Circe, the terrible goddess who speaks in the tongues of men.Â
Based off a votive figure from Karphi in what appears to be a horned headdress, dated to approximately 11th-13th c. BCE. Currently in the Archaeological Museum of Heraklion.Â

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Circe, the terrible goddess who speaks in the tongues of men.Â
Based off a votive figure from Karphi in what appears to be a horned headdress, dated to approximately 11th-13th c. BCE. Currently in the Archaeological Museum of Heraklion.Â

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From Book V of Homer's Iliad. Upon being grievously wounded by the Achaean warrior Diomedes, the hero Aeneas is saved through divine intervention from his mother, the goddess Aphrodite.Â
The characters are depicted here in historically inspired looks from the late Bronze Age, the period when the Trojan War was believed to have been set. Aphrodite's look in particulate is based off of Mycenaean frescos as well as Cypriot idols.Â
I feel like by now we've all seen the medieval marginalia of nuns diligently picking phalluses from a tree. These illustrations were drawn by 14th century artist Jeanne de Montbaston who worked alongside her husband Richard. To the best of my knowledge, there is no clear reason for the inclusion of these illustrations, but perhaps there was some contextual evidence that was lost to time.
In any case, I decided to illustrate these industrious ladies in my own style amidst a flurry of medieval inspired phallic references and symbols of virility and fecundity. By my estimation, there are about 130 phalluses in this picture.
Available to purchase on INPRNT
How does one become an artist nowadays in the times of social media? Are art galleries still important to participate? Sure but are they the top priority i am not sure
how does one become an artist? answer: you just make art.
if you mean how to become a professional artist, you need to first of all look within yourself and see if this is something you can do as a job that WILL be unpleasant like all jobs sometimes a d if you can do it day in and day out even when you don't feel like it. and then when you figure out for yourself that there's no other path for you professionally except for art, you work like crazy. you take every opportunity you can
galleries cannot realistically be your top priority because it's extremely difficult to get into that whole market unless you have connections or you get very lucky. and also it depends on what kind of art you're making. if I got the opportunity to have my art in a gallery show I would take it, because you have to take every opportunity you can and chase whatever will pay you or get you further in the market while hopefully paying you. or at least not making you loose money. many small galleries prey on artists.
social media are in my opinion a great thing for artists, professional and not alike, IF you can handle them mentally. if they feel oppressive or bad for you, focus on other things. idk what kind of art you make, but I know so SO many professional artists who make a living and they don't have a huge social media presence. you have to work hard and look into things yourself as much as you can.
unless you're in a position where you can go to a very good art school where they probably provide way more solid guidance and connections đ¤ˇ
Jumping in on this. Everything said here is 100% sound advice. I went to school for art, and then became an art teacher first at the K-12 level and then an instructor at a university so let me echo and add to some of this to anyone else who might have similar questions.
First, you don't need a degree to be a working artist. Art schools can probably help you get better faster than you would if you were working on your own just in the sheer volume of work you make and the number of eyes on it. And as stated in the original post, it's a great place to make connections, find opportunities, and build a community. When my high school students were looking for art schools I always told them to be mindful as to what the school does to make sure that you are setting yourself up for the professional expectations of being an artist, and to actively seek out opportunities when you're there. Many schools (at least in the US) just teach you how to be an artist and then set you loose to figure it out on your own.
But in terms of professional qualifications, job listings will have specifics they would like from you, and unless you're working in academic or administrative fields they probably won't require an art degree. Otherwise your portfolio will speak for itself.
As kebriones said, take every opportunity. Put yourself out there. Find opportunities in your community. Make opportunities for yourself. Conventions, gallery openings, open studios, artist markets, artists membership-based groups and things like that are a great place to network and ask questions. Most art-related jobs are word-of-mouth by someone recommending someone else they know or a friend-of-a-friend type situation.
Social media is such a tough game because it requires you to post constantly, engage with followers and similarly focused accounts, and to stay on top of the material the algorithm of whatever platform you're on prioritizes at the moment. It is worth mentioning that some bigger companies have begun making hiring decisions based on social media following because they think a higher follower count means they have a consumer base automatically built in to whatever it is they're selling which is a really nasty practice because of course there are so many incredibly talented artists who just haven't been "discovered" by the algorithm and follower count does not determine your worth as an individual regardless of profession.
It's also worth mentioning, as kebriones said, "artist jobs" are incredibly broad in scope. If you're looking at something specific, say video game animation, I would look at a job posting for a video game animator and see what skills/program knowledge/qualities they're looking for so you know what you need to build up in order to meet those qualifications. In terms of other, less commercial art forms, find an artist either in person or social media and tell them about your aspirations and ask if they would be able to talk about some of the challenges of getting into that profession (also remember to be very polite and accept the fact that some people might want to do that/don't have the time and move on to another artist who might).
I will also reiterate that working professionally as an artist means you will probably end up doing things you don't want to do or work at a pace that isn't really conducive to your process to turn a profit. A lot of people think being an artist means they'll get hired to make their original graphic novel, and that can happen! But even if you are working on something you're incredibly passionate about, you will probably have to deal with editors, deadlines, and other people involved that might make the process less fun.
In summation:
Make art consistently. Burnout is a real thing and can make you not want to do art, but even mindlessly doodling or making something completely unhinged is "making art". Social media has us in the mindset of "if it can't be used for content, it's not worth doing" and that is so detrimental to creativity and why so many artists get burnt out. Make something without the expectation of posting or perfection and fall back in love with your work. Try a new medium, a new technique, look up a prompt generator, play collaborative art games with your friends, but don't walk away from art completely because you're burnt out. If you don't use it, you lose it.
Look at other art. Not just works from your contemporaries, but build up a historical art reference base as well, not to mention artists from outside of your own discipline. My old high school art teacher used to say "art isn't made in a vacuum". The more art you expose yourself too the more inspired you will get and the more depth your work will have. So many of my students these days have no context for artists, historical or contemporary and it kind of shows in their work. Or I've heard things like "I don't want to be influenced too much because I don't want to seem like I'm copying another style." Which is... not how it works, but okay.
Don't get discouraged by rejection. It will happen a lot. Even established, popular artists get rejected. It's not personal and does not speak to your abilities as an artist.
Network/Look for opportunities/Make opportunities in your community, online, etc...I can guarantee you there are plenty of artists less skilled than you with more success/followers/opportunities because they know how to sell themselves.
Lastly, and I'm going to echo kebriones one last time, you can be an artist and not WORK as an artist. Plenty of people have non-art day jobs and still have a consistent and fulfilling art-making practice. Just because you aren't getting paid for your art does not mean you are not an artist.
Artemis and Apollo slaying the Niobids.Â
In Greek Mythology, Niobe was a queen of Thebes and mother to anywhere between 12-14 children (sources vary). She boasted that she was superior in motherhood to the goddess Leto, who only had two children... The Olympians Artemis and Apollo.Â
The divine twins could not abide by such insult to their mother and struck down the children of Niobe one by one from on high with their arrows.Â
Niobe is depicted in the Archaic style in the border of the illustration, across from Leto, mourning the loss of her children as they are felled by the arrows of Artemis and Apollo.Â

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Okay tumblr, you asked for it and after approximately two years, I have answered! My INPRNT shop is now up and running. We've got 26 of my illustrations for you to enjoy!
Who could forget classic hits like... witchy lady from greek mythology... or hot guy from greek mythology. Get yours today!
I tried to take into account the many requests for prints people have had over the years, but if you don't see something there, it means the file size was too small to make anything printable, or I just didn't feel like it represented my best work.
Anyway, if you've been looking to own a piece of my work, you can head over there today!!!
I scent the track of crimes done long ago. For from this roof never departs a chorus chanting in unison, but singing not a happy tune; for it tells not of good. And so, gorged on human blood, so as to be the more emboldened, a reveling band of kindred Furies haunts the house, hard to drive away.
âAgamemnonâ by Aeschylus (lines 1185-1190)Â
Herbert Weir Smyth, tr.Â
The Erinyes (aka. the Furies) for @classicstober day 27.Â
This is sort of a literal interpretation of Cassandraâs speech in âAgamemnonâ. I envisioned her, with her divine sight, looking upon the Erinyes as they collect on the roof of Agamemnonâs house, like vultures waiting for the violence about to transpire.Â
Though the Erinyes arenât depicted as dog-headed in Ancient Greece, I liked the idea of giving them something to really separate themselves from the Gorgons and make them seem more vicious and demonic.Â
Some quicker drawings I did for this year's @classicstober prompts: Hermes Psychopompos, Charon, Hypnos, a Lampad, and Thanatos.
@classicstober day 16 prompt: Typhon
There's nothing quite like mother's love...
In some sources, Typhon is the son of Gaea and Tartarus, but other versions of the myth say Hera bore Typhon to spite Zeus after the birth of Athene. When Typhon reached his full power, he challenged Zeus for dominion over the cosmos and very nearly overpowered the king of the gods. He represented devastating storms, and later became associated with volcanic eruptions.Â
Medea saving Jason from the Dragon of Colchis for @classicstober Day 7: Pharmakis. This is based off of a 5th century BCE kylix of Jason being expelled from the mouth of the dragon of Colchis as witnessed by Athene. The scene is a strange one, and may elude to plays that are now lost where Athene has some sort of involvement in Jasonâs retrieval of the Golden Fleece. I wanted to recreate the scene with Medea, who, in sources that have survived to the present day, puts the dragon to sleep using her magic so that Jason can steal the fleece.

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Hekate, mistress of the crossroads.
Made for @classicstober
I've drawn many iterations of Hekate, from the sympathetic helper of Demeter in the Homeric Hymns to the terrifying Hekate Brimo from the Orphic Argonautica. This Hekate was based off of a curious 16th century illustration.
Hekate, mistress of the crossroads.
Made for @classicstober
@classicstober day 6: The Moirai aka. the Fates. Three goddesses feared by mortal and immortal alike. Clotho, who spun the thread of fate. Lachesis, who allotted each mortal their length of time on this plane of existence. And Atropos, whose dread shears cut each thread.
Sometimes the fates are depicted as beautiful goddesses, other times they are a trio of crones, in more modern depictions, it has become popular to depict them in the neopagan style of maiden, mother, and crone. I chose to give them theatrical masks to diversify them as well as give them a more mysterious appearance. For my design I imagine their faces, as well as the fates they deal in are unknowable to all⌠Even the other gods.
I believe in the maiden, mother, crone dynamic, Clotho is often depicted as the younger fate since she is first in the order. But In Platoâs âRepublicâ it is says that âLachesis sing[s] the things that were, Clotho the things that are, and Atropos the things that are to beâ so I gave Lachesis the younger looking mask and style of dress.
@classicstober Day 3: The Graeae.
Daughters of the sea gods Phorcys and Ceto and sisters of the Gorgons, the Graeae were notably born as hag-like creatures and were described as âswan-bodiedâ. They personified the white foam of the sea and shared between the three of them a single eye and one tooth.
Itâs a bit less historically inspired than my usual designs, but itâs spooky season and I wanted to stretch my creative muscles to work with the interesting visuals passed down to us from ancient authors.
Medea, my contribution to the Greek Mythology zine Sing, O Muse! Chthonic Visions. it is inspired by a fragment from the otherwise lost play "The Root-Cutters" by Sophocles. I wanted to focus on the labor that went into witchcraft in the ancient world.

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Based on Gred Staffords Glorantha. Marked as sensitive just in case since it includes a bit of eyeball jewellery. Find me on Bluesky/I
Make a picrew, they said, it will be fun and quick, they said. (They being me.) Do feel free to share the results if you use it, I'd love to see what people come up with!
A chance to have a little version of myself in Katrin's amazing style? Yes please!
My only problem is now I'm sad I don't have that hat in real life đŠ
Sing, O Muse! Chthonic Visions is officially out! Featuring works from 38 amazing artists illustrating the spookier side of Greek Mythology from monsters, witches, and of course the gods of the underworld. Get your copy via our linktree
Our zine is free digitally, through Gumroad (although they will ask you to name an amount twice before checkout, you can just add â0â to proceed without adding payment information).Â
And for a limited time, you can also purchase a print copy of the zine through MagCloud for $15 USD plus shipping. MagCloud is a print-on-demand service so there are no limited quantities however, we are only selling the print version until 1 January, 2026 so please plan accordingly! All proceeds of the print copy (and any tips we get from gumroad) will be donated to the Palestine Childrenâs Relief Fund.Â
BUT THATâS NOT ALL! Itâs officially @classicstober and this yearâs theme KATABASiS coincides with our zine. Keep the spirit of spooky season alive by developing creative works based on some spooky selections from ancient Greece! Make sure to tag your creations with #Classicstober25 you never know if weâll be looking at this yearâs entry for potential new artists to join us for volume III.Â
A big thank you to everyone for their support and enthusiasm for our project. We hope you enjoy Chthonic Visions!Â