[Unlike some people, Alucard does not make a big unveiling of the portrait.
Instead, he leaves a medium sized canvas propped against the wall where the wall mounts for Jaskier's instruments are. It is covered, pinned with a note that simply reads FOR JULIAN.
Removing the fabric will reveal Alucard's answer to Jaskier's deeply dramatic portrait of the dhampir. It features the bard himself not sitting still and staring at the viewer, but painted as if from the wings of a stage, showing his full body in a three quarters view, plucking at his lute and seeming to wink towards the viewer all while having his attention fully out on the crowd. There is an emphasis on movement and action, as if one can lean in and hear the performance.
The style of the piece puts great emphasis on the lighting, and there are little flourishes of gold and silver paint to truly make things pop. The frame is simple in contrast, if only to highlight the skill of the piece itself.
They're even and an artist got paid goddamn well to boot.]
End of July; Office
Instead, he leaves a medium sized canvas propped against the wall where the wall mounts for Jaskier's instruments are. It is covered, pinned with a note that simply reads FOR JULIAN.
Removing the fabric will reveal Alucard's answer to Jaskier's deeply dramatic portrait of the dhampir. It features the bard himself not sitting still and staring at the viewer, but painted as if from the wings of a stage, showing his full body in a three quarters view, plucking at his lute and seeming to wink towards the viewer all while having his attention fully out on the crowd. There is an emphasis on movement and action, as if one can lean in and hear the performance.
The style of the piece puts great emphasis on the lighting, and there are little flourishes of gold and silver paint to truly make things pop. The frame is simple in contrast, if only to highlight the skill of the piece itself.
They're even and an artist got paid goddamn well to boot.]