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This page has areas blocked out with my personal mailing information. Check out the tiny skeleton dangling from the safety pin...that's a gift from Tiaragoth, as was -- I think -- the blue heart. The picture is from an old National Geographic advertisement, and this is some of my favorite ribbon. I've used those red heart doilies in lots of projects over the years...
Well... it was the dead of winter afterall... when things are dark... and wet... and cold... so it is any wonder I found dark black and white work appealing?
Voila a series of images reworked. Some of these images are years old. I "saw" something in the mind's eye and felt I needed to make yet another pass at this material.
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photographer: c'est moi
photographer's assistant: Judith Turano
model/couture/mua: Nadia
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Strobist Info: Strobes into bounce umbrellas, one camera right, one camera left, one over camera.
Prints: daniel-eskridge.artistwebsites.com/featured/buzzard-with-...
A Huge American Black Vulture stands proudly upon a rock resting in a grassy field. It is late fall the and grass has turned a golden yellowish-brown. Behind the vulture sits a leafless bush, framing the bird's black body. Hazy hills can be seen in the distance lying under a blue sky filled with puffy white clouds. An old weathered human skull rests on the rock before the vulture, and he puts his claw upon it like a conquering hero. He says aloud: "Alas, poor Yorick! He tasted good."
Here in North Georgia, I used to never see vultures. Rather, crows seemed to fill their niche at devouring dead animals. But over the past few years I've spotted black vultures more and more alongside the road. For this artwork, I just wanted to really do a simple portrait of a one such buzzard (note that, in America, the terms "Buzzard" and "Vulture" are synonymous). Despite their lowly reputations, they can be quite smart and are a very useful bird (at least, at cleaning up the road kill, that is). They do, at times, tend to be a bit clumsy though, and can be loads of fun to watch.
I was inspired by some rather dark monochrome images and wondered how some of my own work might look.
As I said, I entered a Dark Period after seeing some else's dark monochrome images. Certainly, it doesn't work for everything, but...
As I said, I entered a Dark Period after seeing some else's dark monochrome images. Certainly, it doesn't work for everything, but...
Founder was initially made for a novel. The design features natural elements and give a very realistic effect to the overall design. Sadly, this design was never used because the novel was supposed to be a sci-fi design. LOL. Nevertheless, Founder happens to be The Lime Design manager's most favorite design.
For my pirate/swashbuckler pages. Thanks to The Dean for this pretty tape transfer and the clock face paper as part of a swap. The Mermaid song page is from an old book.
This sweet 4x4 was sent to me as part of a Swap-bot trade. It was made by Candi Fisher -- and is just as nice on the reverse as it is on the front. This is the front inside of my altered book "Dark Hearts and Winged Things". This book is going to pass around to six other people who will contribute to it -- and I will be making pages for their books in return.
"Saya Mori: The Silent Edge of the Yakuza"
Born under the neon lights of Tokyo's Shibuya district, Saya Mori was raised in the shadows of the Yakuza. An orphan discovered by a seasoned Yakuza lieutenant, Saya was brought into a world woven with secrecy and danger from a young age. Recognizing her potential early on, her adoptive family trained her not just to survive, but to excel in the harsh hierarchy of organized crime.
Saya became known as the "Kage no Tenshi" or "Angel of the Shadows," a name that reflected her ability to navigate the underworld unseen and unheard. Her reputation as a problem solver grew with each mission; her methods were precise, and her executions were untraceable. Saya's training in martial arts and expertise in digital espionage made her an invaluable asset, a weapon the Yakuza wielded with calculated discretion.
She never questioned her orders, viewing each assignment as a test of her skills and a means to maintain the order within her world. For Saya, loyalty to the family was above all, and her life was a reflection of this devotion. The tattoos that marked her body told stories of her conquests and her commitments, inked during sacred Yakuza rituals that bonded her deeper with the clan.
Despite her lethal prowess, Saya harbored a profound sense of honor and justice, molded by the very code that the Yakuza upheld. She saw herself not as a mere assassin but as a guardian of a system, albeit a dark one, that dictated the balance of power in the underground. Each target eliminated, each problem solved, was her contribution to a larger scheme, a world hidden from the blinding lights of Tokyo.
As she moves like a shadow through the city, Saya Mori remains a paradox wrapped in silence—her existence a blade sheathed in the dark, always ready, always waiting, for the family's call to bring forth the silent edge of justice—or vengeance.
Concept idea: you can be greedy and get your way but in the end it will always come back to you and you'll have to face the consequences
I was inspired by some rather dark monochrome images and wondered how some of my own work might look.
I was inspired by some rather dark monochrome images and wondered how some of my own work might look.
Well... it was the dead of winter afterall... when things are dark... and wet... and cold... so it is any wonder I found dark black and white work appealing?