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Monster Artist Job

Wed Sep 5, 2012, 12:33 PM by LiamSharp:iconliamsharp:
Madefire and the good guys at Realm-of-Fantasy are offering an opportunity to get paid work alongside some of the greatest names in the imaginative arts industry - Dave Gibbons, Bill Sienkiewicz, Brian Bolland, Mike Carey, and more.

Madefire ( are looking for a horror illustrator for a story that will go live on our 5 star rated app at Hallowe'en. The creature in the story is a Metawhal Alpha (as seen here -

Please DON'T send me direct messages on DA. Simply post a link to your work below, and immediately go and check out our website and/or app to get a feel for what we're creating. You can also contact us at:

We won't be replying to everybody so would appreciate it if you didn't chase us up. If you're the lucky chosen artist WE'LL be contacting YOU. However, even if we don't contact you this time it doesn't mean we don't love your work, and you may well find yourself being contacted for other projects in the future - we have a LOT of material lining up over the coming weeks and months. So stay tuned! :-)

What we want:

Pro-quality Visionary art. Creators that push the limits and boundaries of what is possible in illustration. Madefire is all about creativity and reinvention. The more pedestrian and uninspired your art is the less likely we'll be interested.

We're also NOT looking for a comic-book style!

So - have at it people! Show us your wares!

Very best,



The hunt is over! Thanks to ALL the amazing creators who put themselves forward, it's been fantastic discovering all your work. Please see details here:…

There were even more we loved but the link contains a selection of DA galleries singled out by Madefire.



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#Digital Art Club
#MPG Project
#The Prize Stash
#My Gallery
#Stock Rules

This journal will, hopefully, clear up the number one issue we have with submissions to the incorrect folder.

I will try to keep this short, sharp and to the point.

Let us cover our rule for submission: The deviation's category has to match the folder for it to be a correct submission.

What does this mean?
This means that you submit your piece of art to the folder that matches what you have classed that piece of work as when you submitted it to your gallery.

Digital Paintings and Drawings 12:
The categories:-
:bulletblue: Digital Art > Paintings & Airbrushing > ...
:bulletblack: Digital Art > Drawings > ...
:bulletblue: Anthro > Digital Media > ...

3-Dimensional Art 2.0:
The categories:-
:bulletblack: Digital Art > 3-Dimentional Art > ...

Mixed Media:
The categories:-
:bulletblue: Digital Art > Mixed Media > ...

Vector and Vexel:
The categories:-
:bulletblack: Digital Art > Vector > ...
:bulletblue: Digital Art > Vexel > ...

Fractal Art:
The categories:-
:bulletblack: Fractal Art > ...

Animation, Flash and Movie:
The categories:-
:bulletblue: Flash > ...
:bulletblack: Digital Art > Miscellaneous > Animation
:bulletblue: Film & Animation > ...

Design and Typography:
The categories:-
:bulletblack: Designs & Interfaces > ...
:bulletblue: Digital Art > Typography > ...
:bulletblack: Game Development Art > ...
:bulletblue: Design Challenges > ...

Fan Art, Comic, Manga and Anime 3.0:
The categories:-
:bulletblack: Fan Art > ... has to be digital!
:bulletblue: Manga and Anime > Digital Media > ...
:bulletblack: Cartoons and Comics > Digital Media > ...

The categories:-
:bulletblue: Customization > Wallpaper > ...

Miscellaneous Digital Art:
The categories: -
:bulletblack: Digital Art > Miscellaneous > ...
:bulletblue: deviantART related > deviantID
:bulletblack: deviantART related > Stamps
:bulletblue: Contests > ...

The categories:-
:bulletblack: Resources & Stock Images > Tutorials > ...

Digitally Created Resources:
The categories:-
:bulletblue: Resources & Stock Images > ... no photography!
:bulletblack: Journal Skins/Gallery CSS
Photomanipulation 3.0:
The categories:-
:bulletblack: Digital Art > Photomanipulation > ...

Pixel Art
The categories:-
:bulletblue: Digital Art > Pixel Art > ...

This one is a little more complicated since stock is involved.

We want to see direct links and proper credit to ALL stock used. So if your photomanip is declined it is either because you:
1. Didn't provide direct links
2. Have missing links/credits
3. Have no stock crediting/links at all
4. Used images that are copyrighted

If the stock/images are yours please state so in your description otherwise you could risk getting your work declined.

Please remember that if you are still not sure about the correct folder, to send us a message instead of posting to a folder and hoping for the best. If the folder is wrong, it will be declined and you would have lost your 1 submission a month slot.
We will not accept it and move it to the correct folder later; there are simply too many submissions to go through.

:bulletred: I cannot stress enough how important it is to read a group's rules before you submit. Group's have different rules so please, read the rules before submitting. It'll mean you're far more likely to place the work in the correct folder.

So to conclude just remember: use the category to help you submit to the correct folder.

For any questions, feel free to ask. I and other mods will try and answer them as best as we can.


Please note that we do NOT accept WIP (work in progress) pieces. Please only submit Completed Artworks.

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A member of this Group asked me some hint to know something more about self-publishing and, since I think it'a important matter, I'm writing this post.

Self-publishing companies are a good chance to publish, you can create your own book in a cheap and easy way on Lulu, Amazon's Create Space... I guess many others, just search for Self Publishing on your browser.
I'm a huge supporter of the free market, some beautiful illustrations and stories would never get published through famous Publishers, but I have some questions:

Who check the quality of your stuff?
Who promote your book?

The answer to both question is: YOU.

I think you have to be very well organized to go in the self-publishing market, overwhelmed with low-quality books with grammar errors and bad-quality images.
Usually Create Space and Lulu review your books for free but only to check the format requirements (resolutions of the images, bleeds and such things). The rest is up to you.
Here you can read something about the self-publishing experience.……

I'd like to ask you to share your experience and opinions.
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So I attended a talk by Bert Poole - He's currently serving as a CG Supervisor on their new movie "The Croods" scheduled for release in March 2013. His most recent movie, you all know of is How to Train Your Dragon, where he was also a CG Supervisor. If you don't know what that means, that means he worked on lighting C: What I'm putting below is from notes I took during his lecture.

His job is to take the directors vision and make the movie look like it. He's making compositions and helping the story to better read. If you've ever talked to me on DA for three or more posts, you might have heard me blab about my major and what I'd like to do. I'd like to do into Lighting, animation second. I just don't feel my skills are as suited for animation, even though I really enjoy it.

Before they start lighting, they work on color Keys
Color Keys are painted works that are used to indicate:
time of day
Key/Fill ratio
Key/Fill color
Hard/Soft light

When you're lighting a piece in 3D ask yourself, "What would I do if I was painting this from scratch?"


logical lighting

An actual source of light
the viewer can SEE it
or it's implied (practical source)

Then there's

Pictoral lighting

This is lighting set up to make the picture pretty.
Like light coming from imaginary places.
Until recently, this was how ALL animated films behaved. Film like How to Train Your Dragon
decided to start using a cinematic approach. Instead of rim lighting everything, they let places fall into shadow. That's what gives it that natural feel.
Movies like Kung Fu Panda had a more graphical sharp feel because of the stark contrast between lights and darks and the way it used light.

Lighting is cave painting (telling a story)

Lighting is Illustration

Lighting enhances mood and drama
reveals character personality

Lighting tells the audience how to feel

What helps the composition?

Controling saturation and exposure is another way to bring out your focal point and direct the viewers eye.

See here how they allowed the darks to get dark? They didn't throw a rim on both sides of him. You can see on his arm how the background darkness pushes his form forward. The simple shapes in the background keep your focus on Stoic and Gobber. And the light on Stoics face is the strongest, because that's where you want your viewer to look and pay the most attention.

As a bit of fun trivia, can you guess how long an average frame in "The Croods" takes to render?
8 to 24 HOURS for ONE frame. Fur eats up lots and lots of render time, even at big companies. And they have have small galaxies of machine power; trust me. It would probably take you a year to get that done on your home computer haha

If you're curious what he was like as a person, Imagine Flint Lockwood's hair in real life. Now imagine an energetic guy with a family that plays WOW in their spare time. Seemed likea really cool dude. So no, he's not some intimidating wizard haha

For Dragons they looked at a lot of different movies for reference, like The Village and Jarhead.

When you allow your darks to go dark, it creates a feeling of believeability

For intense dramatic lighting, there's usually a broad single source

For action scenes you'll notice that they'll use big simple shapes, so your eye can follow them. A good example is the final battle at the end of HTTYD. Watch it again if you don't remember and you'll see it then. That and regular movies. Watch them, doesn't need to be animated.

Types of lighting

    Low Key

    High Key

    Low contrast

    High contrast

High Key

Well lit strong sources
Lots of soft fill

Low Key

sinister, bad guy stuff
What is seen is as important as what is NOT

Low Contrast

Calmness or bleak oppression
low range of shades

High contrast

well lit
strong sources

Hope this was helpful guys C; I left out the technical jargon you might not know as much as possible C: He went on about occlussion in Maya (or any other 3D space) and compositing.

His main thing was:

is it Dark over Light or Light over Dark?

You can't just have it all in the mud. If you need to, lower the shading rate to about 1/8 so the texturing doesn't get in the way of the bigger picture. To you illustration people, blur your eyes, or throw a posterize filter on it. See where your eye looks first.

To maya and other 3D people, Paint over your renders! If you're stuck on what's wrong with it, try a paint over and mess with the Curves in Photoshop.

And always always always use reference! Weather it be other at, or film or real life or photography. Use it!

    ------- As a side note, and as a bonus for reading this far, Bert Poole says his friend in story just sat through the first run through of the entire movie for Dragons II in boards, and the man cried three times. Guys, it's gonna be good, and it's miles better than the first movie already. Also, Dreamworks has a new render setup they're using on the movie The Croods that they only wished they had while working on Dragons. It's going to be amazing people. The first movie switched Directors and story direction three times before it was even out of the gate and it was still awesome. -------

And as another note, if you have any questions about anything CG related, as in, anything you would want to know about animated movies. I might be able to help you out. I have access to tons of resources and people and I forget sometimes that some people don't even know what a character rig is. So I hope this was helpful, because I loved his presentation and it's exactly what I needed to hear, despite the achey flu body haha

On that point of topic, thanks for all the well wishes guys C:> I'm almost better, and Im going to go see the Lady in Black tonight. *yesssssssss* and then I have tons and tons of thesis work to do. I might show you guys once it's more solid and we have more assets, just to get a second and third and tenth opinion lol We've been hiding it for the past two months, but it's getting presentable.

I hope you found this lighting information at least entertaining and reassuring, if not helpful. I'll probably go back in any color code different areas to make it less STARK WHITE on black lol (Sorry if some of the images don't load...working on it)

  • Listening to: SKYRIM
  • Reading: GHOST STORY
  • Watching: SHERLOCK
  • Playing: SKYRIM
  • Eating: F-ING NOTHING
  • Drinking: GREEN TEA
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Thanks for the ideas everyone! Here's the post many of you requested...

Here's a sample of responses I've heard from some editors over the years when I've raised practical business concerns regarding comic book publishing:

"No, we don't know exactly what books you'll be doing, but we're (insert name of big publisher) Comics, so sign exclusive with us and not (insert name of competing publisher who has titles ready for you)!"

"This is a (insert name of big writer) book! I know he's late, but just think of how many people would love to be in your shoes!"

"The page rate isn't good, but at least you'll be getting to work with (name of big superhero whom you're supposed to be a fan of)!"

"We won't fly you out or put you into a hotel, but you should come so you can sign at the booth for us! Who doesn't love signing autographs?"

What do these statements have in common? They're emotional arguments made to sidestep your  legitimate professional concerns--and they only work if you're in "awe" of comics. Being a comic creator is fun because you get to pick up your proverbial toys again. But there's a danger in being too in "awe" of the medium where you might end up wearing blinders, increasing your chances of being affected by bad business practices.

For example, a publisher is offering you a title, but the page rate stinks. When you ask about getting your normal rate, the publisher politely reminds you that it's a Teen Titans book, hoping to play off your emotional love for Cyborg to allow him to ignore the normal business practice: maintaining your page rate.

Emotional arguments don't have any real use in the business world--the world where it's all about the bottom line and what's written down on contracts. Imagine that you're buying a car, but you want only want to pay 50% of the sticker price. The salesman asks why you think you should get that price, and you explain that your mother just died, hoping that the salesman (who likely has a mother of his own) will empathize and agree to let you have the car for less. In other words, you're asking him to ignore normal business practices because of the emotional charge of your predicament. And while he might empathize with you, there's no way he'd allow you to take advantage like that.

I ran into an emotional argument with myself over Batman once. I'm a huge fan of Batman: The Animated Series. My love of Batman is fueled by my emotional attachment to him as a kid. Last year I was offered a 6 page fill-in on a Batman story--there were delays and they needed someone quick. The emotional argument in my head was this: I love Batman, how cool would it be to do a Batman story in my current style? But I turned it down because the professional argument was stronger: it's better for me to wait on a bigger Batman project, not one that's just a fill-in, but one that really showcases my art. No one looks good on a fill-in (I also had PRJ in the works and other reasons for turning it down).

You could argue (as my friends did) that another professional argument is this: doing the fill-in could get you onto other Batman gigs! And you're right--that's a good argument. But whichever decision you make, we can agree that the stronger argument is usually made professionally, not emotionally.

The runaway "awe" factor in comics is something professionals do to themselves, I feel. We're all in love with the medium, and we're all thrilled to be making a living. And the shakier it gets out there, the more thankful we are to get any job offer, I know. But the more we allow ourselves to think as "fans" and not "professionals,"  the easier it is for editors can play off our "awe".

To be clear, there a lot of great editors who don't work this way. They treat you as a professional and take the industry seriously. The writers, artists, and editors whom I consider most trustworthy and helpful are the ones whom are very low on the "awe" factor. And when you see them at conventions, they're not usually big on meet-and-greets or at crowded bars where back-slapping runs rampant.

What are some other ways being in "awe" might hurt you? Maybe a huge writer wants to do a book with you, and you're so thrilled to be teamed up with him, you shy away from asking for a bigger cut of the profits. Or maybe you're a writer who's head-over-heals for Superman, and now that you're calling some of the shots, you're too afraid to take any real chances with the character.

Don't get me wrong--I'm not suggesting you not be excited about getting work. You've just got a call that you'll be taking over X-Men? Good for you--hit the pub with your friends and go get hammered. But as soon as your hangover clears up, time to act like a pro and do your best to separate yourself from the little kid inside. Yes, you'll dip into being a little kid again, but hopefully not at those moments when an editor asks you to keep working even though your last paycheck is a week late.

Watch out for emotional arguments! And not just in comics but everywhere--especially in entertainment based jobs where being in "awe" can be a detriment.
  • Listening to: Beethoven piano sonatas
  • Reading: Attack of the Theocrats
  • Watching: Science Channel
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Volunteer Lawyers for the Arts

Mon Mar 19, 2012, 11:08 AM
I may or may not have linked to these folks but if I did it was a long time ago and I'm sure I've gained some new watchers by then.

A lot of artists starting out feel overwhelmed by the legal, business, and tax issues involved in starting a small business and becoming a freelance artists. Fortunately, there are organizations around the country to help those who exist under a certain income bracket.

Here is a list of organizations by state.   

Each offers different services and consultations, but if you're stuck for information, these people are here to help.  Even if they don't know the answer to your question, they might be able to direct you to someone who does.

Though some of the organizations are disbanded, I imagine you could ask for an updated list.


Commissions are closed
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(((I decided to just make a journal entry about this one, since there's really no drawing required here))))

The way I see it, if you're reading this, either you have a story you're working on or you're desperately trying to come up with one. Maybe it isn't coming together quite like you pictured it? Maybe there's too much to work with, or you have too many options to choose from? Maybe you're like many people and can't seem to come up with a good satisfying story no matter how hard you try!
Chances are, YOU ARE THINKING TOO HARD. Sure everyone wants to be the person who writes things like 'Inception' that are super complex and insightful and fun to watch/read/enjoy, but the point is that, when you boil a plotline down to it's basic elements, you should be able to summarize it in ten words or less.

Inception: Man is hired to deceive someone.

Think about it. Watch the movie again if you have to. The MAIN PLOTLINE of Inception is Leonardo DiCaprio's quest to make a guy think something that's not true at the behest of an Asian businessman. What about all that dream nonsense? WHAT ABOUT ADORABLE LITTLE JOSEPH GORDON-LEVITT??? Both of those things, though very important, are secondary to the main driving plot of the movie.

If you cannot take your giant space opera down to it's basics—a noun, a verb, and a direct object—you have a problem. The problem is you don't understand what your story is basically about. It has become so complex that you can't tell what's most important anymore: what's really driving the story.

But, at this point, if boiling it all down to ten words or less is a little too difficult, let's take a step back. Summarize your story in one grammatically correct sentence (aka, not a run-on sentence, that's cheating.)

Inception: At their employer's behest, a man and his team of specialists must infiltrate a budding business tycoon's dreams to stop his company's rise to power.

Now THAT sounds a little more like Inception. We have the dream element, we have a nod to adorable little Joseph Gordon-Levitt, but at this point we don't have names or other extraneous information. Names and subplots are tertiary in the summary hierarchy. In the noun-verb-object summary, we established the WHAT. WHAT is this story about. In the single-sentence summary, we established HOW (infiltrate dreams) and WHY (stop rise to power.) ALL OF THESE, ON A BASIC LEVEL, ARE MORE IMPORTANT THAT THE WHO, WHERE AND WHEN OF A STORY.

Too often people get caught up with a single character, wanting to write an entire epic around this singular figure, only to realize later on that their story is severely lacking in structure and reason. Too often people get caught up in a single place, wanting to build a world or universe, and the same thing happens. Too often people pick a point in history they really like but can't seem to create a story around it. Unless you plan to be the only person who enjoys your stories, you'll have to take a step back and think critically about your storytelling.

So, to recap, in order of importance:

WHAT (happens)

WHY (does it happen)

HOW (does it happen)

WHO (are the characters)

WHERE (does it happen)

WHEN (does it happen)

Fit your storyline into these parameters, and be as vague as possible. Continue to break it down further and further until you've reached the point where you can't simplify your sentence any further. Only then will you realize what is truly the most important thing in your story. Once you find THE MOST IMPORTANT THING, then you can begin building back outwards, adding information bit by bit, editing out the subplots and extraneous information that are cluttering your story. Use the noun-verb-object sentence as your center, and try not to lose it again.
Hope this was helpful and not just me banging on my keyboard for an hour. Next I'd like to post about creating actual plotlines! THE ACTUAL FUN STUFF!
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SPECIAL GUEST STAR (against his knowledge) IS :iconandrew-ross-maclean:

You guys know when I get really excited about art geekery, I JUST CAN'T KEEP IT IN.  I also feel like composition is a really hard thing to learn, and all you can really do is try to learn "what is good" in composition, and then try to find examples until you can recognize it.  In addition, composition for comics is extra hard because you have to worry about the overall flow of the page as well as the composition of each individual panel.

So I was doing my spring cleaning of my message center and came on some new comic pages he uploaded, all of which are awesome, but take a particular look at this one: Head Lopper page 3 by Andrew-Ross-MacLean

This page is AMAZING.  I started watching this guy for his slick style and stayed for his crazy composition skills, and this page makes a particularly good example because his work is so clean and straight-forward, there's not a lot of noodling to distract from the motion lines.

1- We read left to right (thanks to MikeMoroney for pointing out my idiot type-o there,) and then up to down, so we start in the upper righthand corner here.  The hills shoot us right into that ship, tallest thing on the horizon, first focal point.

2- Little rock trail creates a path for us to go between the sea (extreme background) to the castle, (middle ground), and then the line of the bird picks it right up.

3- Line of the beak and back of the bird, up and around that wing with the considerate curved negative space behind the back wing.  Also, the bird is flying right>left, if it were the other way around, our natural inclination would be to follow it right off the page.

4- Strong diagonal is the main shape of the bird.  Shoots your eye right down to the second row.

5- Here's where it gets sexy.  Little moments of low-contrast details keep your eye interested and get you right into that upper left-hand corner again, where

6- Sharp diagonal line directs you into the next panel.  Shadow lying scientifically impossibly on the two walls that make a corner?  Doesn't matter if no-one questions it because it looks so right.  Also worth mentioning that ll the lines of the walls and windows in panel 2 are slightly warped to the right to help keep us going forward.  

7- Line is continued in the netting, again, low contrast and interesting detail as opposed to strong contrast which would indicate important content like in

8- Back with the bird, amazing action line up and over.

9- Line of wall and line of shadow funnel energy into that sword grip.  THAT'S A GRIP.  

10- Contrast of the light arm provides the direction.  Once again, down and over.  Panels at the end of a line can't keep going off to the right- that just falls off the page and takes you out of the flow.

11- All the rope lines continue that trajectory.  They're only unparallel for the sake of interest.  As with the cobwebs in 5, and the netting in 6, he's using repetitive objects to guide your eye and provide interest but at the same time demonstrating it's not something you really need to spend a lot of time with.

12- BIRD.  It's literally an arrow in the direction your eye is moving.

13- Prow (or whatever) hijacks the flow, reinforced by the hills and the negative shape of sky.

14- Simple diagonal shadow line like in panels 2&4 showing you where to go.  That finger has just come DOWN on that wick.

That's just the first pass look.  Obviously, you have to stray from this path to see a lot of what's going on, but if you feel like taking the time and looking at all the details, you'll find his page still works on every level.  For instance, on panel two, you need to get down to that sword and candle.  If you do so, you'll follow those warped window and wall lines down, where the sword stops you, and redirects you to the candle on the table.  Then that horizontal patch of light that it's in, and the up-and-to-the-right markings on the table guide you right into that netting on panel 3.  So hot.
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Hey guys, I know for a lot of you graduation is coming up super fast, and it seems completely absurd that it's been almost a year ago since I was in that boat.  I well remember the two options presented to me:

1) Get a studio job.  Preferably close to home.
2) Move back in with my parents.  Possibly get a day job or something.

I just wanted to remind ...whoever is reading this... that there are about a gazillion alternatives.  In fact, any possible train of actions you can conceive of is an option.  It's hard to think of options not presented to you as options, but you really can go anywhere and do anything.  This is the only time in our lives when we don't have any greater obligations- we don't have a wife and kids to provide for, no company that would collapse without us, our bodies can handle sleeping on a springy old couch for a while.  This is EXACTLY when you should take a gigantic risk because the only thing you actually NEED to "make it work" is perseverance and optimism.  (I'm not going to lie, a pair of devoted and generous parents doesn't hurt while you make the transition, and for the record I know times are tough but at least ASK them before you assume that they wouldn't help you out with money stuff for a while.)

I'm an absolute mess, and I'm only about 50% self-sufficient, but that proportion is growing every month and so is my confidence and the one thing I've NEVER doubted is that jumping on a plane to the other side of the country the day after graduation was exactly the right choice for me.

Pep talk over.  I just wanted to get my 2 cents in there since I'm certain it's on a lot of y'all's minds.  Best of luck!
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Haven't been posting much of what's happening with me (lazy I guess |D), I decided to make this list of all the animation shorts I've seen and enjoyed and want to share with you guys. I expand whenever I need to cover up a previous journal lol.


:bulletred: Added today 
(SM |Stop Animation)
(2D) (3D) 


The Backwater Gospel (3D) As long as anyone can remember, the coming of The Undertaker has meant the coming of death. Until one day the grim promise fails and tension builds as the God fearing townsfolk of Backwater wait for someone to die. Not safe for innocent kids.

Big Bang Boom (SM) Evolution done through graffiti art and even the occasional object. 

The Cat Piano  Stylistic slick anthromorphic cats in a city of music terrorized by a mad man, all set to a lovely beat poem narration.

Dans le cochon tout est bon (SM) In the pig, everything is good... except the cry.

Death buy Lemonade  Short but hilarious cartoon about a little girl and The Reaper man himself.

Deathinger The children of soul reapers come to death school to learn to reap soul, but old hooded sickle Reaper's kid is well...a little different from the other kids.

Father and Daughter  A 2d animation with this wonderful, sometimes melancholic soundtrack.

Fresh Guacamole (SM)Stop motion animation on how to made guacamole. To start off you need some fresh grenades....

Harvey Crumpet (SM) Clay Animation about the life of Harvey Crumpet, narrated by Geoffrey Rush. 

How to Cope with Death  What happens when an angel of death visits an old lady.

I'm a Monster (2D) Dad readies his family to a family outing. Nothing out of the ordinary except for one little thing...

Luminaris (SM) It's a live action stop-motion animation that involves chewing glass beads into light bulbs.

The Maker (SM) by Christopher Kezelos A stop motion animation about 'a strange creature racing against time to make the most important and beautiful creation of his life.'

The Mysterious Exploration of Jasper Morello  A 3d passing off as a 2d shadow animation, it tells off well...title says it all really.

Nine  (3D) The original short film by Shane Acker (for his masters in UCLA), which in turn spawned the Full length feature Tim Burton produced.

The Old Man and the Sea Part 1… Part 2… Alexander Petrov makes this 20 minute animation with oil paintings. Hell yes, every freaking frame was made with oil paints. Do look for his other works like 'The Cow' and 'The Mermaid'

One Day 2D animation about a man constantly in travel and trying to find a place to call his own.

One Rat Short  3D animation about a Rat and how a bag of cheetos (?) has made a big difference in his life.

Out of Sight (2D) 'Seeing' the world through the 'eyes' of a little girl after she loses her guide dog. 

Poussiere  'Dust' (2D) the story of a dustball in a cabinet.

A Quoi Ca Sert L'amour? 'Perils of Love' (2D) By Cube studio and sung by Edith Piaf, an oldie anim short I saw years ago and still love today.

Rosa (3D) A post-apocalyptic sci-fi 3D film with plant themes and action. Not much of a story here, just an appreciation for a man who worked at this for an entire year. 

Storm  (2D) Official animated movie of Tim Minchin's 9-minute beat poem Storm. Written and performed by Tim Minchin. Directed and animated by DC Turner. 

Sheeped Away  (2D) A Hilarious-y cute short about a farmer who just wants to play with his flock of sheep, except there's that UFO taking them all away...

:bulletred: Steadfast Stanley (2D) a little corgi goes on an epic adventure to reunite with his the midst of a zombie apocalypse.

Thought of You (2D) A visual animated dance choreography to the tune of "World Spins Madly On" by The Weepies.

The TV Show  (2D) Hilarious pop music and the repercussions of different media realities colliding on one another. 

Topi (3D) by Arjun Rihan Based on a family story the animator heard during the 1970s and Partition of India and Pakistan, and how one small act of kindness leads to another.   

Wife of Bath (2D) A film by Joanna Quinn and berylproductions about a raucous and acerbic adaptation of one of Chaucers Canterbury Tales.

Windmills  (3D) Just a gorgeous short film about a little girl who doesn't give up trying to fly despite the odds and the her father's grief with the death of her mother.

Who's afraid of Mr. Greedy? (2D) Scary animation about a man trying to reclaim what was once his from a monstrous being.


:bulletred: Freak of the Week-Freak Kitchen (2D) Made by a former Disney animator. Oh god DAT HAIR.

LOUISE ATTAQUE (2D)- Du monde tout autour MASSIVE ATTACK From all around the world  A teacher of ours showed us this particular video not only for it's catchy rhythm but also for it's walk cycles! :D

:bulletred: Ghost- Mystery Skulls (2D) Wonderful flash animation in sync with the music. And a surprisingly bittersweet reveal.

The 11 Second Club - Want to practice/sharpen those animation skills? There's a monthly contest going on wherein you download a (monthly) random audio clip and make 11 second's worth of animation with it. Can be 3d, 2d, whatever.
  • Mood: Humor
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