Tears of the Warriors

18 01 2014

Tears of The Warriors (The Journal of Visions)

by The Revelation Painting on Saturday, December 31, 2011 at 5:03am

Within The Revelation Painting, there are many significant messages which are subtle and some not so subtle.  These messages make up the very fiber of the canvas from which the painting has been created.  Between Scenes V and VI there is a war amongst the angels in effort to lock up the Devil for 1000 years.  There are many warriors in this section of the painting, including Native Americans, African-Americans and women, to name a few.  The focus of this section is to educate, highlight the plight of these groups of people and to magnify injustices suffered.

Aung San Suu Kyi BURMA




And many, many more!


While researching this section of the painting it was not difficult to see the recurring connection of European Americans (The White Horse) and their roles in the destruction of culture, pride and freedom in the name of progress.  The core of this scene is profound where you will see the wounded fighting for their very lives, as well as unity of groups of humanity desperately trying to hold on to self.  It is a sad and inspiring scene, not meant to glorify or magnify the events, but meant to show the proof of events as they occurred and ultimately to reveal the core of destruction.

Education and accurate history is very important in this section of the painting.  The Revelation Painting is a painting within a painting and the first impression is that you are seeing Revelation of the Bible in the seven scenes.  The angels are warriors of God in battle with the Devil but when you look closely, they begin to look familiar and these historical figures become the angels on earth throughout time who fought against the Devil on earth throughout time.  It is an exciting effort to bring back to life those who paid the ultimate price for what they believed in!

Historical information regarding the warriors will be within the journals associated with this painting, most likely to be found in The Journal of Visions.  This journal was chosen for the “vision” of the people who fought so diligently and for the vision of imagination, honor and justice.  The journal sketches will correspond with the painting where each warrior and their specific story will be illuminated not only within the art, but hopefully within the mind to create understanding, passion and empathy ultimately interweaving our existence with their existence.

We are one human race and a specifically detailed war might not be an agreeable circumstance.  Some may fight for or against the mission of it but the understanding is simply the fight, the passion, the understanding.  If you find that it is an agreeable or not agreeable situation, it does not matter.  What matters is that once we destroy our habitat and one another, we have destroyed self-period.  It is visible in soldiers who return from war with no arms or legs, blinded, psychologically damaged…is war worth human sacrifice when the beauty of life itself is destroyed?

The warriors have shown us, the ones left behind to bask in their efforts, their ultimate sacrifice that WE were worth their very lives, what they fought so valiantly for and yet we have not done much in return, we have not repaid them for that.  We continue to dredge forward always wanting more and more, we take from the earth and offer little in return, we destroy what we have to get what we want, destroy one another, and the ultimate sacrifice becomes a distant historical misfortune…”such an honorable sacrifice so very long ago”, for now there are new issues to tend?


The Color Red

15 11 2011

The Color Red

by The Revelation Painting on Tuesday, November 15, 2011 at 2:17pm
Red is any of a number of similar colors evoked by light consisting predominantly of the longest wavelengths of light discernible by the human eye, in the wavelength range of roughly 630–740 nm. Longer wavelengths than this are called infrared (below red), and cannot be seen by the naked eye. Red is used as one of the additive primary colors of light, complementary to cyan, in RGB color systems. Red is also one of the subtractive primary colors of RYB color space but not CMYK color space. Sometimes certain shades of red are even used to symbolize anger, or aggression.


The word red comes from the Old English rēad.  Further back, the word can be traced to the Proto-Germanic rauthaz and the Proto-Indo European root reudh-. In Sanskrit, the word rudhira means red or blood. In the English language, the word red  is associated with the color of blood, certain flowers (e.g. roses), and ripe fruits (e.g. apples, cherries). Fire is also strongly connected, as is the sun and the sky at sunset. Healthy light-skinned people are sometimes said to have a “ruddy” complexion (as opposed to appearing pale). After the rise of socialism in the mid-19th century, red was used to describe revolutionary movements.


Red is used as a symbol of guilt, sin, passion and anger, often as connected with blood or sex.  A Biblical example is found in Isaiah: “Though your sins be as scarlet, they shall be white as snow.”   Also, The Scarlet Letter, an 1850 American novel by Nathaniel Hawthorne, features a woman in a Puritan New England community who is punished for adultery with ostracism, her sin represented by a red letter ‘A’ sewn into her clothes.  This all comes from a general Hebrew view inherited by Christianity which associates red with the blood of murder, as well as with guilt in general. Often, things will be in red to scare.  Another popular example of this is in the phrase “caught red-handed“, meaning either caught in an act of crime or caught with the blood of murder still on one’s hands.


At one point, red was associated with prostitutes, or now, with brothels (red-light districts).  In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins. In Christianity, Satan is usually depicted as colored red and/or wearing a red costume in both iconography and popular culture.  Statistics have shown that red cars are more likely to be involved in accidents.  The color red is associated with lust, passion, love, and beauty and danger as well. The association with love and beauty is possibly related to the use of red roses as a love symbol.  Both the Greeks and the Hebrews considered red a symbol of love, as well as sacrifice.  Psychological research has shown that men find women who are wearing red more attractive.


Red is used as a symbol of courage and sacrifice, as in blood spilt in sacrifice or courage in the face of lethal danger. Examples of this are found in the flags of many nations including the United States, as well as in the novel The Red Badge of Courage, in which a soldier in the American Civil War discovers the meaning of courage.  In Christianity, red is the liturgical color for the feast of martyrs, representing the blood of those who suffered death for their faith. It is sometimes used as the liturgical color for Holy Week including Palm Sunday and Good Friday, although this is a modern (20th century) development.


It is also the liturgical color used to commemorate the Holy Spirit (for this reason it is worn at Pentecost and during Confirmation Masses). Because of its association with martyrdom and the Spirit, it is also the color used to commemorate the Apostles (except for the Apostle St. John, who was not marty red, where white is used), and as such, it is used to commemorate Bishops, who are the successors of the Apostles (for this reason, when Funeral Masses are held for Bishops, Cardinals, or Popes, instead of the white that would ordinarily be used, red is used). In Roman mythology red is associated with the god of war, Mars. A Roman general receiving a triumph had his entire body painted red in honor of his achievement.  Red was also the traditional color of the uniforms worn by the British Army, and such British soldiers were often known as Redcoats. The phrase “red-blooded” describes someone who is audacious, robust, or virile. In Edward de Bono’s book Six Thinking Hats a red hat represents feelings and emotions.


In China, red (simplified Chinese: 红; traditional Chinese: 紅; pinyin: hóng) is the symbol of fire and the south (both south in general and Southern China specifically). It carries a largely positive connotation, being associated with courage, loyalty, honor, success, fortune, fertility, happiness, passion, and summer.  In Chinese cultural traditions, red is associated with weddings (where brides traditionally wear red dresses) and red paper is also frequently used to wrap gifts of money or other things. Special red packets (simplified Chinese: 红包; traditional Chinese: 紅包; pinyin: hóng bāo in Mandarin or lai see in Cantonese) are specifically used during the Chinese New Year to give monetary gifts. On the more negative side, obituaries are traditionally written in red ink, and to write someone’s name in red signals either cutting them out of your life, or that they have died. Red is also associated with both the feminine and the masculine (yin and yang respectively), depending on the source.


In Japan, red is a traditional color for a heroic figure.  In the Indian Sub-continent, red is the traditional color of bridal dresses, and is frequently represented in the media as a symbolic color for married women. The color is associated with purity, sexuality in marriage relationships through its connection to heat and fertility.  It is also the color of wealth, beauty, and the goddess Lakshmi.


In Central Africa, Ndembu warriors rub themselves with red during celebrations. Since their culture sees the color as a symbol of life and health, sick people are also painted with it. Like most Central African cultures, the Ndembu see red as ambivalent, better than black, but not as good as white.  In other parts of Africa, however, red is a color of mourning, representing death.[60] Because of the connection red bears with death in many parts of Africa, the Red Cross has changed its colors to green and white in parts of the continent.

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The Color Orange

15 11 2011

The Color Orange

by The Revelation Painting on Tuesday, November 15, 2011 at 3:08pm
Please note all photographs are meant for educational purposes and the copyright remains attached to their rightful owners.  If you are the owner of any photograph in these blogs and would like it/them removed, please contact me.
The colour orange occurs between red and yellow in the visible spectrum at a wavelength of about 585–620 nm, and has a hue of 30° in HSV colour space. It is numerically halfway between red and yellow in a gamma-compressed RGB colour space, the expression of which is the RGB colour wheel. The complementary colour of orange is blue. Orange pigments are largely in the ochre o rcadmium families, and absorb mostly blue light.


The colour orange is named after the orange fruit, after the appearance of the ripe fruit.  Before this word was introduced to the English-speaking world, the colour was referred to as ġeolurēad (yellow-red).  The first recorded use of orange as a colour name in English was in 1512, in a will now filed with the Public Records Office.


Burnt orange has been in use as a colour name for this deep shade of orange since 1915.  This colour is one variation that is used as a school colour of the University of Texas at Austin,Westwood High School (Austin, Texas), Clemson University, Virginia Tech, Auburn University, and Mesa Verde High School (Citrus Heights, California).


This variation of orange is one of the primary colours for the American Football team the Cleveland Browns. Burnt orange was popular in interior design during the 1970s, and is often associated with this period. Red headed people usually have hair that is more accurately a burnt orange colour.


Brown is actually derived from the orange part (orange + grey) of the colour spectrum. It can be described as an especially dark orange.


Geography and history

  • Historically and culturally, saffron, red and white have always been the most prominent colours of Hinduism and have been regularly worn, particularly in religious ceremonies, in India for more than 2000 years.
  • Orange is the national colour of the Netherlands. The royal family, the House of Orange-Nassau, derives its name in part from its former holding, the principality of Orange. (The title Prince of Orange is still used for the Dutch heir apparent.)
  • The Republic of the Orange Free State (Dutch: Oranje-Vrijstaat) was an independent Boer republic in southern Africa during the second half of the 19th century, and later a British colony and a province of the Union of South Africa. It is the historical precursor to the present-day Free State province. Extending between the Orange and Vaal rivers, its borders were determined by the United Kingdom in 1848 when the region was proclaimed as the Orange River Sovereignty, with a seat of a British Resident in Bloemfontein.
  • Oranjemund (German for: “Mouth of Orange”) is a town situated in the extreme southwest of Namibia, on the northern bank of the Orange River mouth.


  • The saffron stripe in the flag of India signifies courage, sacrifice and the spirit of renunciation.
  • Orange is the national colour of the Netherlands (See above at: Geography and history). Orange was seen on its original flag until the middle of the 17th century.
  • Orange, white, and green are the national colours of India, the Republic of Ireland, Niger and Côte d’Ivoire.
  • The Orange Institution is a pro-British Protestant association based in Northern Ireland.
  • In the United States Army, orange is the colour of the United States Army Signal Corps.
  • The US Department of Homeland Security’s code orange on its terror threat scale represents a high risk, second highest to severe.
  • Prisoners incarcerated in many American jails and prisons are made to wear orange jumpsuits so they will be easy to see if they try to escape.
  • Deluxe International orange is the colour of the paint on San Francisco’s Golden Gate Bridge.
  • The US Manual on Uniform Traffic Control Devices specifies orange for use in temporary and construction signage.
  • Orange was the rallying colour of the 2004 – 2005 Orange Revolution in Ukraine.
  • Orange is sometimes associated with various Christian democratic and populist parties.
  • Orange was the colour used by the historical Liberal Party of the United Kingdom
  • Orange was used as a rallying colour by Israelis (such as Jewish settlers) who opposed Israel’s unilateral disengagement plan in the Gaza Strip and the West Bank in 2005.

Religious and metaphysical


Buddhist monks in the Theravada tradition typically wear saffron robes, although occasionally maroon, the colour normally worn by Vajrayana Buddhist monks is worn.

  • Orange, or more specifically deep saffron, is the most sacred colour of Hinduism.
  • Orange is used to symbolically represent the second (Swadhisthana) chakra.
  • Hindu and Sikh flags atop mandirs and gurdwaras, respectively, are typically a saffron coloured pennant.
  • Saffron robes are often worn by Hindu swamis and Buddhist monks in the Theravada tradition.
  • Orange represents the sin of gluttony.

— Common connotations — warning, autumn, desire, fire, Halloween,Thanksgiving, prisoners, Orangism (Netherlands), Unionism in Ireland, Indian religions, engineering, determination,compassion, endurance, optimism.




10 02 2011

Vision in one eye

images (2)

02/10/2011 Suffocation

It seems a lifetime since I last saw The Revelation Painting.  As a sadness that clouds your dreams and visions, I wait patiently for its return.  All the paint and other elements, including the journals are under 2 hours away from me, yet it feels like halfway across the globe.  You have to know what you are looking at and looking for in this world and I am looking at time passing me and looking for a way out.

Wondering if I have been ambushed by some unseen force, I am determined to reunite and complete this massive endeavor.  My focus is currently on the remaining components needed, the drive to become free from my current circumstances, and to realize that as a reasonable person, I am fully capable of moving forward out of this fish bowl in which I am suffocating.  The world seems as though I can only visualize through a monocular lens.

Hello world!

9 03 2010

Welcome to WordPress.com. This is your first post. Edit or delete it and start blogging!

The Layout-General

20 01 2010



This is the main canvas design of the painting requires 30-48″ x 48″/4 foot x 4 foot canvases.  The canvases are numbered on the backs and in The Journal of Measures (and Numbers) for ease of work processes.  As noted in the first scan, each small box represents a 6″ x 6″ square within the total 48″ x 48″ canvas.  Twenty canvases are the highest quality cloth, gallery wrapped canvases 1 1/2 inches thick.  Gallery wrapped canvases are reinforced and have a frame within them which holds the canvas securely.  There are no staples visible.

Ten canvases are custom wood; Birch which are currently being custom made.  (There will be a blog later about these canvases.)  The wood canvases are designed to carry weight; the weight of cables and the outstanding weight of gemstones used in the last scene of the painting.  The cable canvases are designed with half doors on their backs which open vertically to house coiled cables.  Thirty-six inch brass piano hinges secure the bottoms of the canvases allowing them to open fully for cable insertion.  All canvases are reinforced with steel brackets.

It is easy to lose sections of working canvas within the painting with these small measures.  Later, each sketched canvas will be blown up by zoom for accuracy.  The rough sketch will be placed at various levels to increase the size in steps.  Moving back and forth through the Journal of Measures and The Journal of Sketches will decrease error when the scenes are painted.  For example: The Pale Horse was sketched onto the canvas and after working it out in The Journal of Measures, it was found that the sketch was only one third of the required size!
This is the main layout measuring a total of 12 feet by 40 feet.

Measure of Skulls in Racial Identification

27 08 2009

Measure of Skulls in Racial Identification

08/27/2009 by the revelation painting

In effort to create precise measurements of individuals of The Revelation Painting, the study of human bone structure lead me to Forensic Anthropology.  It is imperative that I understand the measurements and calculations required to create the correct perspective of various races of human beings.  This study became extremely important in The Four Horsemen scene previously mentioned.

Based on Forensic Anthropology’s scientific calculations, the length of a man (or woman) can be measured by several bones for a relatively accurate overall height.  I used the length of the average Caucasoid male to calculate the total height and verified by art anatomy standards.  With those two techniques applied I have calculated the height of the white horses’ rider to be 5′7″ based on his position in the painting.

The calculations based on art anatomy are as follows:
Femur (the long bone of the thigh) is on average the length of 2 heads.  In this case, the riders’ head was approximately 8″ in length (top to bottom)= 16″.  Then I used the scientific calculation used in Forensics:
Length of the femur (16″ or 2 heads)X 1.88+32=5′7″.

Now I am able to calculate the height of all riders not only based on their position and perspective, but also the base calculation of the white horses’ rider!  Therefore, all measurements will be scientifically correct.


 The face of the rider will be designed around the general skull shape.  This is what lead me to discover the calculations required for accurate perspective in this massive design.  The bottom of the sketch exhibits the “general” layout of the horses’ areas in this scene.  In the upper left the white horse was estimated by the size of the area it will occupy, then sketched loosely to get an idea of the head size, as noted by the numbers to the left 1-4 (which are in feet then unmarked in inches-estimated).


The entire page length of this sketch was surprisingly 8″, the exact size of the skull.  This gave me a raw look at the size of the head which is close to actual human size.  The white horse is the furthest back in the painting…he is receding.  By looking at the size of the black horses’ space and that he is the closest to the viewer, he and his rider will be over 9′ tall…IMAGINE!

I produced an error in the initial calculations.  I was under the impression that the scientific calculation made the length of the femur itself and calculated initially on that finding (in black), then I “saw the light” (in blue) and correctly calculated the length.  Through my research, ancient men used to be shorter in stature than they are now in modern times, so his total height is most likely correct for his time.

More measures to follow…

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