41st Winter Late afternoon Bree's Bivouac The city didn't have quite enough greenery for his tastes. Perhaps Reaver had been right, talking about developing the agriculture and perhaps this never bothered the red haired artist, for he had grown up in a place similarly shaped of stone and soul. but there was a certain allure to fauna and flora. A love for it, he had acquired during his stay in Endrykas perhaps, or Riverfall or some other wonderful city of Mizahar. Or perhaps it had lingered within him always, but only now did it begin to manifest. Tucked away among foliage and overgrown gardens lies a small cottage. Not quite a part of the vast stone substance of Zeltiva, yet not entirely separate from it. A green dominion among the grey of granite. That was precisely where the artist had taken him self as the sun began to hover lower in the sky. The prerequisite events had taken their toll on his mind and all he now wished for was peace, but that peace seemed out of reach. The convoluted mind of a young man had been nothing but a burden. Valo had perched him self several metres from the tiny cottage, using his bag as a barrier between his behind and the frozen solid soil, he was now tucked among the sleeping plants, as if he was one of them. A sketchbook on his lap, over which he leaned so that locks of fiery red hair perpetually obstructed his view. Had he only the sense to tie his hair back that day. However after a good ten days of throwing his skills to the wind - a time much less extensive than it seemed - it was time to give his very mind back to the force which was to blame for his very presence in this city. A city which in text books and letters seemed a paradise, but in reality was far from it. What Valo found, that architecture at his own terms was quite charming. Of course that was the case only when he chose the setting and the colour and the medium. And after having faintly sketched out the outlines of the cottage, the little lamp post that guarded it's entrance and the vegetation that enclosed it -very linear structures, near to no shading. So soft and faint. Gentle flowing outlines of the plants. There were places where a high density of marks convoluted with structural lines and detailing, giving the sense of depth. A third dimension which would later be amplified with colour -he had taken to paint and water for sparking life into the scenery. A simple medium, yet such a hard technique to grasp. This time he wanted to experiment with white spacing. Those were tiny little spaces which divided colour on the paper, giving the illusion as if someone had outlined the subject with chalk of some sort. A meticulous illusion and very time costly, but created the most endearing of illustrations. Perhaps Valo loved children's books just as much as he loved children and if he would ever have the chance to participate in the creation of such, he would gladly gab the opportunity. But of course that was a foolish dream. Yet dreaming about such pleasantnesses was exactly what he now needed, a distraction of the days at hand. He worked steadily and gracefully he worked, mixing the various hues of green and brown for the sprouting of the vegetation from iced soil. Hues tinted by grey of the season, yet maintaining the original form for it was a fantasy he was painting. A manifestation of a wonderland where colours were always saturated. The very favourite green he produced, which he then swathed at the very back of his sketchbook and annotated for future reference, was quite a complex concoction of pigments. An ultramarine blue as a base, mixed with both lemon yellow and ochre to make a warm mint that retained grey undertones. Then he added specks of cadmium red until the required tone, a desired darkness to the green was achieved, for colours complimentary on the colour wheel had a habit of rendering one another a darker hue. And the orange nature of the red not only surfaced the dirty undertones of the green, it also warmed it so the colour was no longer mint but another green of an organic warmth, similar to that of beans or other such vegetables. It has been too long since Valo allowed him self to be swallowed up by his pondering upon colour theory as such. Too long indeed. Some seek comfort in art and it did bring peace to the soul. It allowed him to focus entirely on the painting and not on the thoughts that troubled him. It erased the bloody red WEAK for now, if only just. But should he stop painting, those horrors would come flooding back like a cascade of ugly pigment, ready to drown him again. Slowly the illustration began forming on the paint. A three dimensional cottage clad in everything from elaborate blue-toned greys, to the yellows and rusts brought out from the rock as light hit it and the greens of moss that wound at it's very feet. Muted purples in the shadows and soft pale yellows in the highlights. A portrait of tranquillity and seclusion. and as the paint dried, it formed elaborate, lettuce leaf like patterns on the rock which added a sense of texture. Often these seemed an artist's worst nightmare, but in this case such 'mistakes' complimented the subject. The surrounding vegetation was separated from the hues of the building by such white spacing. Each leaf hovered precisely in it's place, isolated by these white outlines, very subtle yet powerful. Flora sprouted from the inky soil. Perhaps once the masterpiece dries, the artist would further outline with quill and ink to expose it's linear nature. Perhaps, but for not he remained in his place, slowly dragging brush across paper. A man in perfect, almost meditation like, concentration. |