#musetta draws

[musetta3]

Somehow, this went into my drafts and never posted. This was a treat I made for the BTV server’s Satinalia exchange. @dreadfutures’s Ixchel Lavellan and her beloved, Dirthamen. 

When researching for this, I noticed art deco influence in the Elvhen frescoes and the tarot card art style in Dragon Age: Inquisition. That fit well with the fan-like shape of the gingko leaves, one of Ixchel’s signature elements, so I made an art deco-style fan motif out of the leaves. The embroidery and book embossing are also art deco motifs. <3

#dragon age #dragon age fan art #dragon age inquisition #ixchel lavellan #ixchel #dirthamen #ixchel/dirthamen #da fan art #art deco #art deco inspired #my art #musetta draws

[ran-orimoto]

All connected😍😍! I’ve decided to rewatch the series after New Year with the eye of a new shipper. Nothing will stop me even if I don’t think german dubs episides are available :(. I also wanted to say why I gave you the kudo :)’ : there ‘s too much oc style in shippings in Frontier tag, when they are adults even worse. When I read your fics I get feeling J.P and Zoe are very into themselves even when you add your hcs like the voiceactors cat one. I hope Jp can get cat for Zoe…And Zoe gets baby

Grazie! Grazie! Grazie mille again, Anon💕! A very messy and trashy sketch for you. I’m so happy when my ultimate bbies get appreciated uh…💕.

Junpei got her the kitty but he got scratched because Junpei is Junpei. Izumi surely hurries to take care of her big singing teddybear.

#junzumi #digimon frontier #junpei shibayama #izumi orimoto #I can draw them so badly but they still put a big smile on my fave because they’re my everything #junpei #izumi #they discover kitty is white and not grey #she was full of dirt and needed a bath #first bath will be hell #junpei is so bad but Izumi is as well #they will call her Musetta after a Boheme character because…Junpei no….. #their first child 🤣 #Kou will come during lockdown #zura’s sketches

[princesssarisa]

I swear that Peter J. Hall, who designed the costumes for Franco Zeffirelli's iconic Metropolitan Opera production of La Bohéme, must have seen this Little Women illustration by Jessie Wilcox Smith. It must have reminded him of Musetta and Mimí in the opera, because the dress he designed for Musetta in the last act looks almost identical to Jo's dress in this drawing.

Meanwhile, all three of Mimí's dresses are blue, even though none of them look quite like Beth's dress.

Even though Musetta has nothing in common with Jo apart from being feisty and hot-tempered (Jo would rather die than try to be sexy or flirty), the parallel of a fiery girl who reveals her tender and nurturing side by caring for a quieter, gentler, terminally ill girl still seems to have inspired the designer. The fact that Beth is sewing in that illustration, which is what Mimí does for a living, probably helped too.

#la boheme #opera #metropolitan opera #musetta #mimi #peter j. hall #costumes #clothing #jo march #beth march #illustration #jessie willcox smith

[larkoneironaut]

Hi Lark! From the Artist Ask meme: 🦋 Do your drawings resemble you? 💐 Do your drawing suit your aesthetics? and 🙌 Draw a doodle with your non-dominant hand

Thank you! :)

Hii musetta!

🦋 That question isn't very clear, like does my art resemble my vibe/mood? Mood no, I would draw way more depressing things, haha, but I like to draw positive things. Vibe? Yes, absolutely. But physical appearance like this question seems to suggest? Nah, I want my OCs to NOT resemble me, lmao 😂 Hm, Revia is maybe an exception, she looks probably most like me, because of her green eyes and dark hair and moles, but I still made her look different (I feel like I still don't understand that question, hahaha)

💐 Oh yeah, I probably answered that above already, but yep, they match my aesthetic, which is a mix of witchcraft, cottagecore, forestcore (is that a thing?) and astronomy (spacecore? is that a thing? man, I'm confused, haha) which will come out more when I will draw my Dragon Age Dreadwolf OC, I already have her in my mind and her personality etc. but I will actually start drawing her seriously when the game is released and she's created in-game - excited for that!

🙌 My non-dominant hand is currently bandaged because I supported myself the wrong way while sitting down and now it hurts, sorry, you don't miss out 💀

#Thanks for asking! #Lark talks #Artist asks #Artist answers

[akaewriter]

Leeuwerik Baudelaire (Hollandse Circus 4/4)

Alouette Baudelaire was twenty-two years old now, and though she had left van Manker’s great Dutch circus a long time ago, it had never quite left her mind.

There were a great many things to remember about it. The gross mistreatment that the performers suffered, was but one horrid thing in a sea of sweet nostalgic things, seaglass memories from a grimy childhood she was sure she would never fully leave behind.

She remembered the shadow plays Dijkgraaf would put on for them, the stories Mr. Chandri would tell about the far east, and how it felt as if she’d laughed all night when she was nine and tried whiskey for the first time, after the guests had long left the circus tent and the kids were free to dance around and draw figures in the shallow sand there. The games of truth or dare that they played, the time Dijkgraaf’s daughter Musetta had dared her to kiss Hendrik Csokas on the cheek.

Oh, the Csokas brothers. She thought about them every day.

Allie had left the Netherlands when the circus tent burned down in 1859. She was twelve, and without a home. There was no more circus, and her friends were scattered to the winds, and there was certainly nothing for her in Haag. 

The only word that came to her mind had been England.  And so, that was where she went. From there on, it felt as if every step along Allie’s way had been a sleight of hand. A trickery.

The trapeze artist who had taught her and the other girls at the circus, Mrs. Rozárka Cristiniy, had been a professional ballet dancer in her youth, and so she had trained her girls with bone hard determination and discipline that would make a soft child crumble.

Not to have them ballet dancing on stage. No, the richest families in Haag were already paying to see that at the Amsterdam Opera. Van Manker had no interest in showing his audiences something they could pay to see elsewhere.

Cristiniy trained the girls to tie themselves up in silk, tenfold of feet in the air, only to let themselves fall and trust that the ties would catch them. She trained them to sit poised in metal rings in the air, holding on with bare hands, grinning, white stars painted around their wide eyes. She trained them to fly in the air from one swing to another with zero hesitation, nothing in their minds but determination that they were more than skilled enough to grab onto the hands of the one who was meant to be catching them. 

In order to teach them that kind of steel hard skill, Cristiniy trained them to be ballet dancers on top of it all. Allie became the greatest among them all. The star attraction, van Manker’s very own Leeuwerik: Little Lark.

Van Manker loved her dearly. And he stopped at nothing to prove his affections to her, every night in her caravan, even when she said no.

She did not tell Mrs. Cristiniy about this, but it was hardly a secret. However, Mrs. Cristiniy was under van Manker’s mercy just as much as any other circus performer. All she could do was push Allie to perseverance, turn her into a diamond in the rough, encourage her to keep becoming greater, no matter what.

Mrs. Cristiniy died only a few months after Dijkgraaf. It was believed that the two of them had a passionate affair, and that perhaps it was the heartbreak that killed her.

And as a result of this hardship, and with all her motivation to live up to Cristiniy’s expectations and to honor her memory, Allie would always be able to do the impossible.

She could tie knives to her ballet shoes with string and dance for hours on the tips of the blades. She could smile through pain other dancers could only dream to hold their poses to. And though she was often the shortest in a crowd, she stuck out because she held her head the highest, held herself with the most poise, and moved in every elegant way imaginable.

And these impossible feats landed Allie Baudelaire in a good ballet academy.

The other girls could not decide if they loved or hated Allie. She was a miserable little underdog orphan outlander from across the sea who spoke broken English, and had learnt everything she knew from a retired, bitter, alcoholic woman who used to be something great in a country none of them had ever visited.

But Allie did not care. Being in the circus, being little Leeuwerik, had taught Allie everything she needed to know about withstanding dirty looks. She could take all of it without breaking a sweat.

At her graduation showcase when she was fifteen, she was pulled aside by a scout from the Royal Ballet in Covent Garden, and asked if she was interested in a job. She’d made a crude gesture at the other girls as she was taken to the Royal Ballet in a beautiful cart.

During Allie’s Christmas break, after she had lived in London and danced for the Royal Ballet for seven years, something was tugging at her heart, telling her to visit Birmingham, as if there was something waiting for her there. Allie thought of what had happened the last time she felt an inclination to go somewhere, and she remembered how successful it had been. Then, she bought a train ticket, headed north.

Allie liked Birmingham. Where London was quiet, busy, and in denial about the grime within its own city walls, Birmingham was little and loud and dark and it embraced its griminess fully. Flickering gas lanterns were hung out on lines over the roads, horses pulled carriages with bells that sang gently in their harnesses, old men walked hunched over along the roads and nodded at everyone they saw. The landlady of the apartment Allie was renting for the week was a middle-aged woman who talked too much and forbade any men in the house, even though she seemed to bring home a new gentleman every night. Allie did not mind. She was used to sleeping through noise.

After a childhood in the circus, of owning almost nothing, Allie had developed a fondness for small trinkets, pocket-sized, rings and lockets and hairpins and brooches, anything she could hold in the palm of her hand. Therefore, most of her days were spent wandering the streets, entering almost any shop she could find, looking for nice little trinkets for herself.

Until one day, she came across a little building, a frostbitten sign dangling above the door, which read “DR. CSOKAS’ PSYCHIATRIC CLINIC.” That had made her stop dead in her tracks.

Because surely, the Csokas she once knew, was not the only Csokas in the world, and surely the chance of him being here was miniscule.

But a chance was a chance, no matter the odds. And so, Allie Baudelaire opened the door - a bell rang as she did - and stepped inside a quaint little room. There were neat paintings on the wall, benches that looked somewhat uncomfortable, a pretty persian rug, and a small fire dancing in the brick fireplace. Towards the other end of the room, there was a front desk and a great hardwood door next to it, and Allie had her back to it, trying to read the signature on one of the paintings, when she heard footsteps from the door. She spun around, and there he was, and what could she do but grin?

“My God,” Siebren said slowly in Dutch, a small smile widening into a grin across his lips. “Alouette. You’re aliv-”

He did not get to finish, because she was already there, wrapping her arms around him in a tight hug, and he laughed, easing his arms jankily around her, as though he were a robot.

“Goodness, goodness, goodness,” she said as she pulled back to look at him, grinning. “You’re taller than last, Siebren.”

“Well, you aren’t,” he replied, raising one eyebrow, smiling. For that, he received a gentle punch to the arm. He laughed, pulling his old friend into a second hug. They stood like that for a little while. Perhaps they were both very lonely in the real world, after growing up in the circus pack. Perhaps they’d both needed this for a long time.

“This clinic- it’s all yours?” she asked after a little, pulling back to look around, admiringly.

“Yes,” Siebren said, brushing dust off one of the painting frames and crossing his arms. “The old owner, Dr. Constantinescu, taught me everything he knew. So now, I’m a professional headshrinker. Isn’t that nice?” he asked, humming quietly, suddenly obsessed with making sure the room looked presentable.

“It’s great,” she said, looking at him, nodding as if she’d known all along that something like this was going to become Siebren’s reality, eventually. “I always knew - we all did - that there’d become something good out of you one day. Looks like we were right, hey?”

“Oh, shut up,” he muttered, cheeks slightly red, grinning crookedly up at her. “What about you, Alouette? What’s become of you?”

“I’m a dancer now,” she said, almost braggingly, raising her eyebrows at him, grinning when his smile widened. “At the Royal Ballet. Would you believe it?”

“Yes, actually,” he said, leaning back against the front desk, laughing quietly. “I would believe it. If anyone could pull off a feat like that, it would have to be you.”

“Stop it,” she grinned, running her fingers along the edge of the leaf of a large plant that stood potted in the corner.

“Have they let you do your knife number yet?” he asked, one eyebrow raised.

“I am working on it, actually. I could try and secure you a ticket,” she said, smirking.

“Oh, I expect nothing less, Alouette, now that I know not only that you’re alive, but that you’re going to be a star the way we all believed you would be,” he grinned. “Here, why don’t we discuss this more over dinner? I know a nice little place. We’ve a lot to catch up on,” he suggested, and Allie brightened like a flame.

“Oh, I’d love that, Siebren.”

Then, Siebren locked up his clinic while Allie waited for him. 

Messenblok and Leeuwerik linked arms and walked off in the snow, perhaps the two most unlikely friends in the world, talking all the way, brought together by a past that neither of them deserved. And even so, they were both laughing and smiling, because they had made it out alive, because they had honored every memory they had sworn to honor. Because finally, they had both broken even. 

#oc writing #ocs #original story #writing #writer #asb5 #smc59

[infinitelytheheartexpands]

Now I would like to ask you, in turn: Favorite acts/scenes from ten operas you love?

Thank you!!! You have no idea how much it makes me smile to see an ask in my inbox!!! Here goes, in no particular order:

Don Carlo: Ahhhhh well, I guess I have to choose something...maybe Act IV, Scene 1. You have Filippo’s big scene (ALL THE FEELS), the bass/bass showdown that is absolutely legendary, you have Elisabetta calling EVERYBODY out and being the strong, amazing woman she is, that phenomenal quartet, that scene for Elisabetta and Éboli that rips my heart out every time (seriously, I physically cannot listen to the line ‘Io...io stessa...avea...comm’esso!’ without crumpling. it’s bad.), and of course, you have perhaps the greatest mezzo aria of all time, ‘O don fatale’, to close it out. It’s just one phenomenal piece after another, and I love how much it focuses in on the characters and allows us to get to know them (ESPECIALLY the more morally dubious ones) a lot better.

Les Huguenots: As much as part of me is begging me to say Act IV, my heart is saying the last two scenes together (Act V, Scenes 2 and 3, which are often combined as Act V, Scene 2 or even as just Act V). This is for a lot of the same reasons as Act IV, Scene 1 of Don Carlo: (for the most part) this is essentially a huge trio in several movements with occasional interventions from the chorus and a couple other characters and I feel like every part just gets better and more intense and more heartbreaking...and I emotionally die in the middle every time. (Specifically, if not earlier, at the line ‘Ils ne chantent plus.’) Anyway the music slaps HARD (and I CANNOT with all the repetitions of ‘A Mighty Fortress Is Our God’), and once again, I just love how much this focuses in on our leading trio and lets us, the audience, get to know them that much better only to be like ‘okay now they’re gonna die’ DAMMIT THAT’S NOT GOOD FOR ANYBODY BUT I LOVE IT SO MUCH anyway I need to stop writing so much for each of these because if I do it’ll take forever

La bohème: Act II, for a combination of sentimental reasons and the fact that it is just so good! You get the street scene with all those amazing choruses but you also get hijinks and love and happiness and it’s Puccini so you get great tunes. And of course, we all know that a) Musetta’s Waltz is an absolute BOP and b) we all secretly want to be Musetta. At least I do.

Dialogues des Carmélites: I am legally obligated to say the Salve Regina because a) it’s the scene that got me hooked on this opera, b) it’s an amazing piece of music, and c) THE FEELS I DIE EVERY SINGLE TIME. Even though I SHOULD know that the guillotine is going to happen it ALWAYS throws me off whenever it comes in for the first time and I’m like WTF WTF NOOOOOOOO and the part where Blanche comes back? kill me. just...kill me.

Un ballo in maschera: Act III, Scene 1! Once again this is a lot like Don Carlo, Act IV, Scene 1 because it’s a super-intimate scene and the music SLAPS from start to finish. Amelia and Renato/Anckarström’s arias are both incredible and make me feel ALL THE FEELS, and they’re also great at showing parts of their lives that we don’t really get to see much of elsewhere, respectively the mother and the lover. Then there’s the whole conspiracy trio-turned-quartet, which is amazing, AND THE LOT-DRAWING SCENE. It’s so creepy and extra and the music is just perfect for the scene. And of course, we top it off with Oscar coming in and being his delightful self while everyone else is either angsting or plotting and it’s all in one quintet that works??? so??? well??? like??? how???

Die tote Stadt: ‘Glück, das mir verblieb’ AND its return in the final scene. First off, it’s some of the most gorgeous, cinematic, heartbreaking music in all opera. Seriously, drop what you’re doing and go listen to it (especially the one with Carol Neblett and René Kollo). But also, it’s just this amazing, seemingly-simple little song that’s about grief and what it’s like to lose someone you love and it HURTS. Also, it’s like the one time in the entire opera when Paul and Marietta are actually getting along because pretty much everywhere else their relationship is INCREDIBLY messed up. And then the last verse coming back in the final scene, when Paul sings it alone as he finally works up the courage to move on, leave Bruges, and start over...I die every time.

Falstaff: While perhaps my favorite individual part of this opera is the finale, ‘Tutto nel mondo è burla’, my favorite scene is Act II, Scene 2, which is absolutely comedy GOLD from start to finish. It’s late Verdi so you know the music is going to be amazing, and it is, and it’s all so light and fizzy and just plain FUN. I also just love all the women working together to outsmart a creepy old guy, all the men being Clueless, Nannetta and Fenton just trying to get a moment together...and I love how much this scene makes fun of opera tropes, especially the “we’re going to stand around and sing about how we need to do something while not actually doing that thing” trope. Also, thank you Shakespeare, Verdi, and Boito for the laundry basket stuff. That is absolutely priceless.

Tosca: This could be a veritable coin flip between the finales to Acts I and II (if nothing else, you have to acknowledge that Puccini knew how to end an act. he did.), but I’ll go with the finale to Act II. Obviously I love MURDER TIME and everything Tosca is screaming at Scarpia (and yes, ‘Questo è il bacio di Tosca!’ is arguably the best line ever) and the music for that part is so amazing, but my favorite thing is actually what happens afterwards...the one melody that keeps coming back (the daa-daa-daa-da-da-da-da-DAAAAA) is so awesome, I love the line ‘E avanti a lui tremava tutta Roma!’, and pulled off well, this can tell you so much about Tosca and everything she’s going through. I love it.

Die Zauberflöte: Anytime Papageno is onstage (yes he is also my favorite character) OR ‘Der Hölle Rache’. I love Papageno for a lot of the same reasons you do; he’s fun, he’s a sweetheart, he doesn’t really want to get involved in all this Masonic mess, he just wants true love and happiness. And all his music is amazing. And then of course, Der Hölle Rache is just absolutely iconic and terrifying as hell and I NEVER get tired of hearing sopranos hit those high Fs. I love.

Faust: The Cathedral Scene (depending on the version, this could be Scene 1, Scene 2, OR Scene 3 of Act IV because Act IV of this opera, and directors’ stagings of it, are weird). This is one of those rare soprano/bass or bass-baritone duets in opera and the music is absolutely incredible (THE PIPE ORGAN). Even more than that, I love it because it’s so great at portraying psychological trauma/disintegration because no matter where this scene is placed Marguérite has experienced some Extremely Bad Things and has an incredible amount of shame and Catholic Guilt and she’s trying to keep things together but Mephistopheles is just taunting her about how terrible of a person she must be and Marguérite is just trying to hold it all together and she’s praying and trying not to lose her mind but everything just seems like it’s condemning her and she just. can’t. deal. with. it. I mean...damn it’s an intense scene.

[atiredlesbian]

I would draw my Pyre Reader.....But it’s just Musetta....

#because person that got exiled for being able to read fits her #Or Lucian...

[musetta3]

Finally getting around to posting the Tumblr version of an exchange treat I made for @knuttydraws. Renaissance AU of Knutty’s Farie and Rylen. They’re wearing ensembles based on 1490s Italian court ensembles from Milan. The embroidery and sleeve textiles are traditional Lemko motifs, a nod to Farie’s character design. Rylen’s brocade is based on 15th century Italian fabric at the Metropolitan Museum of Art in NYC. I LOVED painting these two together <3   

AO3 version here! <3 

#dragon age #dragon age inquisition #dragon age fan art #fan art #farie lavellan #knight captain rylen #Renaissance Fashion #renaissance #historical fashion #renaissance au #1490s #15th century #italian renaissance #lemko embroidery #digital art #digital watercolor #my art #my artwork #musetta draws

[musetta3]

Marian Hawke. She’s wearing Elizabethan blackwork embroidery, inspired by a portrait of Elizabeth I. <3 

#dragon age #dragon age 2 #dragon age fan art #hawke #marian hawke #watercolor #digital watercolor #digital painting #historical fashion #elizabethan embroidery #16th century fashion #blackwork embroidery #musetta draws #my art #da fanart #da 2

[musetta3]

WIP Wednesday

Thank you for the tags @dreadfutures @thevikingwoman and @cleverblackcat! Tag list under the cut <3 

This week has been quite a whirlwind with work and uni! I was hired to write the surtitles (English translation captions) for a local opera company’s production of La Bohème; in addition to translating the opera from Italian to English, I’m also creating custom graphics. The lead character, Mimi, embroiders for a living, so I digitally embroidered historically accurate frames for the surtitle slides. 

This is an example of what will show during musical interludes. The pattern is from 1827, the same time period the opera is set in.

The company gave me a free advertising page in the program as a thank-you gift, to promote my opera coloring book and endeavors. I had intended on publishing a new edition of the book in 2023, but to take advantage of the advertising... I’m moving up the release date by a year.

I’m excited to announce the new edition of ‘Manga and Mozart’ will be launching in October 2022! <3 <3 

So here’s one of the pages I was working on last night, Ophelia from Ambrose Thomas’s opera, Hamlet. She’s wearing 14th century fashion; all the flowers in her bouquet are referenced in the play’s mad scene: rosemary, fennel, columbine,  rue, daisies, and pansies.

Tagging with love:  @pikapeppa  @oxygenforthewicked  @best-of-the-vein  @moonlightheretic @darethshirl  @fiadhaisteach @bogunicorn @ashalle-art @rosella-writes  @noire-pandora @tkwritesdumbassassins​ @palepinkycat @drag-on-age @thevikingwoman @rivainisomniari @in-arlathan  @melisusthewee  @effelants @potatowitch @imperatrixvini @bluephoenix1347 @bluewren @johaeryslavellan @ocean-in-my-rebel-soul @rakshadow @morganlefaye79 @serial-chillr @luzial  @fandomn00blr​ and whoever would like to join in. Tag me, so I can see your awesome works! <3 

#WIP Wednesday #art wip #opera #historical fashion #14th century #hamlet #ophelia #shakespeare #la boheme #digital art #digital embroidery #1830s #1830s fashion #my artwork #my art #musetta draws

[musetta3]

WIP Wednesday

Thanks for the tag, @khajiithasnowares! 

I’m currently working on graphics for my opera coloring book cover, which will go to the publisher next week (AHHHHHH!!! much excite). I’m currently working on Titania, the fairy queen at the moment... sans wings, because I hid them to work on other things. <3 She’s wearing Ancient Greek clothing, dating to around 400 BC. 

Tagging forth with love: @fandomn00blr @noire-pandora  @poeti-kat​ @nirikeehan​ @tkwritesdumbassassins @thevikingwoman @cleverblackcat @in-arlathan  @melisusthewee  @effelants @potatowitch @imperatrixvini @bluephoenix1347 @bluewren @cleverblackcat @johaeryslavellan @ocean-in-my-rebel-soul @rakshadow @morganlefaye79 @serial-chillr @luzial  @dreadfutures @darethshirl  @fiadhaisteach @bogunicorn @ashalle-art @rosella-writes @whataboutbugs-art @knuttydraws  @silvanils and whoever would like to share. <3 

#WIP Wednesday #art wip #titania #midsummer night's dream #fairy #ancient greece #historical fashion #manga and mozart #coloring book #opera #musetta draws #my art #wip

[ran-orimoto]

Weird request but can you draw more things with junpezumi x cats? Anything

“Anything” or also “Why you shouldn’t teach Junpei how to use make-up.”

The grey kitty is the one from the fic agahah. The one Junpei tries catching in the restaurant because Izumi has fallen with her. She’s called Musetta , which is the name of a character from Puccini’s “Boheme”, but is also a way to underline the spot she has got on the mouth ahahah.

Sh1tanda and O0sh1g3 talking about cats on tw spoiled my life.

Thank you for the ask/request?

#junzumi #junpei shibayama #izumi orimoto #digimon frontier #junpei #izumi #my bbies x cats I love this request thx #of course nothing serious #nothing I put this much effort in #but ahahah #hey Junpei’s shirt is Shitanda’s #the one he wore at Digifes #zura’s sketches #asks

[musetta3]

Hii Musetta! The Artist ask thing:

🎼 Your favorite music to draw to right now?

Hi Lark!

Hmm. My musical taste is kind of eclectic/all over the place, but I've been really enjoying Kalandra and Norse folk music lately. This is the playlist I've made of it, inspired by my Skyrim OC, Iseult.

Playlist

Thanks for the ask! :)

0o0o0o

Artist Ask

#artist ask game #artist ask #ask game #ask meme #thanks for the ask! #musetta answers

[musetta3]

I tried out a graphic style of portrait for my OC, Revka Cadash. I based her tattoos on Ringerike style Norse knotwork, popular in the 10-11th centuries.

#art #digital art #dragon age #dragon age inquisition #dragon age oc #revka #cadash #female cadash #fashion #knotwork #norse #ringerike #dragon age dwarves #dwarf #my art #musetta draws #dragon age fan art

[musetta3]

I participated in a mini opera art show to benefit a local opera guild. It was a lot of fun! This is one of the pieces I contributed: Turandot, from the opera Turandot; some of you may remember the WIP version of this from past WIP Wednesdays <3

Turandot’s outfit and hair is based on the Baoshan tomb frescoes from the Liao Dynasty, dating to the 10-11th centuries. The color palette and use of gold leaf is also inspired by the frescoes; despite being 1000 or 1100 years old, the colors are still vibrant, and the gold still visible on the walls! The uncolored version of this piece will be available for purchase in the new edition of my opera coloring book, ‘Manga and Mozart,’ available in Fall 2023.

#Turandot #opera #opera art #ancient china #Liao dynasty #charity event #my art #musetta draws

[musetta3]

Finished this art commission for @marl-writes , illustrating a scene of her fic! Ameridan is pulling away a rather annoyed Inquisitor Fatima after Fenris asked one too many questions. Fenris is wearing medieval Indian armor from the 15th century, with historical Byzantine and Indian fabrics (the trim is from the Metropolitan Museum). Fatima also is wearing historical fabric from the 11th century.

(click to enlarge, the preview loaded small <3 )

#dragon age #dragon age art #dai #dragon age inquisition #art commission #fenris #inquisitor #dragon age inquistor #ameridan #historical fashion #my art #digital art #musetta draws