I’ve finished the first draft of all 80 cards, but that doesn’t mean much because I’m returning to the Majors to fix up Keys 1 through 7, at the very least, and maybe whatever else I see that needs fixing.
The substance of the court cards will remain the same, but they, too, need fixing. This one’s arm looks awkward; that one’s nose is, like, what is that, that’s not even a nose; and then when you line up the same court card from the four suits, I want there to be some cohesion, so where there are glaring inconsistencies, I’ll need to fix that up, too.
By the time I got to the pip cards, I finally got the hang of digital painting, so I don’t think much substantive revision will be necessary. Wait, no. That Five of Swords, though… I think it could use a little more tinkering, perhaps even a significant reconsideration of what should go in that background.
Going in the order of the cards I’ve presented here, I’m ending 2020 and beginning 2021 on the Ten of Swords. Hmm. Yah I’m not going to read into that. =) Moving on.
While the style and approach for the earlier editions asked of you to journey inward, this third edition, which I’m calling The Revelation, asks of you to journey outward. If my earlier editions were about depth, then this third edition is about expanse.
The Revelation Edition can be treated as an entirely different deck from the First and Vitruvian Editions. It’s within the SKT family, hence the deck name remains the same. And while it shares the same DNA, SKT III has really evolved to solidify its own unconnected identity.
I cannot wait to share with you the companion guidebook. It’s basically a new Book of Maps, because it had to be. I go into detail explaining the who, what, where, when, and why for each card illustration, and then for interpreting it, the how.
These images are provided to the public for free download and under a Creative Commons Attribution license, which means the following:
You can share the images. You are free to copy and redistribute the illustrations in any medium or format.
You can adapt the images. You are free to transform, build upon, redesign, edit, revise, and in any way remix the illustrations for any purpose, including commercial purposes. Yes, you are free to profit financially from your adapted images of the SKT Vitruvian Majors, Aces, and Archangels.
Attribution or credit notes. My preference is that you make it very clear what part of the image or adapted image is attributed to my original work and what part is attributed to your creative additions. In other words, if you color in one of these black & white images and then sell your colored in SKT image, please make it clear in your product description that I am the artist for the black & white image while you are the artist for the coloring application. If you have traced part of my original art and then redesigned it, transforming it from the original, please include a note about what parts were my original and what parts you’ve redesigned and transformed. I say “my preference” because if you unintentionally forget to do that, I’m not going to be mad at you. =) But just please try not to forget.
While this license is free, if you do commercialize your SKT-based work, I’d be beyond thrilled to receive some merch! =) Send to the below address.
P. O. Box 20021
Castro Valley, CA 94546
If you might recall, Key 1: The Magus was the very first card I learned digital painting on. The line work was done by hand, scanned in, and the color was subsequently done via digital painting software programs. Then it was Key 2: The Priestess, and so on.
It’s amusing to look back on those first five keys, because it’s painfully obvious how scared of color I was. =) I didn’t know what I was doing. I was winging it. And you can tell.
It’s not until Key 6: The Lovers card that a noticeable improvement happens. Then after Key 7: The Chariot, off I went! =) Now that I know how to color, after finishing the Tens I’m going to return to Keys 1 through 5. I’ve already made notes on how I want to revise them.
You can click on any of these image files for an enlarged view.
Are you getting SKT fatigue from all my obsessive posts about this deck? =)
I apologize for being so single-track in all my postings at the moment, but that’s just where my mind is at.
I’m amused at how with each edition, I seem to change the same cards over and over. Like here in the second set of Major sevens, once again it’s the Hermit card I revise and the background of the Wheel of Fortune. However, this time around, I did change up my Temperance.
If you watch the above video on YouTube’s platform, timestamp links are in the video description box, so you can skip around from section to section.
This previous postis where you can find the video on the First Septenary of cards. This post is a pictorial walk-through of Keys 1 – 11.
This will be a walk-through of Keys 1 through 11 from the Major Arcana for the forthcoming third edition of the Spirit Keeper’s Tarot. Please note that I don’t anticipate the deck coming out any time sooner than 2021, and don’t be surprised if it doesn’t come out until 2022. I also won’t be doing pre-orders until the whole deck is done.
I made a little video to showcase the evolution of my Lovers card from the SKT, laced with Bach’s Prelude in C Major. =) You can click on that YouTube logo along the bottom bar of the video to enlarge.
Please understand that nothing has been committed to just yet. This is nothing more than an experimental trial, though I’m sharing it with you as an entry in my SKT progress diary. Your honest feedback is welcomed!
Actually, it’s very welcomed. Like the previous shitty-Emperor-card post. You all gave me really good critiques that were specific, detailed, and because of the collective you, I had something tangible to work with as I continued trying to draw a good Emperor card. (It’s still in the works. We’ll revisit Key 4 at a later time.)
Yeah. I needed the title in all-caps. Because I’m screaming at the top of my lungs and yanking at my own hair.
WHY IS DRAWING THE EMPEROR CARD SUCH A STRUGGLE?
For an irrational woo answer to that, I might say maybe it’s because our global collective culture is moving away from dominant-masculinity, and as a feminist I’m certainly not going to cry a river over that shift, but it does mean I’m really, really struggling with tapping in to that masculine energy.