Leatherchain
Magistrate
You wanna know what truly pisses me off about the world, today?This charming illustration has a wonderful sense of depth and scale, with attractive, muted colouring. The background has been well prepared for the new figures, to the extent that the modifications to the original painting are simply not apparent. The scene divides neatly into two - the foreground figures examining the slave on the left (portrayed by Victoria Sokolova) and the three girls further back in the window seats on the right. Each cameo makes a visual counterpoint to the other.
In the window, Ariel, Avril and Alice are posed in a very convincing manner and the distant scale works with the filter effect to blend them into the painted texture. The three 'A's form a symmetrically balanced triangular motif, reinforced by the shapes of Ariel's legs. Our eyes pass from one group to the other, from foreground to distance, faces at upper left to figures at lower right. It becomes a dynamic moment of anticipation - 'Is he going to buy her...?'
The scene of casual relaxation on the right contrasts with a somewhat more tense piece of character interaction on the left, with serious expressions on the men's faces. The big hand on Victoria's shoulder works very well indeed, the fingers and thumb almost touching her chin.
Congratulations on a very complex, detailed and convincing manipulation - you are an expert in this field, Jolly!
I completely agree with everything that you said above. It is a truly lovely manip. Well planned. Well executed.
It should give me nothing but pleasure to view it.
But I see it today, and my eye is immediately drawn to the man in front, with the thought "Goddamnit! Wear your mask OVER your fucking nose!"
And I realize that the real world is now ruining my fantasy life.