angelus 22.02.15

more and in several languages: www.weeklyangelus.info


The Visitation

Hot off the drafting board.  I was commissioned to create an image of the Visitation for a church.  I was stumped!  My first thought was "Two pregnant women hugging each other = Borrrrr-ring!" 
But then the Spirit began Her work within my chest...  The client found this version too bizarre.  I came up with other ideas, spawning a completely different realization (which was the accepted vision), and a third composition, of Mary and Joseph.   Friends, who knows where God will take us?
Acrylic, ink and gold leaf on cork.


Hi, everyone!  I've been asked to help spread the word about this exhibit in Brooklyn, NY:  

Calling all artists, professional and amateur alike, to express and share their faith through art by participating in an exhibit under the theme: "Passion, Golgotha."   The exhibit is sponsored by St. Rose of Lima parish, Brooklyn, and deadline for submission is March 6th. Exhibit opening will be on March, 15. For more information visit http://stroseoflimabrooklyn.com or call the rectory at 718-434-8040.


The Second Competition for the Apocalypse Prize

The Director of the Apocalypse prize asked me to post an announcement about the 2015 competition for the Apocalypse prize.

 It is wonderful that they are once again holding the competition and promoting the poetic mediaval style of art. The entries for the 2013 prize are posted, be sure to read the commentary provided by the judges concerning the winning entires. 


Last Judgment


This broadside of the Last Judgment measures 10" × 13 1/4". It is based on one of my ink drawings on paper. A scan of my drawing, slightly enlarged and modified, was used to create the plate for letterpress printing.

The iconography of the Last Judgment has long fascinated me; this is the third large depiction of it that I have made. Many different late medieval paintings and prints informed its composition; the influence of Rogier van der Weyden is especially obvious.

Christ returns on the clouds, seated on a rainbow and surrounded by a mandorla. His feet rest on an orb (with Jerusalem at its exact center), signifying His dominion over the entire world. He displays His five wounds, and the instruments of His passion appear beside Him. A lily at His right hand represents mercy and a sword at His left hand represents justice. Trumpeting angels call the dead to rise from their tombs. The Blessed Virgin Mary and St. John the Baptist kneel to offer intercessory prayer on behalf of those called to judgment.

Below them, St. Michael the Archangel weighs in a balance the good and evil of each man and woman. An angel waits to usher the elect into the doors of paradise, and a demon with a meathook waits to pull the damned into a gaping hellmouth.

I framed the entire scene of the Last Judgment in a septfoil; the number seven signifies completion and appears repeatedly in the Apocalypse of St. John. Surrounding this is a decorative border of fig branches, a reference to Matthew 24.32-33:
And from the fig-tree learn a parable: when the branch thereof is now tender and the leaves come forth, you know that summer is nigh. So you also, when you shall see all these things, know ye that it is nigh, even at the doors.
Among the fig branches appear the words dies ire, the beginning of Thomas of Celano’s famous sequence (as it was spelled in late medieval Latin):
Dies ire, dies illa,
Solvet seclum in favilla,
Teste David cum Sibylla!
The letters are composed of folded ribbons. Banderole letters such as these were used for display capitals in the late Middle Ages. I actually created models for the letters out of folded paper, applying methods I learned from my hobby of origami.

David and the Eritrean Sibyl, mentioned in the sequence, appear in the bottom corners of the drawing, as two great prophets (one to the Jews, one to the Gentiles) of doomsday.


Approximately 200 broadsides were made in 2014 and issued in an open edition. They were printed on a Heidelberg cylinder press at Rohner Letterpress (Chicago, IL). Graphic Chemical & Ink (Villa Park, IL) supplied a traditional printing ink made from linseed oil & furnace black. The paper was handmade from cotton rag pulp at Twinrocker Handmade Paper (Brookston, IN). It is a laid paper, which means that it has a slight ribbed texture, from the wires in the papermaking mould. The bottom and left edges are deckle.

More information here.


Job Opportunity

A representative from Dynamic Catholic reached out to me looking for someone who could function as an illustrator for their organization. They are ideally looking for someone willing to relocate to the greater Cincinnati area but are open to all options. You can learn more about the apostolate here... http://dynamiccatholic.com/mission/

Here is the description for the position, if you have any questions please feel free to email 


Gilbert Illustration Contest

Announcing Gilbert's 11th Annual Summertime (SCI-FI!) Movie Festival Illustration Contest.

Win Honor and Glory (and a chance to win a year subscription to Gilbert magazine) by entering our illustration contest. Enter as many times as you would like.  

Deadline: March 22nd 2015
image size 4"x6" line art 600dpi or gray scale 300dpi
Please post your entries (72 dpi jpgs please) here on the blog and if you are a winner we will ask you to send us the high resolution artwork. Use the blogger label 11th Annual Film Festival Contest to help us keep track of them.
Winners will be chosen by the Editors of the Magazine.  By entering the contest you give use the right to publish your work.

The Thing (1950)
Invasion of the Body Snatchers (1957)
The Incredible Shrinking Man (1957)
2001: A Space Odyssey (1968)
Time Bandits (1981)
War Games (1983)
Snowpiercer (2013)
Guardians of the Galaxy (2014)


St. Anthony of the Desert and St. Terese

Here are some short comics I made. It's nice to do short things in between larger projects.

 photo stanthonyfinalcolor_zpsa828814c.jpg  photo sttheresefinal_zps0bd67b58.jpg


Hey y'all!  This is my very first post on this blog even though I've been a member for a couple of years and have absolutely no excuse as to why I never posted.  I'm a senior at Christendom College in Front Royal, Virginia, at the moment, and after that, I'm not sure. :) But I really would love to illustrate children's books!  So, I'll just keep trusting and find out where God leads. I just opened my first Etsy shop online, and I'd like to invite you to visit and browse if you'd like. https://www.etsy.com/shop/JulieHelene?ref=hdr_shop_menu

Keep up the awesome work, guys, and God bless!  ~Julie 




Catholic Icons

Hi, everyone! I am new at the Catholic Illustrators Guild and happy to be here. I am an iconography apprentice learning to write Catholic icons in the Russian-Byzantine tradition. The recessed and panel icons I have completed so far can be seen at my site Created Beauty. Here are two of the icons I recently finished:


The icons are all written using natural pigments with water-based egg tempera on wood covered with linen and traditional gesso, together with 23.5 kt gold leaf and/or silver leaf burnished by hand. Check out my site and please do not hesitate to get in touch at createdbeautyicons@gmail.com should you have any questions.

Thanks, enjoy!



New Drawing: Second Dream of St. Joseph


This is the sixth drawing I have made of a Christian subject in the style of Japanese art. St. Gabriel shows a vision of the Flight into Egypt and the Miracle of the Cherry Tree to St. Joseph, who sleeps in the stable of Bethlehem next to the gifts of the Magi. I attempted to convey a sense of otherworldly urgency by having the angel’s robes and hair blown by a strong wind that affects nothing else in the picture. The text is from Emile Raguet’s classical Japanese New Testament translation of 1910: Arise, and take the child and His mother, and fly into Egypt: and be there until I shall tell thee. For it will come to pass that Herod will seek the child to destroy Him.

In this work, I especially imitated the style of woodblock prints by Tsukioka Yoshitoshi. I drew it using fine-tipped pens and calligraphers’ inks applied with brushes on an 8" &times 10" piece of Bristol board. Read more here.