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Do you believe that art can fundamentally change your sense of who you are?

Vote! (58,258 votes) 740 comments
46,109 Deviants Online

How to make easy peasy animations

Tue Jul 1, 2014, 10:14 PM

a tutorial on how I made this....

Disclaimer: I don't speak an inch of Japanese. Everything here is 
based off my experiences, what I've learned from others, and my own 
intuition/common sense

System requirements: I don't have an official translation, so this is 
based off Google translate. 
- Windows Vista and up (including 7 and 8)
- DirectX9 (it's fine if you have a newer version of DirectX.)
If you don't know what DirectX is, you probably don't have it. You 
- Japanese system locale
Beyond this, I don't know what the specific requirements are. I will 
update this if I find them, though. 


What is Emofuri?: It's a free 2.5D animating software that makes 
animating EXTREMELY easy for artists to bring their drawings to life. 
I don't know how long it's been around... You can purchase a full 
not-so-easy version for 150,000 Yen (roughly $1,500USD). The free 
version is, as they claim, easier to use. There's a free trial for 
the full version if you want to see for yourself. 
Essentially, you draw a character, and it moves it as if it were a 3D 
model. There are tons of presets and body sliders!

You can NOT used EmoFuri for commercial purposes. However, they allow you to use E-Mote(full version) and the E-Mote 90 day free trial for commercial purposes. (correct me if I'm wrong here xD;; Google translate isn't 100% reliable) So if you want to do animated commissions or a commercial VN, check that out. Not everybody can afford $1,500, so it's nice that they allow you to do this with the trial version as well. 
I've downloaded the trial version of E-Mote myself, and there is really no difference between it and EmoFuri. They're essentially the same program O_O;;; Nothing is different. Weird. 

Let's get started!

Firstly, set your system locale to Japanese, or else the program will 
just crash. Locate your computer's control panel (Windows only. I do 
not know if Emofuri works with Macs or not...) And click the "Clock, 
Language, and Region" button. Then "Region and Language". A menu will 
pop up. There are four tabs on the top, click the tab that says 
"Administrative". The 2nd box is the setting for system locale. Click 
the "Change system locale..." button, and choose Japanese from the 
list. Your computer will automatically restart.

Okay, now you're ready to download and install EmoFuri! Take yourself 
to THIS page
Click the first pink download button for a direct download, or the 
2nd for a torrent download. 

When it's downloaded, you should be prompted for an installation. 
It's all in Japanese, so follow my instructions carefully! 
First slide: click next button. It's easily distinguished by the big 
(N)> on it. 
Second slide: Accept the terms and conditions by clicking the first 
radial button (it has a big (A) at the end of it), then click next.
Third slide: Click next
Fourth slide: Choose where you want to install the program if the 
default position is not good enough for you. There is not a next 
button here, but click the one in the middle. It should begin to 

At this time, you can open it. But I'll get to that later. For now, 
let's go over how to go about preparing your drawing for Emofuri!
I recommend Photoshop for this, but if you want to use SAI or GIMP 
(or whatever drawing tool you use...) it's fine. I say Photoshop 
because it will make things a lot easier.
With your art program of choice open, navigate to the installation 
folder where you saved Emofuri. 

Note: The template file has layer folders/groups. I've been warned that Photoshop Elements does not support this. 

m2tools CheeseWare > EmoteMovieMaker > template > E-mote3.0テンプレート > 

Now... You should have something that looks like this: 

This right here, is the template that you will use to create your 
character. There are two other templates that I know of, including 
two other samples (non templates)

What you'll want to do first is make a layer ABOVE all the other 
layers and bucket fill with white. 

You'll want to make another layer above the one you just made. Make 
your sketch so that it fits the template. From the top of the head to 
the waist. I'm not encouraging that you trace, but use it as a loose 

Once you finish your sketch, enable view on the SECOND folder(if it's 
not showing already). (Ignore the first folder for now) 
Disable view on every object in the folder one by one except the 
first layer in the folder.


Erase what's on the layer and draw according to the layer name. 
Eyelashes on the eyelash layer. If you need to use multiple layers, 
copy the layer name in case when you merge the layers it doesn't have 
the same name. 

After you're done with that folder, collapse it and disable view, 
then move onto the next folder. 

If your character has long fringes or just long strands of hair that 
goes in front of the body, put them in the "hair(front)" layer. 

If you hid the face folder, but noticed that the template character 
also has a nose on the body layer... Well... Don't do the same thing 
they did. Seriously. Don't. 

The reason there's a chest layer is because EmoFuri has boob physics. 
Whatever you put on the chest layer will jiggle. If you don't want 
jiggly boobs, just erase what's on the chest layer and leave it 
blank. (Though accessories would probably look cool, like scarves or 

Another important thing, say that your character's hair normally 
covers their ears. Draw the ears on the head layer anyways. The hair 
will move during the animation. 

Draw the body parts as shown in the template. Notice how they drew 
the whole head? Yeah. Do that. Even the ears if the hair normally 
hides them. 

Even if the back of the hair is hidden by the head, draw it like in 
the template because the hair will move, and you will see gaps during 
the animation. 

After you've finished the art part, close the folders and enable view 
on everything. 

Remember that first folder that I told you to ignore? Well you can 
stop ignoring it now. 

There are 6 red boxes. Move them in accordance to the eyebrows, eyes, 
nose, and mouth. If the boxes are too small, you can resize them. (I 
don't recommend making the boxes smaller to fit smaller eyes better, 
I've yet to test this.)

The blue pivot point needs to be moved to the mouth. The red to the 
neck, and the green to the waist. Make sure the lines are centered.

Save it somewhere (keep is as .psd) where you can find it. 

The hard part is done! Yay! Now close out of your art program and 
open up EmoFuri!

Here, I even attempted to click every box to see what it 
does translate for you!

Note about the "toggle background" option, when it's unchecked, the 
background will be a dark red. I don't know how to make it another 
color, or if it's even possible. 

If possible, open up the manuals and translate the pages with Google 
translate. You'll probably learn waaaaaay more from that. 

Now, click open! It should automatically take you to the template 

Open the one that I have circled. 
Your screen should look like this now:

There are a whole bunch of pretty tabs on the left. For now I'm only 
going to focus on the 2nd (red) tab. The fourth line down, there's a 
thing that you can open. Open it aaand... Look! New menu~

Okay, you want to see your character in action now, don't you?
Alright, alright. File > import .psd
Locate your .psd that you made earlier and open it. You'll get this 
big box with confusing buttons on it. Just ignore the contents of the 
Click the box that I circled. 

If you did everything right, you should get something like this: 

Click play and cry as you see your OC move~

As for exporting...
You are given the option to export as WMV, PNG, and GIF. I recomment 
you NOT export as GIF. Lots of people, including the people that 
could actually read Japanese, reported having issues with this (like 
crashing. Lots of crashing.) PNG results in saving every individual 
frame of the animation into your pictures folder.You should export as 

If you want to learn to turn WMV into GIF files... I will not explain 
There are tons of tutorials and videos that will help you with that. 

oh gosh this took so long to write x-x;;; I hope I was able to 
explain well enough! I don't know everything about this program so if 
you have a question, I might be able to answer it. This is news to 
English speaking people as of the past couple days. Hopefully a 
better tutorial will come out in time c: Thank you for reading!! 


Q: Some parts of the body/hair are cut off when I import them!

A: Ah, this has to do with the boundary boxes that are in the last layer group. You will have to expand them.
The first one (red) will needs to be over the whole body. the second one (purple) needs to cover the body (from the neck down), then the green one needs to cover the top of the head to the end of the hair. Hopefully that helps c:

Q: All I see are "????" !

A: Are you sure you changed your sysem locale? Double check here:…

Q: Is the free version only capable of portrait style animations?

A: No. You can make your own full bodies or chibis, it's just that you'll have to do some complicated settings. I will write an in-depth guide soon!

Art/CSS by c-chu

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Anime and Manga Week


Sky Tutorial by Vakhara Tutorial - Rocks by Katikut tree tutorial part 1 by calisto-lynn tree tutorial part 2 by calisto-lynn tree tutorial part 3 by calisto-lynn Tree Tutorial by GrimDreamArt Extremely Easy Tree Tutorial by GrimDreamArt Tree drawing tutorial by Morpho-Deidamia Background tutorial - Part 2 by kalambo night sky tutorial . by megatruh Cloud Tutorial Part 1 by yuumei Cloud Tutorial Part 2 by yuumei Grass tutorial by Sadir89 Grass brush settings -  tutorial by ryky water tutorial by kuro-mai water splash tutorial by Caucasian-eagle Easy Water tutorial by ryky Water on the Beach - Tutorial by Okami-Rain Waves Tutorial by B1nd1 Background Tutorial 2 by Tervola 3D background Tutorial by yuumei Background Tutorial Section 2 by Mireielle Cloud Tutorial by Dea-89

For Anime and Manga backgrounds you can use the regular Digital Art and Traditional Art tutorials based on backgrounds. :)


Hand Tutorial -Tips+Reference- by Qinni Foot tutorial by shingworks +TUTORIAL-Feet drawing guide+ by goku-no-baka + Tutorial - Hands + by goku-no-baka Feet Reference by Ninjatic Hands Reference I by Ninjatic Hands Reference II by Ninjatic Head Perspective Chart by yuumei Learn Manga: How to draw the female head front by Naschi Learn Manga: How to draw the female head side by Naschi Learn Manga: Emotions by Naschi Learn Manga: Female Hair Styles by Naschi Learn Manga: body proportions by Naschi Learn Manga: Drawing the Ears by Naschi Learn Manga: How to draw the male head front by Naschi Learn Manga: Bishounen Boys - Draw the head by Naschi Learn Manga Basics: The Male Puppet by Naschi Learn Manga: Create your World - CC Proportions by Naschi


Eyes-ColorLearn Manga Basics: Eyes-Color by Naschi Hair Tutorial by rosuuri Anime Style coloring Tutorial by baka-ouji Head shot tutorial by LanWu Watercolor Tutorial by Loonaki Copic and C.P. Tutorial by Loonaki COMIC+MANGA Bitmap Halftoning by fox-orian Progress Shot of Commission-Lovette by rosuuri Watercolor Tutorial [Techniques + Flowers] by Ze-RoFruits How To Color Lips -Tutorial- by Lavah Fishys Step By Step by Maruuki Anime Eye tutorial by Trinity-In-Rainbows Chu's Lineart-less Coloring Tutorial by chuwenjie How to draw Manga Art by Xunq Hair Colouring Tutorial by Pockicchi TUTORIAL: Copic Markers by ember-snow +Coloring Tutorial - WIP+ by goku-no-baka SAI_IllustudioColoringTutorial by IZAYAAA Copic markers tutorial by mary-dreams Copic Tutorial: Making of Sea Serpent by Dea-89 Copic Tutorial by DarkSena TUTORIAL: Watercolor Paints by ember-snow Tutorial for soft cell shading by getty Tutorial for how to paint eyes by getty How to paint anime-styled hair by getty

Milk for The Ugly

Tue Jul 22, 2014, 8:07 PM

of Beauty

Imagine that you are a young social worker, dedicated to finding out the hidden and forgotten old souls who haunt the cold, mean streets of the city. You seek to report on their living conditions, possibly recommending they be removed from their roach-infested “homes.”

So it is that you have come to find yourself sitting at the kitchen table of a cadaverous old shut-in you’ve been assigned to visit. The kitchen is spotlessly pristine while the adjoining darkened living room reeks of rotting garbage.

The sun is setting. You rise to leave. You step over a cardboard barrier separating kitchen from living room, seeking the front door. But it is too late. They have risen. The old woman’s many “children” are awake... and they are hungry.

Let us pause here... this preview of the new Madefire Motion Book experience, Milk for The Ugly, to tell you about the two longtime deviant artists who have created this remarkable achievement in storytelling.

In any case, no prose preview could begin to do justice to the Madefire experience of shifting illustrations in a fully soundtracked narrative. Milk for The Ugly truly has to be experienced to be really appreciated.

Anna & Kate

Rarely do artists of the deviantART community exemplify the skill, creativity, spirit and sheer arts career tenacity of Anna & Kate, the deviants we profile here, who have become, singularly and when working as a team, favorites and real role models within our community.

Anna Podedworna (akreon) & Kate Redesiuk (vesner) were born and raised in similar households in Poland by similarly “overachieving” parents who wanted only the best lives for their daughters, both girls being told, “You can choose whatever you want to be in the future, as long as it is a doctor, a lawyer or an architect.” Anna, being torn between natural science and the fine arts, chose a compromise in pursuing architecture. Kate was “persuaded” to choose architecture by her parents, who just happened to work in construction. Anna & Kate met over doodlings of mutant zombie bunnies at the university. Drawn together by their similarly off-kilter tastes in illustration, they eventually became roommates hooked on digital art, working on projects together.

During their time at the university they learned from one another and their roles started to slowly reverse. Ann grew to like the technical part of architecture, and Kate got more and more into art.

Anna works as a freelance artists while finishing her masters degree. As a freelancer she has worked on illustrations, comics and recently gotten into the world of fashion by working for Ewa Minge and creating a few designs series for her new brand Eva Minge Milano. Once she gets her master degree she wants to get back into architecture and continue pursuing her career as an architect.

Kate dropped out from the university just before becoming an engineer, after realizing she was living someone else’s dream. She decided to become a professional artist. At first she worked as a freelance illustrator for advertising companies but has now made her way into the game development industry and works full-time as a concept artist at CD Projekt RED.

Anna & Kate are known by their deviant followers to sometimes to embody and inhabit their peculiar alter egos, “Pugbun,” a bunny-eared pug dog and “Tailcat,” a cat with a second head on the end of her tail.

Battles over unwashed dishes and strewn crayons have led to war between the two characters. Pugbun of Pugbunistan usually upholds the Anna banner, with TailCat of Tailcatica being a spokescat for Kate’s positions.


But it is Off-White, the ongoing adventure tale of a wolf clan on a mythic journey that has become a phenomenon for Anna & Kate as their premier collaboration. This project began as an experiment, a 5-page one-shot, but generated such a warm reception from the community that more pages were created and soon the tale snowballed into it’s current six chapters. The success of the story has spun off its own group on deviantART and a product line of Off-White artwork and collectibles. What Anna & Kate have achieved here is truly an ongoing fulfillment of the deviantART community spirit put into action.

Not satisfied to rest on their laurels, Anna & Kate have now raised the bar of comic storytelling by utilizing the cutting edge comics sound and motion technology of Madefire, in which illustrated panels come alive at the tap of your device’s monitor screen.

This time out, as befits the subtle movements of light and shadow enabled by Madefire, Milk for The Ugly is more twisted to the playfully macabre tastes of creators, presenting what can be enjoyed as if it were a lost episode of The Twilight Zone. But upon deeper reflection, their little story would appear to be commenting upon modern times at several different levels. In this inside-out classic children’s cautionary tale, the terror in the “woods” has been transplanted to the environs of an urban apartment building.  The old crone’s face has been drawn to hint she might be Death him/her/its self, regenerating discarded half-eaten edibles into human-eating little monsters—making for a horrifying “cycle” of environmentally rational endless re-use.

Or possibly the darling little girl’s rejection of the street hag at the tale’s beginning is simply meant to raise the question of who are the true “uglies” of society? It’s the sort of “instant classic” must-have story that will be returned to again and again by readers. Best of all, the creativity and stylistic artistry (especially in their characters’ facial expressions) achieved in Anna & Kate’s book makes Milk for The Ugly is one of the most beautiful Motion Books you’ll ever experience. It will no doubt be regarded as one of the seminal issues of the "new comics."

Interviews with Anna & Kate

1.As master storytellers and world builders with a wonderful and attentive fan base on deviantART; What excites you most about how Milk for The Ugly looks and feels in terms of storytelling for an audience?

Art style in comics is a great tool of conveying mood and atmosphere of the story. We were very excited to try out a different style that isn't really signature for any of us. It's creepy and grungy, but also cartoony and expressive. It's a nice contrasts that hopefully makes the story feel even darker and more eerie.

2.Can you share what you feel are the most important aspects of telling ongoing episodic stories? Specifically as it relates to cultivating a fan base?

Since internet communities became a thing there have been tons of works written about cultivating fanbases. It takes a lot of time and effort but the theory is rather simple and can be narrowed down to a few most important points.

To be successful be sure to update your story regularly, so fans have something to look forward to every one or two weeks. Stubbornness is the key here, especially with webcomics—it's hard to have a fan base with just one or two pages. The more and the better story you deliver, the more people are going to get hooked up.

Be respectful to your readers and interact with them as often as possible. Answer questions, have fun in the comments, share your thoughts, organize small contests or giveaways.

Try keeping a relatively consistent style of art and writing. It doesn't mean that all parts of the story have to have the same mood and/or art style but it's best to pick 1-3 genres and stick to them.

Or just be like us—scrap the theory, do none of the above, and hope for the best.

3.What are the essential elements of building a complex escalating story world? Order of importance of these elements?

Have a top-down approach. When imagining your world, set a few basic rules for it and start from there.

These rules can be anything from "all animals can speak with humans", through "rain raises instead of falling down" to "ghosts are real and everyone knows that."

Build your story around it and keep questioning everything.”

Make sure your story makes sense within your universe. Think what would happen if your rules were the same but the story different. Always come up with more than you want to tell. The world you build is as important as your story, and can greatly enhance it. The rules we set in our stories are usually bits taken from different mythologies from around the world. We don't like to hold to them too tightly though and usually try to twist and turn them in a way that makes the stories fresh and interesting.

4.How does your process work as far as art creation and the actual writing of the story and dialogue?

Story, art, dialogues. We love telling each other stories while drinking tea. We tell each other's ideas and come up with new ones on the fly. Having someone who listens to your stories is very important. There are always plot holes and mistakes that need to be patched up or reworked, so critique is always important. If you don't have a partner to work with in a team, tell stories to your friends, family or people on the internet. After the story is ready, we sit down and come up with art sequences that could illustrate it. Rough thumbnails showing what's most important to show in a given panel are enough to plan everything out.

At this point we still don't have any specific dialogues, but rather a few important words that need to be spoken or emotions that need to be conveyed.

Only after the art for the comic is done, we once again sit down and try to figure out what would each character say in a given situation.”

Would they have the time for a few sentences or would they be too shocked to say anything at all? Would they use complicated words or simple ones? In some cases dialogues aren't even needed and the story tells itself by images alone.

Milk For The Ugly Character Creation In SketchBook Pro

Kate Redesiuk shows us how to create a character for Milk for The Ugly using SketchBook Pro.

5.Do you see Motion Books online as the inevitable next level of our increasingly mobile society?

It depends. Motion Books are a relatively new medium that still needs to be fully explored. On one hand they add a new value to the traditional comics, but on the other they require much more work. They have the potential for interactive storytelling, but could also go completely opposite direction and get closer to animation. It's all up to creators, and the more motion comics we get, the greater the chance for them to grow into something unique and irreplaceable.

6.As visual artists telling a story, what is the most valuable storytelling innovation enabled by the Madefire process?

Subtle movement! A gentle nod of the head, a flinch of the body, a twitch of an eye. In traditional comics it's incredibly hard to illustrate something that ephemeral without big close-ups or repetition. The motion tool makes it very easy and intuitive.

7.Fans are most familiar with your work as a team on your wolf clan adventure epic, Off-White. But does the darkly humored Milk for The Ugly better reflect your comic sensibilities?

We're very happy that we had the chance to work on something so different to our ongoing comic, but we honestly feel quite free in all sorts of different styles and stories. Off-White is a collaboration that is quite different from both our individual works and personal comic tastes. Milk for the Ugly brought together our joined love for dark and twisted stories, but on the other hand required a more work in finding a middle ground in terms of our art styles. Who knows what the next Madefire Motion Book collaboration between us will result in!

8.Will Off-White continue for as long as fans ask for it, or until you decide your own logical end for it?

Off-White is planned from start all way to its definite end. Our fans will know for sure which page is the very last one in the series.

9.How are Pugbun & Tailcat getting along? Or is that stalemate situation best left uncommented on?

Anna Kate'sArtists You Better Be Watching

Pascal Campion


“Pascal's works may seem simple at first glance but that seeming simplicity is what makes me love his art so much. Thanks to his minimalistic approach the amazing array of emotions he puts into each painting shines trough even more brilliantly. Every of his paintings tells more story than many movies or books can only dream of.”


Yoann Lossel


“All of Yoann's works are heavy in atmosphere. His unique technique of mixing graphite and gold is simply an epitome of class.”


Stephanie Pui-Mun Law


“My favorite contemporary watercolorists hands down. Her paintings are rich in detail, colors and texture. I especially love when she approaches mythological themes in her artwork. She has this wonderful gift to make the stories she illustrates seem satisfactorily familiar and at the same time amazingly fresh.”




“I'm always impressed with how Levente Peterffy can archive realism with the simplest of brush strokes. In every one of his painting you can find a very creative texturing, strong composition and moody lighting.”


Noah Bradley


“Noah Bradley is not only an incredible artist but also an amazing teacher. The advice he shares on his blog helped me grow as an artist and allowed me to become a successful freelancer.”


Hannah Christenson


“Hannah Christenson is by far one of my favorite illustrators. Thanks to the finesse of lines and incredibly tasteful details, her art is always full of life and emotion”


Serge Birault


“My daily dose of beautiful women and tentacles. Serge's art never ceases to amaze me with how clean and fresh it looks without losing its realism. I'm in love with his unique stylization and lighthearted approach to all of his works.”


Michal Ivan


“Michal is a master of color and composition. He tames and controls chaos, creating incredibly detailed and yet perfectly clear compositions that flawlessly lead the viewer's eyes.”


A revolution in digital comics

When future anniversary celebrations mark the release of Madefire Motion Book Tool, much will be made of “under-the-radar” revolution this event precipitated in the creation, production and delivery cycle of content distribution.

With the Madefire Motion Book Tool on deviantART the artist controls the full creative, production and distribution chain, making it possible to self-publish digital comics for free or for pay, in motion or static, with or without effects, episodic or periodic. But it is really any “book” form that has become liberated—the Full Spectrum Narrative comes to life. And fans are empowered as well to directly engage in the the equivalent format with their favorite stories.

A new dawn is breaking in the online digital and mobile comics world—and Madefire is leading the creative caravan into the new day.

Questions For The Reader

  1. Have you had to make hard decisions between pleasing those who care about you in your family and following instead your own path to achievement no matter how difficult your chances might be?
  2. Who would you choose to have your alter ego or avatar befriend choosing between Anna & Kate’s Pugbun & Tailcat?
  3. Do you have an alter ego who can talk on your behalf. If you do, please place a picture in the comments?
  4. Motion Books open up a new medium between storyboards and animation. What would be the perfect fit for this medium?

PointMan PNG2 by mictoon

50 Points Giveaway Everyday for a Week

I was giving away 50 points Points everyday day for 7 days.

Wow! the contest was such a big success!!
Thanks everyone for participating!

For Sunday, I've randomly chose 5 winners instead of two!


Winners for Sunday "Last day"
 :iconlosgeloest: :iconphsycokitten: :icontamarashi: :iconmuropearl: :iconalecampus:

All the Winners!
:iconninja27boss::iconmint-princess::iconmiaokep: :iconodie1049::iconreddeadfalloutfan::iconsaetre::iconvoliadionysia:

Again, thanks everyone for participating.

Keep on watching, a other giveaway is coming soon!! :dummy:

I think every artist out here has experienced it at least one time in their career: the so called artblock. A moment of total lack of inspiration that suddenly hits you, and leaves you unable to create. Most often the solution is to just wait. Most artblocks will solve automatically with time. But there are circumstances in which an artblock doesn't automatically disappear, or when you have deadlines to catch. In that case, you might be helped by some basic tips to conquer your artblock.

Over the years, I've experienced an artblock (or writersblock, as they call it for fiction writers) many, many times. Most of them were short, but the longest lasted over 2 years. Most of them solved on their own. But sometimes I just needed that little bit of extra help. Therefore, I made a list with a few tips and tricks to make your artblock go away. Hopefully it'll help you as well as it did me.

:bulletred: Beat your fear

Most artblocks come from fear. The fear of not being able to make such a great work. The fear of not being able to make something good before the deadline. The fear of disappointing your audience, or the fear not being able to live up to expectations. While the outside world might have expectations, the greatest limitation comes from the fear within. Fear is a paralyzing emotion that is known to kill creativity instantly and make people stick to routine. This is a natural reaction, designed to keep us save in the time that we still had to run for huge angry bears and such. It's totally useless when it comes to art, though.
As art is often the result of a moment of inspiration, many artists hold this fear of not being able to do this "trick" again or running out of ideas. It might help you to know that you're not the only one suffering from this. Not by far. Realize this. Furthermore realize that you're often your own worst critic. People, especially customers, came to you because they liked your stuff in general, and they couldn't do something like that their selves. Even though you might not be entirely content with the result, they probably will be. As customers often aren't artists themselves, they tend to hold lower standards towards art in general. 

:bulletred: Do something new

I know it can be frustrating to be stuck with a certain artwork, but don't beat yourself up over it. If you're stuck with something, make it a habit to do something else. The change of mind will make you be able to look at all of your artwork with a new and fresh perspective later on. And sometimes an artwork just simply doesn't work. 
If you're stuck on your type of art in general, don't be afraid to try something else entirely. It sometimes helps to change your drawing subjects... or try using an entirely new medium. It's enjoying to learn something new, and new mediums might make you view new aspects of art you didn't know yet, so it's not a waste of time.

:bulletred: Listen to music

No matter what music you like, music is a strong way to provoke feelings. Research shows that, in movies, music is of even greater influence than the images we see. So get your sound plugged in, and push that play button! Put up a song you played when feeling inspired. Or a song that reflects the content of what you want to draw or write. It will certainly help you to get in the mood. You haven't got any music that makes you feel inspired? Then go surf around for new music. Use the recommended videos on youtube. Or one of the many sites like that will suggest you new music based on your playlist and preferences.

:bulletred: Browse for inspiration

Can't find the idea you want to portray? Try using google for images that reflect either the object or the mood that you want to portray. Image sites like DeviantArt, tumblr and pinterest have very inspiring images for almost everything and anything you want to make. Don't be afraid to get inspired by other people's work. As long as you don't directly copy their work and claim it as your own, you're totally fine. Just keep in mind that it's nice that, if you use other people's work, it's polite to credit them.

:bulletred: Unplug

Despite how the internet can be inspiring... it can be overwhelming at the same time. There's always an artist that is better than you, or an image that you could never do that well. And even though you might realizing the internet makes the competition worldwide, it can still be very discouraging at times. And then we're not even talking about the distraction the internet provides. E-mail, Facebook, Sites you have to check out, Skype contacts that talk to you. Same goes for your phone. Whatsapp messages piling up.
Sometimes it's good to take a break from the constant buzz that the internet provides. Get away from your computer, turn out your phone, and spend some time off. Taking a long walk or bike ride might help you to connect to your inner self again and get your creative juices flowing again.

:bulletred: Live healthy

Because a healthy body is of great help for a healthy mind. I'm not talking about running a marathon, but doing an occasional walk or bike ride might help you to feel healthy overall. Make sure you take care of your body well. Not only will this result in you having less worries about being sick, but it will also keep you safer from stress. Make sure you get that 8 hours sleep a day. Wake up and go to sleep at reasonable times, even though you might have deadlines. Sleeping will improve your working speed more than pulling an all nighter. 
If you're feeling depressed or otherwise mentally unhealthy, don't be afraid to consult a doctor about it if you can't solve it on your own. No matter what people say, a depression is a serious illness that should not be taken too lightly. 

:bulletred: Accept everybody has bad days

You can't be a star player all the time. Even the most skilled people have bad days. Don't beat yourself up over this, as it will only leave you depressed. Instead, go do something else and try again tomorrow. Most artblocks are only temporary and will solve their selves with time. 

:bulletred: Fuel your creativity

Fuel your creativity with brainstorming and playing "what if" games.
Think up a concept and brain storm about it. Put it down on paper. Write everything that you relate to this concept, even though it might not be used for your artwork. Think about alternate history. Things like "What if dinosaurs would have never gone extinct?", "What if World War 2 never happened?", "What if I place character-X in the streets of New York during rush hour?". Exercises like that will force you to think about things that would never have happened, and therefore force you to think creative. When you got your creativity flowing, try to move the game into the direction in which you want your artwork to be. Here you go! 

:bulletred: Talk with other artists

Talking with another artist might help you to reflect on your own work as well. There's nothing more inspiring than talking with other artists about their technique and their vision on certain subjects. Or exchanging story lines for your fiction. If you don't have any artistic friends or family, the internet has a solution. There are many networks for artists on the internet. Contact users that you like and talk with them. Or if that doesn't work out, take an art class in your neighborhood. You're guaranteed to meet artists there, and you'll learn something too.

:bulletred: A little science to help you

Doing art might seem like it takes you only one skill to get there, while in reality you need two.
1. The skill to observe. (visual skill)
2. The skill to make art (physical skill)
While in the perfect situation the level of these 2 skills will match, in reality they often don't. Hence leading to either thinking your art is perfect and not improving because your visual skill doesn't match up to your drawing skill. Or thinking your art totally sucks because your physical skills don't match up to the process of evaluating art in your mind (the latter one often comes with lack of physical practice). Needless to say, the last situation will often lead towards an art block. But knowing how this actually works, might make things better. Because while you might think your artistic skills totally suck, you're actually really skilled at seeing art, and you're probably on the brink of a great improvement -- if you just find the will to push it.

This chart --taken from the internet-- shows it visually
Lmz92LH by DamaiMikaz

Well, I hope this somewhat helped.
If you have any useful tips to share, do so. I'm more than happy to know more ways to beat that dreadful artblock :)
Motion BooksCreate & Sell Motion Books on deviantART
Motion Books: Beyond The Static Page

Motion Books push the boundaries of storytelling to the extreme, turning the act and art of reading into something that extends well beyond the printed page. Madefire's powerful and adaptable Motion Book Tool is now in your hands, allowing you to create expressive stories where audio and visual artistry collide.

Enter a creative world of art, animation, and sound, and watch stories and universes come to life in dynamic ways unlike ever before.
Imagination Without Limitation

The Motion Book is an adventurous, energy-packed medium that empowers creators to reach for worlds unseen. When you submit your Motion Books to deviantART and share them with the world, they'll be showcased alongside some of the comic industry's greatest creators and publishers, right alongside characters like Batman, Optimus Prime, Rainbow Dash, and Hellboy!

Envision your greatest adventures and make them unfold exactly how you've always imagined.
Creator-Centric: Start Simple or Go Elaborate

Professional-grade, yet flexible, the Madefire Motion Book Tool can be used to create the familiar page-by-page reading experience you know and love, while also being versatile and powerful enough to create the high-impact Motion Book environment being embraced by major companies such as DC, IDW, and Dark Horse Comics.

CAP STONEProfessoinalStories unfold on-screen through words,pictures, motion, and sound.
EstariProfessoinalStories unfold page-by-page througha simple, elegant print-style book format.
Creator-Centric: Start Simple or Go Elaborate

With the Motion Book Tool and its built-in distribution and reader-tool functions, you are the publisher of your own work. Sell your Motion Books on deviantART and expand your horizons, generating profit for your hard work while building your audience, bringing more readers into your creative space with no up-front costs.

You choose the distribution of your Motion Books:

For free:

in which case there is absolutely no charge for the use of the Tool or for the distribution of the Motion Book through deviantART or Madefire's mobile platforms.

For sale:

in which you elect to sell your Motion Books on deviantART and on Madefire's mobile platforms. You can set your own price and receive 60% of every sale. You can use the Motion Book Tool as much as you want with free access, but if and when you decide to start making money with your Motion Books, a reasonable fee goes back to the Tool maker and distributors. You only bear a cost when you make a profit.

Imagination Without Limitation
Creator-Centric: Start Simple or Go Elaborate

DeviantART's new Bookshelf feature is a place to keep your Motion Books and everything else, holding all digital content purchases you've made on deviantART and making it simple to rediscover your content. Access your Bookshelf from the Shop menu and view your favorite digital content. Stay tuned for more!

Bookshelf Example
Imagination Without Limitation
How to: Motion Book ToolCreate: a Motion BookBrowse: Motion Books

Show off your Bookshelf! Share Motion Books and other items from your Bookshelf in comments, and help bring an audience to the artists you appreciate.

Best of: Zelda Majora's Mask Fan Art

Tue Jun 24, 2014, 11:50 AM

Majora's Moon by VincentBisschop
The best of the best: Fan art of Zelda's Majora's Mask.

Majora's Mask - Wooden Replica by supermaRiio
Majora's mask quicky by VincentBisschop
Majora's Moon by VincentBisschop
Majora's Mask: The Transformation by EternaLegendFor Sedda - Zelda and Dark Souls EP Cover by mintyfreshmangos

Majora Must Die by Ry-Spirit     Link vs. Twinmold by Txikimorin

Majora's Mask by KurkoBoltsi     Moonfall by Archaois

Majora's by Gahiko
Majora's Mask (Fan Poster) by Image-Six
Skull Kid - Majoras Mask by kit-a-ga-wa
MM: Fierce Deity VS Majora by KurkoBoltsi
Majora's Mask - Wooden Replica by supermaRiioMajora's Mask - Wooden Replica by supermaRiio
Majora's Mask by Syilas
Majora's Mask by Arabesque91
The Skull Kid by JohnnyCago
Majora's Mask: The Clockworks by EternaLegend
Majoras Mask: The Moon by MaxGrecke
Full Moon by Sabretoontigers
Majora's Beast by JohnnyCagoMajora by JohnnyCagoThe clocktown puppeteer by JohnnyCago
Majora's Mask by CindyAA
Atop the Tower by fluxmageSkull Kid, Majora's Mask by SpoonfishLee
Skull Kid by Golden-WhaleA Simple Gift by Turtle-ArtsSkull Kid Majora's Mask by KlausBoss
Majora by Dareedse
Majora's Mask Cake by cakecrumbsMajora's Mask ver_1 | DISCONTINUED by MajorasMasks
Majora's mask by Keidranx
The Darkness of Majora's Mask by studiomukuMajora's Mask Pillow by tavingtonMajora's Mask by ChibChibMajora's Mask by Know-KnameMajora's Mask by EhAlex

Majora's Mask by Moshata     Clocktown by The-Bells-of-Luin

The Undead King, Igos du Ikana by Golden-Whale
Majora by RevenantRising

Zelda - Versus Odolwa by HylianDragonCatty       moonfall by NPC-Dion

Majora's mask, Astral Tears by Siga4BDN       Operation Moonfall by EternaLegend

Operation Moonfall by Someth
Majora's Mask: Terrible Fate by EternaLegend

Don't tell me... by painted-bees      You've met with a terrible fate, haven't you? by Keikilani

Happy mask salesman by NatSmall
MM Anniv. 2 - Happy Salesman by Kishmet
Happy Mask Salesman by fluxmage
Majora's Mask -- Happy Mask Salesman by onisuu
LoZ MM - stone tower climb by Yamoshi

Skull Kid by TsaoShin      Skull Kid and Majora's Mask by vanduobones

Skull Kid (Exchange) by Art-Zealot  The Mask [Skull Kid] by LovelyMilk

Majora's Mask by finni

Skullkid: Majoras Mask by lazyperson202       Majora's Mask by Cavea

Majora Mask Shoes by Kiffakitty
Majora by NitendoFan92
MM Anniv. 13 - Clocktown Post by KishmetMajora's Mask: Clocktown by EternaLegendMajora's Mask by lychi
WIP - Tribute to Majora by JoeHoganArt       Majora's Mask by LigerNekoka

Skin by Dan Leveille
As a statement of empowerment and artist prestige, we're pleased to reveal deviantART's official poster for Artists’ Alley at San Diego Comic-Con – designed by the exquisitely talented Artgerm!

DeviantART couldn't be more excited to sponsor Artists' Alley for the fourth year in a row.  Our aim has always been to keep focus on those who not only make the entire convention possible, but provide us with a world of entertainment across all media: the artists.

Go forth and march with your creative brethren!

DeviantART San Diego Comic Con 2014 Poster by Artgerm

Get the poster!

Spread the word!

Arm yourself with the above image.  Plaster the poster on the walls of your bedroom or school, share the image across social media, design mash-ups and remixes to be submitted back online, or make print-outs and start your own local art revolution.  (The image is available for any use, as long as it's non-commercial and in the spirit of deviantART.)

What is art?

In keeping with artist solidarity, we want to hear what art means to you! 
  • Is art what gets you up in the morning?
  • Is it what you live and breathe?
  • Is it a way to connect with friends across the globe?

Leave a comment and finish the sentence, “Art is __________.”

'Add Media' functionality has been enabled for all deviants in this journal.  Feel free to upload your Comic-Con poster-related photos and images!


Literature Basics Week

Okay, so maybe not everything. But there's a lot of stuff that I remember learning in middle and high school that turned out to not actually work for me -- or for pretty much anybody -- as a writer.  I'm hoping that if I can lay these lies out for you, we cans turn it around and unlearn some of these bad habits. Because, man, nothing says "noob" like practicing some of these frequently-taught faux pas.

Lie #1: Be super duper descriptive!


Wait, wait, I know what you're thinking. Descriptive language is good, right? You want your reader to know what you're talking about, and to be able to see, smell it, hear it, touch it, taste it the way you do in your head. The problem is that, when it comes to description, a little bit goes a long way.  Sometimes, it's about finding a better word to use, instead of a string of adverbs and adjectives to go with your verb or noun.  You know, you could say "She skulked through the forest" instead of "She walked sneakily through the heavily-wooded area."  See what I mean?  Now, that's kind of an obvious one, but when you go to write, here's a good trick to keep in mind: modifiers are evil. They are sneaky and they will slip into your poetry and prose without you even noticing. Your job, as a writer, is to keep an eye on those things.

Modifiers -- like adverbs and adjectives -- are words that describe other words. They should be used sparingly. Otherwise, you're going to have a mess on your hands. When you're writing, always ask yourself, do I need this word? Or is there something simpler and equally descriptive that I could use here?

SO HERE'S THE TRUTH: Use descriptive language and sensory details, choosing words carefully. Every word you put on the page should be a word that NEEDS to be there.

Lie # 2: Show off your vocabulary!


Some writers I've run into have a penchant for tossing around five dollar words. It's almost as if they want the reader to know that they totally nailed the vocab section on their SATs. The thing is, creative writing isn't about what you know, it's about telling a story in the smoothest way possible. So why use "loquacious" if you could say "chatty?" Think about how your narrator or point-of-view character would think and speak. Think of how the people around you speak. If you can't imagine someone using that word in a conversation, it's probably a no-go. When it comes to five-dollar words, they should be sprinkled, not poured, into your writing.

SO HERE'S THE TRUTH: If you want your writing to feel authentic, use authentic language. Use those five dollar words sparingly!

Lie #3: Spice up your speech tags!


Here's the thing about speech tags: They should be invisible. The reader should pretty much not notice them at all. I mean, there's a reason that you sometimes don't even need them -- like in an extended conversation between two characters.  There are pretty much only two speech tags you will ever need: "said" and "asked." (You can, and should, of course, alter the tense as needed.) You may be able to slip in a "screamed" or a "replied" here and there, but sticking to the basics is always the better option. You don't want your reader getting hung up on speech tags when she should be paying attention to the conversation and the story.

Another word on speech tags: Using simple tags like "said" and "asked" doesn't give you carte blanche to start throwing adverbs around. "She said, angrily" or "he asked, jokingly" is just as much of an offense as not using a simple speech tag. If someone is speaking angrily or jokingly, that should show in the words they're using, and in the body language in the scene.  This is a great case of "show, don't tell," which, thankfully, is a lesson from school that you can hold onto.

SO HERE'S THE TRUTH: You will hardly ever need to use words other than "said" or "asked."

Lie #4: Poetry is about your feelings!


No. Poetry is about expressing yourself, sure -- just like any other writing. But it's not about emotions. It's about saying something. It's a narrative between the poet and the reader, and it should be full of images and ideas, not simply the thoughts you would write in your journal with some line breaks thrown in. Yes, poetry -- just like any other writing -- can be emotional. But your job as the writer isn't to emote onto the page. It's to get your reader to emote. Again, this is a place where that whole "show, don't tell" thing comes in handy.

SO HERE'S THE TRUTH: Poetry isn't about any one thing. And all writing should evoke emotions. Use your excellent writing skills to make the reader feel!

Lie #5: Capitalize the beginning of every line in your poem!


This is actually an antiquated form. If you're reading poetry -- and if you're writing poetry, I hope you are! -- you'll notice that contemporary poets only capitalize where they would in a regular sentence. So lines can start with lowercase letters. You capitalize when you start a new sentence, or for proper nouns -- all the usual suspects. But when you start a new line, and the previous line didn't end with a period, no, you don't need to capitalize. In fact, I'd recommend sticking to the new way of doing things. We both know you're not Shakespeare, after all.

SO HERE'S THE TRUTH: Sure, you can capitalize every line, but it's going to make you look old-fashioned. And not in a trendy way.

Lie #6: Practice writing by writing!


This is actually half true. Yes, you do get better at writing by writing. But you know what's even better? Reading. A well-read writer is going to be a way better writer than a writer who writes every day but never reads.  I promise you, this is a fact.

SO HERE'S THE TRUTH: If you're not reading as well as writing, you're doing it wrong.

Lie #7: A haiku is 5-7-5!


Yikes! They really stepped in it with this one. Sure, some haiku these days are 5-7-5, but usually these are referred to as senryu, since they are Westernized and have less to do with nature and brevity and more to do with cramming something into that syllabic format, often with a humorous twist. There's a lot of information out there about haiku, but I'll leave you with this: Writing haiku is more about brevity and observing nature than it is about an exact syllable count.

SO HERE'S THE TRUTH: Haiku isn't about the syllables. Do some research and figure out what style of haiku works for you!

Lie #8: The classics are the right way to learn writing!


Sure, the classics are great. But if you want to write for contemporary readers (like, you know, alive people), it's a good idea to read contemporary work! Enjoy some Emily Dickinson, but make sure you're also checking out Louise Gluck. Feel free to curl up with J.D. Salinger, but don't forget about Jennifer Egan. And, you know, there's lots to be discovered in your local library or bookstore -- not just the bestsellers. Read widely across genre and author background. Read books you like and books you don't like. Just make sure you're reading, and reading more than the tried and true golden oldies.

SO HERE'S THE TRUTH: If you want to improve your craft, read lots of genres and DEFINITELY check out your contemporaries!

Lie #9: Only write what you know!


If this were true, we wouldn't have, I don't know, any fantasy. Or space operas. Or historical fiction. Sure, it takes a lot of imagination and even more research, but writing outside of your comfort zone can be a good thing. Writing what you know can keep you grounded, and using your life experience to keep your writing honest is an excellent idea. But talking to people with different experiences from you, and reading about other lives and other ideas, and imagining schools for young wizards...well, these are all great tactics for writing richer stories.

SO HERE'S THE TRUTH: Start with what you know, use your imagination and your ability to do research to take your writing to the next level.

Lie #10: You're a genius!


Don't pretend someone in your life hasn't told you this. Someone along the line -- a mother, a teacher, a friend -- has probably read your writing and told you that you're going to be a New York Times best-selling author. And it felt good, I bet. But, you know what? If it's someone like a parent, a teacher, or a friend, they might be looking at your writing through rose-colored glasses. And you need someone who's going to be tough on you if you want to improve and have any chance at being a capital A Author. Are you a genius? Maybe. But don't take this "lesson" at face value.

SO HERE'S THE TRUTH: If you don't work hard and seek critical feedback, and learn to take critical (and negative) feedback, you probably won't succeed no mater what kind of talent you have.


Got questions?  Leave 'em below!  There are exceptions to every rule, and there are plenty of rules that might not make sense, which is why talking to other writers is always helpful. (Another lie: Writers can only be successful when they are holed up in a cabin in the woods somewhere.)  And feel free to share some of the lies you've heard before! In the mean time, enjoy the rest of PE: Literature Basics Week!