Worlds Thru Ink, The Art Of Ron Jones

©2008. Worlds Thru Ink, Ron Jones
Date Completed: 2004
Original Size: 30x40"
Frame: 38x46"
Price of Original: $12,000
Contact the artist regarding the original as well as custom print types, sizes and prices

ARTIST'S DESCRIPTION OF PIECE (continued)
2004

Below are some sketches from Escher’s many works. I used these images as the main schematic references while designing the different towers and separate buildings within "Visions"

Escher sketches for Waterfall


Detailed roof from Tower of Babel.	Escher sketch
	You can again see the similarities of our works yet I’m still not using a lot of perspective. This is my issue. I have drawn so many 2 dimensional works that my mind is adapted or addicted to that dimension. I hope to use more perspective in later works, but it’s going to be a long road for me to develop any significant perspective drawings. Escher is so good!

The roof pattern I used in "Visions".


Still Life and Street, 1937	Center image in Visions

I placed this perspective image of the above buildings on the sides of a street directly in the center of Visions to establish the connection that this original has to the work of Escher. Below are the detailed explanations of this link.


This self-portrait of Escher is displayed at the beginning and the ending of the book titled Impossible Worlds. He says “Hello” and then he says “Goodbye”. Notice the seriousness of his expression and the focus of his eyes. Brilliant!	Eye
Portrait of G. A. Escher .	I’m constantly looking for DNA connections with all my studies and ideas relating to Mean and the designing of my artwork. Given my mysterious DNA history by being adopted I always want to validate connection with the inner self. All three of these personal images by Escher relate to his DNA presence. I especially linked with this image of his father titled Portrait of G. A. Escher. The key to me in this image is the use of the magnifying glass. It shows focus and a goal of discovery. This magnifying lens is also the basic principle of Nanotechnology, which is the process by which I constantly discover the images I create.

These eye images that Escher created inspired a deeper connection to this work so I used the eyes to establish the links. The eyes first establish the link between the border and the center Castle image. They also connect the entire image itself to my most significant original to date, which is Chapter #18 titled BOSTON. The connection descriptions are listed below.

To better define the next descriptions I have placed the significant image from BOSTON below. From this image I will explain the connecting links that are embedded within Visions.

Notice all of the vines extending from behind the cross. These reaching images are defined in "BOSTON". They are described as vines of safety and one of them is actually attached to another cross and is freeing this soul from Satan’s grip. This cross image to the left is described in "BOSTON" as an image of God. These extending vines are a representation of God’s grace that is always there for us.

Below are a couple example images taken from Visions to demonstrate how it relates to these vines in "BOSTON".

Image #1

Image #2

These images above have a lot of similarities. Notice that the eyeballs staring into the glass balls all have white eyelashes. They both have the Ying Yang symbol in the center. The background pattern behind each eye is also the same. The major difference is that these images came from opposite sides of the original drawing. I circled their locations below.

Notice that these circled references are opposite each other, but not directly straight across. These images are linked by the different checkerboard patterns that are behind each representation of the eyes and the Ying Yang symbol. If a line were drawn from each Ying Yang image to the corresponding checkerboard pattern on the opposite side of the drawing then the relationship to "BOSTON" would be defined as seen below.

Notice the direct relationship to the vines and center cross in "BOSTON". All of these lines connect and join together in the center, which defines the major focal point of this entire image. Escher. They all intersect with the star at the end of the street within the center image of the buildings on each side. The image again is seen here.


The image above is the gateway within this drawing. It’s my window into the graphical works of M.C. Escher. He has guided my thoughts for years and he is a huge part of my existence as an artist. Escher is such an inspiration to me that I always leave a light on just incase he has something spectacular to share with me.	Ying and Yang. Black and White. The light and the dark. The male and the female. This symbol is between every set of eyes within this original and I was relating my thoughts to both genders. While adding this specific symbol I decide to fully color Chapter #23, "Dream Link". I have always linked the mind of a woman to the beauty of color.

These 2 organic form images with the spheres running through their center are what defined my direct connection to the work of M.C. Escher.

To the left is the first line work that I drew to connect the Castle image to the completed border. The center white oval is a jewel on a graphic necklace. This led the initial energy moving into the castle as something of significance and value and detailed. The graphic line work that makes up the necklace is what drove the ideas upwards into the entire castle image.

The outer 2 curved links on each side of the jewel also attach to the necklace pattern and there are multiple linked spheres running through the center. The sphere is the main stencil I would use to create all aspects of the Castle image. By looking at the entire original it’s hard to identify but almost every building has a curved wall, which was created using the sphere stencil.

This drawing was so exciting yet so tiring. The more I worked on it the slower I would draw. After 200-300 hours I was going to try my very best to NOT have any drip or smudge end up where it’s not supposed to be. I ensured the image integrity by slowing my pace and allowing patience to guide my hand through the completion of a large drawing like this.

I finally completed this drawing in November of 2004. To always remember the date and month that I finished this masterpiece I placed my birthday as the time in the Castle clocks.

I was born on 11-10-1968.