I don't use yellow very often, so I thought I'd try it on a rose. This is the same rose model that I used in Blue Rose. I created a silky yellow and orange material with some translucency in Vue.

The sunny cheerfulness of the yellow rose is often used to symbolize friendship and warm affection.

This was part of a three-part color series I created back in 2011. The backgrounds are from fractals, put together in Paint Shop Pro.
Green As the Grass
Blue As the Sea

This was inspired by M.C. Escher's Still Life and Street, with a medieval twist.

A simple Christmas desktop made in Vue. I like to reuse my abstract designs as textures, so the sky texture comes from Chaos Tie-Dyed, and the red and gold balls from Rubies & Gold.

I made two 3D renders of this virtual chandelier model in Vue, this warm "sunset" version, and another with cool evening lighting that I called Twilight in Crystal.

The celestial orchard where stars and moons are grown. Created entirely in Paint Shop Pro. I'd had the idea for this image in my mind for a while, and finally got around to making it. I got a lot of practice with the pen tool, and these tree shapes might show up again.

“‘Down there,’ said Golg, ‘I could show you real gold, real silver, real diamonds.’

“‘Bosh!’ said Jill rudely. ‘As if we didn't know that we're below the deepest mines even here.’

“‘Yes,’ said Golg. ‘I have heard of those little scratches in the crust that you Topdwellers call mines. But that's where you get dead gold, dead silver, dead gems. Down in Bism we have them alive and growing. There I'll pick you bunches of rubies that you can eat and squeeze you a cup full of diamond-juice. You won't care much about fingering the cold, dead treasures of your shallow mines after you have tasted the live ones of Bism.’”
— C.S.Lewis, “The Chronicles of Narnia: The Silver Chair”, Chapter 14, “The Bottom of the World”

This was the result of playing around with gradient overlays and an old Apophysis render that had been calling for me to find a use for it. The jewel is actually the first one I ever designed in 2008 following a tutorial, but for some reason I missed the part about how to add the shine and couldn't figure out why it looked so flat . Three years later I finally revisited it and came up with this.

This picture developed like many of my abstracts, with a fractal design that I played with and manipulated until it didn't bear much resemblence to the original. It this case it was an orange and lavendar pattern that looked rather like a phoenix's wing.

For this piece I took the same ZaoS fractal I had embossed for Rubies & Gold and laid it over a green Apophysis fractal design. The result was a calmer image that reminded me of the light patterns - caustics - under rippling water. The pearl seemed an appropriate addition.