mothwick's reblogs

Showing off the Arapaima I made! (Pattern also made by me)

My illustrations the most based poem about tigers by Nael, age 6

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.

Dutch has a plan🏖️🕶️

A little tiny microscopic dragon, rotifers passing by.

Getting so dang old now, becoming a fossil like these guys

AS THE WORLD GOES ON ITS WICKED WAY

bonus:

A Lake with Frogs

Mewar, North India, c.1720

Gouache heightened with gold on paper

Painting 7½ x 7 in. (19 x 17.6 cm); folio 10¼ x 8½ in. (26 x 21.6 cm)