What I Was Thinking (Sort Of)
I wanted motion. Not elegant flight, not floating – movement with weight. Baba Yaga skimming over a pond in her wooden mortar, close enough to the water to leave marks behind. The base is small and circular on purpose. This isn’t a big, loud scene. It’s a quiet one that feels like it found you, not the other way around.
The entire base is clear resin, poured to become the pond itself. I added ripples and splashes around the mortar to make it feel like she’s cutting through space, not politely hovering above it. Her hands gripping the broom, her hunched posture, that face – none of it is meant to be friendly. This isn’t the version of Baba Yaga that helps you. This is the one that watches you leave.
What I Learned (Or Didn’t)
Resin and I are finally getting along. Not perfectly, but better. The pours behaved, the depth worked, and the water started to feel like water instead of a science experiment. That alone feels like progress.
I also trusted the idea more this time. Fewer extras. Less noise. Let the motion, the water, and the expression carry the scene. Painting felt calmer too – more deliberate, less second-guessing. No big revelations here, just small improvements stacking up. And honestly, that’s enough.
