Trygometric Cycle aka The Case for the increase of efficiency of the powersource through shifting the subject into a more relaxed state.

This work's working title was a little too big, and also yet to truly decide on it.
Yet it does describe the scene.

It is the cold rational scientific discussion in which the 'Philospher' moon being, the one with the long dress, proposes to the 'Scientist' that the emotional state might have a connection to the energy output.

They, the moon beings draw their energy from their 'Gods' beings which they discovered looking into different dimensions and energy frequencies. For a rational being like the folk from the moon, such a potent being has potential, not to worship, but to use as a power source.

The two classes you see here are the 'Scientist' and the 'Philosopher'.
Scientists are but observers, they study and observe, to find and gather more information.
The philosophers are the class that actually 'invent', they are the least 'rational' and the most open minded.

Within a triangle a circular interior.
The true name of this vision:
The Case of the connection between energetic output
and the emotional state of the MoonOwlith.

As one being observers the other explains the rather new idea of emotions influencing the being.
And how it under less stressful circumstances it might produce a more stable and constant flow of energy.

The well-being of another creature considered,
not out of compassion but out of efficiency.






The frame was quite interesting to make yet possible. It was a preparation for the more complex frames for the 'Creation of the MoonOwlith" scene.

After that it was making a master sketch while also applying a lot of layers of gesso to get a smooth surface and then applying a few layers of grey oil paint before making a grid and sketch.

Then after that the lineart, it was not perfect yet good enough to get a general feeling how what to paint where so it wasn't as hard to paint over it.


 
After the lineart I first put down the base shadings and after that slowly but surely the painting came together.

First quickly then as the painting progresses it slows down and will be a lot of looking and just a few brush strokes here and there until I felt it was complete.

With this painting I had the idea my brush strokes became freeër, almost expressionistic/ Rembrandesque.


As if I saw the painting in front of me and was painting a model instead of constructing it.