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Spotlight Fashion Week VI

Sun Sep 2, 2012, 10:54 AM
Hi everyone!

I'm doing another series of articles that contain features. This will be done weekly, and I will share with you fashion photography that was submitted during the respective week. 

Here are the artworks that I found this week! They appear from the newest submitted to the oldest ones.

Please support this article and the artists featured here by giving a favorite :+fav:

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Alien Isolation

Tue Nov 4, 2014, 7:10 PM
Spaceman with no face. 2 by bradwright

I've been playing Alien: Isolation for the last few weeks and it is scary as hell.

Alien Isolation Q&A with bradwright

Brad Wright, longtime deviant in the dA community, steps into the shoes (space boots) of Giger and Moebius as a concept designer for the Alien Isolation videogame. The game reportedly marks a return to the terror of the original “Alien” film in which scaring the audience to death was the goal, rather than the uncorking escalating levels of defensive firepower that defined the sequels. As Ripley’s daughter, players must survive with superior evasion tactics, not gun skills. A new concept to revive the series. Just the job for deviant Brad Wright.

Alien Isolation 3
by 20th Century Fox

Alien Isolation 1
by 20th Century Fox

Q: At what point did you realize you wanted to be a concept artist?

I had no formal art education, or any real introduction into the world of entertainment design. I took up drawing very late in life during University, probably due to the boredom of studying Graphic design and Advertising. Visiting older concept art communities online was the only source of educating myself. That and just grinding at teaching myself how to draw, then paint, then design. I was fortunate in getting a job relatively quick after that decision making period. Ten years later and I’m still grinding at learning this stuff.”

Q: What advice do you have for the designers in the community in getting work as a videogame concept designer?

Firstly to give up the notion that there is a shortcut, trick, or magic brush that will let you create master pieces or get that dream job. Instead do work. Lots, and lots of work. Every day we should all be drawing, and designing. Collecting sketchbooks filled with compositions, shapes, mechanics, and ideas. The harder you work, the more reward you will get. It’s getting tougher and tougher to work in this field, so you need to give yourself this edge.”

Alien Isolation 2
by 20th Century Fox

Alien Isolation 4
by 20th Century Fox

Q: How intimidating was it to take on a project that HR Giger, Moebuis, Ridley Scott and James Cameron, and David Fincher had worked on before?

Surprisingly, not at all. The source material laid out by these creatives is so solid and clear, that it’s rather a joy. The restrictions mean we were free from a lot of “umming” and “ahhing”, and instead could focus on creating beautiful art.”

Q: What do you feel was the most brilliantly conceived videogame?

I would have to say Deus Ex Human Revolution. The art direction resonated well with everything I enjoy. Cyberpunk, Neo classical Sci–fi. It was consistent, very clear and coherent.”

Alien Isolation 6
by 20th Century Fox

Alien Isolation 5
by 20th Century Fox

Your Thoughts

  1. Does any videogame eventually get a bit boring because of the emphasis on mastery of the gameplay, especially the shooting skills?

  2. What’s the scariest, as opposed to most exciting, videogame you’ve ever played?

  3. Is there a videogame you won’t play by yourself, all alone in your place of residence, in the dark after midnight? Have you ever stopped in the middle of a game that became too “intense” for your nerves?

Brad Wright, longtime deviant in the dA community, steps into the shoes (space boots) of Giger and Moebius as a concept designer for the highly anticipated Alien Isolation videogame. The game reportedly marks a return to the terror of the original “Alien” film in which scaring the audience to death was the goal, rather than the uncorking escalating levels of defensive firepower that defined the sequels. As Ripley’s daughter, players must survive with superior evasion tactics, not gun skills. A new concept to revive the series. Just the job for deviant Brad Wright.

For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at
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The future is now!  And with deviantWEAR’s newest Design Challenge, the past is now, too!  Don't let the present slip away from you.  Zoom over to deviantWEAR to enter your creation into Retro Future: The Future That Never Was.

:star:  Participation is easy!

You come up with potential designs for our deviantWEAR t-shirts.

Deviants vote on their favorite designs.

Judges choose based on the highest-voted submissions.

Artists of the winning submissions get cash and their designs printed on t-shirts for all to see!

This time around, step back into the Retro Future and design a t-shirt that captures the essence of idealistic imagery of the future as imagined in the pre-1970s era.  Skyscrapers that round to a bulb at their top, ringed with futuristic bands for extra support.  Flying cars that drive their silver-suited inhabitants to their jobs on Mars.  Sleek, spherical household appliances that do everything from shower you to cook your dinner in a matter of instants.  You tell us!

For more inspiration on the deviantWEAR Design Challenge, check out the Retro Future contest category!

:star:  Prizes, prizes, prizes!

Two winners will be selected!  Each winner receives $1,500 cash and 20 units of their t-shirt! Plus, each of the winning designs will be sold in deviantWEAR. You could see your design from the past worn by someone in the future.

:star:  Not a designer?

Just like with the last Design Challenge, you still have a chance to make an impact and determine the future of deviantWEAR's designs.  All throughout the contest, keep an eye on the Retro Future contest category.  To keep things fair, we'll show you a random assortment for you to browse through the submitted designs.

If you see a design that would make a great shirt, click "I Would Wear This" on the deviation to cast your vote for the entry. View the entries!

:star:  Worried about cheaters?

Don't worry.  When the contest is over, deviantART will review the source of all entry data (including but not limited to username and IP data) for suspicious activity and remove fraudulent votes.  Also, just because a design has the most votes doesn't mean it automatically wins.  The 75 designs receiving the most votes will move to the final judging round, where our panel of experts will pick two of the hottest Retro Future t-shirts to produce.

But hurry into the Retro Future! The deadline for entries is January 25, 2012, and voting ends February 8, 2012. Submit your designs and cast your votes now!

:onfire:  Don't delay!

Click here to get started!  And be sure to read the Official Terms for all the technical details.



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by techgnotic
Wed Dec 7, 2011, 7:59 PM

Duchamp finds a discarded urinal.  He alters it (by signing a name to it not even his own, but obviously “the artist’s”)
and names it “The Fountain”. The most mundane, even off-putting, of objects is transformed by Duchamp into art. He submits
it for exhibition and it is rejected.  You might say the judges “pissed on” his idea. But the idea was born and persisted.
Duchamp insisted the object was art because he as an artist presented it as such. “Conceptual Art” was born.

A Theory of the Essence of Art: The Concept is Everything.

Artists following Duchamp sought to really get at what art is all about by diminishing the compositional and aesthetic
element of an artwork and concentrating on what “art says about it itself” – the commentary a piece of art makes on artist
and viewer, on the very nature of art, on why we make art and look at it and what the experience means.

What if an artwork is wildly technically accomplished but “means” little or nothing to the artist?

Michelangelo spent six years painting the Sistine Chapel ceiling and another six adding “The Final Judgment”. He especially
resented the ceiling job, considering it the Pope’s “vanity” project.  Now his genius is recognized, but at the time he felt like he was doing slave labor, rather than making his own statement in art.

Hostages Of Temptation by oO-Rein-Oo:thumb24477654:retirement installation: then by jordanmart

Conceptualists take the “idea” in art and posit that artistic skill is not the point.
“The Concept” is the whole message, the whole point of the message, the expression, the human exchange.

Yoko Ono "published" as art her notes on how to go about having an aesthetic experience with art.

Alfred Hitchcock meticulously crafted screenplays and fully “storyboarded” (made scene by scene drawings exactly as the camera would
frame each scene) before rolling film on his movies. He complained that the real moviemaking, the real artistry, came in the creation of
the storyboards. After that, he felt, his movie was “done.” He found the actual filming redundant and boring.

But what if these abstract modern artists are really just con men or hacks who can’t draw?

Check out Jackson Pollock's early abstract paintings that he did before he began dripping paint on the floor.

Check out Rauschenberg’s 300 early paintings before “his” “Erased De Kooniong Drawing”.

Check out Miro’s early representational work from before the sculptures and mobiles.

Check out Julian Schnabel’s early paintings from before he started gluing broken plates to walls.

There’s quite a body of evidence that “conceptual art” isn’t a con. Real artists go where their muse takes them – even if it’s to “the thought” that births the art becoming the art itself.

Worrying about artists’ motives brings up the question of “artist’s intention”.Conception and intention are different.  A traditional
artist “intends” to achieve expressing something for him/herself and/or to an audience through an artwork.  The artist’s intent may be to
capture and invoke sadness, apathy, ecstasy, whimsy, etc.  When DuChamp did his Urinal he was only talking about the meaning of art itself, he was not trying to convey any other idea.

Just a wish by Kyuthi The Grandpa Tales by theSong SUPER PSY by cetrobo

At the end of it all, can we ever really know an artist’s intention or fully understand his/her big concept?  We often think we can and do.
Like we think we know the heart of our beloved. That little leap of faith is what art – and life – is all about.  And all the affirmations and
disillusionments that follow in the wake of each momentous jump into the unknown we kind of think we know is a part of that Big Concept.

Questions for the Reader:

  1. If an artist makes you think up is down it could be construed as a game, a trick, or an artifice like a landscape reflected in a clear lake. Conceptual art is something that makes you wonder why there is an up or down and doesn’t confuse that effort with any particular “art.”  If there is no art to see, is it art at all? or maybe just a dialectic?”
  2. Christo and his wife, Jeanne-Claude, wrapped eleven islands in Biscayne Bay in pink fabric for two weeks.   What do you think these artists were saying about the environment?  That natural beauty is a gift?  Or a gift that needs no wrapping?  Or a gift in danger of being ruined by commercialization? Or that natures artwork can only be represented or framed in anew light, but never improved, by the artist?
  3. Andy kaufman was a comedian who turned “stand-up” into performance art, sometimes “ending” his routine by walking his entire audience to a nearby 7-Eleven for snacks.  Sometimes he remained “in-character” as a pro wrestler or a bad lounge singer for weeks at a time.  Do you know of other artists who have “conceptually” burst the normal bounds of their specific art forms in amazing ways?
  4. Is the “Occupy Wall Street” movement not only a political statement, but also an example of conceptual performance art or “street theatre”?  Should art and protest be clearly defined or are they too closely related to ever be easily categorized or separated?  How do you think history and pop culture will define the Occupy Wall Street protests?

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Happy new year for everyone, members and watchers. The group still growing, we´re 380 members and 2,671 watchers...

Thanks to Deborah and Pierre who help me to the administration of this group.

I want to close this year with a summary of the best books of some of our members released in this year and two interviews from the Justin Ehrlich blog (Laurie Lipton and Denis Forkas)




Mixymages EC by Podestina
Miximages. Bernard Dumaine's exquisite corpses ( 80 drawings ) with 37 international artists. Buy it here:…


The Art of Collage Yearbook cover. This yearbook showcases collage artworks from the Art of Collage's members. Buy it here:…

Rebirth... by Bernardumaine
"Rebirth of the exquisite corpse "
This book is proposing a collection of Anthony Mason's poems accompanied by the collaborative drawings of surreal artists Bernard Dumaine and Karena Karras. Buy it here:…

Collaborative Corpse Yearbook.  A collection of the best works from the Collaborative Corpse group, our partners. Buy it here:…

Cover by DaleKeogh
The artwork of Dale Keogh. Buy it here:…

Book Imaginaire IV by chris10belgium
Book Imaginaire IV - Contemporary Magic Realism

An Interview with Laurie Lipton by Justin Ehrlich  

:bulletred:Personal fortune aside Britain is poorer for losing you, why did you leave?

I left because my work was taking off in the USA and I hadn't had a major show in London for many years. The London Art Scene seemed to be dominated by the Jay Jopling/Saatchi crowd. I just wasn't "in" with them.

:bulletred:To say you've led a nomadic existence would be an exaggeration, but do you stay somewhere until it ceases to inspire you, or is location incidental to visions sprung from within?

My only desire is to draw. In order to draw I need to make enough money to pay the rent and buy art supplies, so I follow where my work is selling. It has lead me round Europe and lately to LA.

:bulletred:Returning to America after all these years have you noticed things that you have missed, or learned to appreciate things you weren't previously aware of?

Being estranged has allowed me to see the USA with fresh eyes. Everything appears wondrously alien to me. The people, the life-style, the politics... all are bizarre and grist for my art.

:bulletred:How long did it take before you were able to earn a living as an artist?

The first 20 years were the hardest. The second 20 years were worse.

:bulletred: There are undoubtedly underlying messages, but I find it refreshing that an explanation is not a requirement for enjoying your work. How important is it for art to impress an audience at surface level, and do you sense a turn in tide away from conceptual art?

Conceptual art is more gimmick than substance, and I think people are beginning to value craft and content more.... or maybe not. It's a big world and anything goes. I personally enjoy art on many levels and like it when a piece does more than toss an image or a color at me. I like to be made to feel and/or think... but that's me.

:bulletred: 'Enlightenment is not imagining figures of light but making the darkness visible.' (Carl Jung)
Based on your artistic output and comments in other interviews it appears that you have lived by this from a young age. Do you ever wish that you could have just accepted the Disney worldview?

I used to want to be "Normal" and to blend seamlessly into the 1960's suburb where I grew up, but I'm not and I can't. I have embraced my Anti-Disney ethos with cackling glee.

I hope that you haven't drawn a line under working with colour having proved a point with your remarkable work on Splendor Solis. How did it make you feel to work with an alchemical manuscript? How deeply did you research it? Do you believe there is value in the study of alchemy, or is it a project you undertook for purely aesthetic or monetary reasons?

I was given wonderful commissions by a privately owned library housing the largest collection of books on alchemy and mysticism in Europe. I was able to handle and read rare manuscripts and re-interpret works handed down through the centuries by scholars and theologians. It was a great privilege. It also paid the rent.
I enjoyed using color, but I do not wish to use it with my own imagery. It gets in the way of the narrative. It distracts from the power of the image. You wouldn't ask the photographer, Diane Arbus, to put color into her work, would you? It wouldn't be a Diane Arbus picture if she did.
Laurie Lipton - La Luz

:bulletred: If you couldn't be quoted claiming to be motivated by greed I would have you down as deeply religious. How important is it for an artist to cultivate their soul in addition to developing technique?

My work has never been about money. If it has been, I've been uncommonly stupid! Why choose to make disturbing black & white pencil drawings instead of making colorful, sellable paintings? It was important for me to "cultivate" my soul in order to come to terms with life, but my one purpose and desire was to draw. It is important for an artist to cultivate his desire and passion. It is important for an artist to find his or her Bliss. People have romantic fantasies about being creative, but it's a very tough life. If you don't have a deep, burning passion driving you on, you're screwed.

:bulletred: You had an exhibition at the Freud Museum in London a few years ago and I wonder if you have been influenced, in particular, by his 'Beyond the Pleasure Principle', and also if you might have a sense of how he might interpret your work?

I enjoyed Freud's "Interpretation of Dreams", but think he was too focused on the male member to know how to interpret my work or women in general. He was a typical 20th Century man, so can't be held responsible for his tiny penis-centric world view.

:bulletred: Celebrities have been caught with Lipton Tees and Death and the Maiden tattoos are you content with your success? You spend a fair amount of time contemplating death and you must have considered your legacy, do you feel you already have your masterpiece behind you or is there more for your fans to look forward to?

Whether I have made a "Masterpiece" is not for me to say: time will tell. The more I draw, the better my drawings get so there is a LOT for my fans to look forwards to. I'm just getting started!

See Laurie's works at:……

An Interview with Denis Forkas Kostromitin by Justin Ehrlich

:bulletred:What is the art scene like in Moscow?

Moscow fell under onslaught of the worldwide “conceptual art” crusade. What had used to be the avantgarde and stood against commercialization of art was bastardized by society into a moneymaking tool. “Pure art” graced with neither talent nor skill, demanding zero effort from its creator and aimed at momentary entertainment reigns the scene like a plague. These days everyone can (and does) claim to be an artist and/or an art lover. Galleries are hopelessly infested with “common objects in uncommon environments” and some such “relevant” nonsense.

On the other hand, there is a rather strong current of low quality surrealism and art derived from it, which – even though it clearly lacks the impact and bold experimental spirit of the movement’s first wave and has that distinct second hand flavour about it – openly opposes itself to the tyranny of “concept” I’ve already mentioned.

To my dismay things like Russian fin de siècle aesthetics, Rublev’s elegant ascetism as well as the clarity of Kandinsky’s abstract painting theory don’t seem to inspire young Russian artists at all. People are forgetting their roots and that’s never a good thing.

:bulletred: How old were you when you started drawing?

I was very, very young when my pencils/watercolour/gouache obsession manifested itself. One of my childhood hobbies was to draw and paint illustrations in between ones included in books thus unfolding new – sometimes strangely disturbing - horizons in favourite tales.

:bulletred: When did you first become interested in the occult?

My first encounter was rather dramatic. Back when I was a grader (about 8-9 years old) one of my classmates’ elder brother committed a gruesome suicide. I learned that the man had been member of a local religious sect (please, bear in mind that it was around 1985, a sect like that in a Soviet country had to be the most clandestine thing on Earth) when about a month after the incident the classmate invited me to his home and showed all those books, daggers and jewelry he had concealed from the investigation. There were also drawings of naked bodies in strange positions, charts and calculations, ink studies of animal anatomy crossed with glyphs and symbols.  Even though I couldn’t possibly hope to decipher the meaning and purpose of all those things at the time, the images stayed with me. I attempted to trade my valuables for those books and drawings several times, but to no avail: my friend cherished his deceased brother’s collection.

A few years later the iron curtain collapsed and junk occult literature of all kinds started to seep in. Those poorly translated paperbacks conveyed my passion some outline and granted bits of insight into matters like the Universal balance, energy management, will, intent, etc.

I realized soon enough that I had no way of putting my hands on any trustworthy occult research and switched to art history, theory and technique instead as there was hardly any shortage of good literature covering those subjects in Soviet libraries. It was many years later that the interest in the occult resurfaced and found its way into my drawings and paintings.

:bulletred: Is there a particular current of occultism that you adhere to, or is it a developed system of symbolism that appeals to you as an artist?

Chaos magic is probably the current I will have to associate myself with in order to give you some idea of my work. Yet, I neither use drugs nor “invent” gods. My techniques include sleep deprivation, meditation and self-hypnosis. I borrow vastly from different beliefs and practices of the past and I’ve found ancient mythology and traditional esoteric lore – no matter the geographical origin as all traditions conceal their share of truth, of course, - to be a solid, reliable foundation for all kinds of occult endeavors. I consider art a highly religious practice for it serves as a timeless vessel for truth itself. One cannot hope to conjure a timeless piece if he/she rejects tradition and philosophy.

:bulletred: You list Austin Osman Spare as an influence and there are similarities in your work, what are your thoughts on Spare as a man and artist?

Without a doubt the man was among the most enlightened magicians of the last century. It is hard to overestimate his introduction of sentient symbols and ideas stemmed from viewing language as magic.

The persevering impact of Spare’s art is surely the result of supreme artistic vision and prowess backed up with technical skill and spiritual sacrifice – a formula worth following for artists of any school or direction.

To me Spare’s personality will always remain an example of uncompromising artistic stance and courage. Moreover, I’m profoundly moved by his never-ending quest for new means of expression (as opposed to modern artists’ doing the same perm) and gladly accept the living experimental spirit as a blessing.

:bulletred: Describe the automatic method.  Is it possible to produce work of artistic merit in automatic mode, or do you use it purely to instigate a trance-state?

The method itself is fairly simple. The idea is to divorce your mind from drawing/painting process, to try and become completely oblivious of your physical drawing act. This can be achieved in many ways including a chemically induced trance, but I prefer meditation. Ultimately you obtain your shape from the ever-evolving chaos of the resulting line/stroke work; and it is at this - later - stage that you put your skill and intuition to use.

An artist may, of course choose to refrain from further development of his/her automatic chaos and leave it to viewers to produce evolving shapes of their very own, so there certainly is quite a bit of merit in raw automatic material. Still, this approach technically removes artist from the process; this kind of work would have nothing to do with his particular vision and thus would bear the same artistic value as randomly arranged pebbles on a beach, autumn leaf patterns or a coffee-stained napkin.

:bulletred: Bearing in mind the pitfalls of exploring the unconscious how do you maintain balance and ground yourself?

Anxiety and panic attacks pose a major problem for me and it took a lot of energy and research to bring it down to a manageable level. I’ve found meditation and self-hypnosis to be the best tools here. Persistence works wonders.

I also keep setting up “intellectual hooks”, which help me overcome the tides of anxiety and ultimately enhance my work. Philosophy, history, religion, astronomy, biology as well as Victorian fiction and twentieth century non-American films among other things are the fields where my interest is strong enough to keep the chaos of the unconscious feedback at bay.

:bulletred: How do you see the artist's role in society?

This subject is somewhat complex, but I’ll do my best to give as simple an answer as I can. Art and philosophy are naturally opposed to all other spheres of human activity aimed at material comfort. Both philosophy and art imply – or rather intuit - that the meaning of human life transcends empiric existence and that the truth is to be found beyond or behind the trifles of this mortal coil. The eternal search for the truth is undertaken by man and originates from his self-awareness. It is absolutely impossible to remove Man the Creator from either artistic or philosophical process as without his vision and understanding the process simply won’t exist. Yet, this vision manifests itself differently in art and philosophy. In art it is expressed in an Image (a painting, a music piece, a story, etc.) aiming at emotional response, whereas philosopher employs logic and expands the tradition by creating a personal Conception / cognitive system aiming at retrieving the ultimate truth and thus introducing the art of Understanding.

Images and Conceptions have always served as pillars of human society; no known civilization has ever been able to manage without this foundation. All known traditions have originated from work of artists and philosophers.

The artist’s role is akin to that of a priest: he uses symbols and brings divine truth to the hearts of his viewers. Emotional response is the current the viewers use to travel back to the source of the effect and thus refresh their values / priorities.

It is this delicate and beautiful process, the genuine spiritual guidance that is compromised in our age of art impostors and consumerism. By discarding tradition society plunges itself into the pits of spiritual degradation.  

:bulletred: Why do you choose  to represent the darker recesses of the psyche?

Choice… I believe it is the psyche that chooses what to convey through artist. All conscious work with composition, colour, value, etc. (i.e. science) – as important as it is focus- and effect-wise, -  is ultimately defined by an idea scooped from the Unconscious. Moreover, I keep reducing the amount of physical materials (pigments, instruments, etc.) in order to clear more space for pure energy, to be able to transfer the most pristine reflection.

The Image I described earlier is not something artists choose and purchase at some sort of ethereal market. It is rather a “haunting”, an emotional disturbance that lies dormant in the darkness of unknowing until an outer, conscious impression generates an electrical charge between the two and the artist gets his chance to “reel in” the Image. The artist is the reason, the sole condition for this magickal process.

This brings us to the point of “light” and “darkness”. My work is certainly not something a common man will feel at ease with. And this is exactly what the “darkness” (as in “dark painting / photography / music / literature / culture”) is about: the ma8jority’s discomfort. But is art supposed to bring comfort in the first place? Must it take this much talent, dedication and energy to merely entertain a viewer or make his life more comfortable? Truth has nothing to do with comfort.

Now, if my imagination can catch this kind of primal shapes and colours in its traps scattered around the Unconscious, with sincerity being the only artistic principle I’m perfectly entitled to hope my work has at least something to do with the truth.

I’m also convinced that injecting art with poison of aesthetic compromise will only result in horrible short-lived mutations, which will end up as comfortable interior decorations at best. If “light” means emotional swamp, a warm puddle of safety, then I’d rather stay in my volatile “darkness”.

:bulletred: I'd love to see you illustrate Lermontov's Demon, and I'm sure I'm not alone, is it something you might consider in future?

A wonderful question! I believe you are coming from my life-long fascination with the art of Mikhail Aleksanrovich Vrubel. In order to give you some idea of the scale of Vrubel’s artistic possession I’ll have to touch on the origins of his mental disorder.

The darkest chapter of Vrubel's biography started with his loosing the competition for interior decoration of St.Volodymyr's Cathedral in Kiev in 1888. Apparently local authorities, priesthood and the “aesthetics committee” found his vision "unorthodox" and "disquieting".

Rarely interrupted, ever-growing unease heralded the coming of severe mental illness. Yet, it was in the fever of the century's last decade that the image of rebel spirit, an entity of power and sadness - the Demon - manifested itself in the master's work.

Vrubel's admiration for Johann Wolfgang von Goethe's poetry lead him down the path of illustration. His paintings for the poem "Demon" (1837) by Mikhail Lermontov unleashed something primal in the painter's soul and he took the image way beyond the limits of illustration. Up from early 1890s the ghostly face would resurface in many seemingly unconnected works (e.g. "Prophet", "Azrael", "Lilacs"). The obsession culminated in the overwhelming piece "Demon Downcast" (1902), which the artist proceeded working on even when the painting was already on public display.

You see, such an obsessed, fiery art will cut short all attempts to further explore the subject matter. What can any other artist - myself included – possibly offer here? Is there really a need of new angle? One may go farther and fare worse, as they say.

Still, it might be worth mentioning that I’ve been working on a painting I refer to as “Vrubel’s Demon” for about a year now. The canvas is my homage to the master and a study of his methods. I don’t know if I should exhibit or even publish it online as I find it hard to view the piece as a work of my own. The study is rather an attempt at peculiar artistic table-turning or even necromancy, if you will.

See Denis works at:…

Justin Ehrlich was born in Essex in 1985 and has a degree in Philosophy. He writes poetry and short fiction dealing with themes of death, insanity and the supernatural.

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A new selection

Journal Entry: Tue Nov 8, 2011, 1:16 AM
It has been a while since I shared great art with you and I thought it is time to celebrate new extraordinary ideas and wonderful people who don.t rest but create and they have worked with their imagination to transform regular things in gratefulness.
here are my choices for this feature:

66 by Suraudbeing feminine by lovelycristinadream by grazappThe Game by voitv
Study of Rebecca by turningshadowA56 by kooookooookooookooooComposition 25 by A-U-R-U-SIndian summer by Bobrova
not fragile by ssupRSNii by Senecalbum by DanielGrzeszkiewiczLachesis by calirezo
Tattooed Vision by visionizorBetween the silence by marzenaabl:thumb191478427:Wrapped surround by SheelaSingla

GreenMan by knotty-inksTHE STARTING POINT by  JabLab by JabLabLegend by ZawArt:thumb187748939:
The room with two mirors by toft00MOMENTUM MORE by MillerTanyai'm just the moon by MinzileIIT 2 by PeterZigga
Inner space of... by HectorPineda:thumb242515013:Qui de la poule by ahembe:thumb176136194:
falling leaf by partiallyHereDo You Know That by Canankk

:thumb262552439:almanac  theory by oneoftheclan:thumb260830015:Worry by hearthy
Anima by SheerHeartLa segunda muerte by HectorPinedaExarp by TALONABRAXASThe Candor of the Impressions by MarianaPalova
A requiem for childhood by DrumsOfWarDeca Dances by Paula-RosaM10 First Contact by Xantipa2-2D3DPhotoMHamlet's ear by Ralu77
touch of colour by Flockhartegg 2 by gepardsim:thumb207379349:M11 Lost Time by Xantipa2-2D3DPhotoM
The Wise Man by ShatteredSwords

pale beauty 9 by MissCarriage03 by morfiarta lady and her dog by AncaCernoschiLittle Outcasts VI by kevissimo
Angel Wings by inwersjaaBirth by cenevolsvase by AncaCernoschi
the woods ghost by anaNeamuembrace the other you by anaNeamupeacock eyes by anaNeamu

cello torso by gecko-onlineThe King is Dead by sbmaniac
Windy by Souzixbass 2 by metalmorphoses
Womans Diving by MarkNewman

  • Mood: Pleased
  • Listening to: the beatles
  • Watching: art websites
  • Playing: with some drawings
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Memanggil semua anggota Deviantart Indonesia untuk hadir di DevMeet 2012

SABTU / 8 DES 2012
4 FINGERS RESTAURANT PONDOK INDAH MALL 1 3rd FLOOR (patokannya samping timezone)

Sharing w/ DEVIANT STAR:

:iconbloodykirka: :icontoolkit04: :iconanaklangit:

1. aka Diela Maharanie
2. aka Dika Toolkit
3. aka Elfan

See you there......
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Journal Entry: Tue Nov 8, 2011, 11:27 AM


Thanks so much for your vote, and this year we have two winners:

:iconrsconnett: Robert Steven Connett

:iconkolaboy: Danny Malboeuf

Congratulations guys and thanks for your art.

We invite you to know more about our winners, in this journal.

Previous artists of the year:

:iconbernardumaine: :iconmarianapalova:

Robert Steven Connett


"Born in 1951 in San Francisco, California, I began drawing and painting at the age of 27. I continued to create artwork as a hobby for 20 years during which time I owned and operated an insurance brokerage firm in San Francisco. I sold the firm in 1998 at age 47 after my home and art collection was destroyed by a fire. I then moved to Los Angeles in 2003 where I began my full time art career at the age of 52"

MY PURPOSE: I specialize in custom acrylic paintings. I'm not sure how one might categorize my style. ('Psycho-representational' seems right ) I'll let my paintings speak for themselves. I've been creating custom paintings for individuals for 3 years now. I have sold my paintings in just about every country in the world, and all over the United States. I have many collectors in Canada, Great Briton, the Netherlands, Japan and Australia.

HOW WE DECIDE ON WHAT I WILL PAINT FOR YOU: I like to show my current and previous work, and have you tell me what you like most. I also will tell you about the paintings I want to paint, and need funding for. I have many.

MY BACKGROUND: I have no art school background, No formal art training.(which makes me by definition, a 'OUTSIDER ARTIST' I think) Born in San Francisco, California in the year 1951. Left school in 10th grade. Began drawing and painting at the age of 27. Continued to create artwork as an avocation for 20 years. During that time owned and operated an insurance brokerage firm in San Francisco, (a family business). Sold the firm in 1998 at age 47 after my home and art collection was destroyed by fire.I was lost for some 8 or 10 years after the fire terminated my lifestyle. Problems with drinking and drugs. Went into Rehab, bla, bla ...bla. Moved to Los Angeles to begin a new part of my life. Began full time art career in 2003 at age 52. Currently working as an artist in Los Angeles wanting very much to paint you a painting


METAVERSE by RSConnett ZOOOIDS - Underworld II by RSConnett THE BONE-YARD WALK by RSConnett Don Quixote meets his Chimera by RSConnett CRUSTACEAPODS by RSConnett  RED MICROBIA by RSConnett CRUCIFIXION 001 by RSConnett
NIGHT TRAWLER by RSConnett Published in Imagine the Imagination




  Danny Malboeuf


Danny Malboeuf is a self-trained artist/illustrator. Working mainly in acrylics, he paints in an allegorical figurative style that combines surrealist, symbolist and pre-Raphaelite sensibilities, often in conjunction with subtle pop-culture references. Malboeuf counts music and literature as his greatest sources of inspiration. While many of his paintings deal with mythological and religious themes, the frequent incorporation of sci-fi and pop-culture imagery from the artist's youth establishes tentative connections with movements such as pop surrealism. He has a strong bias towards painting female subjects, "perhaps because the essence of female is more poetic, and the male more prosaic."

Likes: Pizza; knee-socks (on girls); the arctic circle.
Hates: cezanne; wicker baskets; temperatures above 68 F.


Jupiter and Semele by kolaboy The Waif Of Shalott by kolaboy Emmaline by kolaboy A Harvest Medusa by kolaboy Narcissus by kolaboy Self Portrait With Albatross by kolaboy Callisto by kolaboy Polio by kolaboy


"Yes, I do have paintings in a gallery with real walls and everything . If you're ever in Charlotte,  NC , please stop by Queen's Gallery and visit . The staff there are super nice and are happy to show you around . As well as the paintings on display, I have a number of pieces in storage there (my attic is overflowing) . If there's a particular piece you'd like to see, they will kindly oblige . The address is:"
Queen's Gallery & Art Centre
1212 The Plaza
Charlotte, NC



I´ll have more information soon, still working looking for the publisher support.


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Ever wanted to know the key in giving better comments? Tired of your ordinary short phrases that go no where, and have no point? If you are trying to improve your comments, look no further than this guide here.

TODOHow To Give Better Comments

During our visit here at deviantART, upon submitting our deviations, what is expected next? Comments! However, here's a little fun past-time activity: take all the excellent, if not better, deviations comments in your gallery. Now take a look at all the deviation comments you've ever received. You will notice that good comments don't happen as often as they should. Although we all want good comments and to be better commenters ourselves, we have to act upon it instead of just sitting around and hoping to receiving nice comments after submitting something. Give, to receive.

Here I show you the basic concept of commenting, to make yourself a better commenter; and I don't mean being a 'good' commenter since everyone comments in his or her own way. That is why I use the word "better" instead of "good".

Most often you get quick comments which only express the viewers' first impression of the deviation, and avoiding going in-depth with what is actually there and besides the mere flash of colors and/or concept. This provides the artist with nothing except the mere knowledge that at least their art is cool, so skip the "Cool" or "Wow +fav" one-liners. If you are quick to comment simply to increase your comment count, I suggest you stop doing that. It goes no where and has no point because please bear in mind the concept of quality over quantity.

The whole point of commenting is to express both your positive and negative thoughts on whatever piece; the positive will act as compliments on the artist, while the negative will help them realize their mistakes. When we point out mistakes, we often do not know how to say it constructively, and in the end we tend to skip the negative all together, which is a big no-no. Speaking of which, if you have received the ultimate critique, do not fret; it is not directed to you as a person. Do not take them as personal attacks, and feel all mad and confused. This should be a helpful learning tool. If it is constructive, the person is safe. If they are just being mean, well, then you may file a report upon the event.

TODOComment Skeleton Structure

Here lies the basic concept of being a better commenter, even if you already know how to comment, applying this skeleton structure in your commentary posts will help you help others.

TODOSkeleton: Interpretation

This is the best part in the skeleton structure; it provides the artist your view on his or her piece by freely expressing what you see. Here you express your feelings towards the art itself, for example, how it moves you. Putting your feelings into words rather than just saying 'cool' always gets the recognition of the artist [whose artwork you are commenting on], and even by others who have been reading through previous comments [in order to get some ideas]. Also, prior to commenting, I suggest you look at the art in full view. It would be much easier for you when coming up with your own interpretation. And of course it would be more fair on the artist.

Interpretation offers the artist a little understanding of yourself, of who you are, because art is a mutual share of connection; between you and the art. While the artist may not be out of the picture, he or she may step aside and observe how others observe their art. Before replying to comments and including your own interpretation, it is definitely worthwhile to read and understand that comment/critique very carefully. Art should be about interpretation when it is being viewed by someone else other than the artist himself/herself.

Try to imagine yourself seeing the same piece in an art museum. You step closer (full view), analyzing it, examine and appreciate the details… your mind will begin to make up an individualistic interpretation. It is not about being right or wrong because everyone sees differently. Perhaps you'll see something different if you look at it again 5 minutes after. To hear your voice and to see how you connect with their art, is indeed a pleasure for every artist.

TODOSkeleton: Critique

When critiquing a piece of work you might say to yourself, "I don't have an Art Degree, I should keep my mouth shut". That's not true. When art is being shown to the public, it is up for all sorts of comments and thoughts, so why not tell them what you see, including the negative? It is ok to point out the errors even if you do not know the artistic term for it; it still provides a realization to the artist. Before stating what seems wrong [to you], do read the deviation description for something the artist may have already covered, such as critiques on their own work and/or style, so as not repeat what has been said.

Critique is not something you can learn from an art school only; it's the errors you see and your ability to tell the artist just what you see in a constructive manner, with sincere suggestion for improvement. Many times you see low quality art, you would want to start critiquing since there are more things to point out for improvement compared to work of higher quality. Even in the masterpieces you can still find something to suggest for improvement, and as long as you are polite, this would not be an offence to the artist, so do not be afraid. The only way you may be hurting them is by candy coating with words like "Oh you can do it better next time". That is not critiquing. Avoid this at all cost. Be direct and firm.

For an example: If a deviation is a drawing of a hand, and the fingers just look wrong, simply point out what you see looks wrong. Such as: "It looks like one finger is out of proportion, like its much shorter than the rest. Perhaps you can look at your own hand for reference in drawing hands to get a better look at the autonomy". That should do it. Avoid something like: "The hand has one short finger! That's cute".

Although critique is inevitably related to what you know and how much you know about the process of creating art, and art itself, you can always use it to your advantage when giving a well thought-out and helpful comment.

TODOSkeleton: Compliments

After you have provided criticism(s), perhaps it is time to point out what you like about the art itself. Tell the artist exactly why you like the art, and not just by using one-worded phrases, e.g. "COOL!" State what you like in ways that proves the art has its strength. By doing this you give the well-round pat on the back to the artist, which will often give the artist some energy to smile, at least. Compliment on the things you like and do not state "I love the colors! I love the forms! I love the eyes!" You would just be stating the obvious. Try avoiding that as it has most probably been repeated. Put yourself in the artist's shoes. Doesn't it feel a BIT dull after getting the same comments over and over again?

A compliment should be followed by the reason for the compliment, i.e. just what you like about the piece. For an example, when saying you like the colors do not simply say, "I love the colors" and just leave it there. Put more thoughts into it by saying, "I love the colors, the way you use them effectively to set the mood in the art itself. That is what first caught my eye". As you can see it is more read-worthy than your ordinary "I love the colors!" So why do you love it? Artists often ask themselves that and do not bother asking you; they are busy reading more comprehensive and constructive comments, so they will simply glance over yours and just get it over with. You do not want that to happen, do you? Your efforts will then be rendered useless.

You will most probably never comment on the same piece again, so why not give it your best? No time? Make time, or leave it when you have the time. As I venture about the community, I've seen people complaining about being bored, with absolutely nothing to do. Well now you have something to do, and offer support to artists and to the community at the same time.

TODOSkeleton: Ask Questions

This is an extra thing you may want to include in your comment. There are lots of times you wonder how the artist did that effect, or what tool they used in their art. If it hasn't already been mentioned in the description, just ask. There is no punishment for asking questions, often the artist would be glad to help you out, and if they do not, well, at least you asked. Asking questions provides a small interaction between you and the artist, where you can learn from those you admire. Although they may not reply you all too soon, they will eventually spill out what you need to know.

Questions will lead to interaction and might lead to friendship. So take it seriously and do not be annoying by asking questions that have already been answered. What sort of questions are you able to ask? Anything that might interest you, or if you want to learn more about the materials used, the tools, techniques, etc.


There it is, the basic skeleton structure to help you become a better commenter, so take this and apply it to your normal commenting style. If you are worried that it will change your style, fret not, because this is skeleton structure will slip on nicely with any comment body. This 'skin' will hold up the appearance of your comment, and enforce its standing. Although with the skeleton structure in place you will still need to work at your comments. Master them by experimenting with various styles in delivering comments.

:bulletred: Extra tips in making your comment a bit more professional:

:bulletgreen: Spell check, grammar check, and punctuation check:
Use MSWord for it, or any text editing program that may offer this feature. This will help your writing to be completely or at least almost error-free (Highly recommended).

:bulletgreen: Revise:
It is best to revise what you have said to see if it is clearly written for the artist to understand. Do not have it all in a confusing bunch, otherwise what is the point? Revision helps you make changes in certain aspects of your comment so as  enhance it, because when reading something after you have written it you would most likely be able to improve, by making it sound better, be more helpful, as well as appear more visual and more real.

:bulletgreen: English & Other Languages:
Use simple English if you can; don't burst out your vocabs which may be an inconvenience to the artist as not everyone's first language is English. I encourage you to use English if English is not your first language. Practice makes perfect. However, if you feel that expressing in your language may better benefit the artist, be sure that the artist speaks and reads the same language.

:bulletgreen: Emoticons:
If you feel the urge to use them, few should be fine, as too many will be a distraction.

:bulletgreen: Endurance:
It will take a lot out of you and your time in deviling one of your most thought-out comments (by applying the comment skeleton structure). It is good to keep on giving until you feel your fingers need resting. Your dedication will help so many, and what better way then to give back than to give a better comment? Build up your endurance, the more you do it, the less work it will be. Do not forget to have fun when commenting though; this may seem like a chore, but it is only so if you think of it that way.

TODOFinal Thoughts

That is all there is for the basic concept to give a better comment. If you adopt this skeleton structure you will definitely deliver more successful comments, which the artist and those who may be reading your comment can really relish upon. It provides a sense that you care, that you have looked at their piece in depth and did not just glance at it. With the thousands of submissions deviantART receives on a daily basis, you will see that comments are rarely given, and good comment even rarer. Despite the facts, use this skeleton structure to your advantage; you will definitely stand out among the sea of "Cool" and "Wow" comments.

I hope this guide is beneficial to you in some way. If you want to stand out in your art, in being an individual, then why not do stand out in every aspect, in everything you do? Even commenting?  

I would like to thank all 'bad' commenters out there for encouraging me to write this guide. I dedicate this to you.


:pointr: Project Director: ZirTuan
:pointr: Project Editor: snowmask
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Journal Entry: Fri Apr 20, 2012, 8:27 PM
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