Well, a few times I was asked to show the process of miniature paintings on stones, and here is my first attempt to capture and explain it. Warning - I only have my phone's camera at my disposal, so the quality is not very good.
Firstly - an idea for the image. Every stone has something in its pattern that can be a starting point for developing an imagery. The stone I picked for this one is a beautiful Picasso jasper, and in this case I was looking for a stone for a specific idea I've already had in mind. Spontaneous improvisation dictated by the stone's pattern is also great but I decided to pick something more definitive for better illustrating the process.
This jasper's pattern already has outlines that can be developed into a landscape without painting it over too much. I don't like it when stones are just mindlessly covered by slapping a random image on it, ignoring the colours, textures and patterns.
Here's the idea - ruins of an amphitheatre overgrown with red gladioluses. I know, I know, but I'm very interested in the initial mystical sacrificial background of gladiators. So here it is, arena covered in red, swords in the sand, but it's finally quiet.
Before we start, a stone must be varnished - minerals are porous, and lacquer smoothes its surface. I paint with tempera - most artists who work in lacquer miniatures use oils, but tempera allows quicker process, which is important for me. I'm autistic and my executive dysfunction makes working with oils difficult - my sudden bursts of activity won't match with drying timings and such. So, tempera for me.
Starting with sketching the outlines of the ruins and painting our light source, the sun and red clouds. I'm trying to work with a palette that the stone already has and make the painting as harmonious as possible.
Erasing auxiliary lines as we continue.
Done with the first layer - the walls and the sky. After the paint dries, I apply varnish (I use Novol clearcoat, car varnish - it's very durable). There can be as many layers as you need.
Now - the flowers and details.
After the painting is finished, it'll need several layers of varnish. And some fine sandpaper (1500) in-between the finishing layers for better grip.
And here it is! time to think abou a necklace for this one.
I'm not sure how useful I can be and what aspects you would like to know, so feel free to ask. I'm not sure I can make a good enough video with my current phone, so this'll have to wait. I tried to skip all the musings about ideas and finding stories, but whatever. And the time needed for work - I don't know. There was a month-long pause in the making of this one, due to a couple of emergencies that knocked me down for some time, and it's not easy for me in general due to my mental state - sometimes I can make a painting in two days, sometimes it takes years, nothing is certain with me, especially now. But well, here's what I do.
ANCIENT EGYPT BY TRAIN (2023) — 1.01 Alexandria
"The Roman Amphitheatre in Alexandria in Egypt is a large circular Roman theatre, and the only one of its kind to be found in the country. Though often referred to as an amphitheatre, the site is actually that of a small Roman theatre rather than a larger sporting arena." [x]
This canvas depicts the Flavian amphitheatre in Rome, known as the Colosseum due to the giant statue of Nero that was located nearby. Robert was notably familiar with recent archaeological discoveries and was able to imbue the building with a particular visual charm. He emphasises its monumental scale, albeit ruined by the passing of the centuries, which contrasts with the tiny, incidental nature of the figures.
A Roman gladiator was an ancient professional fighter who usually specialised with particular weapons and types of armour. They fought before the public in hugely popular organised games held in large purpose-built arenas throughout the Roman Empire from 105 BCE to 404 CE (official contests).
How, in the morning brightness, //You all around shine at me, // Springtime, Beloved! // With thousandfold love-bliss // The holy feeling // Of your eternal warmth // Presses itself upon my heart, // Unending beauty!
Ah, upon your breast // I lie, languish, // And your blossoms, your grass // press upon my heart. // You cool the burning //Thirst of my bosom, // Lovely morning-wind! // There calls the nightingale // Lovingly for me from the misty vale. // I come, I come! // Whither, ah whither?