Recent comments in /f/Art

Catilus OP t1_j5ueych wrote

Reply to Ayra, Nature’s Daughter, Me, Pencil and Digital, 2021 by Catilus

For Ayra, Nature’s chosen, every grove and
every forest is a throne room. She doesn’t need castles and palaces (and not
even clothes!) to ascertain her power.
Character: Ayra,
Nature’s Daughter, Wood Elf Druid
Ages ago, Ayra lived happily as an ordinary
wood elf hunter in the ancient forest of Sylendil until the endless armies of
Gorg, the self-proclaimed god of war, burned it to the ground. Desperate and
about to be killed, Ayra sought refuge in the mystical Otherwood, a dimension
of raw beauty where Nature reigns supreme and time bends like a branch in the
wind. Her unshakable love for the ancestral forest and the mortals she left
behind manifested as primal magic in Otherwood, transforming her into a
powerful druid.
Reborn as Nature’s own daughter and charged with
restoring balance in a world ruined by cosmic war, Ayra has returned to spread
the gift of druidic magic to those willing to oppose the warring gods.
About the magical
markings on Ayra’s body:
The Wood elves of Naam often have nature-themed
markings to signify their connection to Otherwood. The original elves, known as
dryads, ancient elves, or first elves have such markings by the magic of
Otherwood. Ayra became lost in Otherwood and transformed from an awkward hunter
to a powerful druid. Her living markings signify her transformations and intensity
of Nature’s magic as it surges through her.
Ayra is one of my
characters who became a legendary hero and became part of
the broader lore in the Theomachy
setting as an important NPC. She is now vastly powerful, commanding
transformative magic that empowers others to become champions of nature. In
game terms, Ayra grants nature-themed blessings (including relevant feats) and
even allows characters to change their subclass to become champions of nature
(usually druids, some ranger subclasses, paladins of nature, or fey warlocks,
as well as any subclass that makes sense lore-wise.)

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grumbledork t1_j5uew3v wrote

Reply to comment by valkyriii in A Common Thread, Thomas Blackshearr II, Oil and Gold Leaf, 2018 by GarageCrowking

this is correct. Notice also that she is collared, but still holds a superior air to herself. It speaks on how eventually the irish were eventually truly considered “white” when they lost much of their cultural roots and were folded into the white protestant hegemony. This is one of my favorite pieces of his for me, it’s so intense to read!

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Big_Woodpecker_3704 OP t1_j5uebub wrote

Reply to comment by IDK3177 in Built to Last, Me, Oil, 2019. by Big_Woodpecker_3704

Its part if a series and just a motif I have been using for a while. The concept was about what it feels like to be the self and how we can control what people see in us by wearing different clothing or hair styles but we dont know how we are perceived by others and there will always be a difference between that and how we perceive ourselves or how we want people to see us.

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silver_birch t1_j5tockq wrote

Reply to comment by Fragzav in A Common Thread, Thomas Blackshearr II, Oil and Gold Leaf, 2018 by GarageCrowking

That apparently is the “common thread” expressed materially. It originates from the top, “heaven”, runs past the man’s head and then runs through the patterns of all the garments before returning up the other side of the man’s head to whence it came. The immaterial or psychic representation of the common thread is symbolized by the lighted candles. The idea of a common thread is profound given the many disparities present in the composition. Vertical versus horizontal, with each having a male and female element. This resonates with the four directions, N, S, E and W. And four colors: black and white, yellow and red. It is interesting the figures are clothed in garments predominantly of a hue represented by the figure opposite. This would put the colors in the proper geographical proximity. White for the snowy north, black for the rich soil of the Nile, yellow for the rising sun in the east and red for the setting sun in the west. The composition exhibits a quaternity which is a symbol for the wholeness of physical existence. So everyone, no matter where they are from share a common experience of the sublime.

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