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00057501 by techgnotic

J. Paul Getty - The Liberation of Masterpieces as Open Content

The J. Paul Getty Museum has initiated an Open Content Program to share, freely and without restriction, as many of the Getty’s digital resources as possible.

A first sharing of 4,600 high-resolution images of the Museum’s collection, including many masterworks, has just been made available and all are free to use, modify, and publish for any purpose.

In a brilliant stroke, the Getty Museum has liberated one of the top collections of art in the world not just for access but for use. The museum is literally “beaming up” the great works in its collection as living resources within the arts themselves, for study, for sheer personal pleasure and, remarkably, as free visual resources available to any artist or business anywhere for anything and for free!

It is a watershed moment in the evolution of the social responsibilities of organizations that collect exquisite art as a part of a public trust—the moment when the J. Paul Getty Museum and Trust, arguably housing the most influential brain-trust for the curation and preservation of art in the world, decides to trust the public, instead of just themselves, with setting the context and use of these works.

It is a classic paradox of opposites where the strongest bend and where the most power comes from never exercising it: the best preservation of the relevance of these cultural artifacts is to be found in their widespread diffusion into the general culture.

The extraordinarily special element in this release is that the paintings, drawings, manuscripts, photographs, sculptures—these monumental works of art—are now accessible in a way that even a personal trip to the museum could never provide. The files are incredible, high resolution images showing a depth and detail that only an archivist in a sealed room would have been permitted to see using a magnifying glass while wearing white fiber-free gloves (every line of crackle in the paint on a canvass from 1560). This is art released from the private vacuum of cultural elitism (so many museums actually embrace elitism as a principle and mission) and now instantly distributed to every corner of the world.

Stendhal, the French writer, went to Florence and was so overcome by the masterpieces that he had essentially a nervous breakdown. This has happened to many before and since and is a recognized syndrome. The symptoms disappear over time when the patient is removed from the art. This is an unprecedented look at art masterpieces. You could spend hours on line with a single work and only emerge days later from a collection like the Getty’s in need of room with simple white walls.

The Getty makes available, without charge, all available digital images to which the Getty holds the rights or that are in the public domain to be used for any purpose. No permission is required.

Source – Open Content Program

The question some would ask provocatively is this:

Would Vincent Van Gogh openly dedicate to the public a wonderfully detailed digital file of his painting of Irises?

Of course, he’s dead so we can’t ask; and, he’s been dead so long, he never could have been asked in the right context. For example, the idea that a “better” copy than the original could be made without impacting the original in any way is hard, still, to fathom and is a part of the active, boiling revolution instigated by digital media.

Radical moves in tech are commonplace. Radical moves in museum culture almost never happen. Museums typically are conservative in all things—a pun to their primary mission of conserving cultural materials. The process of conservatorship among the “great” museums with “great” collections is full of delicate dealings not just with the objects and their care but with artists, the museums’ very wealthy patrons, local and foreign governments and collectors. Offering institutional “protection” of their works, legacies, and ”names” in big buildings that themselves become landmarks, museums strive to be symbols of sobriety, permanence, tradition, calm and studied control.

The J. Paul Getty Museum’s board of directors has gone deviant and we could not be happier!

The J. Paul Getty Museum has initiated an Open Content Program to share, freely and without restriction, as many of the Getty’s digital resources as possible. A first sharing of 4,600 high-resolution images of the Museum’s collection, including many masterworks, has just been made available and all are free to use, modify, and publish for any purpose.

Search Open Content Program here.

Writers: techgnotic
Designers: marioluevanos

For more articles like this, please visit depthRADIUS
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Cinema Makeup School

Wed Apr 2, 2014, 11:40 AM

Mastering The Magic ofMonster Making

15.7 million fans tuned in for the fourth season finale of the AMC cable channel’s hit series The Walking Dead, making it one of the most watched hour-drama broadcasts in cable history.

More than a mere gore fest, critical approval for the show has come by way of nominations from the Writers Guild of America and the Golden Globes. World War Z (2013) presented The Walking Dead on an epic scale, starring no less a Hollywood Mega Star than Brad Pitt, and has grossed over $600 million worldwide. A sequel is planned. The zombie movie has come a long way from Night of the Living Dead, the weekend movie project shot by George Romero and friends in Pittsburgh in 1968 on a $114,000 budget. Romero’s zombie concept, little-changed from then to now, was at the time reviled by critics as the worst thing to ever happen to the horror genre, but is today considered the genius zeitgeist forerunner of all that was to follow. Questions of pop psychology and sociology aside, one thing is certain…

But with such a growing demand for zombies, needed in greater and greater numbers to fill screens depicting the various takes on the imminent worldwide zombie apocalypse, how is Hollywood managing to supply the putrid zombie pipeline vomiting out these rotting living-dead brain-eaters? What was once the specialty make-up of a handful of Hollywood horror movie make-up artists has now become by necessity a standardized category of the special effects profession—which is currently being taken up by legions of young monster makers.  We here present a visit with one such school in this relatively new world of “physical character development.”

Special effects makeup has been a part of movies almost from the inception of popular cinema.

Lon Chaney Sculptures
Saul Alvarez and Mark VanTine.

Lon Chaney was the first great master of the physical transformation of an actor to fit an unusual or fantastical role. His silent movie masterpieces of the silent era included The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). He created and applied his own creative (and often painful) makeups personally, guarding the secrets of his process like a magician guards his tricks. When Lon died in 1930 the torch was passed to Jack Pierce who was the lead makeup maestro at Universal Studios just as it became the reigning House of Monster Horrors.  Pierce created the makeup for Boris Karloff in Frankenstein (1931) and The Mummy (1932) as well as Lon Chaney, Jr.’s The Wolfman (1941).

From the time of Jack Pierce the trade of special effects makeup remained a vocation pursued by individuals inspired by Chaney and Pierce, artists like Rick Baker and Tom Savini, who had to learn their craft largely on their own, there being no formal makeup schools teaching monster making and other special makeups required by horror, fantasy and sci-fi films.

The special effects makeup deficit was finally addressed in 1993...

With the founding in Hollywood of the first incarnation of the Cinema Makeup School (CMS), which has since become recognized as the leader in the genre makeup field, with graduates going on to great achievements critical acclaim at the highest levels. CMS’s longtime Director of Education, Leonard Engelman, was elected the first Governor of the Make-up Artists and Hairstylists Branch of the Academy of Motion Picture Arts and Sciences (the governing body for the Oscars®), and continues his work with the school to this day as a special instructor and chairman of the school’s honors program.

The school’s plan was always simple:

Offer shorter, more concentrated classes; keep all instruction up-to-date with the latest professional methods and standards; and attract top working artists to teach at the school. The results have been impressive. Students have gone on to high-profile jobs with effects shops like Amalgamated Dynamics, Inc.; The Character Shop; Legacy Effects; and assisting well-known artists such as Ve Neill; Steve Wang; Kazuhiro Tsuji; and Joel Harlow. Enrollment continues to grow. The plan remains the same: pair eager students with top established talent, and then teach them the latest methods in a concentrated creative environment.

Cinema Makeup School is yet another example of a special creative need being recognized and then “solved” by artists, visionaries, entrepreneurs—a special breed of creative individuals come together in a single cause.

Eat breakfast. Go to school. Make monsters.

Cinema Makeup School Artists


Five top students at the Cinema Makeup School (CMS) are deviantART members so we thought they would be the best source for information about the complexity and discipline around SPFX artistry.

Interview with

Midge Ordoñez (MidgeO)

Has what you’ve learned at CMS impacted your other creative work? Sculpting etc?

Midge Odoñez:

Yes it has. CMS taught me to create a full character, not just something that may look cool. I learned how emphasizing certain parts of the anatomy will change the emotion on a sculpt. I also think more about detail and the smaller shapes on the face and body when sculpting.

Has training in special effects makeup enhanced your skills in traditional beauty makeup?  Has being a “double threat” resulted in better employment opportunities?

Midge Odoñez:

I came to CMS with a few years doing beauty makeup under my belt, and learning about special effects has made me think more creatively about my beauty makeup. Being a "double threat" has definitely resulted in better employment opportunities, as more employers would rather hire one person who knows how to do both rather than two separate people. It's also good to know in case my creature needs any sort of beauty enhancement.

Will you continue in the makeup field or do you aspire to mastering any of the other aspects of movie production?

Midge Odoñez:

Working in the makeup industry  has been a dream of mine for years, one that I will continue to strive for, but being at CMS has opened me to exploring other facets as well. I want to get into making dolls and collectables, and after taking the Zbrush class CMS offers, I want to do more conceptual work as well.


by MidgeO

Interview with

Jordan Morris (key-0)

What is the status of “Harbinger Down”, the Practical Creatures Effects Kickstarter project?

Jordan Morris:

Last I've heard is that the script is done!

Do you think special effects makeup produces a better result than CGI every time?  Is CGI too often automatically the first  choice?

Jordan Morris:

I'm on both sides of that conundrum. Honestly, I feel the mix of the two mediums have given the best results in recent days. Here I'll bring up the Pale Man and the Faun from Pan's Labryinth. It's not just makeup FX! Let's not forget miniatures, models and other practical effects as well! (Go watch some behind the scenes for Nolan's films... you'll see!)

As far as CGI as a first choice... it's hard to judge. There's many reasons for choosing CGI over practical for the set. Mostly monetarily reasons which falls onto studio pressure. However, I honestly believe that if there's something tangible right there on set you will get a better performance from your actors, your directors, your cinematographers, everyone.

Has training in makeup at CMS enhanced your drawing skills in any way?

Jordan Morris:

In a strange way, yes. Especially with sculpting appliances and maquettes. Working in 3 dimensions and making sure that a form fits and moves on a face... it can change the way you think about how anatomy works, not just how it's rendered. I've also found myself becoming more painterly now that I think more in shapes and planes. Better understanding how light hits a form. I still need to figure out environments though.

What do you see as the next big advancement in the field over the next 10 years?

Jordan Morris:

I think the only step in the 'future' I've ever really pondered would be something like 3D printed appliances. I haven't a clue how that would work but it would be pretty awesome!


by key-0

Zombie Tutorials with MidgeO & KCMussman

Interview with

Melissa Jimenez (0oMrsHydeo0)

How has makeup training at CMS enhanced your costuming skills?

Melissa Jimenez:

Being a trained makeup artist has opened up a lot more possibilities when it comes to costuming. I’ve always wanted to work as a special effects makeup artist but being raised and born in Colombia never really allowed me that possibility, so costuming, cosplaying and character creation in general was my attempt at getting close to this craft.

Now with the combined knowledge of costuming and makeup I’ve been able to develop characters in a more complete way, since I get to be involved in more areas of the creation process and I’ve even been able to get more work because of my specific skill set.

Would you recommend CMS to your fellow Cosplayers?

Melissa Jimenez:

If you’re interested in makeup, absolutely. Not everyone that cosplays wants to get involved in makeup, since they’re more interested in the costuming side of it. But, for me, cosplaying and doing zombie makeups on myself and on friends for Halloween was my attempt at getting closer to my dream career—a career which at several points in my life I didn’t even believe I would be able to pursue. Luckily enough, costuming and cosplaying lead me into a natural transition over to makeup.

I had to work really hard to be able to move from Colombia to LA to pursue my dream, and I still have to work very hard to be able to do makeup for a living. It’s a very satisfying line of work and, at the end of the day, instead of working at an office I get to make monsters, play with clay and paints, work in movies and make the creatures that live in my imagination come to life; what could be better than that?

Does knowing you can produce superior effects makeup free you creatively when you are planning a costumed character?

Melissa Jimenez:

Definitely. For me creating a character not only involves thinking of the specific look and features that it might have, but also figuring out how that character would choose to dress itself or what attire would make sense in its everyday life. There’s a very good reason why the makeup and wardrobe department always work together in movies. Attempting to create a complete realistic being will always require a cohesive overall look; so personally, having knowledge in both departments allows me a lot of creative freedom.

Has what you have learned at CMS help you get modeling jobs?

Melissa Jimenez:

Of course, thanks to what I learned I model all the time, I model figurines out of clay, monster busts, creatures…

All jokes aside, modeling for me was never a set career; I always enjoyed the creative side of it, which for me involved doing makeup, creating outfits, props, set design, etc.  It was fun and thanks to it I met a lot of great people but I never saw myself doing it full time.

Nowadays I’m lucky enough to be able to work as a professional makeup artist which between being on set, working at special effects labs and developing personal projects, allows me very little time for anything else.

Interview with

KC (KCMussman)

Israel played such a big part in “World War Z”.  Is there as much interest in the zombie craze in Israel as there is in current American culture?

KC Mussman:

It seems these days that we are craving for zombies more than they crave for us, and yes-indeed even in smaller parts of the world such as Israel (because lets face it zombies are COOL!)

The Cinema of Israel is mostly traditional and comprised of mainly classic genres such as docu-dramas and military. Therefore I am not surprised that a new generation of film makers rose recently, pushing the limits and introducing Israel's big screens to horror, but still there is a long way to go.

Was becoming a working SPFX make-up artist the impetus behind your transplanting yourself in Hollywood?

KC Mussman:

When I got into makeup I started finding myself working on sets hands deep in (fake) blood and the deeper the blood the more I realized that I wanted to make movies!

I wanted to learn the real deal- and due to the limited resorces and knowledge in my country I knew i had to look elsewhere and Hollywood was just the place to get started!

Was there one movie in particular that made you decide you wanted to be a SPFX make-up person?

KC Mussman:

Many movies have inspired me, but my strongest inspiration comes from books. with a book anyone can become an artist- envisioning a written word and translating it into a character or a monster or a wondrous land. I am very influenced by Neil Gaimen, George RR Martin, HP Lovecraft, Alister Reynolds, Tolkien, Roger Zelazny, Issac Asimov, Richard K Dick, JK Rowling, Robin Hobb and many many more.

Your “glamour” make-ups seem to focus primarily around exotic and or horror-themed eyes and mouths. Are you a big fan of otherworldly seductions and dark sensuality?

KC Mussman:

Otherworldly seductions? Haha I guess you can say so. I love to focus on emotion, especially with my lip and eye art, in every makeup I emote a different feeling, I try to bring out conflict and contrast, to show the beauty of the beast.

I always knew I wanted to be an artist when I grow up. What kind I couldn't say but I knew it would be art.

When I was 6 years old my mother took me to audition for my first fine art school. there was a table with some drawl items- old bottles, a tin box, some books and a cow skull. I was given a set of pencils, charcoal and an aqua palette full of colors.

I did not touch the pencils nor the charcoal but went straight for the colors and used everyone of them. I painted a fiery sunset over a desert oasis with the cow skull resting beneath a palm beside the water. when we where done they set all our drawings out and to my surprise no one but myself has used any color, all I saw where copies of bottles and tins and books.

I was not accepted to that school, They said that I didn't follow the rules and that If I wanted to fit in I would have to paint what i was told like everybody else. Since then I have been accepted to several art schools and colleges, always in search to improve my skill-set and techniques but keeping true to myself and my vision.

In makeup I found the applicability of my art skills, and how I could use them to my advantage to transform Idea into Material, turning fantasy into reality. It amazes me to see my Imagination come alive and the happiness it brings to others, there is no other way to describe it but a mix of self accomplishment and excitement towards dreaming up the next living creation.

Tell a little about your latest work.

KC Mussman:

From monster movies to Japanese pop videos I defiantly am enjoying my job, not just creating creatures and corpses but also being part of the team and watching that movie magic come alive with my own eyes and knowing I had something to do with it.

On my last zombie film "6hrs" by Rhona Horiner Rosner  we had around 30 zombies shambling about, it was a hot August day and we had a "corpse room" where the actors would come and lie down on the floor to rest in the air conditioning while I applied touch ups- it was so creepy and funny how they all looked so real.

On the set of Bass Orchestra's "My Zombie Valentine" we had over 50 zombie extras that got so excited about being zombies they took a stroll down the main street and terrorized cars and startled by passers.

A couple weeks ago we where shooting car chases and ninja fights in China-Town, Its always very exciting.

Which actor/actress would you like to turn into a zombie or vampire or alien (with or without infected space parasite bites)?

KC Mussman:

Tilda Swinton, not only is she an incredible actress but she has such a variety of features along with an amazing bone structure that has many possibilities for a sfx makeup. I would love to turn her into a dark and beautiful celestial being.

What advice do you have for young deviants wanting to break into the SFX field?

KC Mussman:

DO IT. If you want to make monsters—go out and make them! Get online—research your options, talk with other SPFX artists and get inspired.

Zombie Tutorials with MidgeO & KCMussman

Interview with

Lee Joyner (SkinStripper)

The current leader in charge of propelling the school to even greater heights.

Why did it take so long for Hollywood to recognize that formal training in special effects makeup was almost non-existent, yet obviously becoming a more and more in demand specialty?

Lee Joyner:

There aren’t actually very many training schools for this type of special skill.  Cinema Makeup School is actually one of the few that train in silicone gel filled appliances, creature maquette and ZBrush sculpture, moving blood flow (such as cutting throats, blood cannon), and combining all of that with the other classes such as airbrushing, beauty, hairstyling and others makes us quite a formidable facility.  We don’t advertise very heavily, so people who are looking to do this for a living search us out due to our high number of graduates that are alums of Face Off, our instructors who are considered the top in their fields and our commitment to providing a high level of technical and artistic quality to our instruction.

What has been the response to your school by the maverick outlier makeup artists like Rick Baker and Tom Savini?

Lee Joyner:

We have great respect for Tom for his contributions to the field with his book he wrote back in the ‘70s. Rick Baker is considered the new Godfather of special makeup effects, having had the torch passed down to him by the legendary Dick Smith. Rick and Dick are friends of CMS (Dick sponsored our first Legends of Makeup Scholarship, of which Face Off star Wayne Anderson was the recipient), and we’re proud to call them thusly. In fact, when Rick received his star on the Walk of Fame, he asked if we could bring out our students in full fx makeup to help liven up the event, and we were thrilled to participate!  Since we’re just a 5 minute subway ride from where his star was, we all went out (myself included, and how could I not!).  It was a rainy day, but the opportunity to see the makeup legend get his star on the Walk of Fame, along with legends such as Guillermo del Toro (with whom I worked on his first American film Mimic) and John Landis, well, it was a day to remember. I would also be remiss if I didn’t mention Jack Pierce, who is my personal makeup hero. Jack created the original Wolfman, Frankenstein’s Monster, The Mummy, and most of Universal’s classic line of Hollywood monsters. I was thrilled to be able to preside over the dedication of our Jack Pierce Gallery, where we showcase work from talented graduates and legendary makeup artists, such as 2 full sized silicone mermaids from Pirates of the Caribbean: On Stranger Tides (2011), donated by Joel Harlow.

Do you see a problem with a certain “routinization” of certain makeups (e.g. the current zombie look-alikes glut), or do you think the creative impulses of makeup artists will continue innovation despite producers’ “standard” requirements.

Lee Joyner:

There will always be innovation in the fx makeup industry. That’s what we love the most, to be honest.  We’re problem solvers.  We’re hired to make something that sounds impossible in the script become a reality, on time and on budget. It’s the most exciting part of the job for me.  We’re artists, magicians and mad scientists, all wrapped up in one. Sure, zombies can be similar, but compare the feeling of zombies across the spectrum: from Walking Dead to 28 Days Later, from the original Day of the Dead to Warm Bodies. There are huge differences of creative ideas there.  Compare werewolves!  Look at Dog Soldiers and American Werewolf in London, then take The Howling and The Wolfman. The creative freedom makeup artists gets is based on their passion and their ability to convince the production team that their design is what is needed for the project!  We teach our students to stand up for their ideas and their designs, but to also listen and be flexible. Being able to subtly manipulate the client to believe that what you’re showing them is what they wanting, and indeed, needing.

Lee started sculpting at the early age of 12, drawing for years before that, after being raised reading authors Madeleine L'Engle, H. P. Lovecraft, Stephen King and Piers Anthony, as well as the fantasies from Watership Down to Duncton Wood and many others. His brother raised him on Dungeons and Dragons in the 70’s, which moved into the rpgs Chill and Call of Cthulhu (due to his love of horror).  This love of escapism and fantasy worlds naturally led to all things video game (he is still an avid gamer today).  His obsession with fantasy and creature art led to Lee attending Savannah College of Art and Design on scholarship for Illustration, then traveling the country to various other colleges and majors, ending at the Art Institute of Pittsburgh for Industrial Design.

After working with various animatronic firms (trying desperately to not have to work in the real world) from Florida to Tennessee to Michigan, moving from one job to the next.  Lee ended up in Los Angeles, creating and contributing to some of Hollywood's iconic creations, from Mimic to Godzilla, and Star Trek DS9 and Voyager to Stargate SG-1. He started teaching at Cinema Makeup School to make ends meet between industry jobs, and eventually became one of their directors. Now, semi-retired from the industry, Lee focuses on Cinema Makeup School and his creature concept design, bringing to life creatures that are an amalgam of books, films and illustrations and paintings that have influenced his psyche and made him who he is today.

What are the benefits of your school to the young artist interested in special effects makeup beyond the actual training in makeup skills?

Lee Joyner:

There will always be innovation in the fx makeup industry. That’s what we love the most, to be honest. We’re problem solvers. We’re hired to make something that sounds impossible in the script become a reality, on time and on budget. It’s the most exciting part of the job for me. We’re artists, magicians and mad scientists, all wrapped up in one. Sure, zombies can be similar, but compare the feeling of zombies across the spectrum: from Walking Dead to 28 Days Later, from the original Day of the Dead to Warm Bodies. There are huge differences of creative ideas there. Compare werewolves! Look at Dog Soldiers and American Werewolf in London, then take The Howling and The Wolfman. The creative freedom makeup artists gets is based on their passion and their ability to convince the production team that their design is what is needed for the project! We teach our students to stand up for their ideas and their designs, but to also listen and be flexible. Being able to subtly manipulate the client to believe that what you’re showing them is what they wanting, and indeed, needing.

We train them in set etiquette, terminology, breaking down and bidding on scripts, as well as balancing the makeup training with our advanced concept classes, such as Creature Maquette Sculpture, ZBrush Digital Sculpture and Digital FX Makeup Design, not to mention our Advanced Beauty Theory. They also have access to our job emails and seminars and events for the rest of their lifetime, and can come back and use any available space at our facility for practice makeups, production meetings, equipment usage, as well as hit up any of our staff with any industry advice they need. We’re always available to help our graduates!

What was the turning point when you knew your vision for CMS was becoming a reality and success was at hand?

Lee Joyner:

I would say it was in the early 2000’s when I instituted silicone gel filled appliance training at the school. That’s what they use today to create realistic prosthetics that have beautiful movement and translucency, seen in Benjamin Button, Norbit, Star Trek, etc. At that time no other school was teaching it. I kept waiting for other schools to catch on, but they never did. The reason was it was difficult and expensive. Their attitude was “why do something if we have students and doing well?.” Cinema Makeup School wasn’t about the status quo. We were, and are, interested in the furtherance of the craft, keeping it alive, and doing what we can to increase its reach and use. Training today’s new generation of makeup artists requires cutting edge techniques and technology. We’re adjusting our curriculum constantly to reflect what is required in the field and to help our clients achieve that edge over the competition. When I realized the other makeup training facilities were not going to change their attitude, I knew we could achieve anything we set our minds on, and we have!

What is now your greater ambition for the school and its impact in the industry?

Lee Joyner:

Our goal at CMS is strive to attract the most passionate, creative and artistic makeup artists the world has to offer. I see as our duty to fill the void left from the old apprentice system. We need to instill in these creative monsters a love of the craft, the knowledge of who paved the way before them, and the tools to keep improving their makeup and design skills every time they pick up a brush or a sculpting tool.

Is there a general acceptance of or prejudice against genre makeup artists in the traditional Hollywood film and TV makeup community?

Lee Joyner:

We always recommend a makeup artist be as well rounded as possible, as there are not always genre jobs available. That knowledge of beauty and fx makeup tends to reduce any prejudice, since they can usually speak on the same level with other makeup artists. In regards to general prejudice, no, in fact it’s usually the other way around. Who doesn’t love blood splatter day on set? Everyone gets to wear their rain gear and be in the middle of a gore explosion!  As I always say, makeup is makeup is makeup. A makeup master like Joel Harlow, who has created Johnny Depp’s amazing transformations for films like Alice in Wonderland, Pirates of the Caribbean: On Stranger Tides, The Lone Ranger and Dark Shadows, also has to create his subtle looks and perform his beauty makeup as well. We’re also incredibly fortunate to have someone like Joel as an instructor here at CMS, when he has the time between working with Johnny.

What do you see as the online future of the CMS?  How are technological advances evolving the possibilities of teaching and learning effects makeup?

Lee Joyner:

There are incredible opportunities for online instruction!  Hollywood has opened up to the entire world the majesty of fx makeup with shows like Face Off (Cinema Makeup School has had 16 graduates, so far, having appeared on Face Off) and films like The Lord of the Rings, The Hobbit, and of course countless others. Now, people are searching for schools that can provide that training and knowledge. The internet has enabled us to create a bridge, giving those passionate about becoming fx makeup artists an avenue to make that dream a real event. The best way to train is in person, standing next to your mentor, having them guide you step by step. The ability to have someone show you in person what needs to happen to turn your makeup from ordinary into extraordinary is crucial. That being said, we also share telepresence with other schools around the world for seminars, and do have a library of DVD instructional training that we will be making public for sale.

Lee Joyner's


To Watch



“Nisachar’s use of color and composition with such powerful emotion create beautiful tapestries of illustrative art reminiscent of Babylonian murals from millennia past. His MBX Vol 01 20 Battle Kauravas was what keyed me in to his work initially, and I have a rotating desktop with his work daily to keep reminding me that such art exists.”

—Lee Joyner


Riccardo Federici

“What more can I say. Riccardo’s usage of traditional pen and brush in such small spaces astounds me with the amount of detail he creates in his powerfully moody tableaus. I’ve never seen such a classical treatment of such strange and dark subject matter. To me, he’s channeling da Vinci. There. I said it.”

—Lee Joyner


Ellen June

“Ellen June creates such a wonderful flow of positive and negative space in her sculptural designs. Her Petal Deer and White Dragon are just a few of the pieces that strike me deeply, and if you stare at them long enough, can bring you to tears.”

—Lee Joyner


Mike Dubisch

“Mike Dubisch and his usage of color and absence of color to create otherworldy creatures is masterful. His Black Velvet Necronomicon is one of my most treasured books.  His knowledge of tentacles, webbing and strange liquids is deep and disturbing, but in a way that makes you want to snuggle up to the page and sleep long and deep.”

—Lee Joyner


Jeff Simpson

“Jeff Simpson puts his character design first and foremost, fusing the technical simplicity of Syd Mead with the warm focus of Zdislaw Beksinski. Combine that with a talent for bringing forth the imperfect spark of real personality and you get a beautiful package of character art that inspires one to simply create.”

—Lee Joyner


For the Reader

  1. Have you had the experience of having a particularly frightening horror movie being ruined when the monster finally revealed isn't so scary?  Conversely, do you think horror movie makers today rely too much on the extremely effective make-ups and put too little into making the actual stories scary?
  2. What was the first memorable halloween mask or make-up your ever wore?  Did you like the sensation of being a scary monster?
  3. What's the best horror or fantasy make-up you've ever seen in a movie?
  4. Which movie or TV show has the best (most convincingly rotting, etc.) zombies?

15.7 million fans tuned in for the fourth season finale of the AMC cable channel’s hit series The Walking Dead, making it the most watched hour-drama broadcast in cable history. More than a mere gore fest, critical approval for the show has come by way of nominations from the Writers Guild of America and the Golden Globes.World War Z (2013) presented The Walking Dead on an epic scale, starring no less a Hollywood Mega Star than Brad Pitt, and has grossed over $600 million worldwide. A sequel is planned. The zombie movie has come a long way from Night of the Living Dead, the weekend movie project shot by George Romero and friends in Pittsburgh in 1968 on a $114,000 budget. Romero’s zombie concept, little-changed from then to now, was at the time reviled by critics as the worst thing to ever happen to the horror genre, but is today considered the genius zeitgeist forerunner of all that was to follow. Questions of pop psychology and sociology aside, one thing is certain…

Writers: techgnotic
Designers: marioluevanos

For more article like this, visit depthRADIUS
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Dave Elliott, An Authentic Citizen

Mon Sep 23, 2013, 1:57 PM

Weirding Willows

A New Wind Lifts Storytelling

First imagined as a bedtime tale for his son by Kenneth Grahame in 1908, The Wind in the Willows has remained in the top twenty children’s stories ever since. But things have been getting weird out in the Willows, as the new comic on deviantART, Weirding Willows, will attest to.

Badger, Mole, Ratty and Mr. Toad are back… but they’re joined by Alice, Frankenstein’s Monster, Mowgli, The White Rabbit, Peter Rabbit and Benjamin Bunny as they defend the world from the Wicked Witch of the West, Doctor Moreau, the Mad Hatter, Mister Hyde and the Queen of Hearts (not to mention the flying nightmare monkeys from Wizard of Oz.)


The new direction taken by Weirding Willows, recently published in multiple formats, reflects the new worldwide comic audience being opened up by the Internet and the new technologies and the needs and desires of that audience being serviced by those who recognize it.


reator and writer of Weirding Willows, Dave Elliott, is at once introducing beloved childhood fables and adolescent fright tales in Western culture to new readers, while re-imagining them for those of us already familiar with them on some level. Tying the separate strands of the disparate fantasies into a cohesive narrative is accomplished by centering the narration in a new Alice in Wonderland. And by “new” I mean smart and engaging—rather than being simply the target of CGI effects as she’s been reimagined in the latest studio rehashes. Librarians and teachers have been embracing Weirding Willows and are reporting a heightened interest in the classic “Frankenstein” and “Jekyll & Hyde” texts as well as a revisiting of all the other fantasy figures of bedtime tales. This new comic seems to be generating an interest in a dozen classic characters’ “back stories” and that couldn’t be better news for the future of fantastic storytelling.


No better an example of the new storytelling is to be found in Weirding Willows, published by Titan. What would have once been developed as a simple “mash-up” of diverse childhood story characters in a sort of very strange Justice League, Weirding Willows has the benefit of fan input into precisely which characters have been chosen to resurrect from deepest childhood dreaming as well as a continuing conversation with the story direction with the writer as the issues progress.

The new paradigm, wherein lies the future of storytelling—opens the next chapter in the history of pop literature.


funny thing happened on the way to the funeral for the storytelling narrative, its obituary written by the traditional publishing industry: the genre is thriving rather than dying, and with an infusion of more independent spirit and creativity than has ever before been possible. Weirding Wilows is a prime example. The Internet has done more to liberate rather than destroy storytelling, the new technology encouraging fan comment, contribution and even collaboration on an unprecedented scale. The publishing houses feared their loss of total control of dissemination of “IP” (intellectual property) would mean novels, comics and all other storytelling vehicles would be pirated into chaos, creators unable to find a way to get paid for their art.  Instead of this deathly scenario, a new dawn has broken – with fans exercising more direction over their favorite stories and characters while the narrative is still in creation.


Dave Elliott puts an enormous amount of effort into helping deviantART community members move forward as artists as they try to determine how they want to enter the industry.

After launching two of his own anthologies Dave has just announced, through a journal on his page, plans for a third regular anthology locked and loaded with deviant artists of every medium exclusively.

  • All of the artists hired to create artwork for Weirding Willows and Dave Elliott's Odyssey are all from the deviantART community.
  • Reviews portfolios for community members whenever he can.
  • Introduced spyed to Clydene Nee which launched the powerful collaboration between deviantART and Comic-Con for a newly reinvigorated Artists Alley.
  • Judged the first two deviantART San Diego Comic-Con scholarships reviewing 100's of portfolios  determining the finalists from the deviantART community.

  • In his free time he art directs deviants work when they've attained their first paying gig.
  • Three previously unpublished deviant artists work were featured on to the back of Heavy Metal magazine from a competition off of his own page.
  • A full issue of Heavy Metal Magazine will be curated form submissions from Dave's deviantART page. Go to his page for more details.


he comics industry’s insiders know Dave as the go-to guy whose name alone will lend mighty credibility to any project in need of more lift to get off the ground. He’s the best coordinator and facilitator of talent in all comicdom. He’s the man who finds a way to make independent projects happen. What should be better known by the reader-consumers, fans and advocates of comic books and graphic novels is Dave’s extensive resume and well-deserved reputation as one of the most influential figures in the industry, as both creative artist and businessman.

For the last few years Dave Elliott has become known as one of the most sought after World Builders, an essential skill necessary to facilitate “Full Spectrum Narrative” IP development for the entertainment industry. From co-founding Radical Studios where he developed a new more realistic and grounded version of Hercules, that Dwayne “The Rock” Johnson is currently shooting under Brett Ratner’s direction, to co-founding Benaroya Comics, creators of Red Spike, Samaurai’s Blood, and The Marksman, all released last year through Image Comics.  Sam Sarkar’s comic series The Vault sold to Graham King after being co-developed and packaged by Dave.

As the industry stands now, what are the best tips for breaking in?


I think the ‘Industry’ is being redefined right now. The traditional model of publishing is crumbling and what ‘is’ Industry has almost personal relevance now. If you draw Superman every month your idea of the Industry is the Direct Sale Market which caters to the 1,200–1,500 physical stores around the countrty. The Direct Sale Market expanded into the digital domain through companies such as Comixology and iVerse.

Breaking in is actually best done by proving you've got what it takes to do a great job and producing high quality, consistent, work.  Marvel and DC look towards IDW, Boomstudios, Dark Horse and Image Comics for their talent. They do that because there is no hiding when a creator can't keep their deadlines or has an emotional meltdown. Editors are also scouring deviantART for new talent. They're watching creators who post often, consistently and get a lot of traffic. If you do a piece of work that you want a specific editor to see tweet a link to them but don't always expect a response.  Don't send a Wolverine pin-up to the Batman editors. If you want to draw something in particular you're going to have to do some samples of that character. You can always get more eyeballs on your pages by doing mash-ups where characters meet who couldn't in their own books.  Have Batman meet the new Sherlock. Draw how you would imagine the Justice League would look in J. R. Tolkien's world. Have Blade and Buffy team up against the Twilight characters.  Images and ideas that will get people adding your images to their favorites and talking about them.  Send people to your deviantART page by using Facebook, Twitter and Instagram with teases.

All these additional hits will increase the chances of you getting noticed.

What are your top tips for launching a new story or intellectual property into the world?


First ask yourself do you love the idea or are you doing it because others might like it. You have to love your own idea and world. If you want it to resonate with an audience it has to resonate with you first. You have a far better chance of connecting with people if your heart is in it. It'll come through. It's no guarantee of success but your chances will be higher. Here's a small list of things that you must know before you start;

  • Know your world.
  • Know your characters.
  • Know the physics of your world and then make sure you stick to them.

If you have come up with the story first and are creating the characters afterwards, make sure they stay in character. Don't have them go against character just because you want something to happen, plan ahead. It sounds obvious but people run into it all of the time and many end up creating a new character just to move the story along. Those characters are always forgettable and a distraction.

Have you experienced having your comments and suggestions alter the narrative of stories-in-creation on deviantART or elsewhere?


Yes, we all suffer sometimes from being too close to our ideas and think that we've explained things out well enough only to find someone ask a really obvious question that leaves us scratching our heads.

This happened only recently when I posted a couple of pages of Weirding Willows up relying on everyone knowing who the characters were and the setting. You can't always rely on people having read all your deviantART entries or read every issue of your comic or book.

It's also happened when I've seen people warm to characters I wasn't expecting them to and after reading comments and seeing what they saw you have greater appreciation yourself for them. That happened when I decided to team Peter Rabbit and Benjamin Bunny with the White Rabbit. Their dynamic changed and I now want to do a set of stories focusing on just them (and their new friend Jack. Who isn't a rabbit).

Do you see artists considering the suggestions of other artists and fans as democratic or authoritarian, as community building or interference with artistic freedom and independence?


Every artist is different. Some just want fans. Some like the real artistic discussion of method and influences. Remember, when you post something you're going to get comments and not all of them you'll like. It is something we all need to come to terms with that not everyone will like what you do. Some may take time to warm up. It is your artistic freedom to post just as it is for someone to make a comment. It is how we react to those comments that will define how we grow as artists and as members of this community. You have your freedom and your independence and only you can give it away.

Do you think stronger (or weaker) mythic narratives will be the ultimate fruits of technological changes underway?


I believe if you want to connect with as many people as possible using a mythic narrative is essential especially if you ever plan to open up your narrative to others to participate in. A well thought out mythology to the world (no matter how real or grounded) adds to the believability of it and encourages immersion into it. Techgnotic came up with the best term for the development of a story or concept that can spread across many different platforms and art forms; “Full Spectrum Narrative.” We are all in this new technological age of communication. A single device can be a book, a comic, a video game, an animation and they can all be about a single idea. Each medium can be a different facet of your concept, not just the retelling endlessly of the same story.  A rich mythology give you and others a universe to play in without once bumping into each other.

Can you talk a little bit about the artist, writer, producer collaboration when building new narrative worlds? Should creators be their own Editor/Producers?


We are all producers. We ‘produce’ our work. In this new age we also need to be our own editors. More and more we'll be assembling projects to be published ourselves rather than have a publisher come along and act as the producer for us. We all have to learn how to wear more than one hat. The process of sharing messages between each other isn't much different than utilizing social media to bring an audience to our work. Fortunately as deviantART has grown so has the variety of skills coming to the community. If you need a letterer or colorist or a model just write a journal. It may take a while but somebody will always know someone who you can talk to. In comics, the writer and the artist must become their own editor and production managers. They must learn how to assemble and format everything they need, figure out how to post it and then promote it. Good material will usually get discovered but banging the drum really does help.

Producing The Lost Kids has forced me to wear a lot more hats than I could ever have imagined. Dave is absolutely right; we must all be producers as well as editors for each new IP.  This takes someone with a lot of focus and energy and someone who knows how to surround himself with the right people for a direct delivery the audience.

Internet sites like deviantART have bridged the separation between creator and audience so that we are talking every reader, viewer or player in a very particular way. DeviantArt has done the same with creator and other talent. Now, being able to draw but not able to write or being able to write and not being able to draw or letter is no longer an excuse to abandon your vision. deviantART has killed that excuse. If you want to work on your own comic book, your novel, your film, your art, but lack skill in certain areas, you can now find artists to collaborate with who can fill in the blanks.

The Lost Kids and Weirding Willows are prime examples of artists coming together for a single vision, for a single story. What aspiring story creators should take from their example is that your own project is possible if you put in the time, energy and focus to put together the team you need. If you have a vision, you can now assemble the right support team—and be gathering feedback from your audience throughout the process. Storytelling is a very collaborative medium and Internet sites like deviantART are making it more and more possible and more and more fun.


A wonderful example of the potential of deviantART and how to use it to build out your concept even if you're not an artist is FelipeCagno and his series The Lost Kids. His ideas resonated with so many artists he was able to persuade them to do pieces that he could post on his page and in doing so designed his characters and gave life to his world. He is about to finally release his comic series on multiple formats.


Bradley W. Schenck

“I like Bradley's work because you can tell that from time to time he wants to get lost in his own details of the world he has created for his Thrilling Tales of the Downright Unusual adventure series. He has created a world spawned by his own interests and his love for them pulls you in.”

–Dave Elliott


Possibly drunk right now

“Maybe it's a generational thing but I really miss the three panel newspaper strip format in this age of digital news.

2GAG (Two Guys and Guy) is a reflection on society and how we interact with each other in relationships. It is also very funny because of that. I've found myself laughing at myself many times.”

–Dave Elliott


HUNDREDS of antiseptics!

Lost in the Vale is a lovely series produced by Julie and Alan Curtis. Julie's artwork seems to mix several influences, such as manga, anime and traditional American comics, but doesn't adhere to any and so she's created her own look that appeals to several different tastes.

Her deviantART page complements her website nicely where you can see all the designs and thought processes going on.”

–Dave Elliott


Wah! What'd I do?

Plume is an awesome fantasy, action, supernatural western. Hopefully this will find a good publisher that will get it out to a wider audience. K. Lynn Smith has a fun series here that should appeal to most ages and sexes.

There is a universe built around Plume that even though it is only hinted at you know it is there and that she's not about to run out of story material soon.”

–Dave Elliott


Toby Cypress

“Toby Cypress is one of those artists who grows and grows on you. His influences are diverse but don't expect all those influences to show in his art as many of them influenced what he draws more.

Toby decided to not bother waiting for the main comic publishers to discover his talents, instead he went it alone and self published Rodd Racer through his own company Punkrock Jazz Publishing and has been working on his next big project KURSK that he's gearing up for a Kickstarter launch but has been sharing pages and designs of his deviantART pages.”

–Dave Elliott



“Humor is usually tied by geography and local circumstances. MAD magazine used to be awesome when every country could do its own thing. Carpediem, created by Rhoald Marcellius (from STELLAR Labs), is one of those action strips filled with humor that crosses every border. It wouldn't have been out of place in MAD magazine and, I'm going out on a limb here, it may just be the next Tank Girl.”

–Dave Elliott

  1. Have you experienced having your comments and suggestions alter the narrative of stories-in-creation on deviantART or elsewhere?
  2. Do you like the idea of story narratives being opened up to “consumer” preferences pre-publication—or do you prefer to hold your comments until after the author has completed his or her vision?
  3. What are your favorite story collaborations on deviantART?
  4. Can you share your own favorite top storytelling and OC building tips with the community?
  5. Do you think comic book publishers are making comics for you or for themselves? Does this drive you to make your own?

Looking for an exclusive insiders view on participating in the Comic book/graphic novel indusry. Look no further than this journal series "Acts Of Creation."

• • •

Weirding Willows, a new wind lifts storytelling. First imagined as a bedtime tale for his son by Kenneth Grahame in 1908, The Wind in the Willows has remained in the top twenty children’s stories ever since. But things have been getting weird out in the Willows, as the new comic on deviantART, Weirding Willows, will attest to. Badger, Mole, Ratty and Mr. Toad are back… but they’re joined by Alice, Frankenstein’s Monster, Mowgli, The White Rabbit, Peter Rabbit and Benjamin Bunny as they defend the world from the Wicked Witch of the West, Doctor Moreau, the Mad Hatter, Mister Hyde and the Queen of Hearts (not to mention the flying nightmare monkeys from Wizard of Oz.)

Writers: $techgnotic
Designers: $marioluevanos
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True story.

Well, a few days ago this guy was invited into a place where people have had bad lives and are trying to get back on their feet and we live in apartments where I've been set on moving out but anywho the story:

We have a nice guy living in a room that holds two people while I live in my own room, I pay rent for, it was my birthday so I was out and left my door unlocked since we worked together, well someone, who used to live on the street was invited to stay here and while I was gone he went through my laptop bag, looking for something he could sell where I couldn't get it back or recovered.

He didn't take my credit cards because he knew that I could turn those off, he didn't take the laptop which cost $1000 or my smart phone, instead he took my stun gun, where witnesses say they saw him trying to sell it for $5, a $60 dollar self defense weapon for $5! Now here's the kicker. Everyone in the house knew that I had anti theft on my machines, including my machines in storage.

That program actually scared my thief into not taking my phone or laptop which the phone was just an LG Optimums S well anyways all in all that's all he took the stun gun but ironically the cops are looking for him as we speak and he has been hiding like a coward away from all of us, without coming to his new home. For $5 for a beer or smoke he not only has cops after him and a guy in my house mad which turned in part of the police report he might lose his place to live and or be jailed for theft of a non lethal weapon and still to this very day I have my laptop because free open source software played an important role in intimidation criminals like how my backtrack 5 VM intimidates most jerks of the internet or my IP tracer gets a few people spamming me with insults to get quiet and abandon their emails.

In fact at most times open source or linux intimidates the computer repair people here because they know nothing about it besides the fact all of the emergency personal and doctors here still use windows which is probably why most states don't have a cyber crime unit but anyways the main thing is that open source scares the pants off most people who either haven't encountered it or knows what it can do, if your knowledgeable enough where it can be used to aid law enforcement. And the guy? Well he vanished but I'm willing to bet he can't and wont hide forever and my stun gun? I probably might have to get another or I might just get a .40 caliber and from now on my room will be locked and that's my story.
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What is an Adoptable Auction?
An Adoptable Auction it's like a normal auction, with an adoptable on the plate and the highest point/money offer wins. These are not 'first come, first serve' adoptables.

Is it the same thing as a Name-Your-Price Adoptable?
Both can cause a bidding war, but no, they're not the same thing. Auctions are more organized and have more terms to them that the NYP Adopts. NYP Adopts usually have a price range and not a starting bid, they don't have an autobuy, nor a minimum bid raise and end when the Adoptable Creator feels like it.

Bid = Money/Point Offer
Starting Bid/Base Bid (SB) = The first and lowest bid you can make for the adoptable (usually decided by the Adoptable Creator)
Minimum Raise = The minimum amount of money/points that you need to add to a previous bid to beat it (usually decided by the Adoptable Creator)
Autobuy/Buyout (AB) = The price that you need to pay to be sure to get the adoptable (usually decided by the Adoptable Creator)
Reserve Price = The price under which the Adoptable Creator won't sell the adoptable despite the start of the auction (higher than the Starting Bid but lower than the Autobuy, it's not very common to find one on dA)
Bid Comment = A comment made by the Adoptables Creator where you reply with your bids

How do I make an auction?

:bulletorange: Create an adoptable
You can't make an auction without having something to sell. Usually Auction Adoptables have a peculiarity that sets them apart from usual pre-sets, be it an extra chibi, or the fact that they're an original species, or a special edit made just for them. (Or you do auctions to get the maximum income possible for every design you make.)

:bulletorange: Decide the outline of the Auction
The Adoptable Creator is the one who decides the terms of the auction, and this info needs to be written down in the description. Some info is mandatory, some isn't.


Currency = It may seem stupid, but it's actually not. Maybe you accept only points, or only cash, or you accept both, but you need to *tell* people. Because there'll always be the intelligent guy who offers you cash when you don't have a paypal, or points when you ask for cash. At least you can tell them 'read the description' instead of 'I'm very sorry, but I accept only this kind of payment'.

Starting Bid = Doesn't matter if it's as low as 1:points:, you need to set a starting bid. Because you can't say 'bid what you want' and when someone offers you 18:points:, you tell them that it's a stinky offer because your pre-set adoptables are worth at least 180:points:.

End Date = Tell your bidders when the auction ends. This tells them if they need to stay attached to the PC to bid or if they can go take a pee-stop and it's also a way to give them the assurance that the bidding is fair for everyone.

Imagine this situation: There's a bid war between two bidders. Bidder A has 500:points: max to give away in the auction but is called away from the PC to have dinner. The Auction Creator sees the last offer from Bidder B at 350:points: and thinks that Bidder A folded, or feels like the auction was long enough to satisfy him and closes the auction.

The Auction Creator might have earned more if he had waited, and Bidder B will be disappointed for having lost the auction and probably will be a little reluctant to bid again with that Auction Creator.

Not Mandatory:

Minimum Raise = You can set this if you are auctioning for high prices and don't want the bid to go up point by point. Many bidders know how annoying that is and limit themselves to numbers ending with a 0 or a 5, but some will use every single number available from 0 to 9 if you let them.

Autobuy/Buyout = You can set this as low or as high as you want, in comparison to the starting bid, depending on what you want to tell your bidders. A low one says 'Come on, it's low enough to autobuy, give me the little extra needed to reach it', a medium one says 'I know it's high but if the auction progresses it won't be that unreasonable, and you could be sure to get it' and a high one says 'you know, just in case'.

Reserve Price = I personally don't like this, because if you have a reserve price, what's stopping you from putting *that* as a starting bid? But if you have a price under which you won't sell, you need to tell your bidders and not sprung it on them after the auction has already started.

Bid Comment = You may want one of these to keep tidy the comment board, but face it, it's not going to happen. Unless you have the 'Oldest Comments First' option checked, your Bid Comment will be pushed under the new comments. People will ignore it anyway and bid where they feel like it. And you'll have to play shepherd because, even if you say 'bids not on the bid comment won't be considered', you'll still go tell people because bids are yummy and you don't want to lose them.

:bulletorange: Auction Time
So you have set all the terms, have posted the Auction and are ready for the bids. I like to keep a 'Highest Bid' line in my auctions, so people can check up there who's leading the auction without browsing all the comments.

Always remember to tell a bidder if they've been outbid, until they tell you that they fold. Remember that people have a life outside the internet (Orly? Yarly!) and just because they don't reply to your oubid comment, it doesn't mean that they won't reply to the second one when they see them.

:bulletorange: Auction End
So the auction is over. Write the winner's name in the Adoptable Description and ask for the payment.

When does an auction end?
Time Ending 1 = The auction ends within [X Hours, decided by the Adoptable Creator] from the first bid
Time Ending 2 = The auction ends within [X Hours, decided by the Adoptable Creator] from the moment the Auction Adoptable has been posted
Bid Ending = The auction ends when the highest bid has remained the same for [X Hours/Days, decided by the Adoptable Creator]
Random Ending = The auction ends when the Adoptable Creator feels like it
Snipeguard = When, in a Time Ending 2 Auction, somebody bids a couple of minutes before the closing time (that's called Sniping), the auction end gets pushed forward a couple of hours.

What if the winner doesn't pay me?
Give them a time limit (one day or two, usually), and after that give the adoptable to the second highest bidder.

No one bid on my auction.
Well, perhaps something went wrong. Try to check these things about your auction:

Auctions are harder to sell than normal pre-set adoptables (don't ask me why), so submitting it to 4-5 groups is not going to cut it. Unless you're the Adoptable God, have 1 million pageviews and people scratch at your message board to ask you for adoptables.

Did you write down the Currency, Starting Bid and the End Date? Lack of information is something that discourages people from bidding, because it's up to *you* as seller to organize the auction, not them. And how can the bid correctly when they don't know the rules?

Time Ending 1
Time Ending 1 is a double edged blade. Because when it starts, people bid faster (and higher) to get it within the time limit, but if it doesn't start, you remain with an unsold adoptable. Try Time Ending 2 if you don't have the patience to do the Bid Ending.

I've written a Journal about pricing adoptables, but unfortunately Auctions rarely follow the usual pricing rules. They don't have a set price outside the Starting Bid and depend on how much the bidders like the design, so they're exclusively dependent on the design and art quality.

Hear the sound of truth, people can't see behind what's physically in front of them. It doesn't matter that you spent a month on that drawing or that you think that the quality has improved a lot from your gallery level. People don't care about your time, they don't care about your gallery, if they don't think the art is worth it, they won't bid.

You can try doing a NYP Adopt, and see how much people are willing to give you for a design similar to the one you offered for auction. Then, based on how much you earned and how much was bid, you can raise the stakes a little and do another auction, with a similar price range to what you got in the NYP Adopt.

If you have any questions, feel free to leave a comment. =)

Adoptables Journals Series:
Adoptables, Basics for Adopters
Adoptables, Basics for Adoptables Artists
Adoptables Tutorial
Adoptables, Writing an Artist's Description
Adoptables, Customs
Adoptables, Design Tutorial
Adoptables, Buying Adoptables
Adoptables, Pricing
Original Species Tutorial
The Purchase Button and P2U Deviations
Adoptables, Auctions
Adoptables, Original Species Confusion
Adoptables, I sold one, now what?
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Commissions UPDATES - Waiting List is OPEN

Journal Entry: Sat Nov 5, 2011, 9:13 AM

:onfire: OPEN :onfire:

:pointr: Another little update.  ^_^

1:bulletpink: :icon0o-nekotee-o0: => :star: DONE :star:
2:bulletpink: :icontseng-akera:
3:bulletpink: :iconverbrechen: => :star: DONE :star:
4:bulletpink: :iconshyrinia: => :star: DONE :star:

5:bulletpink: :iconargentkirin: => :star: DONE :star:

6:bulletpink: :iconhalouette:

7:bulletpink: :iconluka-chan26:

8:bulletpink: :iconpaleblueroses: => :star: DONE :star:

9:bulletpink: :iconangelicsesshomaru: => :star: DONE :star:

10:bulletpink:  :iconvfgoldenwing: => :star: DONE :star:

11:bulletpink: :iconlidl: => :star: DONE :star:

12:bulletpink: :iconseiyaku20: => :star: DONE :star:

13:bulletpink: :iconvfgoldenwing: => Work in progress

:star: Waiting List OPEN :star:

1:bulletpink: :iconyuli-chan:

2:bulletpink: :iconyukigoesrawr:

:star: Art-Trade: CLOSED :star:

:damphyr: You can see the Original Commissions here… and the Fanart Commissions here….


:earth: Payment: PAYPAL ONLY :earth:

If you are interested in an original or a fanart illustration drawn by myself, send me a note please. If you have a question just ask me. ^_^

:boing: Instructions for an electronic picture :boing:

1:bulletgreen: Send a pm with your request with all the infos I will need about the character(s) you asked me to draw.

2:bulletgreen: I will reply to your note and will give you the infos for the payment.

3:bulletgreen: Once the payment is received I will draw the illustration.

4:bulletgreen: Once finished, I will send you a note with a link to the full-sized digital image electronically (A4 high-res JPG file).

5:bulletgreen: I can use the artwork in my websites, LJ or portfolios, always giving you credit as the creator of the character(s).

:boing: PRICES LIST :boing:

Prices are in Euros and it's for one character and with no background (or with a very minimal one). If you want a more complex background it will cost you more.

For each additional Character: + ½ of the total price.

:bulletpink: Chibi in B&W: 8€

:bulletpink: Chibi in Color: 15€
:bulletpink: Sketch: 16€

:bulletpink: Inked Lineart: 25€

:bulletpink: B&W : Bust-up character(s): 30€

:bulletpink: B&W : Full Body/Waist-up character(s): 40€

:bulletpink: Color: Bust-up character: 30€

:bulletpink: Color: Waist-up/Knee-up character: 45€

:bulletpink: Color: Full Body character: 55€

:new: :spotlight-left: :below: COPIC COMMISSIONS :below: :spotlight-right: :new:

:earth: Payment: PAYPAL ONLY :earth:

:boing: COPIC commissions ONLY :boing:

:bulletblue: Bust-up for one character: 50€
**20€ extra charge for every character added into the picture.**

:bulletblue: Full-body, knee-up or waist-up for one character: 100€
(you can request any of these or you can leave it up to me)
**50€ extra charge for every character added into the picture.**

:pointr: Simple decorative backgrounds are included in the price - however, an extra fee will be added in case the request includes very detailed background.

:pointr: Artwork is drawn on standard A4 sized paper (21.0 × 29.7 cm)

:pointr: The finished, original piece will be mailed to you.

:pointr: Shipping is included in the price.

If you want to commission me and get an original copic commission shipped to your home, please send me a NOTE.


Verin Furrel and Neko Girls - Commission - by Sambre-sambreKyrian and Caelan - Commission - by Sambre-sambreSebastian   Commission  by Sambre-sambreCassinova and Lian - Commission - by Sambre-sambreLysander - Commission - by Sambre-sambreKonstantyn - Commission - by Sambre-sambreJarious Albridge - Naked Ref Sheet - by Sambre-sambreJarious Albridge - Reference Character sheet - by Sambre-sambreSheherazade - Trinity Blood - by Sambre-sambreRenji: Zone-00 - Commission - by Sambre-sambreXavier, Kokoro and Novak - Commission - by Sambre-sambreChibi Natya - Commission - by Sambre-sambreEli and Johonas - Commission - by Sambre-sambreChibi Leirys - Commission - by Sambre-sambreKang and Leowyn - Commission - by Sambre-sambreAngeal and Tseng Xmas - Commission - by Sambre-sambreVox - Mature ref character sheet - Commission by Sambre-sambreVox - reference character sheet - Commission by Sambre-sambreSaffran and Oracle - Commission - by Sambre-sambreSephiroth, Tseng, Tseng's grandmother - Commission by Sambre-sambreShannah chibi version - Commission - by Sambre-sambreKoodaray - reference character sheet - Commission by Sambre-sambreEthan and Shell - Chibis commission - by Sambre-sambreEli relaxing - Commission by Sambre-sambreKensei - Commission by Sambre-sambreMock Cover HP-FF7 - Commission - by Sambre-sambreKatsuya Jono-Uchi and Seto Kaiba - Commission by Sambre-sambreMoony and Alastair - Commission 2 - by Sambre-sambreJohonas - Commission by Sambre-sambreAsmodaeus - Commission by Sambre-sambreFahemus x Guarn - Commission - by Sambre-sambreAlaska x Russia - Commission by Sambre-sambrePantera Grimmjow - Commission by Sambre-sambreBane -Mature reference character sheet- Commission by Sambre-sambreBane - reference character sheet - Commission by Sambre-sambreKain Chibi version - Commission by Sambre-sambreEli - Commission by Sambre-sambreWet Johonas - Commission by Sambre-sambreSasuke and Naruto in an onsen - Commission by Sambre-sambreGrimmjow - Commission by Sambre-sambreMoony and Alastair - Commission by Sambre-sambreIssac and Clarissa - Commission by Sambre-sambreTseng and child Sephiroth - Commission by Sambre-sambreRenji x Rukia - Commission by Sambre-sambreMiguel - Commission by Sambre-sambreLester and Lither - Commission by Sambre-sambreKim and Kauw - Commission by Sambre-sambreAkihito and Ryuugen - Commission by Sambre-sambreShojah and Verbrechen - Commission by Sambre-sambreDaniel - Commission by Sambre-sambreRamiel and Haamiah chibis - Commission by Sambre-sambreKain and Ulrich - Commission by Sambre-sambreJohonas - Commission by Sambre-sambreAngel and Verin - Commission by Sambre-sambreMoony - Commission - by Sambre-sambreMalik and Altair BDSM - Commission by Sambre-sambreGrimmjow Leash - Commission by Sambre-sambreWind and Lester - Commission by Sambre-sambreAkihito - Commission by Sambre-sambreSelene's strip-tease - Commission - by Sambre-sambreRichter - Commission by Sambre-sambreWho let's the incubus in? - Commission by Sambre-sambre:thumb268300534:Captain Cain - Commission by Sambre-sambreBleach : Renji - Commission by Sambre-sambreTane and Kody - Commission by Sambre-sambreLysha and Lester - Commission by Sambre-sambreKenpachi Byakuya SM-Commission by Sambre-sambreSheherazade wings-Commission by Sambre-sambreAzazel - Commission by Sambre-sambreAranis Fendrel - Commission by Sambre-sambreSelene and Shamael -Commission by Sambre-sambreEric Tabithia David-Commission by Sambre-sambreSheherazade TB - Commission by Sambre-sambreAranis and Fendrel -Commission by Sambre-sambreZadrian - Commission - by Sambre-sambre

Graphics by tyleramato
CSS by moonfreak
  • Mood: Content
  • Listening to: You look so fine - Garbage
  • Reading: Snarry Fanfictions
  • Watching: Natsume Yuujinchou Season 4
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Cathedral Of Nature

Fri Dec 30, 2011, 11:10 AM by techgnotic:icontechgnotic:

by techgnotic
Fri Dec 30, 2011, 9:11 PM

Louie Schwartzberg: Witness to Nature’s Winged Struggle for Our Survival

Koyaanisqatsi is a Hopi word meaning “life out of balance.”  It was also an amazing documentary
film utilizing slow-motion and time-lapse photography of cityscapes and landscapes across America to
beautifully, although disturbingly, depict our modern society’s growing unbalance.

Cathedral Of Nature (cont.)

One of the cinematographers was Louis Schwartzberg, who has since gone on to make it his life’s
mission to use his cinematic artistry to raise the alarm for public awareness of the dire situation
we face in the possible collapse of our taken-for-granted natural resources.  The “colony collapse
disorder” currently decimating our honeybees was the prompt for Louie’s new movie, Wings of Life: A
Love Story that Feeds the Earth.

With the wonders of CGI dazzling our senses as never before, it takes a work like Wings to stun
us with the magical beauty of nature going on everyday in the outdoors all around us.  It’s a story
that plays out seasonally and never changes plot, yet watching the players perform their roles is
more engrossing, entertaining and moving than any Hollywood screenplay.

The film is a cinematic wonder of beautiful camerawork capturing natural beauty – the finest example
of a “dialogue” between nature’s own “narration” and the “journalistic” skills of a poet-soulled artist.  
Pure magic.

Cathedral Of Nature (cont.)

But beyond the beauty is the deadly serious message:

If we don’t start better preserving and protecting nature, humanity will surely not survive the extinction of the commonly overlooked but absolutely essential source of our very existence. As Wings so clearly reports, the “four pollinators” whose lives serve as the foundation of our food chain – our bees, bats, butterflies and hummingbirds – are in danger of extinction brought on by loss of habitat, climate change, pesticide overuse, etc. These four groups of tiny creatures who exist only in the shadows or as momentary distractions in our daily field of vision, creatures so seemingly inconsequential, are in fact the lynch-pins in the transfer of the means of human subsistence from the plant world to the animal world.

If we lose them we lose over a third of our fruits and vegetables.  Watch Wings for the sheer enjoyment of the breath-taking beauty of Louie’s cinematographic artistry.  But be sure to really “listen” to what the majesty of the beautiful flowing images, and imagining their disappearance from our world, is really telling us.

Flying Orchid by louieschwartzbergCotton Candy by louieschwartzbergOpening Up by louieschwartzbergI Need to get Leid by louieschwartzberg

Louie has been filming the pollination of flowers with his time-lapse technologies 24 hours a day, 7 days a week for over 35 years.  He says he never tires of watching and recording “The Dance.”  The pollinators are seduced by the beauty of the budding flowers into facilitating their reproduction.  Beauty and its power of seduction are nature’s means of survival, from the plant to the animal to the human kingdom.  In Louie’s cinematography is captured the desire for survival that is as real for a single flower as it is for each one of us admiring that flower’s bloom.

Life desires life, no matter how brief it’s time on Earth. And the preservation of that delicate balance of life drawn forward from flower to hummingbird to you and me is an epochal struggle that has been going on forever – but a struggle we have only become aware of in recent generations.  Hopefully our awareness of the needs of nature underlying the beauty we’ve taken for granted so long will not have come too late.  Louie Schwartzberg’s art is doing a lot to building that awareness needed for our survival.

An Interview with Louie Schwartzberg:


While you’ve made great contributions to the visual arts in commercial Hollywood cinematography, the artistry you are best known for involves stunning depictions of “nature in the balance”, as in “Wings of Life”. Can you speak of creating your special kind of “3-in-1” art that combines (1) the beauty of nature with (2) scientific documentation and enlightenment (3) in the service of humanity?


Cinematography has always been a voyage of discovery. I use the camera as a portal to explore other dimensions of time and space. Nature has been my teacher and taught me to explore and reveal things that I can identify as universal rhythms that connect with my soul, unveiling the mysteries that are too small, too vast, too slow or too fast for the human to perceice.

From a scientific perspective observation is the first step toward exploration and experimentation. Wondering how and what if is the "sense of wonder" Einstein referred to when asked his definition of God. Being present and observant is also the first step toward being mindful. When you are mindful it opens your heart to beauty and compassion for humanity as you recognize that in nature it is all connected and since we are a part of nature we are connected to each other as well. Nothing in nature survives without a relationship to another living thing. The ability to cooperate is what has enabled humans to build civilizations. Cooperation is also what humankind needs to do now in order to survive by restoring environmental sustainablility, social justice and respect and gratitude for all living things.


There is a passion to your photography of the “Cathedral of Nature” that evokes the spiritual mechanics of life on the planet. But your celebrations of the wonders of the “Great Watchmaker” are set against many groups in denial of global warming, etc. Do you see a real change of consciousness being sparked by artistic/documentary works like yours?


I hope my films inspire and open people's hearts. Beauty is natures tool for survival because you will protect what you fall in love with. You can detail all the shocking facts about environmental degradation, but unless you move people emotionally there won't be the shift in consciousness we need to solve our problems. Intellectually we have all the answers needed to affect change, what we lack is the will. That is where most organized religions and their leaders have failed to move their followers. What could be more spiritually important than sustaining Life on the planet, having respect and awe for all living creatures, and ensuring social justice for all people.


Your use of time-lapse photography in capturing the rhythms of nature makes your pieces seem like symphonic compositions. Can you speak to the direction of narrative through the manipulation of tempo with time-lapse assemblage?


I never get tired of capturing the rhythms of Life that are beyond our perception. We see life at 24 frames per second, an extremely limited view. I have been filming time lapse flowers 24 hours a day, 7 days a week for over 30 years, capturing 2 seconds of screen time per day totaling 12 hours of total footage. I can now go out and film slow motion at 1000 frames per second and capture 12 hours of footage in a couple of hours. What is truly amazing is that when played back the graceful, poetic, symphonic motion of the time lapse flower or the slow motion hummingbird is the same yet they come from two opposite ends of the time spectrum in nature. So humans look like time lapse ants to a redwood tree and we also look like a slow motion giant to a mosquito. My cinematic techniques takes us on a enlightening ride of time and scale that feels like a dream, yet is authentic and real.


Watching “Wings of Life” gives one the feeling of having attended a reading given by a great poet. Can you speak to the relationship your photography has to poetry, i.e., the epiphanous explication of the quotidian, magical connections gone unnoticed, the examination of the telling details that reveal the workings of the whole world?


My goal is to capture the fantastic in every shot. When I edit them together I give it a direction based on the continuity that is revealed to me in movement, composition, color and emotion. After a while the film speaks to me and tells me how it wants to be assembled taking advantage of serendipity, and letting the flow occur in the magical haven of being in the zone. I am no longer the director just a good listener taking direction with a wide open heart and mind. Poetry is all about pace and the unique ability to experience it over and over and not get tired of it but discover new meanings and nuances, that is what I hope my films can accomplish.

Limerence by louieschwartzbergSnowball Fight by louieschwartzbergBrass by louieschwartzbergLemon Sisters by louieschwartzberg


When did you first become aware of the “migratory brotherhood” of bees, bats, butterflies and hummingbirds, now endangered, and so key to our own survival on the planet? Do you see parallels between the “The Pollinators” and human migrant workers, likewise so necessary yet always threatened? Is your work ever criticized for being “political”?


I first started off by wanting to tell the story about flowers. Than I read about colony collapse disorder, the mysterious decline in bees, where they don't return to the hive, and scientists have still not figured out the cause through any forensic investigation. It appears to be a cumulative effect of stress, loss of habitat, pesticides and their growing demand to pollinate agri-business mono crops of thousands of acres in a very short time. The same stress, travel, poor diet, exposure to pesticides also negatively affect migrant workers, who are also taken for granted. If the bees go we lose over one third of the world food supply. If the migrant workers go, we lose harvesting the pollinated and fertilized crops that we depend on to survive. You can't tell the story of the bees without telling the story of the flowers, which most scientists agree was the greatest biological event that occured on the planet more than 135 million years ago. Before flowers there were only cold blooded animals. The invention of flowers brought about energy packets called seeds, nuts, and fruits which enabled warm blooded animals like mammals to evolve. Most people today still don't realize that a flower becomes fruit. And without bees to transport the plants pollen (DNA) around to reproduce because plants don't have legs to move, Life as we know it would disappear. What I did not know was that in addition to bees, bats, butterflies, and hummingbirds are also pollinators that ecosystems depend on for survival.


From your early cinematography like your work on the amazing “Koyanisquatsi” to “America’s Heart and Soul” and “Wings of Life”, you have been a documentarian of our modern “lives out of balance”. How do you see art, for both the individual and the public, as a curative to our current sensory overload? Can new digital technologies now serve as instruments of healing the damage done by earlier blunt-force technologies?


My hope and belief is that new digital technologies evolved by forces that mimic the intelligence and networking capability of nature, in order for nature to protect itself from man's self destructive behavior.

The internet is like mycellium, vast fiber thin single celled fungi systems that can grow to be 50 square miles and is basicly one organism. All plants and animals are trying to get the message across to us humans to get our act together before we create a mass extinction. We need to open people's hearts through art. Artists have antennae into the future. Since most people don't live in rural areas growing their own food, we are disconnected from the foundation that supports us, Life itself. So if we can experience truth and beauty through digital distribution of art on digital display devices (formerly known at televisions), than I have hope that we can reawaken people's spirits, and facilitate the consciousness shift that must happen in order to create a sustainable future. That is why I am creating my own digital channel so people can have nutritious options in the 500 channel Universe where there is a lot of  junk food. It's no wonder that TV ratings go down every year as people shift away from negative energy. What if you could tune in to inspiration, relaxation, rejuvenation, celebration, all the gifts that artists provide, that we can't access in our over populated stressed out urban lives. The meaning of Koyanisqautsi was a Hopi Indian phrase meaning 'Life out of Balance" and the film ended with a rocket exploding indicating that technology was going to be our downfall. I believe it is the opposite. Democratized digital media communication networks is the only way to globally educate masses of people quickly, which is the solution to affect behavioral change to live in harmony with each other and preserve the life giving sustainable resources we need to protect.

Questions for the Reader:

  1. Do you feel that artists have some sort of “natural” duty or inclination to educating themselves about, or caring about, nature and related subjects?
  2. Why do you think it is that the most common elements in our lives (like flower pollination) are more and more overlooked as art subjects?  Is it simply the massive amount of technology dominating our lives?  Or is it something more basic, perhaps “anti-nature”?  Or is an appreciation of the natural coming back?
  3. Is there room in our hunger for eye-dazzling entertainment for both “Avatar” and “Wings of Life”?  Do you think CGI, etc, will “kill off” nature documentary films, or will both natural and CGI “manmade” films exist for as long as they’re done incredibly well?

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Dessert Of Your Dreams

Thu Nov 29, 2012, 8:15 PM

Having It

Both Ways

Is it better to possess a thing of beauty, or to experience the ultimate consummation of oneness with that beautiful thing by actually consuming it... and being left only with the memory of its beauty? Leave it up to our deviantARTists to think of a way to have it both ways – but left over as a feast for the eyes, preserved eternally on the digital planes of deviantART.

Craft, design, and artistry as applied to the most delicious and sinful of the culinary disciplines rises forth as we shine warming a light on this small but incredibly skilled serving of artists within the deviantART community. In an effort to taste all of the communities within deviantART, let’s take a quick exit off the main freeway of art categories and stop inside the open-all-night eatery for a re-fuelling of the most important food group:

Cakes, pies and cupcakes

It is a decidedly sweet batch of artwork.

There are rows of identical Twinkies (or used to be) and then there are these carefully crafted monuments to pop culture icons constructed from a palette of sugar and ingenious design ideas. The group dA-Cake-Artists features a wide array of cakes produced by artists from every deviantART kitchen. Sample the artistic recipes given beneath many of these deviations describing the process and story behind each creation. Watch the group for what I am sure will a very interesting Holiday season of elaborately designed edible artworks submitted over the next month. Also check out FoodIsArt.

Many of these artworks fall into the “how could they have possibly made that happen” category. This dragon “Skyward Sword :: Furnix Cake” by cakecrumbs is especially noteworthy. I am sure having a Master's degree in Zoology helped a bit while Rhiannon was designing this dragon. Or was it hours playing Zelda while munching on sweets? Something must stir her incredible talent and skill.

People have always had an obsessional and mystical relationship with the demands of their stomachs, significant enough for eternal recording. When contemplating the Neolithic cave paintings of early humanity and marveling at the loving detail informing the herds of prehistoric gazelle that were the early hunters’ prey, one must wonder, was it the adrenaline rush of the hunt that the artist was trying to capture, or was he merely consumed with mankind’s most pressing daily question:

What’s for lunch?

I am assuming I have to turn in my copy of “Cave of Forgotten Dreams” after that last line. But, one should ask how an artist could complete one of these works on these pages without eating it before it is born (I mean fully baked). Obviously it’s better at the end of the day to be covered by butter, sugar and frosting than paints full of toxic if not fatal chemicals.

Is it better to possess a thing of beauty, or to experience the ultimate consummation of oneness with that beautiful thing by actually consuming it... and being left only with the memory of its beauty? Leave it up to our deviantARTists to think of a way to have it both ways – but left over as a feast for the eyes, preserved eternally on the digital planes of deviantART.

Writers: $techgnotic
Designers: $marioluevanos
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That's right!! The mascot contest is a go!! Please submit your entries as soon as they finished!!

The only problem is that our Super Group membership has expired, so none of the polls or countdowns will be available until it is renewed. Sadly I'm not able to afford something that expensive. HOWEVER! We do have a donation pool set up on my profile for HYC! Feel free to donate!! Please do. We need about 5,000 :points: to afford the Super Group AND  the prizes for this contest.

Anyway, rules and stuff are below! Good luck everyone!! Do your best!!

DEADLINE: January 23rd
VOTING: January 24th - January30th

:megaphone: RULES!
:bulletwhite: The entry you are submitting must be submitted to the 2015 Mascot Contest Folder, no where else
:bulletwhite: The submission must be completely original work
:bulletwhite: The submission must include 2 male specimens only
:bulletwhite: The characters in the submission must be at least 18 years of age, no exceptions
:bulletwhite: The background of the submission is to remain blank so focus is only on the two men featured
:bulletwhite: The two men featured must be touching in a neutral, nonsexual way
:bulletwhite: The two men must be clothed, not naked
:bulletwhite: The submission must be fully colored
:bulletwhite: You may only submit one entry, so be sure it is finished and that it is what you want to submit
:bulletwhite: You must be respectful of the other participants
:bulletwhite: The submission title must be "HYC Mascot Contest 2015" Followed by the first names of the two men featured
:bulletwhite: The submission must have at least 500 words telling us about the two men featured in the Artist Comments, we will be reading them.

:skull: You are not allowed to commission in anyway your submission for the contest, nor can it be a collaboration. The work must be completely original to show off your personal talents as an artist. The characters featured must be completely 100% your original characters. Fan art will not be permitted in this contest. Full on nudity and sexual content is not allowed in accordance with dA policy and as such cannot be featured as the face of this club. Plagiarized works of any kind will result in immediate disqualification from the contest, immediate dismissal from this club with a permanent ban, and report to dA admin. The same goes for underage characters or child pornography being submitted. Harassing your fellow participants in any way will result in disqualification from the contest. By submitting an entry to this contest you are hereby giving HYC permission to use your characters how we see fit from this point out, should they be selected as the winner. Winning this contest does not secure you a position of office in HYC. Failure to meet the above rules and requirements will result in disqualification. Failure to comply with the rules and what we will accept will result in dismissal from the club.

If anyone has any questions please feel free to ask!



:bulletorange: The winner will have their submission placed in the Mascot folder, where it will remain as an archive of the club's history for as long as the club exists!
:bulletorange: The winner will also have their submission featured in the club's featured section for a whole month!
:bulletorange: The winner submission will be used to make journals, banners, etc. for the club's use throughout 2015!
:bulletorange: The winner will also receive 100pts from the HYC point fund!
:new::bulletorange: The winning contestant will receive a pencil sketch of their winning mascots by :iconri51danil:


:bulletorange: The runner up will have their submission featured in the featured section for 2 weeks!!
:bulletorange: The runner up will receive 50pts from the HYC point fund!


:star: If you wish to donate a prize to the HYC 2015 Mascot Contest please note myself or the club directly describing what you'd like to donate and for whom (i.e. Winner or Runner-Up).

:star: I am still in need of help with the club. This contest cannot be successfully run with just me. If you would like to hold office in HYC please send me a note directly describing how you think you can help, what you'd like to do to help, and why you believe I should select you.

See you on the 1st everyone!!

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