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Posted on June 25, 2012 at 7:15:03 PM





We're sponsoring Artists' Alley 2012!



We're headed to Comic-Con International:
San Diego to sponsor Artists' Alley!























We Love Artists' Alley










We're back at Comic-Con!


Last year, our sponsorship of Artists' Alley was a huge success. We were able to provide a more comfortable environment for the artists, display their art on huge screens over the Alley, and let people attending the convention draw with deviantART muro on fantastic digital screens. We plan to do this and more in 2012 as we take on the great pleasure of sponsoring Artists' Alley at San Diego Comic-Con again.
















Six deviant scholarships


We increased our number of scholarships from two to six this year, and have chosen our talented recipients. These six amazing deviants submitted their Portfolios to the Comic-Con group and have been chosen by DeevElliott to showcase their work in Artists' Alley. Each scholarship recipient will be able to display their work in the Alley and receive critique from top industry professionals.



:iconlarkinheather: :iconspyrosverykios-comix: :iconmleiv: :iconunderanangel: :iconmogorron: :iconsambees:
















Five Kick Ass Panels










DeviantART is hosting five panels, discussing important art-related topics with extraordinary guest panelists. We'll even be giving away deviantART swag!


Comic-Con Panel by ~GreenifyME





Supercharge your deviantART profile like the masters.


AdamWarren, DeevElliott, Zubby, alohalilo, diablo2003, and yuumei are among the superstar deviants on this panel, moderated by our very own spyed. They'll be sharing how to optimize your deviantART profile like a pro. (Saturday, July 14th from noon - 1 PM)




:iconadamwarren:, :icondeevelliott:, :iconzubby:, :iconalohalilo:, :icondiablo2003: :iconyuumei:





How to examine fan art under the law: a counter-cultural disconnect?


Featuring our very own makepictures, this presentation discusses the legalities surrounding fan art and includes a review of the impact of new technologies on the genre and the confessions of a fan art fanatic. (Friday, July 13th from noon - 1 PM)





Living and creating in the deviantART world.


yuumei is here to show you how easy it is to get started sharing your art, finding inspiration, making new discoveries, and establishing yourself in the world of deviantART. (Thursday, July 12th from 3 - 4 PM)





How to better understand the sociology behind cosplay.


Join veteran cosplayer, Yaya Han, aka yayacosplay, for a stimulating discussion about the many social aspects of cosplay. Yaya will answer a number of questions, including: Why do we cosplay? How has cosplay progressed in the last 10 years and what are the positive and negative aspects? (Thursday, July 12th from noon - 1 PM)





Don't break in, break out!


DeviantART offers the world different publishing perspectives for content creators. Deviants DeevElliott, MrBabyTattoo and yuumei discuss the future for creators and publishers with techgnotic. (Thursday, July 12th from 4 - 5 PM)










Cosplay Forever




We're hosting a cosplay art show that takes place from Thursday - Saturday, upstairs near the autograph area. This collection of the best and the brightest of cosplay comes from over 15,000 submissions to deviantART. The prints will be available through a silent auction with bids starting at $10. All proceeds will go to the Schreiner Burn Hospital, which uses cosplayers to cheer up patients in the hospital.


We are also having a cosplay group photo. Every cosplayer at Comic-Con is welcomed to join our epic display of cosplay at its finest. Join us on Friday, July 13th at 4PM on the Convention Center roof. If you want to be a part of this, be sure to follow our deviantART Twitter to get the latest updates.











We'll be hosting a deviantART Benefit Art Show featuring cosplay photography and donating the proceeds.


Myoubi's eyes by ~Karim-sama










Follow Us During Comic-Con!



If you're already planning to attend Comic-Con, join us in Artists' Alley! Show your support for these artists by visiting the tables that line Artists' Alley. DeviantART will have various staff hanging out in Artists' Alley all day, so be sure to come by, say hi, and introduce yourself! We'll even have some special, limited edition deviantART swag to distribute.


DeviantART will be situated directly in Artists' Alley, which is located on the far left of the Convention Center. If you plan to attend Comic-Con, let us know in the comments below!


Deviants who are unable to join us in person can be kept up-to-date by following the journals we will post to the Comic-Con group. Join this group for updates from the convention floor, including interviews with high-profile artists. We'll also be updating our Twitter and Facebook pages while at the convention, so check back often for updates!













Attending Staff





:iconspyed: :iconheidi: :icontechgnotic: :iconmakepictures: :iconmccann: :iconlaurenkitsune: :iconmegturney: :iconayame-kenoshi: :iconaunnyd: :iconmoonbeam13: :iconxraystyle: :iconmarioluevanos: :iconshyree: :icondamphyr: :iconendosage: :iconrenonevada: :iconcrosby2: :iconaunjuli:
















About Comic-Con

Comic-Con International: San Diego is the largest comic book and popular arts convention in the world. With panels, seminars, and workshops with comic book professionals, along with art shows, portfolio review sessions, and the various exhibits, attendees walk away with cheer in their hearts, bags of swag in their arms, and some tired, well-exercised feet. For more information, check out the Comic-Con website here.




Comics are art.















Every year, San Diego Comic-Con hosts a gallery of artists in what's known as Artists' Alley. For the second year in a row, it's with great honor that we can announce deviantART is sponsoring the Alley! We're also paying the way for six emerging artists to attend, hosting five interactive panels, and hosting a cosplay photography silent auction. Read on for all the exciting details.
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See you at Fanime! :D

Journal Entry: Sat May 17, 2014, 3:27 PM






Hey guys It's that time of the year again! Fanime is one of the biggest anime cons on the west coast and I'm happy to be able to see many of my friends again and to make new ones as well! :D


The con is from May 23 - 26th, 2014, and it's held at the San Jose McEnery Convention center in California.  As usual, I'll be in the Artist Alley with my prints :D My table number is 1213, in very deepest and darkest corner of the conventional hall lol. Come by and hang out, and we can all get dinner together too :)

















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In August 2011, Eric Greer participated as a media team director in the Otakuthon convention in Montréal, Québec, together with Christine Lee, and interviewed the famous cosplayer Yaya Han, who was also featured in the first issue of Cosplay Gen.

www.cosplaygen.com/a-perspecti…
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It wouldn’t be the Avatarverse without some hairstyle changes, now would it? Korra’s design gets backs to its roots in Book 4, with a bob cut like the one Joaquim did in his original concept of her.

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Possessional Demonology

Tue Oct 30, 2012, 5:39 PM by techgnotic:icontechgnotic:








Opening the Darkest Door


I have recently come across a most disturbing phenomenon in my studies of the Diabolic Infestation of the Soul. It seems there is a most frightening psychological conundrum when considering the concept of demonic possession even the most remote possibility of reality upon our earthly plane is the notion that just believing it may be true could very likely be the spark needed for the Demon to discover, seek out, and ultimately inhabit its next vessel of evil: You.


From the Exorcist through Paranormal Activity, generation after generation of “believers” seem to have come to the realization and acceptance that this openness to the very possibility of possession may be the very invitation to the demons awaiting entry just outside our otherwise normal sun-dappled realm. It is of no comfort and some fearfulness to consider that an institution as old and authoritative in all matters spiritual as The Vatican believes that demons are real and do sometimes possess humans, necessitating exorcism.










Art History gives us depiction after horrifying depiction of just how these Demons may have come to manifest themselves in our world.


Demons sporting horns may originate with the Greek god Pan, who dwelt amongst the shepherds in the countryside.


Lévi's Baphomet is the source of the later Tarot cards image of the Devil in the Rider-Waite Tarot design. The actual image of a goat in a downward-pointing pentagram first appeared in the 1897 book La Clef de la Magie Noire by Stanislas de Guaita, later adopted as the official symbol — called the Sigil of Baphomet — of the Church of Satan.












Many an artist upon the digital planes of deviantART has taken on the task of depicting Demons in all of their forms and manifestations. These are some of the most frightening yet beautiful works of art on the site.









If one believes in a God, it is said, then one must believe in a Devil...


If one believes in the protection of Angels, it would follow, then one must certainly believe in the assaults of Demons...


Be careful in what you believe... for belief itself may be what makes it so...




Vos es iam aperio.Sweet dreams for the Day of the Dead.












Questions for The Reader




  1. Do you worry that exploring demonic themes in your art might "open you up" to becoming a portal for supernatural entrance into this world?
  2. Goya? Bosch? What's the most frightening or affecting depiction of a demonic being that you've ever seen in classic or contemporary art?
  3. Does the idea that thinking about demonic spirits, simply considering their actual existence, might open a portal for them into your life frighten you? What about later tonight as you lie awake reviewing this question?
  4. Do you believe possession is a real phenomenon or simply a medical problem?
  5. Do you think “exorcising” ideas about evil through art is healthy?
  6. Have you ever abandoned an artwork because you were receiving an evil vibe from further progress on the work?
  7. Have you ever felt the presence of an evil or demonic spirit?






Opening the darkest door. I have recently come across a most disturbing phenomenon in my studies of the Diabolic Infestation of the Soul. It seems there is a most frightening psychological conundrum when considering the concept of demonic possession even the most remote possibility of reality upon our earthly plane is the notion that just believing it may be true could very likely be the spark needed for the Demon to discover, seek out, and ultimately inhabit its next vessel of evil: You.

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 (SkinStripper)


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






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



Lee Joyner:

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











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



Lee Joyner:

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



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



Lee Joyner:

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







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


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














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



Lee Joyner:

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


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









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



Lee Joyner:

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



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



Lee Joyner:

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








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



Lee Joyner:

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



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



Lee Joyner:

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










Lee Joyner's


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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Life asked Death,

Death,

Why do people love me, but hate you?

Death responded,

Because you are a beautiful lie

And I am a painful truth
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A boy goes around school saying, "Jesus loves you! He is real and loves you all very much!"
Then, his teacher comes up to him and says, "Well, can you see Jesus?"
"No."
"Can you hear Jesus?"
"No."
"Can you feel Jesus?"
"No."
"Then, he doesn't exist."
"Um, sir? Let me ask you this; can you see your brain?"
"No."
"Can you hear your brain?"
"No."
"Can you feel your brain?"
"No."
"Then your brain does not exist."
Then the boy walks away with this on his face. :trollface:
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The FX Channel has just concluded the highly successful third season of its American Horror Story series.






Each season has featured its own stand-alone storyline, insuring against series stagnation and creating a story competition as the ever-ravenous horror audience eagerly awaits each season’s next outrageous attempt to top the last. Coven, the third entry in the series, a witchcraft genre entry, has not disappointed. Its star, Jessica Lange, was nominated for a Golden Globe. Critical reception, despite the considerable gory fx (envelope-pushing for network TV), has been uniformly positive. The ratings have soared.




Set in contemporary New Orleans, Coven tells a tale of internecine struggle as the dying matriarch of a clan of young witches fights the inevitable succession of the next “Supreme” witch, soon to usurp her leadership.  She simultaneously wages a struggle against the loss of her youth, her seductive beauty and death itself. The narrative punch is Stephen King meets Tennessee Williams.









Quote from Katy:



The Supreme—The concept of this is very interesting to me. I feel that it’s sort of a high priestess in a coven, the witch the rest of the coven looks up to for guidance etc. I think it’s strange how they set it up that the supreme gets sick as the new supreme comes into her powers. I think that’s pretty unrealistic in terms of witchcraft, as we all have our own power and grow into them with time and practice and while we do so, it doesn’t take away from anyone else.”


Astralseed (Katy), Modern American Witch





American Horror Story: Coven deviations:











While pop culture commentators have made much of Coven reflecting the psychotic levels of youth and body worship that we’ve reached in our society, as well as the aggressive edge that has developed, socially and especially sexually, amongst today’s young women (the debate raging as to whether this signifies growing empowerment or just a general coarsening of the culture)—I think there’s something more to the special response received by Coven. I think a far deeper chord of male and female identity and relationships may have been struck for there to be so much resonance in response to this show.
















Does Coven reflect a realignment in the male/female power paradigm?




The concept of “witchcraft” itself was invented by the Holy Roman Church when it assumed authority over all Europe after the collapse of the Roman Empire. During the Medieval reign of the Roman Church, all religions competing with Christianity were obliterated or driven underground.  Pagans who refused to convert to the official state religion withdrew back into the deep woods and continued with their rites of ingesting natural herbs and seeking oneness with the spirits present throughout nature.


The Church responded to these homeopathic healers and midwives by denouncing them as “witches” and lodging the Big Lie against them that they were practitioners of “demonology” (raising demons from Hell to do bad things) and that they were Satan worshippers.  Crop failures, livestock epidemics and still-births were attributed to witchcraft. And so, each time, a few more non-conformist unmarried women were “convicted” as witches and burned, hanged, crushed or drowned. And the good people felt safe again.












Quotes from the Community:





I come from a family who has generations of individuals who have believed and practiced in what many outsiders refer to as witchcraft. However, my family does not call it witchcraft. Nor do we like being called witches. Instead, we refer to it as being spiritual or rather enlightened or living with the veil lifted.”


diphylla (Star), modern American Witch




I know of no one who can bring back the dead. I don’t know any human voodoo dolls. I for one cannot flip buses. For me, Witchcraft is about connecting with the world with both physical stuff and ether (it’s all one) and fighting to make a difference for other people.”


diphylla (Star), modern American Witch








I think Myrtle’s gift is the closest to realistic abilities out of all of them. Misty’s being the least. Although I love Misty! She has the personality and attitude of a true witch I feel. She’s in touch with nature and she wants to do good with her abilities… I’m in love with nature, I draw all of my energy from nature. It makes me so happy to see somebody else also as in love with nature as I am.”


mippieArt (Leana), Modern South African Witch











After an estimated half-million executions in Europe and America, witch lynchings became rare after 1800.








In the modern age, witches and witchcraft have become more the stuff of children’s tales and Halloween fun.  Belief in actual Satanic covens of beings empowered through magic potions and incantations has become nonthreatening superstition.  Recently, a revival of a “positive” version of witchcraft as a rediscovered Pagan religion has evolved into the thriving Wiccan movement, in which spellcasting is practiced for the good and Satanism and demonology are denounced and rejected as having nothing to do with “white witchcraft.”






This Chinese Wall now separating Satanism/demonology and the modern witch was most evident in the popular show, Charmed (1998-2006), in which the three young “white lighter” protagonists were constantly forced to defend themselves against demon assassins sent to kill them.




Quote from Jaimie:


There is no such thing as “white” or “black” magic. Magic has no color. It is the reflection of the intention of the Witch who is using it. So, there are really no intrinsically “good” or “bad” witches; rather, it depends on intent.”


Aeirmid (Jaimie), modern American Witch





Coven represents the latest “rebirth” of the witchcraft narrative.






As a story centered on contending generations of females, birth and rebirth are in fact a constant theme throughout the story. The witches kill each other, but sometimes bring each other back from the dead. The “Supreme” fights for immortality, while her old rival chooses self-immolation, her life’s work having been completed.  What’s new in this latest plunge into the pop zeitgeist is the story’s “report” on two rapidly evolving issues.


First, there’s the current state of how young women value themselves as independent beings beyond body-image slavery. Jessica Lange is a brilliant choice to play Fiona, the Supreme on her way out. She is about as classically beautiful as any Hollywood actress working today. Her character is driven to murder and madness by her inability to stall the natural aging process by yet another century. The young witches of the coven are, in contrast, a collection of the most anti-cliché beauties imaginable.  It is definitely a new dawn on television when Gabourey Sidbe and Jamie Brewer can be cast as protagonists non-ironically.  This update bulletin on the current changing state of young female body-image attitudes is definitely a positive report.







Second, there is the male/female power issue. Whatever the historical reality or actual metaphysical possibilities of the practice of witchcraft – there is always the power of the witch as metaphor.  Here is a witchcraft story that, in trying to entertain the 29-49 demographic, reflects back to that audience what the makers intuit is their sensibility in male-female relationships.  What’s unique in the witch narrative is its constant theme of female subversion and non-compliance with male power. It’s all about females banding together to learn arcane methods of alternative defense and weaponry to battle male oppression. I believe Coven has such deep resonance because it’s a snapshot of the current state of female strategies of advancement and simultaneous accommodation within our contemporary patriarchy.









Quote from Jaimie:


I was disappointed that there was no talk of energy or anything like that. I don’t mean energy as in, “Here, let’s do Reiki on you!” but rather in terms of spirit or essence of existence. Also in terms of personal power.”


Aeirmid (Jaimie), modern American Witch





We see in Fiona’s downfall not only the demise of the witchcraft of her generation, but with it the demise of her generation’s stale male/female power paradigm.








Fiona’s power flows from her physical beauty, her sexual allure. Inflaming men’s desire is her method of control and power over the opposite gender. The traditional male response to this sort of female “empowerment” is to hate being controlled by one’s own hormones. Fiona’s sexiness is her source of power, her true worth. Each wrinkle is a devaluation of her being. Her lover is The Axeman, a revived serial killer. Fiona’s horrible fate is to end up in Hell living out an eternal Groundhog’s Day existence with the brutish Axeman in a tiny 50’s-style claustrophobic domicile. She will endlessly reap what she has sown, being simultaneously adored but also brutally controlled by her significant other.










The love interest of the younger generation of witches is Kyle, the only “nice” frat boy amongst a crew of rapists, all killed in an act of vengeance by one of the witches. Kyle is revived from the dead, but with body parts borrowed from the dead frat boys. The witches attempt to literally preserve the prospective boyfriend’s non-misogynist mind and sweet spirit, and – of secondary concern—reassemble the rest of him into a generically hot stud from spare boy parts. An interesting play on the difference between male and female priorities. Of course, the well-intentioned use of witchery goes awry and he becomes a raging mental defective who has to be cared for by the coven like a pet dog. But the theme of male-female connection through appreciation of specialness, of placing a premium on, rather than casting stones at, otherness, is constant throughout the young witches’ relations with the opposite gender.







Quote from Jaimie:


What is it, at the core, that we believe in? For me, it is that energy flows and envelops everything that is, and that we are manifestations of that energy. I believe that we can manipulate our energy and influence others’. I believe that there is something so much greater than I am “out there,” but that I am part of it (as we all are). I rarely differentiate between spirit and flesh, as it is really kind of a continuum. I am super excited about this opportunity to learn what others believe and to share it with you.”


Aeirmid (Jaimie), Modern American Witch





Coven uses the darkness of the horror genre to illuminate the stark difference in how today’s younger generation of females (as represented by Coven’s young spellcasters) balances body-image with more important personal traits in nurturing self-value and a healthy self-identity. This, as opposed to the old style notion of a women’s main worth being her physical attractiveness. Coven also rings a death knell for the “traditional” (often lethal) formula of male absolute adoration of a woman’s physical beauty coupled with the need to absolutely control the “beloved” woman. The attitudes of the young witches point to a major positive sea-change in the male-female power-control equation. Pursuing and preserving power and control over others would appear to be a life strategy that is dying off with the older generations. It may be gradually being replaced with a growing appreciation of the value of all the small wonders and personal gifts that give a truer value to all our lives.
















Out of a deep-fried southern gothic fever dream of contemporary New Orleans saunter the decadent libertine belles of the delicious pulp that is American Horror Story: Coven.









Within the first hour, these sultry divas brandish their feminine powers to telekinetically destroy vicious rapists, tap the fountain of youth by draining a man of his life force and resurrect an undead torturess, firing the opening salvo in AHS’ first gynocentric season.  Beyond its obvious main directive of being a shocking scare-fest, Coven explores themes of misogyny, youth obsession and toxic female rivalry against the backdrop of feminism and witchcraft in all their seemingly contradictory permutations and agendas.




The young witches of the coven embody in their unique supernatural gifts the full spectrum of Wiccan Triple Goddess archetypes. They also display the full spectrum of body and personality types, providing an accessible role model protagonist for each and every young female viewer. The coven is governed by Supreme witch Fiona Goode (portrayed by classically beautiful Jessica Lange).  The Supreme is aging and she is fighting to cheat her impending death by all manner of experimental pharmaceuticals and dangerous arcane incantations.







Fiona warns, “a storm is coming,” and as the season unfolds we’ll witness the women unifying their powers and banding together for survival. To that end, a new coven leader must be chosen. According to the mythology of this witches’ tale, there must be a contest between the young witches that will result in a successor to the “retiring” Supreme. The true Supreme is a chosen one always meant to assume power, her messianic identity to be revealed by her victory in the competition.




The greatest danger to the survival of the coven is Fiona’s sabotage of each witch she senses may be the chosen one.  Driven mad by the loss of her physical beauty and desperately seeking a “magickal” way out of ever dying, Fiona would rather kill her own daughter than give up her power. This hidden handicap is only discovered by the contestants very late in their competition.


Here we have one of Coven’s intersections between witchcraft and feminism. Fiona is old school, using her sexual allure to exercise power over men, a crude traditional strategy of empowerment rejected by modern feminists.  Her empowerment relies on “playing” the male power structure rather than altering it or replacing it. The misogyny that birthed this coercive form of female empowerment only gives rise to male resentment and abuse against females in response.









How is it witches came to be associated with feminism?






The simple answer is that any act of female defiance against male diktat is considered by the male power structures (religious, corporate, legal and cultural) to be de facto “feminism.” When Pagan herbal healers refused to convert to Christianity in Medieval Europe, the propaganda stereotype of the Satan-worshipping crone dancing around a fire and sacrificing children was first born as the Church’s response to female non-compliance. The concept of the witch as a nature-loving healer and nurturer is a more modern Wiccan construct, arising alongside a growing cultural interest in ecology and protecting the natural environment in general. The witch as hot sexual succubus has always been a male fantasy disguised as being somehow “feminist.”




So long as “witch” indicates defiance of the male order, witches will be persecuted simply for existing. Trying to accommodate men by becoming providers of kinky “sex magick” or, conversely, detaching completely from males and forming insulated Wiccan communes are both doomed strategies. The poison pill is the question of power. Men have it. Women are denied it. A suspicion of a female coveting that power can mean lethal consequences. Witches symbolize that covetous conspiracy that never sleeps.







Is it any wonder witches cling to their magickal abilities as a path to empowerment?











coven


by 021





When denied the basic human right to exist, those who were forced to cower in the shadows can find a voice in magick, a torch to carry into battle. The young charges of Miss Robichaux’s Academy do just that, using their powers to forge strength under the siege of male oppression. We see the Academy’s ancestors banding together to thwart an impending attack by the Axeman (“If we embody our feminine might: intelligence with grace, strength with an iron will, no man can make us cower in our home.”).   Misty Day resurrects slain swamp gators and turns them back on the red neck hunters who slaughtered them, a low tech metaphor for triumph over male brutality. Zoe and Madison use their collective powers to destroy Madison’s frat boy rapists in a scene ripped right from Steubenville’s headlines, with the coups de grace performed poetically on the last male by Zoe’s powers of vagina dentata.




The one male-contrived bastion of oppression that seems to be the chink in our witches’ armor of empowerment is obsession with youth and beauty. In modern society, beauty standards are set by male opinion and catered to by women who continue to perpetuate those stereotypes, influencing generations of young women after them to live up to an impossible ideal. We can see this in everything from Maxim spreads to the average age-range and body type of actresses who stay gainfully employed in Hollywood. Coven’s Crones Fiona, Marie Laveau, and Delphine also fall victim to these standards, desperately trying to revert back to Maidenhood by any means necessary. Fiona Goode is the quintessential Norma Desmond figure, sneering disgustedly, “I’m starting to look less Samantha and more Endora everyday.” In a twist of irony, the one thing that seems to make her feel young and vital is finding solace in the ghostly arms of a long-dead serial killer.










Men know that they can best control females by constantly increasing the rewards, acclaim, approval and adoration (the males’ double-edged conceit of being “pro-woman”) rained down upon females for their physical allure. This emotional extortion is so potent that it makes women turn upon each other and then spiral down into their own solitary self-contempt. Only when women manage to truly find self-worth according to standards set by their own sensibilities, completely independent of male judgement and approval, will genuine sisterhood finally prevail.







At story’s end, the young witches who emulated their mentor Supreme, using their powers to control and hurt others in order to increase their own power end up in Hells created especially to fit their crimes. For the rest of the coven, renewed strength comes after these toxic creatures are finally purged from the House of Robichaux. Although male oppression was always a real and present danger, the external threat just beyond the iron gates, the coven was in greater danger of foundering from the internal threat of insidious narcissism.  After the deaths of Fiona, Madison, Laveau, and Delphine, chlorine is introduced into the witch pool in the form of new Supreme, Cordelia Foxx. Finally able to throw off the weight of Fiona’s malice, Cordelia abandons the shadows and accepts her powers and her place as Supreme, shedding self-hatred and instilling a new sense of pride in the Coven.


In a speech that echoes current day minority struggles, a self-assured Cordelia encourages all magickal folk to live openly and reject any societal attempts to relegate them to outsider status. With Zoe and Queenie by her side, she ushers the coven into a new era of tolerance and renewed power. Lines of new students overtake the street like vines of kudzu, signaling morning for Miss Robichaux’s Academy and incubating the hope that these former outcasts have finally found their tribe. We’re reminded that life is about survival and salvation is ultimately found in each other. Perhaps if we can learn to embrace uniqueness, to value one another over our own agendas, and to recognize that true empowerment comes from lifting each other up, that would be the real magic the witches of American Horror Story: Coven had to show us after all.














For the Readers




  1. Do you think about any deeper meanings when watching shows like Coven, or appreciate them strictly as scary fun entertainment?
  2. Do you believe witches are real? (“Real” meaning able to harness special abilities by supernatural means.)
  3. Do you think modern covens are actually practicing a “witchcraft” that produces tangible results, for good or bad, or do you think of covens as an alternative religion’s church?
  4. Have you experienced evidence of actual witchcraft in your life?
  5. Would you (or have you) ever sought out a witch for the potions or spells to attract or win over a prospective love interest?  What about exacting revenge on an enemy?



For the Witches




  1. Does being a witch mean:
    1. Simply adhering to a religion that celebrates the spirits inherent in all nature’s creation.
    2. Having special inherent powers I was born with and the ability to change things, affect minds, through potions and spells.

  2. Have you suffered discrimination or physical threats because of your beliefs?
  3. Has witchcraft been a mainly positive or negative element of your life?
  4. Under what circumstances would you recommend an exploration of witchcraft to another woman?
  5. Are there aspects of witchcraft that enhance or liberate the creative energies of an artist?






The FX Channel has just concluded the highly successful third season of its American Horror Story series. Each season has featured its own stand-alone storyline, insuring against series stagnation and creating a story competition as the ever-ravenous horror audience eagerly awaits each season’s next outrageous attempt to top the last. Coven, a witchcraft genre entry, has not disappointed. Its star, Jessica Lange, was nominated for a Golden Globe. Critical reception, despite the considerable gory fx (envelope-pushing for network TV), has been uniformly positive. The ratings have soared.

Designers: marioluevanos
Guest Curator: alltheoriginalnames
Inspiration: phoenixleo

For more articles like this, visit depthRADIUS
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Hello, guys!
Just send me in comments pics of film/anime/cartoon/comic character that will be the best for me))
Just how do you think) In what cosplay you wanna see me ^^
(sorry for my bad English)
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