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@rickscully *raises figurative glass that it's way too early in the morning to be literally raising yet*

@RexfordGTugwell whosoever dislodgeth this poo from

There is no more uniquely idiotic form of disappointment that that comes from buying a new toilet plunger and then not getting a chance to use it.

@pnathan I think mixed pretty sparingly into thick paint the Megilp could have some body still, but, yeah, it gets thin fast; mayo is a good characterization when it's a significant chunk of the mixture, and often I take it even farther than that.


So all three of these consist more or less entirely of layers built with paint cut with significant amounts of Neo Megilp, none of the layers actually opaque.

@pnathan Mostly I use it for transparency and drying -- not so much to get body out of the paint (though it could work for that) as to cut tinting power for washes/glazes. Often as a first layer on a painting to give it a translucent, streaky background, though also for some transparent glazing layers later in the process.

For more naturalistic glazing I've been messing with Gamblin Solvent-Free Gel, after I couldn't immediately source a friends recommendation of Rublev Oleogel.

@pnathan And, yeah, I've been all-in on oils for months now, just barely starting to peek at acrylics since they seem like a good fit for some of the geometric/layering things I'm interested in. Flat finish and orders of magnitude faster drying time are both appealing compared to oils which I otherwise like a great deal.

@pnathan I'm in a pretty exploratory mode right now with materials and techniques; it would be fair to say that with piece I've barely aimed at all. Answering some mechanical and compositional "what if" questions for myself, mostly, in service of future work.

New work last night and this morning: returning to my iris squares idea but on 12x12 canvas with oils.

Cadmium orange in oils is less neon-vibrant than the glowing acrylics experiment yesterday but I'm really happy with the resulting staircase of color.

Took advice from a friend on stencil brush stippling approach and am very pleased with how much cleaner the resulting lines are compared to a more typical brushstroke application.

god dammit i just had cheese-filled sausage for breakfast and ended up with a sausage that somehow ended up not getting any cheese in it

this is a fucking outrage

@offby1 There's no satisfying/interesting pat answer; I it? I mean, I've always liked geometry and geometric forms and fractals, and I've liked Menger sponges in particular for a long time, but to an extent the fixation the last year in particular is more of a "because it was there" thing than anything deeply meaningful about the shape itself.

I needed to do some art, and it was there. It's a useful starting point so I can get on with the *everything else* of making art.

This morning's #art venture: Iris Squares, experimenting with acrylic on 6x6 hardboard with vinyl stencil.

Didn't land exactly where I expected -- this is my first basic fiddling with acrylics after months of work with oils and the different properties of the paint are throwing me for a loop -- but I'm happy with how it came out and the basic intent is there.

@LogicalDash I like the idea of doing this with mismatched cards so that e.g. you've got a virtual shitty left eye.

resistance is utile

Josh Millard boosted

Today's #migraine #art is "Scotoma" from Andrea @ Kiight Studios "Auras" series.

A scotoma is is an area of partial alteration in the field of vision consisting of a partially diminished or entirely degenerated visual acuity that is surrounded by a field of normal – or relatively well-preserved – vision [thanks wikipedia].

@asherwolf I have altered the Happy Meal.