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Critiquing, do's and dont's

Sun Oct 26, 2014, 1:26 PM
So i almost always request critiques on my art, and i also get a lot of them too (thank you so much guys/galls) :D and i've noticed some critiquers have some misconceptions about critiques, their role, how to do it, etc.

Now i don't want to critique someone's critiuque, i rarely do that because people take it as being defensive about the art that is critiqued. So i'll just make this journal to hopefully inform/educate some of you about critiquing. 

Do's


-If an artist requests critiques, and you have something to say about it then do use the critique widget to leave a critique. Don't critique in the comment's section though. I know some of you are more shy, but if you're bold enough to write a critique then put it in its proper place, that's what the widget is fore. This does not apply to artists who do not have a premium and can't requests critiques through the widget.

-Do read the artists comments on the artwork first. They might offer hints on what they want critiques on such as ' i get the feeling there's something wrong with the legs, or something along those lines' If you find such a thing then try to focus your critique on that.

-Be on the look out for time spent on a drawing. Critique what could have been done better in the time they had, not if they had many hours to put in extra. If they request a critique on a sketch, don't tell them how it would look better colored etc. Many artists don't have the time to polish their artwork much, so if you see rough lines in a drawing done in 3 hours, i would suggest not critiquing that because it's just not productive. Not having enough time to polish a drawing is not 'a mistake' it's just a circumstance.

-Use a critique sandwich. A critique sandwich is when you start the critique with positive things you like about the drawing, in the middle you start adding the mistakes and things that could be improved, and then end in a positive note with what you like overall. This adds the negative stuff into a nice positive wrapping kind of like a sandwich, that the artist can easily chew on. 

-Do tell the artist how to improve on future drawings. A critique's primary purpose is to help the artist, not for you to have an outlet and vent your frustrations about a piece of artwork. While some artists might figure out on their own how to improve after reading your critique, not all of them have that kind of mindset. So simply stating the mistakes might not help anyone. 

-Do link to helpful tutorials. There's nothing better than a tutorial to perfectly illustrate a point and to show how an artist can improve in something. Words can sometime be misunderstood, unclear, we are not all native english speakers. there's a language barrier that can be crossed with a tutorial. 

-Do critique at the level that the artist is at. If an artist is a beginner, then don't ask for the world from them. Put yourself in their shoes and think how they can improve with their current skill set. 

-Do mention a recurring mistake an artist makes. This does not mean style but rather you noticed they always draw one eye smaller than the other kind of mistakes. This shows the artist that you are closely following their works and you care, which is always nice, and it also help them repair a mistake that's much more important than mistakes that don't reappear. 
Of course, if there's no particular recurring mistake, then don't look to the depths of hell for one, you might go into the pitfall of critiquing art style.

-Do look through the artist's gallery before critiquing. If you really don't know the artist and just stumbled upon the artwork and want to critique, take a moment first to look through that artist's gallery. You want to know what the drawing you're about to critique means for the artist and adjust your critique accordingly. Take these examples:
        -They might try a new style for the first time, 
        - Or the opposite they might have struggled much to get to this style you see
      -they might usually draw much worse and this was a huge leap for them, a huge improvement. 
All of these things should be taken into consideration when critiquing. So checking out the gallery is a good idea.



Dont's


-Don't expect the artist to do the changes you suggest. Contrary to popular belief, artists will not do the changes you suggest. Most artists (me included) look into the future, not the past. We request critiques to prevent mistakes from repeating themselves, not to actually change the current artwork. 

-Don't critique style. I know this subject is controversial here on dA. But this is my journal and i will state my opinion on this. An artist's style is something that has developed from that artist's tastes of what they think beauty is. Critiquing style is like saying 'your taste in art sucks, my taste is better'. This can easily be avoided if you look through the artist's gallery before critiquing.

-Don't make your critique be a list of things you don't like about the artwork. Artists have the choice of not posting your critique and you might have just wasted a good portion of your time writing it just for it to be closed with a click of a button. Writing only the negative can give the impression you're bashing the artwork and the artist might be offended. 

-Don't think that if an artist requested critiques, you HAVE to find something negative to say. If you're being nit picky, you can find something negative to say about every thing that exists and ever existed on this earth. Don't go down that road. If you don't think there's anything wrong with it, then don't write a critique, write a nice comment instead. You can write it in the critique widget too of course, i personally am perfectly ok with that (even if some are not). 

-Don't think that if the artist requested critiques then they think there's something wrong with their artwork. While some artists only request critiques at artwork they feel something isn't right with, i personally request at almost everything. Every artist is different. I found this misconception a lot, people are thinking 'hmmmm this artist requested critique on this beautiful art, there must be something wrong with it.. let's look closely.. now that i think about it, what if she changed the hair from red to green?' 
This thinking makes you nit picky, which might make you pick on something completely unimportant and come off as overcritical. 

-Don't critique artwork that does not have critiques turned on, or the artist doesn't specifically say in the artists comments they are open to critiques. Artists are very sensible creatures. Our art is tied with our ego, and if an artist is not ready to receive a blow to their ego, they will not request critiques, and you should respect that. There are artists here who only draw for fun and that fun can be spoiled like this. Not everyone wants to be a pro, not everyone wants to improve. Not everyone wants to improve through critiques. Critiques are just a tool that some artists use.

-When critiquing fanart, don't dwell on the differences between the artwork and the original design. Many artists take artistic freedom, they like to try their own 'take' on a character, and not to copy how the character originally looks like. It would be absolutely boring if when drawing fanart, the main objective would be 'who can copy this style better'. No one would draw fanart anymore. Fanart is when an artist expresses their love for something in the form of art, in most cases it is their intention to put individuality in it, and that is not a mistake.



Other info:

If you don't know what to say in a critique, here's a small list of things you can take into consideration:

-anatomy
-expression (face expression, body expression)
-composition
-concept (what the drawing is trying to say and how effective it's saying it)
-lighting
-color

Those are the usual things i used to take into consideration when writing critiques and i still think they're a pretty complete set to use.

While i've never written a critique on a deviation, i've offered many in the past privately, as a moderator in a group i was in (which does not offer critiques anymore so sorry to dissapoint, the group is pretty much inactive now). 
So i've offered critiques only to deviants who specifically sent a note and requested one. I also looked at the other moderator's critiques and learned many things about critiques back then. So this info is not just coming out of my ass :lmao::lmao:
There will be artists who will get angry and offended even if you write the critique very nicely, as i've said, art is strongly connected to an artist's self worth. And you might just strike the wrong chord. It happens.
You can avoid that by writing your critique in a positive and constructive way. 

Also, only premium members can request critiques, however any member can offer a critique. If you're not a premium member then just write 'i am open for critiques on this piece' in the artists comments. If you wane critiques, don't wait for them to happen, ask for them. I cannot stress this enough, i have seen so many artists telling me they want more feedback and critiques and not a single drawing in their gallery had a word like 'please tell me what you think' or 'any feedback is welcome' or 'critiques are welcome' 

As i've also encouraged this, most critiquers on dA are kind enough not to critique people who do not request critiques. If you don't say you want them, you're silently saying you don't want them. 


Also, check out my journal on how to get more feedback on dA  How to get feedback on dAWe all joined this site, more or less for this reason, to get feedback on our art. The whole point of submitting art online is for people to see it and hear what they think about it. 
Now there are a lot of deviants out there who get little to no feedback and as a result ask the people who faved their art to comment or go to random people on dA and ask for them to look at their art or comment in the hopes that the person will be kind enough to return the favor. 
A message to the people who do that, you're doing it all wrong.
Sure, if you ask 20 people who faved your drawing what they thought about it, you might get 1 or 2 answers, but in return, you'll be ignored by say 10 people and you'll annoy 8 people. I get these comments and i'm telling you, begging for feedback is not the way to go, if someone didn't comment when they fave, what makes you think forcing their hand is the right way to go? 
A fav is a compliment, take it a it is. Not everyone has
 

Speaking of critiques, here's something funny to lighten to mood Critique O Matic Plus by Cannibal-Cartoonist

There's more to be said on the subject but this journal is getting already too long so i'll end it here. :p

A question for the artists
As an artist, what are your pet peeves when receiving critiques? (i might include your do's and don'ts in the journal)

:new: many deviantswho commented here want to critique drawings that don't have critique turned on because artists shouldn't post online if they don't want their work criticized. Here's my answer::new:


  • Mood: Optimism

Norman Rockwell, All American Deviant

Tue Oct 28, 2014, 7:51 PM
Norman Rockwell Tribute by Sarafinconcepts










Few artists have so definitively reflected the lives of average Americans as Norman Rockwell.






He began his lifetime dedication to being the “America’s Illustrator” as the 19-year-old art editor for Boys’ Life, the house publication of the Boy Scouts of America. A few years later he assumed his more famous position at The Saturday Evening Post, though he never broke his ties with the Boy Scouts.  His first great achievement painting everyday scenes of America in his signature hyper-realistic style was “The Four Freedoms,” a series inspired by a speech by the U.S. President, Franklin Roosevelt, in 1943 during World War II.  Two of the four paintings, “Freedom from Want,” depicting a family Thanksgiving dinner scene, and “Freedom of Speech,” with an average Joe voicing his opinion at a Town Hall meeting, have become all-American visual icons in the decades since their creation.










Freedom from Want
by Norman Rockwell







Freedom of Speech
by Norman Rockwell







Freedom from Fear
by Norman Rockwell







Freedom of Worship
by Norman Rockwell






Rockwell was a true American patriot, lending his talents when needed as a propagandist of war during World War II, but also painting pleas for peace and reconciliation when inner strife tore at the nation’s fabric in the 1950s and 1960s. He painted his version of the WWII female icon, Rosie the Riveter, for the Post, and not to be confused with the “We Can Do It” J. Howard Miller government commissioned poster gal. Rockwell’s “Rosie” cradled her riveting gun in her lap as she had her sandwich for lunch, the heel of her shoe resting on a copy of Hitler’s “Mein Kampf.”







When the threat from without was quashed and racial division boiled over as the threat from within, Rockwell, the visual “spokesman” for the majority of average Americans, painted “The Problem We All Live With” (1964). It depicts six-year-old African-American Ruby Bridges on her way to an all-white public school in New Orleans on November 14, 1960.  School desegregation brought threats of violence against the child’s admission, so she was escorted by four deputy U.S. marshals. The wall behind her is vandalized with the n-word and the letters "KKK".  A smashed tomato thrown at the little girl drips on the sidewalk.  Rockwell obviously felt it was his duty to tell hard truths when needed about his beloved America, and he did it as forthrightly and effectively as he did when evoking the joy of a family gathered for Thanksgiving.  He truly defined for all time “American artist.”










Your Thoughts


  1. What is your favorite Norman Rockwell painting?









Collection: Stars

Mon Oct 27, 2014, 5:12 PM
Midnight Rainbow by spatarozliev







Stars


Photographs and paintings of stars occupy that category of things you know are so, and yet it’s not quite possible to believe. One example is radio or television “signals” traveling in “waves” through the air, only to be reassembled for your listening or viewing pleasure in your living room radio or TV. Looking at clusters of stars lighting up the night sky like massive storm clouds, it’s impossible to think of those stars, those points of light, as separate massive burning suns, even though I know it’s so. Sometimes the most powerful magic requires no deception at all. The natural universe is more mystifying in its sheer numbers than any magician’s most mind–bending sleight of hand.









Billm by techgnotic











Sometimes a painter’s vision expresses and inspires what the zen philosopher’s words can only define and describe.





When remarkable lives defined by success and abundance are reviewed from their beginnings, it is remarkable that the narrowest of paths, sometimes a precarious balancing between life and death itself, led to the decision to fight on when failure seemed certain. So it was for our beloved friend Bill Murray, having once entertained the thought of ending it all before his career had a chance of getting started. Just imagine how much pure unadulterated joy the world would have been denied had Bill taken that one fatal misstep in his journey on a cold day at the water’s edge…


Nixon’s world imploded with his resignation as President of the United States in the summer of 1974 and a more hopeful America arose in its place. A part of this new world was a fresh anarchistic current of comedy that satirized all the stale conventions of the society that gave us Nixon, ‘Nam and “TV Dinners.” In ’75 a funny guy named John Belushi brought Bill Murray into the “National Lampoon Radio Hour” (a sort of post–grad project of “Harvard Lampoon” alumni). In ’77 Murray was drafted into the then–revolutionary Saturday Night Live during its second season to replace it’s first “star” departure, Chevy Chase. Hip America fell in love with Bill’s “unmade bed” everyman persona over the next three SNL seasons. Bill then transitioned well into the movies with Meatballs, Caddyshack and Stripes. In 1984 he agreed to step into a part vacated by the death of his friend, John Belushi, who was perhaps the single most significant champion and promoter of his early career. He took the part to help finance his remake of The Razor’s Edge, from the Maugham novel about a man’s search for spiritual meaning in a violent and randomly cruel world—issues obviously on Bill’s mind in the wake of John’s death. Ghostbusters went on to become one of the box office blockbusters of all time. Razor’s Edge is gone and all but forgotten.



Bill starred in audience favorite Goundhog Day, but most of his film work has tilted into more experimental and eccentric moviemaking, like Wes Anderson’s Royal Tenenbaums, Life Aquatic with Steve Zissou, Fantastic Mr. Fox and “Moonrise Kingdom.” In 2003 he starred in what he has claimed is his favorite role, as the American movie star Lost in Translation in Japan, having flown in to pick up a big check for doing a TV commercial. The Sofia Coppola–directed film afforded Bill the space to examine a life of fame, opportunities, generous remuneration for one’s talents—and yet still nagged by the core loneliness afflicting all humans. That we’ll never know what it is (perhaps some zen wisdom from Razor’s Edge) that he whispers to fellow traveler and lost soul Scarlett Johansson is the moment that elevates this movie into humanist masterpiece, the small detail that defines our lives on Earth. Pure movie nirvana.


Bill may be our slacker Buddha who continues to define in his every brilliant comedic choice the finer ironic points of modern living, but there was a time when darkness nearly swallowed his developing mind after a comedy club audience gave a thumbs–down to his stage debut. Bill was the disgraced newbie with the Second City crew in Chicago and in fit of depression decided to drive to Lake Michigan. Lucky for us, he had to pass the Chicago Art Institute on his way to the murky shore. Lucky for us, he decided to stop and take a moment before entering oblivion to put some beauty in his head. Lucky for us, that Jules Breton painted The Song of the Lark in 1884. The painting is of a stoically beautiful peasant woman at dawn, readying herself for another day’s hard labor in the fields. Her eyes are raised heavenward, as she apparently hears a lark, a small bird living hidden on the ground, but a singer of beautiful songs when having raised itself up into full flight. Lucky for us, that this painting was there to save Bill Murray’s life and renew his spirits, as he recently revealed, obviously resonating with the comic capable of transcendent humor but who had, nonetheless, crashed and burned on his first attempted public “flight.” Lucky for us that an appreciation for art was a large enough part of his life to inspire him to soar again.










Song of the Lark
by Jules Breton










Your Thoughts






  1. Have you ever had the experience of being lifted out of a seriously dangerous depression or sadness by losing yourself in a work of art? Was the artwork on deviantART and would you share by posting it here in the Comments section?

  2. Is there a particular artist whose works you look at to be uplifted or that invariably just make you feel happy?









Hi!

Ok, I wanna make a raffle for you :) the prize is free head drawing like this one Assan by niziolek Bust - Aria by niziolek so pretty cool, eh?

I will choose the winner using random number generator sh.st/y8vYk on 1st of November.


Rules:
1. You need to be my watcher.
2. You need to fave this journal (You'll get a number, which I will use to determine the winner, via sh.st/y8vYk
3. You need to link this giveaway in your journal
4. You need to comment here and insert the link to your journal containing info about this giveaway.

That's all :) (Smile)

The deadline for this giveaway is

1st of November


It's only one week away, so hurry up!


One more thing, I'm not so good at drawing animals, robots or ponies, but I can do humanization!

Who is Dr. Strange?

Mon Oct 27, 2014, 4:59 PM
Dr Stange colored by DM-P18










For several months the world has been asking the question ‘Who is Doctor Strange?’






The faces of Ethan Hawke, Johnny Depp, Jon Hamm, Joaquin Phoenix, Tom Hardy, Jared Leto have been click bait for a thousand sites waiting for news of the star of the next Marvel movie franchise. According to Mike Fleming over at Deadline it now looks like Marvel have finally landed their perfect Doctor Strange in Sherlock’s Benedict Cumberbatch.


But while everyone is chasing the casting news, who is asking the real question here of ‘Who is Doctor Strange?’







In the Marvel Comics Stephen Strange was a brilliant neurosurgeon with a bright future ahead of him and was the envy of his collegues for his achievements. Unfortunately his success consumed him. His desire for more and greater wealth blinded him to his sacred doctor’s oath of first and foremost caring for those in need.


All of that came crashing down in an instant one evening when Strange was in a car accident that ends his medical career. Damaged beyond repair his hands were no longer capable of surgery. Strange’s stubbornness leads him to exhaust his considerable wealth to find a cure, traveling the world and ending at the doors of a hidden temple in the Himalayas, home to a humble hermit known only as the Ancient One.


In reality the Ancient One was our worlds Sorcerer Supreme and Stephen’s last chance at finding a cure. The Ancient One refused to help Strange but allows him to stay at the temple until a snowstorm passes. Also at the temple was the Ancient One’s disciple, a nobleman from Transylvania named Baron Karl Mordo. That night, Strange selflessly foils Mordo’s plan to kill his mentor. With this noble act, the Ancient One sees Stephen’s potential and while casting out Mordo, takes in Strange as his new disciple. Mordo leaves to become Doctor Strange’s mortal enemy.


Eventually Stephen returns to New York and takes up residence in his Sanctum Sanctorum in Greenwich Village as Doctor Strange, Master of the Mystic Arts.






But where did Doctor Strange come from and Who created him?






Doctor Strange was created by Stephen ‘Steve’ Ditko in 1963. Steve Ditko had already co-created the Amazing Spider-Man but now he was set to create something himself rather than step into something that had been started by others (Spider-Man had previously had Jack Kirby working on it but Stan Lee was looking for something different). One day Steve turned up at the office with the first story already drawn. The dark character was clearly something different than the bright superheroes that Marvel was starting to make its name for but Stan decided to give it a try.








Stan Lee in February-1963—

Well, we have a new character in the works for Strange Tales, just a 5-page filler named Dr. Strange. Steve Ditko is gonna draw him. It has sort of a black magic theme. The first story is nothing great, but perhaps we can make something of him. Twas Steve’s idea; I figured we’d give it a chance, although again, we had to rush the first one too much.”







Stan Lee may have sounded a little negative about it as his contributions to the character was mostly dialogue and Steve went on to write most of the stories he worked on with Stan supplying the dialogue.


The method that Marvel used for writing in the 1960’s later became known as the “Marvel Method”. Stan Lee wanted to have as much control as possible but clearly story and plot weren’t his strong points. By having Jack Kirby and Steve Ditko write their own stories with only a brief call or note from Stan they were able to move a lot faster and produce the material quickly. Stan would dialogue the comics leaving him more time to spend handling marketing and distribution.


We are definitely looking forward to seeing Doctor Strange on the big screen in November 4, 2016, and Steve Ditko getting the recognition he so rightly deserves.















By the sands that time has shifted, By the Winds of weird Watoomb, Let the masking veil be lifted, Though it means a demon's doom!”


— Dr. Strange









Your Thoughts


  1. Do you believe in magic?









Collection: Haunted Houses

Fri Oct 24, 2014, 6:40 PM
The Haunted House by DAN-KA







Haunted Houses


Coming across a deserted house, whether hidden by the distance of a rolling countryside or by the shadows of adjoining city ghetto dwellings, is like stumbling across an unnoticed, unburied corpse. It is obviously dead now, but once it was full of lives. Coming across a haunted house is different. Deserted or still occupied, it is a place where lives, unsatisfied, have refused to move on into a full death. The houses reflect their tenants. They are living dead structures, refusing to return to dust.









[Winners anounced] Last Halloween Raffle #4

Journal Entry: Sat Oct 25, 2014, 4:09 PM


tatatararaaaaammm Llama Emoji-05 (Flower Sparkles) [V1] 
KimikoSakura Flower Bullet (Light Pink) - F2U! 
Raffle4-byAaeeru by Hyanna-Natsu
HaiKoneko Pink Flower 
Raffle4-byHyanna by Hyanna-Natsu
Congratulations guys <3 please have patience and wait the note! Adorable Girl Anime Emoji (Kawaii Eyes) [V6] 

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Hi hi! Bunny Emoji-12 (Yay) [V1] 
As some of you know, me and Aaeruu was hosting in the last weeks halloween raffles!
It's the last week now, so try not to miss it ;3

Previous raffles:
Halloween Themed Raffle!! (Winners Announced)
[Winners Announced!] Halloween Raffle! [2]
Halloween Themed Raffle #3 (Winners Announced!)

Info:


Theme: We will draw your OC in Halloween clothes of your choice if you win Bunny Emoji-68 (Bouncy) [V4] 
Deadline: Monday 27th [Countdown Here!]
Prizes: There are two prizes in all, with two winners! But you can win a bonus depending of your comment ;3

Prizes:


This time the both prizes will be a collab between me and Aaeruu! Halfbody <3
We don't have any sample to give to you~ will be a mix of:
3rd week : Naya by Hyanna-Natsu and Raffle prize for Mirrorist by Aaeruu
So just imagine, it will be so cute nice and woaahh why don't tryyy?? ♥ ♥

How to enter:


Yellow-Green Bullet - F2U! Be a watcher (mine or Aaeruu) - New watchers are welcome but please only watch if you like our art!
Yellow-Green Bullet - F2U! Must favorite the journal it will be your raffle number!
Yellow-Green Bullet - F2U! Comment with 1 oc reference that you'd like us to dress up with 3 personality traits
Yellow-Green Bullet - F2U! (optional) Make a poll or journal to spread the word!
Yellow-Green Bullet - F2U! (optional) Invite only one friend (he/she don't need be a watcher, only if want entry in the raffle ^^)

:star: revamp Bonus - if you number was picked and your comment has all requested and optional things:
From me - Hyanna-Natsu - you'll won a tiny chibi :3
BMPageDoll200px by Hyanna-Natsu


From Aaeruu you'll receive a sketch chibi!
Bonus prize #2 for Mirrorist by Aaeruu
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

That's all for now! I wish good luck to everyone, and enjoy the raffle and Halloween! Llama Emoji-03 (Sparkles) [V1] 

Skin by SimplySilent | Edited by Hyanna-Natsu

Evolution of Art

Wed Oct 29, 2014, 7:38 PM
Evil Robot Invaders by bergamind









Prometheus



The Gift of Madefire



2.0













Foreword by techgnotic


depthRADIUS is pleased and proud to present Liam Sharp as a guest writer and welcome his editorial prowess as our newest contributing writer. Liam is legendary as the sci–fi comic book artist, writer and publisher enfant terrible of Britain, his career having begun with 2000 AD magazine. He went on as artist, scripter and short story writer for publications such Heavy Metal and Vampirella. He started his own publishing company, Mam Tor, to self–publish Sharpenings: the Art of Liam Sharp. In 2011, Liam Sharp co–founded Madefire and is the company's CCO. Liam is also author of the novel God Killers. His contributions to our community will no doubt be as significant and inspiring as the work achieved thus far by this multi–faceted artist.











From Shadows on cave walls to digital light streams around the world.









by LiamSharp


Longer ago than memory, a piece of wood, and the fire that burned it, did more than cook and smoke food, gift a nighttime cave with light and warmth. When the flame was out, and only a burned stump remained, somebody took that and they marked a wall with it.


Scrawling in charcoal they created mythic art, and human beings then did what no other creatures roaming the plains, swimming in the seas or flying in the skies could do. They began telling themselves their very own story of their creation, being and destiny.


The most ancient poem we have is a Mesopotamian fantasy called The Epic of Gilgamesh, from 2500bc. Beyond that we get Homer’s Iliad and Odyssey—The Trojan War, Achilles, Hector, Odysseus and his ten–year journey home. The great quest, the fellowship, the un–surmountable obstacles, and (of course) the monsters!



But what ultimate purpose did the mythic legend serve?


What it did was record our struggle with nature, and help us understand the challenges of our environment. It empowered us, emboldened us before battle. It gave us strength in times of famine or hardship.


Most importantly, it ennobled us—giving us heroic ancestors, whose parents were gods—thereby linking us directly with our creators. As Isaac Asimov once observed: these were the parents we invented for ourselves, that would not grow old and die, but would instead remain perpetually bigger and better and stronger than we could ever be. And so this, in turn, also gifted us hope beyond life. It made death comprehendible and acceptable to us.












Mythic art is essential. It is aspirational and inspirational.


Culturally and socially the mythic constructs girding our spiritual lives give us a powerful sense of purpose and deeper reasons for our ultimate existence as unique life forms.


In literature, Swift’s Gulliver’s Travels repurposes the ancient magical quest format to create biting satire. Lewis Caroll’s Alice in Wonderland seems to be a drug–fuelled quivering meditation on denial and frustrated longing—but wearing mythic clothing.


In art, Goya, Brueghel and Bosch all used mythic imagery to supreme effect to make social and dangerously political statements. Later the surrealists would create works that trawled the imagination. Dali in particular created work that was anthropomorphic and mythic.


As we see, the imaginative bent of mankind, our ability to create fictions, does more than just swell our hearts—it gets us looking forward. It can comment on now—as allegory—or it can be prophetic.












This same power of conception led early scientists to speculate on the nature of the universe and future wonders:














I argue that it is our ability to imagine the fantastic, the impossible, the mythic that is the unique faculty that defines us as human beings.


Living in our current world of staggering social imbalances and soul–sickening cynicism, even as the dazzling gates of all digital wonders swing open before us — how can it be that the need for the next iteration, a powerful return, to mythic arts creation, is not the deafening hue and cry ringing out across our planet?








Thankfully, the next new medium to tell our tales with–a living, digital medium—is here.











Madefire invites you to ignite a new revolution in mythic storytelling arts!


The new tools for the creation of heroes & gods. Multiple digital tools have freed us again, and we’re crafting a new language using them. It’s a bold language, and it has no boundaries. It’s an appropriator of multiple mediums, from photography to paint, to pencil, to pixels. We’re carving digital clay in real–time. For now, at least, there are no rules–and that makes for exciting times!


As Prometheus once gifted man with the enlightenment of myth–making fire, Madefire and deviantART now facilitate storytellers with the Motion Book tool. Open to ALL creators in ANY medium, it has been built especially to make sequential stories within these new virtual caverns. This is a shout out to anybody, with the desire to create—pro and amateur alike! Publish your stories in the Motion Book section on deviantART, and sell them or make them free—it’s your call. Bring your words and your pictures. Bring your vision!


Layers reveal layers, the grammar of reading is broken down and reinvented anew. There is no top down, or left to right. Time becomes the margin, the gutter, the engine that drives the story forward—and you control that as the reader, or the story–builder.


Make a snapshot jpg of your written words, or type them in using the tool, and create an article, a short story, a novel. Upload jpgs of your comic pages and create a print–style comic. Upload your photos, your sketches—anything you like! And, should you choose, add your music, motion, depth—it’s your story. Make it whatever you want it to be!


And support your fellow creators by reading their books. Share them. Love them. Find your clan, who are writing these new mythologies, and let’s pass the Promethean torch.


We live in an age of wonder, and as mythic creators we must take back stories—reclaiming them.


We’re telling the world, the media, the doubter, the commentator and critic that we don’t need to be told what to like!


We don’t have to listen to the artelligentia who think they can distinguish a pseud–grail of authentic art from all other art. But all art is art—no matter how naïve—and it is all subjective, and it is all ours.


Become Empowered!


Tell us your stories! Light a million digital torches. Show us what you've got!








Collection: Masks

Tue Oct 28, 2014, 7:22 PM
TB by dasTOK







Masks


Halloween is a time for masks. Aliens, zombies, vampires and werewolves will soon walk the suburban streets in search of tasty treats. But then there is the next level of masks—the likenesses of movie stars, politicians and other celebrities with their most unflattering features exaggerated. Cheap shots, to be sure, but alibied as “satire.” We finally arrive at the “non–off–the–rack” mask–making of actual make–up artists. Here’s where the mask one chooses tells us things about the person we only thought we knew. You see, the scariest thing about masks is their very concept—of a friend or loved one, beneath the surface, not really being the person you know at all. That is a truly fearful thing.