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Alright guys here you go! I finally made a video of me making one of my dragons. The video is pretty long, about an hour, so watch it when you have some time to veg and watch some sculpting. I was going to just make it a time-lapse, but ended up narrating the whole thing, so instead you get to listen to me babble on about sculpting for an hour while I'm making the dragon. It was actually pretty fun to make, so I think I'll make a pony one in the near future as well!

Here is the video:…

And yes, I know I make silly faces while I sculpt. Shut it. :XD:

Are still closed! I'm booked solid through June, but will re-open them again in late June, to start filling up July. I am more than happy to give estimates for future purchases through NOTE. Comments get buried insanely fast, so you may not hear back on them for many weeks!

My Etsy shop is still open, and any made-to-order items there are always available.


FAQ: dragonsandbeasties.deviantart.…


  • Mood: Triumph
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i thought i'd share some stuff that helped me draw better, aside from art school :P

- IDRAWGIRLS (a lot of value and fundamental stuff here):…

- FZDSCHOOL (awesome stuff here):…

- DAARKEN (does a lot of his stuff in real-time so its really easy to follow):

- ART STUDENT OWL (i dont know, this made me laugh at myself so i thought id share this too :P):

well i hope that helps. feel free to throw in your own suggestions if you have any :D
  • Mood: Tired
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This is a journal. It's where I write about stuff that I think random people on the internet might want to hear about for some reason.

A little while ago, I read a book called The Leaderless Revolution: How Ordinary People will Take Power and Change Politics in the 21st Century by Carne Ross, a former member of the British Foreign Office and delegate of the UK mission to the UN who left his job after seeing how so-called "representatives" represent themselves and  the interests of their biggest supporters (such as multinational corporations) rather than the people of the society who elected them or who they were appointed to represent. Ross believes that this removal of agency from the people themselves to representatives, and the alienation it causes, is responsible for much of the conflict in the world. Therefore, he supports a leaderless consensus-based directly democratic government, i.e., anarchism. He gives precedents for this type of government in societies from pre-industrial tribes to the anarchist communes of Spain in the 1930s, the latter being the subject of George Orwell's panegyric Homage to Catalonia showing how an anarchist society could work. Funny thing is that Ross, despite being radical, does not seem to be treated as such, as seen from the fact that he advertised his book on The Colbert Report which is watched by thousands and thousands of Americans.

Then I went to an Occupy encampment and collected a large number of anarchism-related zines, one of which was titled "Anarchism, Or The Revolutionary Movement Of The Twenty-first Century" which was a reprint of an article written by the anarchist academic David Graeber and first published on ZNet, a much more radically leftist information channel than The Colbert Report. Though from looking at the two works I realized that they were remarkably similar in message, that the revolutionary movement of  the 21st century would not be one of the many branches of Marxism, as seen in the many sectarian vanguard parties all trying to get to the same end but bitterly arguing about the means, but in anarchism which does not have the same problems with sectarianism as communism often does.

While there are possibly dozens of forms of communist ideology (Marxism, Marxism-Leninism, Luxemburgism, DeLeonism, Trotskyism, Stalinsim, Maoism, Guevarism, etc.) there are really only three general types of anarchism in terms of political ideology: left (social anarchism) right (anarcho-capitalism) and green (green anarchism and anarcho-primitivism). There's other anarchist tendencies, such as anarcha-feminism, queer anarchism, and anarcho-pacifism, but they're more about challenging specific parts of the current system (such as patriarchy, heterosexism, and militarism respectively) rather than focusing on general left-right politics (though at least from my experiences those three tendencies tend to be on the left).

Therefore, there's often significant unity among anarchists that is not found as much among communists. And unlike at least some communists we do not have the same problem of trying to defend autocratic regimes such as Cuba, North Korea, Venezuela under Chavez, Libya under Gadaffi, China under Mao, and of course the Soviet Union. Many of our societal precedents (Paris Commune, Anarchist Catalonia, Free Territory, etc.) rather than being chipped away at gradually until they inevitably collapsed, were instead brutally and violently suppressed, sometimes even by communists who thought that the people weren't ready to manage themselves.

If it were not for being brutally suppressed, these mass societies could have had some significant potential. But we will never know unless we can make a society and ensure that it will not be suppressed. State socialism with its central planning and its lack of worker's self-management has continuously failed and has just about always, if not always, ended up becoming authoritarian and corrupt. It is time for a new approach. Instead of the communism of the 20th century, it is time to look back at the failed state socialist experiments and look to an anarchist alternative for the 21st century and beyond.

  • Reading: Out of the Shadow and Amusing the Million
  • Watching: 90s Nickelodeon
  • Eating: Turkey Sandwich
  • Drinking: Coffee
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I just watched V/H/S and well......the title speaks for itself. Seriously this has got to be one of the most freakiest movies out there. I am a huge fan of found footage films. But this one really scared me. Now I am going to be stuck watching Adult Swims Toonami cartoons. Like I know what the heck is going on in that cartoon called Bleach. When I first read that the title was called Bleach I really thought that there was going to be a bunch of Clorox bottles fighting crime or whatnot. But instead, all I got was a bunch of demons and monsters and swords and ...things......and people talking about who knows what. I guess if it gets bad I will go watch Food Network and learn how to make crème fraîche.
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Right first off this is not a rant, in fact, this is a study. Yes, an odd thing to study, don't judge me, however I've wanted to do this for a long, LONG time but only recently got the proper research down. The thing is yes I used to be a fangirl, not a major one, and to be fair I used to be a lot of stupid things like a fan of Twilight, but looking back now myself and at current proper fangirls, and also the actual Jeff the Killer story aka the original... I have come to an, interesting discover on why something intended as nightmare fuel is now desired by so many teenage girls. 

Firstly if you look at the original image and current representations, they are very very different, especially in looks but also personality to what Jeff was originally shown as. I figured after a lot of thinking this is because the original Jeff didn't have much of a personality. We know he was insane, but, that's about it. As a human he didn't have much development as a character, neither did he when he went insane. Now this is something I've seen a lot, where girls manipulate a characters personality into what they want it to be because its left open to them. 
However the original picture, to most people anyway, is.. not very attractive, in fact is bloody terrifying, and if you're manipulating him into something attractive personality wise the picture does clash. That's why a lot of drawings perceive him differently, still with the basic characteristics, but... Differently. 

However there are still traits attached to Jeff, for instance his insanity and back story. Jeff is one of the few 'famous' creepy pasta characters to have actually once been human, he was set up as a regular boy, but... With insanity issues. This is where the fantasy for girls comes in to it. Now the original Jeff, in my opinion, was beyond saving. He was incapable of rational thought or feelings, he was utterly insane, he doesn't view people as people but as... Canvases for him to paint on his image, which was the first thing he saw after his fight. Its, all he knows. 

However some girls can use the manipulation to create the idea that his human side is still alive, and they can be that one girl who understands him, and can 'change' him, and he would be so grateful to that one person he would have to love them. This is often why OC's are just female Jeff's, it allows them to better create this sense of 'understanding' to better form a pair.
Oh and some people also do view him as a sexual fantasy. 

Anyway, to sum it up, what the Jeff girls fall for is not the actual Jeff, it is a character manipulation they create from a cardboard cutout of a psychotic murderer to please their own sexual desires and wants. The same can be said for Slender man, who is also a faceless very mysterious being who can be manipulated to any girls wants, especially since he supposedly kidnaps young girls which is perfect for the sexual fantasy. 

However I have no clue how people end up fangirling for Ben. Its the ghost of a fucking dead child inside an old video game I have no rationalizing for that. 

And for anyone who wants to bitch about how I was a fangirl, like I said that was a long time ago, a lot of my pictures are for satirical purposes anyway and are in no way serious. I did do a fanfiction about Jeff finding a mother-figure and subconsciously using her to save himself, but that was for the psychological study of the characters put in certain circumstances, rather than an OC pairing. 

Ahem, but anyway, feel free to say your thoughts on this, or share any idea's of your own, I'm always happily open for debate~
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  • Mood: Hostile
  • Listening to: GRR MUSIC
I'm the kind of person who is all for the creepypasta fandom staying scary, that includes: Not shipping them WITH EACHOTHER OR YOURSELF GOD FORBBID, making a 'oc' that's literally god level and making a creepypasta date their little sister *looks at jane the killer*, and not making them all nice and kaw aii kawaii shiny desu, AND HEAVEN FORBID YOU DRAW THEM CUTE AND BE LIKE "HE JUST NEEDS A HUG"


AN D THIS WORM JEFF IS KIND OF CREEPY YEAh, but in the weird way and not the scary/creepy way. and i mean weaird as in, it just pushes me the wrong way. same with the strong jeff all big ARMS/PECKs and gr osss no.

I was at school going through my sketches with some buddies, and i got to my jeff pictures and my friend said " is that jeff?? OMG!! I SHIP HIM AND BEN <3"


See, how i think of it is ben is abviously the soul of a boy "11-13" trapped in the majoras mask game and he just likes to fuck with the player. AND HOW OLD JEFF IS NOW. HE COULD BE IN HIS LATE 20'S AND OR EARLY 30'S THAT 's pedophillia and then she said ( UPON READING COMMENTS I FOUND THAT BEN IS ACTUALLY THE SAME AGE AS JUDASABLE. even though the entity that controls ben was really young and died young and still aged after he's dead????? "yey it's my birthday." *6 feet under the ground*)WELL IT'S NOT RAPE IF HE LIKES IT!! <3" AN D THAT MADE ME EVEN MORE MADE BECAUSE N O ONE LIKES RAPE DON'T JOKE ABOUT RAPE IT ISN'T FUNNY I WILL EAT EVERYTHING YOU LO VE IF YOU JOKE ABOUT RAPE. AND SECOND, IF BEN LIKE S IT O R NOT THats still pedophilia and the person can still get in deep shi t i don't caRE



she is what i like to called "a behaved shipper" who ships something the rest of the fandom hates, but in a way where it's not maKING ANYONE PISSED AND GRR. She is very straight with it and ju st "i like it." and everyone else is just "HOLY SHIT DICKS PORN AND GAY YAOI SHINY DESU DESU NN''

and im here like

s top
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Jeff the Killer does not love you. Seriously.

Journal Entry: Mon May 28, 2012, 11:29 PM
If I see one more person pairing themselves with Jeff the Killer, saying they're in love or married, giving themselves kids with him, or calling him "cute", "hot" or... ugh... "kawaii", I'm gonna let them have it.

I hate to break it to you, fangirls (<-- lie), but in reality, the closest thing you could ever POSSIBLY come to when it comes to Jeff the FUCKING KILLER, would be him smiling into your eyes as he plunged his big-ass knife into your carapace and watched as the life drained from them. And, newsflash, he does that to everybody. He can't help it. He carved his face open. Now, I know beautiy is in the eye of the beholder, but... that's not hot. At all.

And don't think that just because you portray yourself as some blood-spattered, psychopathic murderer that he'd instantly fall in love with you. He wouldn't. He would see you as a threat, or at least competition, and take his time while he took sweet, sweet pleasure in slowly dismembering you as screams and whimpers of agony clawed their way out of your throat and tears poured out of your eyes and down your cheeks.

Seriously, WHAT IS YOUR GUYS' FASCINATION WITH HIM?! He's insane, violent, and despite what you may believe, NOT IN THE SLIGHTEST BIT ATTRACTIVE. He'd gut you before you could say to words to him, and if you tried to make an advance on him, HE'D PROBABLY FUCK YOU WITH HIS KNIFE.





Whew... okay... rant over. I think I get it all out of my system.

...Fuckin' fangirls, man...

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What I count as a real Creepypasta

Journal Entry: Wed Aug 7, 2013, 11:18 PM
怒ってるかい~? おまえ~?

Well in my last journal,…, some people pointed out that in a story like 'Jeff Versus Slenderman' Jeff did something or something immortal or some shit like that.

FIRST OF ALL, Let me take this time to quote myself:

'ALSO, this is only taking facts from Jeff's ORIGINAL STORY, fanfics and things like that will not be taken into thought.'

ONLY HIS ORIGINAL STORY. But I should also point out what I consider 'real creepypasta'

Crossover stories such as Jeff Versus Slenderman/Jane, I do NOT count as creepypastas. For me they go into a sub category of fanfic, into one of crossovers. And as I've said, I don't read fanfics. Most of the time.

This type of story would be like if I wrote a story of Jeff encountering Kagekao, probably before they knew each other so would be enemies; or at least not friends. It's a crossover, but NOT a creepypasta, a crossover story.

Just because a crossover story or a fanfic is on a creepypasta site, does NOT make it a creepypasta.

Other stories that include Jeff, I do NOT count as creepypastas. I have read a few (mostly thinking they were something else) about Jeff, like this one I think was titled 'Go To Sleep.' But I do NOT count them as creepypastas.

And I'm running short on time, like, seriously I need to go in like two minutes, but I wanted to point this out:

Just because a story might be categorized under creepypasta or on a creepypasta site, does NOT make it a creepypasta. Just the same as if someone drew Zehnder X Jeff make it an official ship.

ALSO, quick question. I love doing these analysis things, but this is in journal format, meaning that they will only be seen by my watchers. I was wondering if I should change it to literature deviation format. That way other people who may have something logical to add could see it. Thoughts?

ALSO, people seem to be interested, so I will be submitting a review with my personal thoughts about Equestria Girls. It's highly controversial, so should be fun.


ああ~ おまえ 怒ってるだよ! ケケケ~!
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In _____ We Trust

Journal Entry: Sat Jan 19, 2013, 4:13 AM
In response to a recent petition, the phrase "In God We Trust" will stay on US currency.  The reasoning included these points:

"While the President strongly supports every American's right to religious freedom and the separation of church and state, that does not mean there's no role for religion in the public square."


"A sense of proportion should also guide those who police the boundaries between church and state. Not every mention of God in public is a breach to the wall of separation - context matters.

"That's why President Obama supports the use of the words "under God' in our Pledge of Allegiance and "In God we Trust' on our currency and as our national motto. These phrases represent the important role religion plays in American public life, while we continue to recognize and protect the rights of secular Americans. As the President said in his inaugural address, "We are a nation of Christians and Muslims, Jews and Hindus, and non-believers." We're proud of that heritage, and the strength it brings to our great country."

My argument is this: If we are, as the president says, a nation of multiple faiths and non-believers, then choosing to put only the monotheistic reference to "God" on our currency does not adequately represent the country's diversity.  Instead, this petition asks that the terms "Gods," "Goddess," "Logic," be considered alongside "God."

I understand that this is a petty issue, and that even if it gets enough signatures it will likely not succeed in what it aims to do.  But the purpose of this petition is to make a point: In God We Trust is unconstitutional.  We are not all monotheistic Jews/Christians/Muslims.  

I would greatly appreciate it if you could sign and/or pass along this petition to whoever you can.  Thank you!

  • Mood: Sociable
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Currently feeling a bit sick, hence the lack of me jumping onto the chats and such, but I should be getting better eventually (especially if I'm going to finish HTF's birthday video or DitR by the anniversary).

In the meantime, where are my most common writing proverbs. I repeat them a lot in tutoring sessions, but here they are for archival purposes...

  • The more complex/important the character is to your story, the more awesome their introduction should be. Show them doing something they would only do, and also show them reacting to something that requires a little extra effort from them in a way that shows how they use their extra effort in a unique way. If your character isn't that important, don't give them an awesome intro since we'll be wanting to see more of that character.
  • Don't copy the ideas of others: do the thing that others will want to copy. I call this "the anti-cliche rule." If you saw another story and thought, "I should totally do that," only give your unique spin on things. If you plan to just rehash what the other story did, delete the story idea from your very brain, because people will say, "Gee, this seems like a ripoff of that other story."
  • Every scene/act/story must show a shift in thematic value, i.e. something of importance must happen in the scene. Imagine a spectrum from positive to negative, with positive being all the things we want (love, happiness, health) and negative being all of the bad things (hatred, sadness, death). Naturally, whenever you move from the positive to the negative or negative to positive, it's going to generate emotions. For example, if you shift from hate to love when two characters reconcile, that's going to generate some positive feelings depending on the context. If a character moves from happiness to sadness, we're going to feel the impact of the devastating event that caused that. When characters talk backstory for the sole purpose of informing audiences, the value never moves, and if your scene sits at one end of the spectrum and never moves, there's no emotion. It is possible to divulge exposition if it affects the scene, but if it's only there to inform the audience, get rid of it: it's unnatural and kills the pace.
  • Never underestimate the intelligence of your audience. While some audience members really are idiots, they're a vocal minority. Most of them will instantly pick up on facts about setting, characters, theme, and more. They might even point out things you never thought of and provide valuable information. Give them the benefit of the doubt and write your story as if they'll understand not only as much as you do, but more than you do.
  • Give every character at least one awesome moment. Don't let the main character hog the spotlight: ensure that every character gets a chance to be awesome. If you get the chance (because not every story will let you do it), make sure they also get a moment to be funny, do something heartwarming, get into a scary situation, or in a sad situation. Explore what Blake Snyder called "the emotional color wheel": don't let your character just be a one-note tune, but let them explore their whole emotional range.
  • If you must use a large cast, give each important character at least three scenes. Large casts are exceedingly difficult to write, but if you must write for a large cast, use each character three times. Use them once, and we wonder what happened to them. Use them twice, and while it seems like a nice bookend effect if they're different the second time around, we could still more of them. Three times lets us find patterns in behavior, especially if each time uses the character differently.
  • Stop planning your stories and start writing them. I believe in outlining and focusing on story structure, but these things can only get you so far: you must actually sit down to write your stories or else they remain intangible ideas. Pitching ideas to others may be a good way to gauge them, but unless you actually put them down on paper, they're worthless. Actually start writing, or else you'll start to annoy people with this idea you seem to refuse to transform into a story.
  • Use your bad reviews. God bless bad reviews. There is nothing that will help you grow as a writer or even grow your story than a bad review. They give free hints, tips, and strategies for how to bring your writing to the next level. They can tell you how to rewrite your stories or change the direction of a current one. God help the poor souls who use a bad review as an excuse to end their story, abandon it, and then say, "That story was horrible and I have no idea why I wasted so much time on it!" It's only horrible because you didn't use the bad review: if you did, you could make it a great story. 
  • Know where the story is going. In the end, all writing is done by the seat of our pants. When we're outlining, we're merely just outlining by the seat of out pants, and when we write, we're filling in the description by the seat of our pants. However, outlining is mainly to give us a direction to head in: no direction means the story will get lost and we write ourselves into a corner. If we're going by no outlines at all, we still need a direction: we must know what the point is, where it will end, and what emotions we want the audience to feel on the journey.
  • Find the ordinary in the extraordinary, and find the extraordinary in the ordinary. Advice from publisher Donald Maass, take a normal setting and look for the neat little details that make the world unique, and look for familiar things in strange and fantastic settings. This also follows my personal favorite teacher Robert McKee's advice: we hear stories to explore a new world and, at the same time, find ourselves within it. This is why the fantasy and sci-fi genres are fun: you get to explore a unique world that feels close to home while seeing ordinary people getting to experience amazing things.
  • If you're not having fun writing it, something is wrong. My improv mentor Asaf Ronen gave this advice for improv theater: "Don't give yourself the s#!%&y script. Give yourself the script you would want to play." He gave this advice in context to improvisers who were merely going through the motions to play the scene safely, but these "safe" scenes weren't funny nor interesting. When they gave themselves permission to act goofy, crazy, and have fun doing outrageous things they could justify and use in the story, not only did they have fun, but the scenes that came out were amazing. The same applies to writing: if you're not having fun writing your scene, make it fun: get input from others while writing, trying different writing styles or structures, make it more outrageous or see how much you can get away with using little as possible.

I'm probably forgetting a few things, so if I am, I'll add them as I remember them.

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