality Lapis Lazuli was traditionally mined in Afghanistan, where Ultramarine was already being used in, for example, murals in the 6th and 7th centuries.

Expensive pigment
In the beginning of the thirteenth century a method was developed that allowed an even purer pigment to be obtained from the stone. This resulted in a considerable decrease in profit per stone, and an unprecedented increase in price which even exceeded that of pure gold. Nevertheless, artists were so impressed with the colour intensity and lightfastness that the demand only increased. Also in Western Europe, which since the 14th century received ever larger quantities of Lapis Lazuli shipped from overseas. And this in fact is how Ultramarine derived its name, 'ultra marum’, Latin for 'beyond the sea’. Due to the high price, however, the pigment was by no means part of artists’ standard range of colours. What’s more, we know that artists such as the Dutch 17th century masters charged their clients for the extra cost of Ultramarine.

Guimet’s discovery
During the Industrial Revolution when the science of chemistry was on the rise, an affordable alternative for the extremely expensive Ultramarine was sought. In 1824 a competition was held in France for the creation of a less expensive, synthetic variant that still had to retain the same quality. The prize: 6000 francs. In those days that was a fortune. In 1828 three chemists, Guimet, Gmelin and Köttig, developed independently from one another a practically identical method of preparation. Guimet ultimately won the competition as he had already been working on his discovery in secret for some years.

Quality success
In terms of properties Guimet’s synthetic Ultramarine hardly differs from its natural counterpart. Both, for example, are highly susceptible to 'Ultramarine disease’, whereby humidity in combination with acids causes the colours to fade. However, in the course of the years the quality has greatly improved and external factors now hardly affect the colour intensity. What’s more, Royal Talens adds an ingredient to its Ultramarine oil colours that makes the colour totally 'immune’ to the 'Ultramarine disease’. All the more reason for the now affordable 'blue gold’ to be on the standard palette of almost every artist.

Ultramarine is a blue pigment with ‘traces of red’. Mixed with bluish reds it offers numerous possibilities for creating surprising shades of violet. In addition, Ultramarine is often used as a transparent layer in the glazing technique. If applied thinly on a white ground or by mixing it with a little white paint, the characteristic, intense, clear blue colour is created.

A word about quality…

The pleasure of painting, for me, comes from the tactile experiance when brush hits paper.
I use the finest Japanese Sumi Ink, applied with Chinese bamboo brushes to a 200lb cotton rag paper. The paper is very thick, ‘hand pulled’, acid free with a beautiful deckle edge on all four sides. For my style of working, the Japanese Sumi Ink has just the right thickness of body and is lightfast and permanent.

Using quality materials is not only a pleasure for me to work with, but is an advantage that each and every discerning art buyer can appreciate for it’s permanence, asthetic and collectability.