Eero Jarnefelt

One curious afternoon a thing happened.

Good Art Deco patterns (artists in file names)

More sketches

More Sketches - Marker and ink

Alla Marcia

Inspired by the Sibelius piece

Untitled

 I love the pattern of green I got.

Consigned

This was a piece of  art I did just to see how it would look. The one I was talking with had just drawn "My Little Pony" characters playing Samishen.
I decided to follow him up on that... it had to be the newest generation of ponies (I know very little of the other generations, my brain shuts down when I try to sit through sexism that egregious), and for simplicity's sake, I did the two who have telekinesis in their foreheads. (Look them up, you have the internet.)

The text is an approximate Kanji of a portion of "Madama Butterfly." In the first act, where she tells Pinkerton to "love me a little, like a child..." "We are a people used to small things, quiet and humble, but profound as the sky and deep as the ocean." It's a gorgeous bit of recitative.
It was written on a catalogue-card about 2.5"x3", so my hand cramped pretty badly. Let me know if it's legible, if you're a native speaker.

Really want to add art, you guys

I, like, really want to add some of my art and projects on here...

Problem is, I only have access to Macs.

I can't figure out how the hell things are organized in these things... it's impossible to call files up. It's so simple you can't alter anything... ERRGH

Have some of my color fuckabouts to tide you over...

Getting Crackle into your Writing

As a side-project and writing exercise, I've been trying my hand for about a year (really, since it came out) at writing an operatic treatment of Rukis' amazing novel "Heretic."
Here's the first chapter, to tide you people... http://www.furaffinity.net/view/8720004 I plan to only adapt up to chapter Eight or so... After that, it's a little bit more complicated than makes good theatre.

It's an exploration of the backstory of one of the characters in her webcomic collaboration with Myenia, "Red Lantern."

Luther, an able seaman who bedded his admiral, is incarcerated to preserve the man's honor after his death. His possible salvation - a noble family, the Denholmes, wish for the lover-cum-strategist to inherit a fleet, and legitimize the daughter Delilah's pregnancy.

It's tailor-made for operatic treatment. I can name you, in her story alone, just where the arias and the cabaletti would fall - and orchestral treatments and melodies surge through my head. So many possibilities, but before I complete a musical treatment, I plan to try to discuss this with Rukis, see if she approves. Who knows? And before that, I have a couple of one-act operas I'm trying to write, as practice, and proof to myself that I can handle this.
I don't write often, but I've found that personally, I can't just throw sounds on the page, I need to try to depict an emotional state or a natural feature. Operas are the perfect medium for this. And the world needs one-acts! Stuff you can put on in a storefront theatre with three singers, minimalist sets, and a piano.

I once saw a touring production of "Barbiere Di Siviglia" on a high school stage (saturdays) with two sheets and a table set for a set; a ten-piece orchestra, all the props just laid out between the footlights; a laptop set to the side of the stage playing a photoshop slideshow of the translation. Tell me that's not cool.


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And I want to get "Crackle" into the libretto.

A lot of people have it. Arrigo Boito has it, Hunter S. Thompson has it, Walt Kelly, Harvey Kurtzman, Michael Maltese... they all have an instinctive knowledge of where to arrage abstract consonants in obscure words so that the dialogue pops off the reciter's tongue.

Lines like "Would I have the temerity to do THIS (sword) if my bosom chum was encased therin?"

As soon as I type up my libretto notes, I'll look for a good example for you folk.

However, in "Cunning Little Vixen," her monologue in front of the hens. I've rearranged that so as to be her trying to be as gibberishy as possible, to spike the rooster's attention. It's random, incomprehensible phrases of Russian puns, feminist buzzwords, and complete randomness. "Call forth your inner goddess on the brow of the Kulak!"

That's the shit I'm talking about. I'ma look for examples for you folks.
(The next few posts will have pictures, I swear it.)

Mystery Solved - Origin of "Freep."

 Jim Korkis: I see the word “Freep” used a lot in your cartoons. What is a “Freep”?
Bob Clampett: Freep is a word we used at Warners which meant a cross between a Freak and a Creep.