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Truth about Hinauchi, again lmfao

Journal Entry: Sun Feb 3, 2013, 10:05 AM
:icontransparentplz:


Rite so we've all heard it the shit with Dally and what not, so I thought I'd tell my own story hurr hur, since everyone is taking a stand might as well to oops.

Okay for a recap all the shit with Dally they had sex behind fen's back (Dally was lead to believe that she had concent as she asked her husbands permission and he said it was okay). Samm then chickened out said Dally raped her to Fen shibutt.tumblr.com/post/416336… Fen's post on tumblr shows this clearly, again we do have logs of Samm saying it was all concented 24.media.tumblr.com/933cad30e9… 24.media.tumblr.com/39c54c2883…

So what ya'll probably don't know.

Did you know this isn't the first time she cheated? Or the second? But the third time, I know for a fact she cheated a while back on Collin with some other guy and that she was murry purry with Chelcie while she was still dating Dani. Oh also this is the second time she lied about being raped though, most of us old dA users remember when she broke up with Patience after she cheated on her to get her attention she got some poor user to shout that she had killed herself with a pill over dose and that she had been raped images.encyclopediadramatica.s….

This is a bit of my story now v-v

I used to be "friends" with her ages ago, she was actually my first ever skype contact if you want a time frame there x'D. She'd be fine to talk to, when she was single but once she got someone she completely abandoned her friends and only concentrated on her partner. Well, don't believe me just ask my best friend of nearly a year Kitmit sweetest, kindest girl you'd ever meet, never lets you down not even for a second.

Remember how she became Samm's best friend 5ever when her and Patience broke up. Kitmit did everything for that girl got her christmas, birthday presents Samm would call her at 4am crying and she'd sit there and listen to her. I know she did this because she'd do the same for me as I would for her. Gabe, Kitmit's boyfriend commissioned Samm for a birthday present for Kitmit. This was not done on time even though she was given over a month warning in advance and a target date to complete. Gabe wrestled for a refund, but of course, Samm does not do those. After another two weeks or so she finally bothered her ass to do it, however it was so bad she was embarassed to post it. So she sent it to her privately and nothing was heard of it again.

An ex-friend of mine to whom I shall not name, had a fursuit commission to which had not been done in over two years(THIS IS NOT THE SAME PERSON WHO WROTE THE ORIGINAL CALL OUT JOURNAL). When I confronted Samm about this she completely passed me off or ignored me. Not only this but she had an art commission to that has only VERY resently done. One day I had, had enough of Samm ignoring myself and her apparent best friend (Kitmit had actually been in tears for the amount of hurt she was getting from this girl) Whelp, I confronted her, as nicely as I could. I told her that we were upset and that she should try and listen to us instead of always fonding over Chelcie. She had done so much more personal artwork for her and her girlfriend than actually getting what she was supposed to done. I do this sometimes but only as a refresher never for bloody 6 months to a year or whatever. She yelled at me, shouted whatever I got really angry at her, we had kept quiet FOR MONTHS AND MONTHS hoping she'll get her act together.

It's fine being obsessive in a relationship for the first few months because everything is new and exciting but when it get's to month 7-8 it's just not normal. I yelled back at her I said that she wouldn't even pay attention when my ex-girlfriend and I were trying to raise money desperately. I looked for past logs between us two but it did turn out she had no knowledge of this, I did admit I was wrong to her on that aspect (since do I aknowledge when I am wrong generally) later she used this against me to saying I only want friends who will give me shout outs and shit. Which is obviously not true if you ask any of my current friends or the ones I've met up irl with like Bee or Nooshi.

Someone had made a journal the next day called "The black list" where you'd mention bad commissioners. Of course I mentioned her, out of anger mainly, although I was unhappy with the commission result of my own one that I commissioned her. I said I thought it was "Half-assed" aka I didn't feel she put effort into it. I never said once that this was the right thing to do. I admit without any excuse that this was not right on my part at all and I apologised many many times. (She also used this as an excuse for not getting her commissions done, yes, that little comment OH LOOK I CAN USE THIS AS A NEW EXCUSE)

Again she started ranting at me in public, I told her to take it to skype privately. So we did again she ended up shouting at myself and I apologised, never tried to cover it up at all or make up lies and excuses but simply stated after our fall out the previous day I was angry and wasn't thinking straight. We weren't getting anywhere with the conversation so I told her just to drop it for now and we'll talk again later when we've calmed down.

Yep, she removed me off skype.

She drew several bits of vent art after this fav.me/d566e2i although she never mentioned by name in these she made it blatantly obvious it was me by doing this fav.me/d569d2t remaking the commission and putting CO-REMAKE on it and the caption "Hope this isn't half assed" straight after she posted that vent art. Kitmit saw I had apologised that I had taken blame for everything even though she literally told me to fuck off (You can actually see me apologising on her vent art if you go far back into the comments and her reaction). When she tried to reason with Samm she ended up saying all sorts of abuse at both her and I. Saying things like I deserved to suffer etc.

Kitmit was upset over this seeing us fight was hurting her as she still didn't want to loose what they previously had together, when Samm was single. Again I hate seeing her hurt, like any of my other friends, so I tried again to make her see reason and apologised for about the 50th time seeing if we could sort shit out. She then whined to one of my close friends at the time who also became her "close friend" after we had a fight and she saw that kitmit was one of my best friends. I was incredibly hurt to find out that my friend had told personal stuff about me to her (This was the same friend who commissioned the fursuit and the art who I had been defending, this felt like a massive stab in the back).

Of course I got mad at her I told her she was only being friends with her because she was so starstruck by being able to talk to her idol (She's young) if it were anyone else, like Kitmit they would of seen sense. But you know what she felt bad and said sorry, and you know what else. I FORGAVE HER FOR EVERYTHING. But some other shit happened between her and my other friend and unfortunatly because of this we are no longer friends. We found out that Samm had actually become jealous of me for also being best friends with Kitmit so she wanted one of my other friends so she took the one she knew was a massive fangirl of hers.

She even went on to say that the vent art she drew about me was actually about Kitmit. Despite the blatantly obvious caption on it. In an attempt to win her back and after she REMADE my commission she wanted to GIFT kitmit for the terrible work she did on her birthday commission, although she said this was because she felt bad we get the feeling this was only done to spite me. Kitmit and I left it until one day she decided to stir up shit again.

She accused me of making this troll account here :iconemo-scene-girl: lol. Even though both myself and the troll gave our IP addresses that stated we were both in different countries she continued to ramble on that it's me. You can see the logs if you go far back on the trolls profile comments section. Here I'll help emo-scene-girl.deviantart.com/…

Here's just a few I can find right now that she said.

"I wont feel like an idiot, if anyone should it's you for thinking you could actually get away with this. You truly are a low life piece of shit lmao, sorry I didn't kiss your ass an accept your worhtless apology, maybe it'll teach you not to treat your friends like shit wont it?"

"I hope you're left with nobody, not your girlfriend, not kitmit, no one, you don't deserve anyone. You're only motive is to hurt people, and when something doesn't go your way you try your best to get revenge as you sit there in a puddle of your own tears with tissues by your side."

There are a lot more if you look around, I never make troll accounts I seriously don't even care enough about her to give her that kind of attention she craves.

So yeah this is all I can remember since it happened in August. If I've missed anything feel free to add.

===========================

Little extra things I should add. (I'll add more later I gtg for dinner)

For her fursuit commissions she claims not having money for materials but I remember her exclaiming to me personally about the $600 she spent on two fox pelts as a gift for chelcie.
She didn't go through with the purchase however thank god she has some sense.

She bought a red platinum fox for $350 not too long ago and just last night (Today is the 8th of feb) she was enquiring about buying another for $375 www.deviantart.com/users/outgo…
apparently she was asking for the sellers to put these on hold.
She has now paid back the person who commissioned her the fursuit

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What do you get when you ask the world's largest and most talented pool of artists
to design a t-shirt?  A LOT of great t-shirt designs submitted by artists
from all around the globe!  There were thousands of fantastic entries to
the 
dA Logo T-Shirt Design Challenge and tens of thousands of votes on those
entries.  Today we are pleased to announce the 50 semi-finalists, from
which the three winning designs will be chosen.  Each of the three winning
designers will receive $1,500 CASH, 25 tees with their design and their t-shirt
featured for sale in the deviantWEAR Shop!

These entries are the top 50 most voted-for qualifying entries.  Some top voted
entries have been disqualified because they did not adhere to the rules or
contained unlicensed third party content.  Additionally, there were
several designers who had multiple entries in the top 50 most voted and as
stated in the Official Terms, only one design per designer is allowed to be in
the Semi-Final judging round.  Where this occurred, the highest voted
entry appears in this semi-finalist pool.

We hope you enjoy these great community backed designs.  Once the judges make
their tough decisions, the winner’s announcement will be will be made.
 Congratulations to all the semi-finalists, and good luck in the final
round!

Deviantart T-shirt Logo llama by LadyGT  A place for art by Hellobaby  DeviantART T-Shirt Wild Llama by Futago-KawaiI  DeviantART T-shirt by nanashi-no  Logo Design Challenge T-Shirt by Sunima  Draw For FOOD by Wendrom  Blood Type dA by EilSamaehl  World of Art by taenaron  :thumb263346529:  Steampunk dA t-shirt entry by Pooky-di-Bear  :thumb263273205:  :thumb263300640:  :thumb263275939:  DA Bleeding heart WHITE by SamanthaLi    Watercolor Fella - deviantART by DastyDesign  Deviant by Heart by redvoltaire11  Ready for art by WesleyTG  Brown Beige Art Tools by reyjdesigns  JOIN AT RISK by ByoWT1125  DeviantART T-shirt Logo Kitty by shorty-antics-27  Colorful black by far041405  Let Creativity Break Free by x-kuroi-x-ame-x  tshirt contest: color by Devious-Rookie  I AM ART t-shirt design by sugarpoultry   deviantART T-Shirt Design by Metros2soul  dAsintegrate T-Shirt by CyberLogic  Deviant Tshirt logo designblack by RedeyeTrickmaster  iListen by nihase  Rainbows Narwhals and Unicorns by LabsOfAwesome  :thumb263484820:  Let Your Creative Side Out by Lappy74  Devious BEAST T-Shirt by SanguineEpitaph  AlwaysThinkColorful. by kiseli-kupus  bonsai-deviant4 by ctekdesigns  A deviant grows by olavlindau  Art Around The World by odindesign  get deviantified by theindusperson  Kai's deviantART Shirt Design by KaiserFlames  Dragon tee-PLZ VOTE by NovaArt18  Story of My Life by Mad-But-Happy  DA Logo T-Shirt Design 2 by Kyuubi0017  U LIEK? by karookachoo  Dream Create Inspire by Hidden-Rainbows  Play with Crayons T-shirt by tired-girl  Owl of Art by C0y0te7  Break free by Bradiantx We are all DEVIANTS by Miguel-Santos  :thumb263310609:  dA Gentleman by MV90




The Votes Are In and Semi-Finalists Are Here!
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LS
amana2 Litestep by mangosango

VS
amana2 vs by neiio

TT
amana2 TrueTransparency by mangosango

Walls by j3Concepts
amana2 photowalls - j3concepts by neiio

Walls by neiio
amana2 photowalls - neiio by neiio

Edit: Walls by ether (sorry! Forgot that this was up before neiio uploaded those)
amana2 photowalls - ether by neiio

Launchy
amana2 Launchy by mangosango

CAD
amana2 CD Art Display by mangosango

Opera
amana2 Opera by mangosango
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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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deviantART deviantMEET



Posted on June 11, 2012






Join us in London, England!




We're headed to Hyde Park to meet and mingle with local deviants, and we want to see you!


















Join Us!














We're back in London


The London deviantMEET from our 2009 World Tour was a total success, yielding more deviants than any other city on the tour! We're looking forward to seeing familiar faces and meeting new deviants alike, as we head back to the Albert Memorial in Hyde Park on Saturday, June 30th.








HQ Meet: 1 - Group Shot by ^sine-out



















Hyde Park: London, England



  • Location: Albert Memorial in Hyde Park

  • Date & Time:  June 30, 2012 at 12:00 PM BST

  • Admission: FREE!

  • What to Bring: Food for a picnic, art supplies, camera, and deviousness


















This deviantMEET is part picnic! Bring your own snacks and/or share with others.




devCAKE by `Anmagdan











We're combining forces with britain, the local deviantMEET group, in order to make this event one to remember. On Saturday, June 30th at 12:00 PM, we'll be meeting at the Albert Memorial in Hyde Park for a day full of fun. Weather permitting, we'll hang out at the park, create art, talk all things deviantART, and simply have a good time!


Hungry? Us too! Deviants are encouraged to bring food and snacks for lunch -- picnic style. If you're feeling generous, bring a little extra to share with others.






Should there be inclement weather, the deviantMEET will move to the nearby Science Museum. The Science Museum is a short 10-minute walk from Albert Memorial and will allow us to take cover under indoor picnic areas. Keep an eye on this journal, as we'll be updating it with relevant weather-related information as the deviantMEET grows closer. However, the plan is to meet at Albert Memorial unless told otherwise!



After the deviantMEET, anyone wishing to participate in extra deviousness is welcome to join us at a still-to-be-determined pub -- somewhere within walking distance. (Those choosing to drink alcoholic beverages will need to provide proper identification.)



Rain or shine, feel free to bring sketchbooks, cameras, iPads, and art supplies to create and share your work with fellow deviants. Rumor has it deviantART staff might have free goodies for those in attendance!



This is an all-ages event, and we welcome you to bring friends. We can’t wait to see you!
























Update, as of June 27th




The time is nearly upon us! Our London deviantMEET is just around the corner and we hope you have your calendar marked for Saturday, June 30th at 12:00 PM (noon). Our meet-up location is at the Albert Memorial in Hyde Park.



The plan is to enjoy a relaxing and fun day at the park, while engaging in sparkling conversation with like-minded deviants. Remember, this deviantMEET is part picnic and we encourage deviants to bring food and snacks for themselves, and maybe even to share! Additionally, feel free also bring sketchbooks, cameras, and any art supplies that will help make the day a creative event to remember.



Saturday's forecast likely includes a few rain showers, so we might be in for a bit of wet weather. Please dress and plan accordingly. (Maybe bring an old blanket to sit on and a jacket with a hood.) In the event the rain becomes too much, the deviantMEET will move from Hyde Park to the nearby Science Museum. However, we do hope to stay at Hyde Park pending any downpours.



Any important, late breaking, deviantMEET updates will be posted to deviantART's official Twitter account.



















We'll see you there!



You are cool, and I am proud of you.





















Deviants! Come meet and mingle with deviantART admins and fellow deviants on Saturday, June 30th at 12:00 PM at Albert Memorial in London, England.

~$Heidi
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Dear _________ ,

A very important royal event is going to occur soon! We are formally inviting everyone's characters to attend. Fur should be brushed and neat; suits and dresses are optional. Link your character reference if you'd like them to attend!

Sincerely,
Clara and Kite


Explanation: Abberati and I are working on a huge comic event. We need enough characters to fill the guest list (and some who snuck in!). So, fill out the reply below as one of your characters, and they will be included in this GIANT comic event we'll be creating. That character needs to be anthro or an animal character that is easily converted. If you have any specific clothing you'd like your characters to wear, please tell us. Mention it to your friends as well if you think they'd be interested!

The reply:

Dear Kite and Clara,
I will be attending wearing_(formal wear or nothing, describe said clothes)__. I request to be seated near _(any people who you know will be attending as well)__. I appreciate the invitation.
Sincerely,
__(Character's name and link to reference)___


:iconabberati::iconantivulano::iconkiterrax:
:iconlittleravine::iconmorrokei::iconviralcatalyst::iconscoric::iconiguanazillah:

Skin by SanpaSazzaro
Image by Terryburr - fav.me/d4yvs5r

  • Mood: Cheerful
  • Listening to: Nothing
  • Reading: Chronicles of Narnia
  • Watching: Nothing
  • Playing: Neopets
  • Eating: Nothing
  • Drinking: Nothing
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How Malicous Ads Inundate the Web


(Source: USA Today)

Protect Yourself

Malware advertising is an Internet-wide problem that affects many of the Net's top sites. Keeping your browser up to date is one of the best ways to ensure your computer's safety. Additionally, anti-virus programs offer another level of protection against malvertisements.

We strongly recommend that you download the latest version of your favorite browser. Reports of Malware and Virus Advertisements
Our Ongoing Battle Against Malicious Ads
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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.)



dino

















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.






C

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.





amigos










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.





A

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.



Rodents

















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.

























T

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?








:icondeevelliott:



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?



:icondeevelliott:








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?



:icondeevelliott:







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?



:icondeevelliott:





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?



:icondeevelliott:















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?



:icondeevelliott:










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.


:iconfelipecagno:FelipeCagno






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.






































:iconbws:



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












:icondrunken-novice:



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



























:iconcrystalcurtis:



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












:iconhandmade-crown:



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






















:icontcypress:



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











:iconpumpkinbear:



Rowal


“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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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


Interviews



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.














Anatomy


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!








Moth


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 (JoynerStudio)


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


DEVIANTS


To Watch









:iconnisachar:

Nisachar



“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




:iconriccardofedericiart:

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




:iconcreaturesfromel:

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




:icondubisch:

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




:iconjeffsimpsonkh:

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






Questions





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

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The Resource Roundup

Journal Entry: Sun Oct 23, 2011, 3:25 AM

Halloween Edition



The Resource Roundup is a new, regular feature showcasing some of the best resources deviantART members have created to share with the world!

The deviantART Resources Gallery is an awesome asset for both beginning artists and seasoned pros.  Check out some of these amazing submissions, which might help inspire your next artistic endeavor.

Design

Font: PUPPETEER - free by jelloweenScene II -Machiavelli Font by NewLine:thumb262440015:Halloween Photoshop Custom Shapes by redheadstock20 Grunge Textures by env1ro:thumb96526882:
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Brushes

Tree Silhouette Brushes by kuschelirmel-stockBones Brush Sampler by asunderHigh-Res Paint Strokes: Set II by RaekreShad0ws Blood Brush Set by JamesRushforthAbstract Brushes 13 by Ghost-001-Crack Effect Brushes by funerals0ngGrunge Brushes 3 by KeReN-RCobwebs Photoshop and GIMP Brushes by redheadstock:thumb200310505:
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Tutorials


Stock Images

Death Rides a Pale Trike by mjranum-stockBackground 1 by FrozenStarRoStock_44: Castle Gates by BeltaneFireStockgirl-3 by buzillo-stockBits n Bobs stock 194 by hatestock:thumb72403530:Coraline-esque Stock 1 by Pulling-Stock
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Wallpapers

Roundup Low-down


Using Resources

Whether it’s stock photography or watercolor painting tutorials, resources can be a tremendously helpful asset while creating your next work of art. When using resources, please be sure to check licensing agreements and keep in mind that it’s proper etiquette to thank the artist if you use their work. We hope these resources have sparked your creativity and will help you polish off your next creative venture!



Previous Resource Roundup Features

This is the first issue! Be sure to keep your eyes out for next month’s feature.


Show & Tell

Used one of these featured resources? Show us! Just link us in a comment. I’m sure we’d all like to take a look!

Would you like your resource featured? Just send a note to hq with the subject of “Resource Roundup”.







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