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I remember when I was a kid, I'd record Saturday morning cartoons, play them back, pause the image, put a piece of paper over the screen and trace my favourite characters.
Now this was really hard in the VHS era, because a paused image on a VHS is usually either broken up or shakes so much that you’ll have some kind of fit if you look at it too long, it depended on how cheap and sh*tty your machine was.
But I worked really hard at it, man. I spent ages getting the linework just right, I was so careful, and when I peeled the page from the static cling of the bulbous, cathode ray tube screen, the character looked exactly right on the page. And you wanna know what I took away from that endeavour? What all that effort taught me?

Jack f**king sh*t.

You don’t pick up or develop any skills by tracing. You don’t devise and perfect your own methods by tracing. You do not progress as an artist by tracing. All you get is a loss of credibility, especially in this day and age, because even if you rip off the work of a lesser-known, hack-cartoonist like me, someone’s gonna spot it and call you out.


Really?


REALLY?!


F**KING REALLY?!

Octopus Accessories - art thieves

Tue Oct 21, 2014, 4:58 AM
www.octopus-store.ro/
this is their store. They are Octopus Acessories 

This is their facebook page www.facebook.com/OctopusAccess…

They had my drawings printed and were selling necklaces with them. They also lied to me that they did not steal them and took them from from some deviant who supposedly stole them first.
They sent me this link to this deviant :iconxyqueen: but the drawings that belong to me were submitted 12 hours ago. So obviously this couldn't be true since Nijikon was over 12 hours ago, and they had them for sale since 3 days ago.
This girl is so shameless, she lied to my face! She made me feel bad about calling her out and "making a scene" in front of her booth. OMG! And i believed her, i could have had her kicked out of the convention on the spot! She made me apologize for making a scene in front of her booth :( So she stole my art, and i was the one who apologized.
THAT. IS. WRONG.

Wow, if thievery was a game, she would be the final boss :iconfacepalmplz:
well this info is public now. I hope this journal will apears whenever someone googles her shop.

They also seemed to have stolen the design of the octopus in their logo from :iconbriankesinger: 
look at their logo here 


www.facebook.com/OctopusAccess…
and look at this drawing here Traveling with your octopus by BrianKesinger
pretty damn similar.
There is not one drop of originality in their designs. There is not one drop of shame.

The thing that bothers me is not the stealing, not the making money off of it, anyone makes mistakes, but it's the way they handled me at the convention, the lies, her attitude of OUTRAGE that i was making a scene and she was oh so damn innocent
People have stole my art before, on deviantart, on facebook, i always discuss with the first, and most of the time they apologize and simply add a link to my gallery, that's all i ask. I wasn't going to report her and have her booted out of Nijikon anyway if she owned to her mistake and not lie to me and have that attitude! I feel like a complete idiot for apologizing to her! 

:new:They have made a public apology to me:

www.facebook.com/OctopusAccess…

Please don't use curse words, no threats, no ugly words, no other drama, i did this so the drama ends. If you do it will reflect badly on me so please don't do that.

This is the translation of the apology:

:For Nijikon we prepared a series of necklaces with 3 characters from The Hobbit (Bilbo baggins, Legolas and Thranduil) because we didn't receive approval to use them, the images created by Yuuza (link to galery) which is the reason we retreated them immediately from being sold. With this occasion i am also presenting my apologies, and thank the author for bringing this to out attention."

I am satisfied with the apology although that does not erase these unpleasant memories and the lies they told me.

I am very happy that you care about my art and what has happened, and i know you were outraged too by what has happened. That's why i want you to see this apology too and know that at least some justice was served. 
I do not however want to see some shitstorm on that apology, if you're angry about what has happened, and want to vent about it, comment on this journal.

Thank you so much for your support in this :hug: your comments made me feel better! If i didn't have you on my side, she probably wouldn't have paid any attention to my complaints whatsoever, it's because i had so many people backing me up that i managed to end this problem and have my voice heard. :new:

Please +fav this journal so that it appears better in google searches.
Thank you!

OPEN 4000 POINTS GIVEAWAY!!!

Wed Oct 22, 2014, 8:20 PM


I hit 4000 watchers you guys!!!! 8D You know what that means? A giveaway, of course!! Heehee~!!!!! I will be splitting and giving away 4000 points to 12 lucky winners! <333333

RULES:

-YOU MUST favourite the journal.
-YOU MUST NOT tell me you entered or your 'done', ect in the comments, it's annoying ;^;
-IT'S OPTIONAL, but if you make a journal or poll advertising the giveaway, and comment it below, you get an extra entry!



The awards go in this order:


1st - 1300pts
2nd - 900pts
3rd - 700pts
4th - 400pts
5th - 200pts
6th - 100pts
7th - 100pts
8th - 100pts
9th - 50pts
10th - 50pts
11th - 50pts
12th - 50pts



Notes:
-Yes! It is possible for you to win more than one award, though unlikely TTvTT
-You don't need to be watching me, though I'd greatly appreciate it ;v; <3
-The giveaway ends on Tuesday 28th of October, at 6pm GMT, at which point I will pick the winners using random.org
-If you comment with an advertising journal/poll, I will reply with a number. This is me marking the comment so I can find it easily later (I will be away for a few days between now and the deadline so might not respond immediately).
-Don't be offended if I hide your 'congrats' comment, it's for neatness, so I can get to the journal/poll comments easier TTvTT;

  • Mood: Pride
  • Listening to: Coldplay
  • Watching: The new FNAF 2 trailer!
Hey guys! I'm raffling off the 99th and 100th icons for free, as a special thank you to everyone. :'D
To enter just fav this journal ( so I can use the fav numbers to count you all XD ) and post your ref(s) ( if you have more than one you'd like me to choose from ) here in this journal. After 72 hours, I will roll two winners. O VO

Keep in mind that these are really tiny, so try and avoid entering really complex designs, if you can.
Atm I only allow ferals and anthros.

Samples of what you will get.
Onnie Icon by OnionGrumpGambit Icon by OnionGrumpRemi Icon by OnionGrump
Hallow Icon by OnionGrumpKohl Icon by OnionGrumpKaikko Icon by OnionGrump
Honey Wafer Icon by OnionGrumpFreckle Icon by OnionGrumpElectric Oasis Icon by OnionGrump

Thank you and have fun!

Brian Kesinger: Character Driven

Wed Oct 22, 2014, 10:39 AM
Screen Shot 2014-10-22 at 4.28.13 PM by techgnotic
















Disney Artist Brian Kesinger on Creating Story through Character










Foreword by techgnotic


It is with great pleasure we welcome Brian Kesinger as a guest writer to the Today Page Editorial Team. Considering his authentic citizenship within the deviantART community, his thoughts and insights will be of great value to all aspiring artists, illustrators, writers and others involved in any creative endeavor. For over 18 years, Brian has worked for Walt Disney Studios on films like Big Hero 6, Winnie the Pooh, Tarzan, Tangled, Wreck It Ralph and Bolt. Brian is author and illustrator of his own octovictorian creation, the wildly popular Walking Your Octopus, featuring Otto and Victoria, about a young turn-of-the-century London lady of distinction and her pet octopus.



















Take a moment and think about your favorite movie. Now imagine that movie without the main character as you know them in it. I think it is important to make a distinction between the plot of a story and the arc of your main character.








The plot is a series of events that result in a character going through an emotional arc. You can briefly define a character arc as how a character feels and acts at the beginning of the story versus how the feel and act in the end. In Dicken's Christmas Carol (1843), Ebenezer Scrooge hates Christmas and at the end he loves it. That is an oversimplification of his arc. The plot is there in order to provide obstacles and choices to show the the audience who they are and what their attitude toward their situation is. A good plot keeps you interested in the story but a good character will make you want to rewatch the movie over and over again. I personally a fan of movies that have very simple plots, because those films leave much more room for character development. One way to look at a story is a series of choices presented to the main character. As a storyteller, the more time you put into your character the easier it will be for you to make those choices for your character be truth.


One way to look at a story is a series of choices made in creating the main character. As a storyteller, the more time you put into your character the easier it will be for you to make those choices for your character be truthful.







Truthfulness is talked about a lot when discussing character creation. Fictional characters are, of course, untrue. They do not exist in the real world. They are made up. You must give them reality with relatable traits. Let’s say your main character is a farm hand. How does he feel about that? Does he enjoy the hard labor, or is he bored out of his mind? Let's choose the latter.  Note that we are not talking about plot, just discussing character. Does this farm-boy get along with his parents? Let's add mystery by making him an orphan. So we now have the highly relatable story of a bored young man with a decision to make.  Should he continue his duties on the farm – or answer an inner calling to explore the rest of his world?  We know this character.  Some of us are this character. So when Luke Skywalker makes his choice, it rings true, because his character has already been established as someone we understand, someone who wants more out of life.  We can all relate to his situation.  His story will be a bit more exciting than most tales of fugitive farm-boys, but even Star Wars might have bored us had we not been pre-invested in such a relatable character by skilled storytellers.



As an illustrator, my job is to create a believable characters visually. At Disney, it is not uncommon for us to start drawing before a writer has even been hired to write a script. Animation and art are visual media. A picture is worth a thousand words. Drawing your character is one of the best ways to kick off the generation of those words. It’s all in the details. How your character dresses, what sort of hair they have, are they big or scrawny? All these questions can be answered and explored through the drawing process. When we work on our films it is common for the character designers and story artists to work at the same time because one department constantly informs the other.


I love this part of the process, as you draw your character and you explore all aspects of them and ideas start to gel. You put one image next to another and suddenly a story starts to develop, to talk to you. It is very exciting. We had an interesting challenge in creating the character of baymax for the up coming film big hero six.


I asked Joe Mateo, head of story on the film to talk a little about the difficulties that arose when creating a character with out traditional features.











We knew that Baymax was going to be a challenge given his limited amount of facial features to express an emotional range.  It's amazing though, what you can achieve with those charming dot eyes combined with a subtle head tilt, a well timed blink, and body gestures. These things plus line delivery can be very effective in expressing  different emotions. We're careful though how much emotions we want Baymax to show given that he is just a non sentient robot... or is he?”


Joe Mateo, Head of story on Big Hero Six





















On the film Frozen we were tasked with taking a fairy tale “princess movie” and putting a fresh spin on it. One way that we did that was by explore the characters of Anna & Elsa and creating a believable relationship between the two of them. Paul Briggs, head of story on Frozen speaks more about that here.












One of the great things we had working for us was the tropes of princess films we had done in the past. Audiences already had an expectation we would deliver the familiar romantic love story... a romantic kiss from a prince/knight in shining armor would save the the day. Jennifer Lee and Chris Buck knew they wanted to deliver something fresh and different and took the idea from the original Snow Queen story that "an act of true love will thaw a frozen heart" and coupled that with a story about two sisters. The movie really started to focus more about family love than romantic love. The challenge was crafting two siblings that couldn't have that love between one another. We had Elsa, who was hiding a power that she thinks will hurt or kill her sister. So she lives in fear and is afraid to share her love towards her sister. We developed Anna as being fearless but she lives in a world where we she wants to give her love but it is never reciprocated by her sister. She holds onto that true love for her sister though and it's ultimately the thing that saves the day and protects and saves her sister. Anna makes the biggest choice in the movie which is she sacrifices her life to save her sister—an act of true love.”


Paul Briggs, Head of story on Frozen




















Interviews Brian Kesinger's Q&A with the Following Deviant Artists








:iconbriankesinger:

In creating your Lost Kids graphic novel what were some ways that you made your characters believable teenagers even though they are inhabiting a fantastical world?






:iconfelipecagno:

Felipe Cagno


It's all about really turning your characters into real people, people that you could walk past in the streets and that means tons of research and world building. For every character in the Lost Kids comics I have these extensive character sheets with dozens of questions ranging from their family background, their homes, where they grew up in, the environment around them, to their biggest fears, their hopes and dreams, their psyche, etc.



All that comes into play and you must know your characters better than yourselves, you really must ask the tough questions and come up with interesting answers. A kid growing up in Brooklyn, NY, will most definitely talk and behave very differently than a kid growing up in Orange County, CA. Do they come from a rich family, a blue-collar one, from poverty, where do they go to school, are they outgoing or shy, do they use slang, or perhaps they speak perfect English, are they popular or outcasts, what are their deepest secrets and so forth.


And the most interesting task I had to go through was actually finding a way of these very different kids that should not get along, get together for this adventure. Good storytelling comes from conflict and there is nothing more boring than seeing characters agreeing on paper or screen, you want them to duke it out, you want them to have completely different opinions about the stuff that matters so you can exploit different points of view on a given subject and let the audience choose sides.


Believable teenagers have very strong opinions and views of their world, I just made sure to get all that right even before writing a word of the script.








:iconbriankesinger:

Can you talk a little about how your characters developed from random sketches to the storylines in your web comic?






:iconshingworks:

Der-shing Helmer



I don't actually sketch randomly and home storylines come out, it's pretty much the opposite... I come up with story elements that I find interesting and work to develop a character that might fit into the scenario in a unique way. For example, in The Meek, I wanted to write a story about a girl who doesn't care much for societal pressures. She started out in sketches as several types of girl, but with the goal of a story in mind, eventually developed in the my character Angora who is introduced as not wearing clothes (that portrayal is pivotal to her essential nature). I don't think the character would have been quite as effective if I had just been drawing naked women, and then tried to mould a story around that visual.


For the new comic that I am making (and will be posting more art of to deviantArt as well), I'm doing something similar; trying to create a certain vision of the future and the people who live there. With the future in mind, I get to create characters that represent my hopes and expectations, vs just randomly hoping to strike gold. My general advice is always to give a context to your sketches, even if you don't ultimately use them... it will help your characters develop into living people who feel like they might really exist somewhere.








:iconbriankesinger:

When creating your character Veloce Visrin, what were some of the choices you made in designing her look and outfit to help tell the reader what she is all about?






:iconshilin:

Shilin Huang



I've given Veloce outfits meant for show, as well as casual outfits for the story she is in. The more story-oriented decisions were made with her casual outfit. Naturally, her look should immediately convey her character, because insignificant details on how a character chooses to dress himself/herself are usually a good reflection of their values. I've kept her outfit casual and unimpressive,despite her being the main character, to match her preference for staying away from the spotlight and blending into the crowds. Her clothes are also kept loose fitting rather than skintight, her hair kept free and not diligently kept, giving her a more relaxed air. However, she did come from a respected/feared family, and a hint of the fact that she is supposed to be an upper-class lady still comes across through the halter top, which is the same top/dress featured in her other, more extravagant and impressive outfits, covered up under the guise of her hoodie and otherwise unassuming look.








:iconbriankesinger:

Your character drawings are so expressive. What are some tips for drawing animal characters with such human emotions while still maintaining their animalistic anatomy?






:icontracyjb:

Tracy Butler


Thank you! Foremost, I’d say it’s important to get to know the subject matter. Gathering some overarching observational knowledge about anatomy, gesture and expression is pretty vital to drawing convincing pictures of such things. It also applies to the ensuing Frankensteinian drawing experiments that I would recommend as a generally effective approach to designing characters that fall somewhere between human and animal (though I’d argue that distinction is mostly philosophical).  Do a lot of sketching, in other words.



Human capacity for self-aware emotional complexities aside, it’d be difficult to mark a clear distinction between human and animal emotions. Among other mammals in particular, there’s quite a lot of overlap in the way we express basic things like fear, dejection and excitement, in fact. Whether human or wolf, a lowered head, fixed stare and curled lip is unmistakably aggressive.  That sort of thing can certainly work to the artist’s advantage when drawing an animalistic character meant to emote in a relatable human fashion.  Further appending the expression with the animal’s telltale posturing - raised hackles, pinned ears, bared fangs - can be mixed in to varying degrees of bestial and dramatic.  The more minute facial features add a layer of human nuance and specificity - the smallest adjustment can put an entirely different spin on an expression. For the given example, downward angled “angry” eyebrows would be well in line with the straightforward appearance of aggression, but simply arching one of the brows higher than the other can turn it into an expression of calculated anger.  Symmetrically high arching brows could make the expression more excited or crazed; furrowed brows could be used to convey a sort of consternated anger, and so forth.



Of course, species that don’t communicate in ways that are especially decipherable to humans and critters with physiognomies that don’t lend themselves well to forming human expressions can present design challenges that might require some careful finagling. To use a popular example, note the dramatically shortened heads of My Little Pony characters as compared to realistic equine heads.  Much of the animal appearance of the face is sacrificed, clustering the features together into an alignment more closely resembling a (cartoon-like) human.  This way, the expressions are eminently readable, never inadvertently shifting from cute to awkward.  In other situations, preserving the animalistic mien might be the greater priority over rendering consistently appealing human expressions. If you ever find yourself trying to draw chagrin on an anteater, consider that in some cases, embracing a bit of the awkwardness might not be a bad thing.  It can make for some defining, memorable characteristics.


My advice overall is to approach whatever abstracted combination of anatomies are at hand as an advantage rather than a limitation to building an expressive character.  The human and animal aspects each bring a toolkit array of physical features, gestures, behaviors and idiosyncrasies to utilize and draw inspiration from - all the more resources with which the character may exude life and emotion, presence and personality.








:iconbriankesinger:

What led you to pick Korea as the location for your fish out of water story of frankie*SNATCH? And how does that specific location inform what situations your character goes through?






:iconlynseylew:

Lynsey Wo


When I initially came up with the concept for frankie*SNATCH back in 2001, I wanted to base it in a large, modern city in the Far East. At the time, Japan was experiencing a huge popularity boom (certainly within the target audience I was wanting to reach) and I wanted to avoid following that trend. After a little bit of research, Seoul seemed to contain the fast pace, bright lights, cosmopolitan scene I was looking for. In these early stages, a strong visual setting was all I was after, and Seoul fitted that need perfectly.



Frankie*SNATCH has always been a character-driven plot, and whilst the location had never been hugely influential as a whole, as the story developed darker, controversial issues, I still needed to make sure it was still appropriate. For example, a major theme of substance abuse within the story lead me to research the sort of healthcare and treatment available for those suffering with addictions, and how this sort of issue is perceived and handled by Korean society as a whole. This research directly impacted on how the character(s) confronting this issue would handle it, particularly from the societal angle. This idea of such an old-fashioned taboo against the backdrop of an otherwise modern, diverse city was something I found interesting, but it also made me realise the importance of making sure the characters were believable enough for them to address the issues presented to them with as little help from the outside as possible.












Questions for Brian Kesinger




  1. Brian has volunteered to answer any questions you might have in a series of video updates we will post soon, so keep your eyes and ears peeled for a shout-out from him.


    Leave your questions for Brian in the comments below.












After reading through the comments in my previous journal, I feel the need to clarify a couple of things.

First: Tracing. Does. Not. Help. You. Improve. Your. Art.
Never has, never will and you’re kidding yourself if you think otherwise.
Second: Emulation is not tracing. People seem to be having trouble telling the difference.

Tracing does not teach you anything because all you’re doing is copying the line work of an existing image. All the real work has already been done. You’re not learning how the image is constructed or discovering for yourself how to use your drawing tools to create the desired effect. You’d be better off just outright copy/pasting the base image and saving yourself the time.
Emulation on the other hand, be it simply trying to recreate an existing image by eye or (even better) going all out and trying to adopt an existing style, does improve your method. By “reverse engineering” an image, you work out how it was created and gain an understanding of how to create the same effect again, or even improve upon it. Assimilating and adapting this knowledge into a method that feels natural for you is a good foundation/support to your own personal style.

I can't believe it's been a whole year since I've updated my journal! Sorry for being so out of touch. As usual, my lame excuse is that I'm busy - but for a not-lame reason, at least. If you haven't already heard, I'm directing my first feature film. Its an animated comedy based on the myth of Medusa. We're in the early phases of development at Sony Pictures Animation, and I'm in a daily state of shock and gratitude for the opportunity.

But that's not why I'm posting!

Ironically, and embarrassingly, the very last journal I posted - a whole year ago - was to announce the same thing. My pals at the Wildlife Learning Center in Sylmar, CA are holding their annual fundraiser on Oct. 25 from 4-7 and I'd like to extend an invitation to all my DA friends!

And just like last year, I'll be there to chat and sign stuff. So bring your MLP or Powerpuff goodies that are in need of a name scribbled on them! You can purchase tickets here. Please spread the word!

This small zoo offers a chance to see many exotic animals up close and much more personal than your average zoo. And at fundraisers like the Safari Social, you get the special opportunity to actually interact with many of these animals! You can pet a fennec fox, feed a porcupine or meet a sloth! Plus, My Little Pony fans will get to see the special animals named for MLP characters Angel and Tank! To see the kinds of animals you'll get to see, click here.

Those who've been following me for the last few years may know what WLC is all about, but in case you don't, here's my little spiel:

The Wildlife Learning Center  in Sylmar cares for a few dozen wild and exotic animals and treats them as "ambassadors" to help teach the public about wildlife conservation. What is so wonderful about WLC, is that many of the animals in there care are rescues. Many were illegally kept as pets and were either turned over or turned in to WLC for proper care. Others were animals born in the wild, but injury or acclimation to humans kept them from being able to survive in their natural habitats. Still others were exotic pets who grew too large or otherwise difficult to care for by their original owners. Without WLC, all of these rescued animals would be seriously ill or dead.

As a non-profit organization, WLC relies on the public to raise the funds they need to give these amazing animals the care they need, from proper nutrition and habitats to the best veterinary care. Coming for a visit will not only be fun, it will be for a good cause!


Image and video hosting by TinyPic

.

Mon Oct 20, 2014, 3:42 PM
this is not what i want;
the heart muscle pounding
and groaning, the bones
of the darkness collapsing
like scaffold on top of me

(i die, and then i come home)

All hail our lord and freddy savior Scott Cawthon



~Wolfdomo~
Hello everyone, and yes I am having a contest :la:

T H E M E
So this contest is about my 5 OC´s, Chisue, Qui, Tea, Cherrii and Purpuri.
I wanted you to draw all 5 oc´s TOGETHER in one drawing!
BUT they must do something TOGETHER, (not only standing around at the corner xD).
I want you to draw them, like example, they are cooking together, playing together,
sleeping together, learning studying together anything together etc... Use your imaginations!

R E F E R E N C E
sorry for the colored sketch reference only... I will gonna draw them in the next days so yeah, till then I only have this.
MY 5 by 5uemini Chisue by 5uemini Purpuri by 5uemore comming soon xD
CLICK HERE for my OC´s folder
They all have the yellowish hair color on the top of their head, and they all have their own skin colors.
Please read the discreption! 

E M O T I O N S
:bulletwhite: It can be funny
:bulletwhite: It can be sad

Y O U R . D R A W I N G
:bulletwhite: It can have background, but you don´t have to, i f you don´t feel like making a Background
:bulletwhite: You can Pixel them, (NO ICONS)
:bulletwhite: You can animate them
:bulletwhite: It must be at least 150x150px big and up
:bulletwhite: You can draw my Oc´s with your OC´s
:bulletwhite: You can dress them up a little, but please not too much, so that I can´t see it as my own OC anymore
:bulletwhite: Please draw them in your own drawing style
:bulletwhite: You can enter how many you want, BUT only one of the best of yours will gonna win
:bulletwhite: You can draw it Traditionaly or Digitaly
:bulletwhite: You can leave your entry on the comments below
all contest entries will be fave H E R E

T H E . P R I C E S
Please note that 1$ = 80:points:
I will transfer your Price through your Paypal or through DA Points.
The best Idea will gonna win
I will gonna choose the winner


1ST PLACE
will gonna win from me 80$ or 6400:points: and a chibi and mini chibi

2ND PLACE
will gonna win from me 45$ or 3600:points: and a chibi

3RD PLACE
will gonna win from me 10.50$ or 840:points: and a mini chibi

all people who enetered will gonna recieved some points from me, after the deadline contest

D E A D L I N E
The deadline is set at JANUARY 31 2015
so you have your time, I WILL NOT EXTENDING THE DEADLINE!

Q U E S T I O N S
Do you have any questions? You may comment below.

O T H E R S
Thank you for reading, and Happy drawing if you want to enter :heart:
PS: DON´T STRESS YOURSELF, RELAX TAKE IT EASY, you have the time