So, of all the things I could’ve done on a Saturday, I decide to go on the Great North Walk from Cowan to Brooklyn, Hawkesbury River, NSW.

As I mention in the video below, I could not safely film all of it and be able to climb and walk around cliff faces, but hopefully there is still enough to give you a rough idea of what I put myself through on last Saturday (18th June 2022).

​And if after that you aren't dissuade from attempting to copy me, or try something similar, here is a link to more information on the Great North Walk as well as the many other walks around Australia, I think. I've only been focused on the parts surrounding Jerusalem Bay, NSW.

Until Next time. Pax.
​
~ Vincent Cavanagh, 21 June 2022.

Last night (7 June 2022), for the first time ever, my father and I made our way into Sydney (and the cold) for the 2022 VIVID Light Festival. It was certainly an experience, of sorts, but I'll post more about that later. In the mean time, here are some of the pictures that I took of some of the light installations that we saw. Too-da-loo!

~ Vincent Cavanagh, 8 June 2022.

So last fortnight I did something for the first time that I thought I would never do: I made a #MayThe4th cartoon, featuring Bishop Stumbers.

Yeah, I don’t think there are that many Vulcans in Star Wars somehow. (Wry smile.)

It’s been a long time since I’d last put a physical pen to paper. It was also nice that it was a fairly simply concept to draw.
For the red accent I used a Copic marker, and I think it helped to tie the whole picture together. I also adjusted the contrast of the image on my computer before it was read to share.

Yesterday (17 May 2022) I finally got around to editing and uploading to my YouTube Channel the videos I took of the ride on the Puffing Billy Railway that my father and I took on our family holiday back in March 2019. It’s of the return journey from Gembrook to Belgrave in the Dandenong Ranges, east of Melbourne. Enjoy.

So, until next time, stay safe and God Bless.

​~ Vincent Cavanagh, 18 May 2022.

I have painted in a while, but I did thankfully do a small "just for fun" painting on Good Friday (15 April 2022).
It's little scene, set in either the early hours of the morning or before dusk, containing a generic-looking Great Western Railway Pannier Tank engine opposite a British Railways Class 08 Diesel shunter that appears to be having bit of trouble starting up. Note the fireworks coming out the top of it.

The basis for this picture was not Thomas the Tank Engine; rather it was because of two OO gauge locomotives that we own: a GWR Pannier and a BR Green 08.

For something different I used a "earth tone" palette of colours consisting mostly of Yellow Ochre, English Red and Sepia, with a bit of Ivory Black added here and there.

God bless to you all and Happy Easter.
He is Risen! Alleluia!

~ Vincent Cavanagh, 20 April 2022.​

On Sunday (13 March 2022) my Instagram account, cavanaghcreative*, was hacked; through my own fault in responding to a message of help from another acquaintance on Instagram and for not seeking proper outside advice (ie. my IT-expert father) as to whether this message was legitimate or not. It almost certainly wasn’t legit.

I don’t know how, but somehow through interacting with the (as yet unknown) hacker gave them a way or permission to kick me out of my own account and change both the phone number, email address and password; and thus, totally remove any future ability on my part to regain the account.

It was 3 days later, on the Wednesday (16 March 2022), that a friend texted me with the conformation that I was hacked. They had received the exact same message as I had, but this time it was using my Instagram profile to do its dirty trickery. (see image below).

Thankfully I never linked my Instagram messages to Facebook Messenger; I have no idea how much worse this whole fiasco could have been if I had.

From an email from a fellow artist on Instagram, I learnt that my Instagram Stories [short videos] had been taken over by content promoting Bitcoin**, just like my acquaintance’s account had started doing in the weeks before I received/responded to the fake message.

Thus began a very trying time for me that lasted the remainder of the week, and following weekend, to twice try and confirm my identity/ownership of cavanaghcreative to Instagram through their Instagram Selfie-ID system.
Which from my personal experience I can say, in the most polite way possible, ain’t worth a cracker.

Yes, I have grown a beard [which shouldn’t really matter with facial recognition] since my profile picture was taken, which for the record actually is a photo of me — not a puppy or an oblique, black and white arty photograph, but an actual, front on, photograph of my face, in colour. (And yes, even just writing about this is enough to make my blood boil again.)

And furthermore, there is/was a photo (or two) of myself taken with other human beings on my Instagram page, which to any other reasonable layman should have been more than enough telemetry/bio-data for Instagram (or parent company Facebook) to check against the two Selfie-videos I sent them to confirm my identity as the legitimate owner of the hacked account, cavanaghcreative.

During this time I proceeded to the best of my abilities to warn family, friends and general acquaintances through texts, messaging apps, and posts on both Facebook and Twitter, that:
— my Instagram was Hacked;
— NOT to respond to any private Instagram messages from me (ie. cavanaghcreative);
— if they themselves were on Instagram, to please flag the account as being Hacked/Spam;
— and to unfollow cavanaghcreative and Block it from contacting them in future.

On 21 March 2022 I received information that my former account was no longer "public" or found via Instagram’s search functionable. It was also devoid of any 'posts' or 'follower' number (see image above).

Either everyone flagging cavanaghcreative as a fake account finally got through to Instagram, or the constant barrage of reporting put the hacker off. Sadly, I just don’t know. Hopefully the hacker hasn’t just left cavanaghcreative as a trojan Private Account; but again, I don’t know.

I would like to thank those who did flag the account as hacked and hopefully stopped any more people from getting hacked through my own personal mistake, but that doesn’t mean that there aren’t other account for this hacker or many others to keep on tricking people.

So, with that in mind, and given that I have no wish to give Instagram the satisfaction of my creating another account† just for them to inflate their subscription/member numbers, I have taken the step of removing myself from Instagram.

As of 13 March 2022, I am no longer on Instagram. The app has also been obliterated from my smartphone.

For the foreseeable future I will now be focusing my energies on posting content to this blog, not on social media. Which on reflection is probably a good thing, given how (cough cough) irregularly I’ve been posting on here up until now.

Until next time, God bless, stay safe and avoid any badly worded messages or emails.

~ Vincent Cavanagh, 29 March 2022.

For 2 reasons: 1) I've been preoccupied editing our June Holiday videos and; 2) I totally forgot about the website. Apologies.

Okay so let's start with the artwork then; which requires us going back to May:

First off is this watercolour of Saint Pope Paul the Sixth that I did as a Memorial Card for a friend's Priestly Ordination at the end of May this year (2021).

Then we skip back a week, or so, to Pentecost 2021 for this quick, unplanned sketchbook drawing. I'd been pulling my hair out earlier struggling to do something for Pentecost digitally and it wasn't working out, and then just before, say, 10 or 11 o'clock that night I made this with a black, blue and red ballpoint pens with text highlighters as well. You don't always need fancy stuff to make art.

And now come to the missing blog month of July with this watercolour of St Charbel Makhlouf, Maronite monk and priest, and a patron of Lebanon.

At the moment I don't know if, or how long, this "pure watercolour" (ie, no ink outlines or such) style is going to stay. I think, on reflection, that it came about for 2 reasons: 1) during a conversation with a family friend whose eyesight is not what it once was, I realised that some of my more ink-heavy pictures (such as St Joseph and the infant Jesus) had no real clarity.

 I knew what I was looking at, but someone with bad eyesight couldn't untangle the mess of black ink from the sometimes equally dark watercolours; and 2) I'd been watching some watercolour demonstrations on Youtube (link here) and there was one where the instructor painted an picture of Santa Claus, for a Christmas Card, in with just Red, Yellow Ochre and, I think, Payne's Grey or Black. So that was an added impetus to change my style: I wanted to also try painting a face with just watercolour. And that is the condensed set of reasons why I painted Paul VI in watercolour (see above).

Now as I mentioned earlier in this post, I've been, and I am still working, on editing and uploading our June Holiday to South Australia videos to Youtube. If you want to see where we went, I've put the first (in no way chronological) video at the bottom of this blog post. As of 12 July 2021, 12:49pm, there are 3 South Australia videos up on my Youtube channel (link here), with much more to come.

So until next time (barring me forgetting again!) God bless and stay safe.

First of all let me apologise for the brevity of this post, my main aim is just to have a blog post for the Month of June posted in June.
— — --
So at the start of April this year (2021) I decide to join and participate in CG Cookie's Collab2021 (Collaboration 2021) project to turn a concept painting into a 3D scene. To see what we where working from click here. CG Cookie is an online learning community devoted to teaching Blender and other related 3D concepts.

The asset that I worked on way the spice cart, which you see the video below:

This delightful chap (since named Omar Owlson) is the product of a fellow Collab2021 participant's random comment, about halfway thru April, sparking my imagination and I promptly put this together in Adobe Photoshop. And no I haven't changed my signature, that's just my CG Cookie Forum name in the bottom left corner. My CG Cookie portfolio can be found here.

After Collab2021 officially ended after April there continues to be a community-centred Collab2021 Interior Team that's only starting to really get up some steam this June after a fallow period during May. Which is when I made these two following concepts below:

The above image of Omar guarding a bridge in the rain is another in a series of those random comment that ignited my mind, and also possibly contributed my post-Collab "blahs". Over stimulation combined with endorphins and earlier mornings to catch live-streams from the U.S. also didn't help much either.

After recovering a bit from the "blahs" I took on the challenge of turning the Owl-themed candlestick, that I'd concepted before, and turn it into 3D for the Collab Interior. Basically because it was smaller (not necessarily easier) and that nobody else had seemed to taken an interest in doing it themselves.

Another Collab member has actually taken on the challenge of turning Omar into a 3D object, which can be found here. (Click on the Replies under the spice jars post to see the first version and scroll on from their.)

Above the final beauty shot of the candlestick is the OpenGL turnaround (4 views) of it fully textured and painted without the additional lighting in the beauty shot.
I think that it's come up rather well, considering all minor tweaks that I went through today just so that I could be done with it.

So until next time, God bless and stay safe.

Just something I put together tonight. It took me about an hour, an hour-and-a-half, maybe? I didn't really bother to time how long I spent on it.

Recently I had a chance to ride on the Sydney Light Rail network to Randwick for the funeral of a family friend, so perhaps that is what inspired this picture. The telephone box is based on a preserved example at the Sydney Tramway Museum at Loftus. Other than those two things I've also had a few stray thoughts about Japanese paintings rattling around in my head. That about it really.

I have ideas of maybe making this into a 3D animation, but I don't know if it isn't anything more than just a pipedream at the moment.
​
Stay safe and God bless.

— — — — — 
Digital Painting in a limited palette.

Looking back on this picture as I'm trying to write a blog post for it, I'm stuck by how (without any forethought or planning) Joseph and Mary look very, very alike to a recently married couple I know. Funny how the subconscious works, eh?

Anyhow, the 1st of May is dedicated to St Joseph the Worker, so how do I commemorate this fact? I paint the Birth of Jesus in the cave/stable.
Specifically I had in my mind how Joseph must have been after the birth: dazed and confused, in a sea of emotions.
"Alright God, now what am I supposed to do?"
And there before him is Mary, totally ensconced in the new life sitting in her arms. She is a total rock of calm amongst the swimming tide of emotions overtaking Joseph as he tries unconsciously to sit down somewhere amongst the animals, inside that cave, on that awesome, and holy, night.

A happy month and feast of St Joseph to you all. Even if it's via Nazareth.

— — — — — 
Digital painting, based on a rough pen sketch.

Lately I've been participating in an online tuition course for Blender 3D, which has been a good if somewhat challenging experience. The challenging part being trying to work in a group with many other students in multiple different time zones (and the associated late nights that come with it), but I'll talk about that more in a later post. Sometime in May. Hopefully.

Below is the sketch that I made last night to release some of my creative frustrations:

Christ Pantocrator (2021).

I just needed to do something religious to make up for my recent lack of any such artworks.
The original Christ Pantocrator (roughly translated as "All-Mighty" in Greek), that is the inspiration of this image, is one of the first icons depicting Jesus in early history of the Church, and remains to this day a very important image in the Eastern Orthodox Church.
It depicts the two natures of Christ, being both fully God and fully human, through the different sides of His face.

Below are the mirrored composites of the left and right sides of my rough sketch:

Pantocrator Blessing, Mirrored.

Pantocrator Gospels, Mirrored.

Honestly, I had no real plan about how to mirror this image, I just had the vaguest of recollections of what a Pantocrator Icon should look like and I went from there. So I sketched in out with blue ballpoint pen and went over it with a water-based black marker, and added colour with text highlighters. In hindsight I really should've either scanned or at least taken a photo of the under drawing, but I decide to let it go and just keep on drawing with the black marker.

The one real difference between this sketch and the Icon it's based on, is that the real Pantocrator doesn't have the wounds of Christ in it, as far as I know.


So, until the muse next takes me or I need another outlet to create, God bless and stay safe.