LucidDarkmoon
@luciddarkmoon.bsky.social
Budding visual artist and author; recent BFA graduate.
Working on posting old things. uwu
Working on posting old things. uwu
Original concept sketch, done in Clip Studio Paint.
The tendril element was originally going to be a lot more overwhelming, but my professor convinced me to calm it down lol. Was the right decision in retrospect. (9)
The tendril element was originally going to be a lot more overwhelming, but my professor convinced me to calm it down lol. Was the right decision in retrospect. (9)
January 4, 2026 at 2:41 AM
Original concept sketch, done in Clip Studio Paint.
The tendril element was originally going to be a lot more overwhelming, but my professor convinced me to calm it down lol. Was the right decision in retrospect. (9)
The tendril element was originally going to be a lot more overwhelming, but my professor convinced me to calm it down lol. Was the right decision in retrospect. (9)
How the pieces are meant to be displayed in the exhibition, along with that overall particular section.
My BFA advisor loved this wall lol. (9)
My BFA advisor loved this wall lol. (9)
January 4, 2026 at 2:39 AM
How the pieces are meant to be displayed in the exhibition, along with that overall particular section.
My BFA advisor loved this wall lol. (9)
My BFA advisor loved this wall lol. (9)
I did good on this piece, and the fact that I have two award-winning pieces in this exhibition pleases me to no end. uwu
(8)
(8)
January 3, 2026 at 11:32 PM
I did good on this piece, and the fact that I have two award-winning pieces in this exhibition pleases me to no end. uwu
(8)
(8)
This piece also got Best in Non-Professional Drawing at the local Boone County Art Show in 2023 (and stayed in the venue for the extended show), which I certainly wasn't expecting. (7)
January 3, 2026 at 11:31 PM
This piece also got Best in Non-Professional Drawing at the local Boone County Art Show in 2023 (and stayed in the venue for the extended show), which I certainly wasn't expecting. (7)
(...) glow I couldn't achieve with other materials (though watercolor is finicky and frustrating). If you look close, you can probably see some marks that look like crosshatching, where I was trying to see if some sort of dip pen method with dark ink wash would work, but it's barely visible. (6)
January 3, 2026 at 11:28 PM
(...) glow I couldn't achieve with other materials (though watercolor is finicky and frustrating). If you look close, you can probably see some marks that look like crosshatching, where I was trying to see if some sort of dip pen method with dark ink wash would work, but it's barely visible. (6)
Anyway. This is the oldest piece in my BFA exhibition. It was done with the intent of finding out how to get the "darkest dark," and eventually came upon a shade of watercolor that worked out visually nicely (though was later replaced with gouache in later pieces). It's a nice deep black (...) (5)
January 3, 2026 at 11:26 PM
Anyway. This is the oldest piece in my BFA exhibition. It was done with the intent of finding out how to get the "darkest dark," and eventually came upon a shade of watercolor that worked out visually nicely (though was later replaced with gouache in later pieces). It's a nice deep black (...) (5)
(...) and his relationship to them, rather than the specifics of the dreams themselves-- though I do touch on that within the next piece. Plus, if I included visual specifics, it would simply complicate the show further, and be difficult to understand without proper explanation. (4)
January 3, 2026 at 11:25 PM
(...) and his relationship to them, rather than the specifics of the dreams themselves-- though I do touch on that within the next piece. Plus, if I included visual specifics, it would simply complicate the show further, and be difficult to understand without proper explanation. (4)
(...) beginning the slow process of merging or consuming him. I.e., the tendrils have substance now.
I don't depict them as the "dreams" they are, because the scope of them is simply too large. They are symbols of raw suffering, and this show needed to be focused on Lyric (...) (3)
I don't depict them as the "dreams" they are, because the scope of them is simply too large. They are symbols of raw suffering, and this show needed to be focused on Lyric (...) (3)
January 3, 2026 at 11:22 PM
(...) beginning the slow process of merging or consuming him. I.e., the tendrils have substance now.
I don't depict them as the "dreams" they are, because the scope of them is simply too large. They are symbols of raw suffering, and this show needed to be focused on Lyric (...) (3)
I don't depict them as the "dreams" they are, because the scope of them is simply too large. They are symbols of raw suffering, and this show needed to be focused on Lyric (...) (3)
Basically, at this point in the show, the tendril element comes into greater focus and substance, becoming increasingly greater parts of compositions and their relationship to Lyric himself. Unlike how they were displayed in "Demons," these seem to be connected to Lyric himself, as if (...) (2)
January 3, 2026 at 11:18 PM
Basically, at this point in the show, the tendril element comes into greater focus and substance, becoming increasingly greater parts of compositions and their relationship to Lyric himself. Unlike how they were displayed in "Demons," these seem to be connected to Lyric himself, as if (...) (2)
(...) and loss (especially wartime suffering, as perceived from the homefront), a connection is easily made between these pieces and the inspiration. I do, after all, love my moody, tragic art pieces. As you've well seen so far. :P
(8)
(8)
January 3, 2026 at 5:04 AM
(...) and loss (especially wartime suffering, as perceived from the homefront), a connection is easily made between these pieces and the inspiration. I do, after all, love my moody, tragic art pieces. As you've well seen so far. :P
(8)
(8)
Of course, printmaking is a completely different thing compared to these drawings, but the overall "look" of these black/white subtractive pieces was inspired by Kollwitz's various woodcut prints.
Then, going along with her emotional art that generally displays instances of suffering (...) (7)
Then, going along with her emotional art that generally displays instances of suffering (...) (7)
January 3, 2026 at 4:57 AM
Of course, printmaking is a completely different thing compared to these drawings, but the overall "look" of these black/white subtractive pieces was inspired by Kollwitz's various woodcut prints.
Then, going along with her emotional art that generally displays instances of suffering (...) (7)
Then, going along with her emotional art that generally displays instances of suffering (...) (7)
Now, these 3 pieces in particular were done for my 20th Century Art History class, where we were supposed to choose an artist and/or art movement, do a project inspired by it, and write an associated paper.
My chosen artist was the Realist/Expressionist Kathe Kollwitz, one of my favorites. (6)
My chosen artist was the Realist/Expressionist Kathe Kollwitz, one of my favorites. (6)
January 3, 2026 at 4:54 AM
Now, these 3 pieces in particular were done for my 20th Century Art History class, where we were supposed to choose an artist and/or art movement, do a project inspired by it, and write an associated paper.
My chosen artist was the Realist/Expressionist Kathe Kollwitz, one of my favorites. (6)
My chosen artist was the Realist/Expressionist Kathe Kollwitz, one of my favorites. (6)
Now, these 3 pieces were a continuation of an experiment-- to get the "darkest dark" I could get, since ink wash in isolation is only so black. The next piece is where I first used this watercolor method, but this set is where I further refined it. (5)
January 3, 2026 at 4:50 AM
Now, these 3 pieces were a continuation of an experiment-- to get the "darkest dark" I could get, since ink wash in isolation is only so black. The next piece is where I first used this watercolor method, but this set is where I further refined it. (5)
(...) exactly, is "Lyric's" reality, effectively forcing him to struggle with his own identity.
The only reason he manages for so long beneath this cosmic burden, is because of his writing and experience-logging-- the writing he was doing for his "dead" friend becomes his only real tether. (4)
The only reason he manages for so long beneath this cosmic burden, is because of his writing and experience-logging-- the writing he was doing for his "dead" friend becomes his only real tether. (4)
January 3, 2026 at 4:48 AM
(...) exactly, is "Lyric's" reality, effectively forcing him to struggle with his own identity.
The only reason he manages for so long beneath this cosmic burden, is because of his writing and experience-logging-- the writing he was doing for his "dead" friend becomes his only real tether. (4)
The only reason he manages for so long beneath this cosmic burden, is because of his writing and experience-logging-- the writing he was doing for his "dead" friend becomes his only real tether. (4)
dreams themselves). These dreams grow more intense and time-dense as Lyric's story moves forward-- meaning he increasingly grows to a point where the dreams are longer than the actual time he spends sleeping. The burden only increases from here, and it becomes more difficult to tell what, (...) (3)
January 3, 2026 at 4:46 AM
dreams themselves). These dreams grow more intense and time-dense as Lyric's story moves forward-- meaning he increasingly grows to a point where the dreams are longer than the actual time he spends sleeping. The burden only increases from here, and it becomes more difficult to tell what, (...) (3)
Basically, this second set of three introduces the tendril aspect as the invasive quality it is, seen throughout the remainder of the exhibition.
The tendrils, in context, represent the specific experiences of suffering Lyric encounters during his empathic dreams (so effectively, the (...) (2)
The tendrils, in context, represent the specific experiences of suffering Lyric encounters during his empathic dreams (so effectively, the (...) (2)
January 3, 2026 at 4:39 AM
Basically, this second set of three introduces the tendril aspect as the invasive quality it is, seen throughout the remainder of the exhibition.
The tendrils, in context, represent the specific experiences of suffering Lyric encounters during his empathic dreams (so effectively, the (...) (2)
The tendrils, in context, represent the specific experiences of suffering Lyric encounters during his empathic dreams (so effectively, the (...) (2)
(...) leaving behind an obnoxious blue/white sheen that will _not_ go away.
Sigh.
I know way too much about these materials at this point. >_> (8)
Sigh.
I know way too much about these materials at this point. >_> (8)
January 3, 2026 at 12:06 AM
(...) leaving behind an obnoxious blue/white sheen that will _not_ go away.
Sigh.
I know way too much about these materials at this point. >_> (8)
Sigh.
I know way too much about these materials at this point. >_> (8)
Also, at this point, I had switched to gouache instead of watercolor, because on that original, I found that something in watercolor makes it react with latex or something (I use an eraser pencil to put the base drawing on these pieces), (...) (8)
January 3, 2026 at 12:04 AM
Also, at this point, I had switched to gouache instead of watercolor, because on that original, I found that something in watercolor makes it react with latex or something (I use an eraser pencil to put the base drawing on these pieces), (...) (8)
I think this is the only piece in the show I just had to completely re-do. Regardless of that particular struggle, I'm still quite happy with the result. (7)
January 3, 2026 at 12:00 AM
I think this is the only piece in the show I just had to completely re-do. Regardless of that particular struggle, I'm still quite happy with the result. (7)
(...) thought into what ink I was using for this application of my subtractive method. I then tried a bunch of different kinds, and found a brand (Blick's Black Cat) that seemed to work the best. I assume it just has less shellac in it to react with. (6)
January 2, 2026 at 11:58 PM
(...) thought into what ink I was using for this application of my subtractive method. I then tried a bunch of different kinds, and found a brand (Blick's Black Cat) that seemed to work the best. I assume it just has less shellac in it to react with. (6)
Now, in the original attempt at this piece, the halo was SO MUCH WORSE, while also being off-center. I wanted to cry. ;w;
I then tried to remove it, which... uh, didn't go over well. So technically I have a scrap copy of this piece lol.
But basically, up to this point I hadn't put much (...) (5)
I then tried to remove it, which... uh, didn't go over well. So technically I have a scrap copy of this piece lol.
But basically, up to this point I hadn't put much (...) (5)
January 2, 2026 at 11:54 PM
Now, in the original attempt at this piece, the halo was SO MUCH WORSE, while also being off-center. I wanted to cry. ;w;
I then tried to remove it, which... uh, didn't go over well. So technically I have a scrap copy of this piece lol.
But basically, up to this point I hadn't put much (...) (5)
I then tried to remove it, which... uh, didn't go over well. So technically I have a scrap copy of this piece lol.
But basically, up to this point I hadn't put much (...) (5)
(...) applying many layers to build into that deep base black. Well, basically, if you breathe on the ink wash too much (as I am doing while drawing at that overly-detailed hair), the moisture in your breath will make it crystalize-- I assume from reacting with the ink's shellac over time. (4)
January 2, 2026 at 11:47 PM
(...) applying many layers to build into that deep base black. Well, basically, if you breathe on the ink wash too much (as I am doing while drawing at that overly-detailed hair), the moisture in your breath will make it crystalize-- I assume from reacting with the ink's shellac over time. (4)
(...) how much attention I put into the hair, and by extension, the "halo" surrounding it. Now, the halo is absolutely not intentional, even if it works with the piece. Now, why does that halo exist in the first place?
Interesting thing about ink wash, or at least with this method of (...) (3)
Interesting thing about ink wash, or at least with this method of (...) (3)
January 2, 2026 at 11:46 PM
(...) how much attention I put into the hair, and by extension, the "halo" surrounding it. Now, the halo is absolutely not intentional, even if it works with the piece. Now, why does that halo exist in the first place?
Interesting thing about ink wash, or at least with this method of (...) (3)
Interesting thing about ink wash, or at least with this method of (...) (3)