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Legacy of The Lens

Fri Mar 22, 2013, 8:13 PM

A study in artistic diversity, Bernardo Medina embodies the renaissance spirit of the consummate artist, always inspired and inspiring artists around him to create and capture the rhythms of life and beauty in a multitude of mediums.

At the core is his love and dedication to the realism in captured moments of humanity that only the lens of photography can provide. With a background in architecture and design underpinning his artistic journey, Bernardo joined deviantART almost a decade ago and in that time has generated a formidable and impressive body of work on his own but also through collaborative endeavors with the other members of the deviantART community. He serves as a model of not only individual personal dedication to his art – but as an artist ever ready to share from his vast reservoir of spiritual support with any deviants or other artists who need only ask.

Bernardo specializes in building teams of artists to realize his visions when imagining public spaces filled with artwork, media, and inspiration. On a recent notable project he worked with devilicious on bringing the interior of a 25,000 sq ft nightclub to devious life. On this, as with his other creations, much of the graphics, photography, modeling, design concepts, and artworks are sourced from dA when building massive public projects.

Many are most familiar with Bernardo’s work from his collaborations and photographic journeys in association with National Geographic that have yielded such absolutely beautiful imagery.  He manages to capture the human condition and the global pulse of our living planet in an unvarnished and dramatic yet life-affirming manner. His images rank with the very best of what has made National Geographic the touchstone and authority in naturalist photography since before most of us were born.

But of all his most treasured collaborative work, Bernardo cites as his most enduring, fulfilling and inspiring the projects he shares with his son Tomas, teemoh. Like father – like son: Tomas also began his photographic journey on deviantART. Whereas Bernardo’s life in photography has focused on capturing moments in the natural world, Tomas, with his background in video and graphic design, is achieving great things in experimenting with light, form and sound. The father & son team is currently collaborating on a media show, “My Thailand Story.” Theirs is the sort of professional and spiritual relationship that best defines and illustrates in living practice what the deviantART experience and community is all about.

Interview with Bernardo Medina


When did you first realize that deviantART was becoming your support system in your artistic endeavors?


When I started meeting many talented artists in deviantART, passionate about their work and about sharing it. They have been truly inspirational during the last 10 years. I come to deviantART every day. As an evolving community, it has a rhythm of it's own. In a world saturated with social media, deviantART remains true to it's original intent, connecting people through art. DeviantART has always been a reflection of new art trends, what's new, what's viral. In the modern world of business it is useless to be a creative original thinker unless you can share what you create and benefit from it.


Can you tell us a bit about your formal education and how it relates to the knowledge gained from an online community of photographers?


Architect by education. We have a Studio of Design and Construction in Texas. Photography is a source of inspiration for my architectural projects. It lets me play with the perception of the outside world, it's structures, forms, colors, illusions and cliches!

DeviantART artist/friends work with us on the artistic part of the architectural projects we do: graphics, photography, modeling, design concepts. The collab and team work is awesome!

Recently we worked with deviantART's devilicious on a 25,000 sq. ft. night club project in Fort Worth, Texas. We produced many deviantART inspired images. Her visual concepts had a unique deviant flair. Working with devilicious (Mary) is Nirvana!


Would you like to shed some light on your relationship with National Geographic?


Over the last few years some of my images have received photography awards and I've traveled with Nat Geo a couple of times. We are currently working on a multi-media show that includes a photography exhibit in Houston with The TAT ( Thailand Tourism Authority ) of the 2012 Thailand trip.


Do you feel like you’re an ambassador for the arts ethos of deviantART when you’re working in Thailand, etc?


A humble ambassador! It's always great when you have a deviantART friend tell you that your work inspired their creativity, or that they traveled to a certain place after seeing my photo.


What do you tell young artists about making best use of the human resources of arts communities as they begin building their careers?


Connect, connect, connect with artist-friends. The sorcery and charm of sharing our view of the world make it one of the most treasured of all creative arts. Access to talented and creative people is to modern business what access to coal and iron once was to steelmaking.


Can you name a photographer on deviantART whose work you admire?


We have followed jsmonzani for many years. The range of his work is inspiring. His work mixes photography, graphic design and cinema, and we like that!


What relationship do you see between the magic of art and the business of art?


To be a successful entrepreneur, one needs a vision of one's work. If we dream, we will be inspired beyond the straight jacket of the everyday world. There is a profound connection between art and enterprise, which allows businesses to overcome its limitations and break the rules. Creativity is the cutting edge of the art business.


Do you have future projects in mind in collaboration with your son?


We're working on a media show: "My Thailand Story."


Can you talk about the arc of a father and son collaboration?


My son Tomas (teemoh) joined deviantART 9 years ago. He went to film and photography school and now we work together on special projects. It's awesome! He is driven to create and has a passion for engaging with clients to turn their visions into striking images. As a video-photographer and graphic designer, he is working on several media projects experimenting with light, form & sound – the world in motion!

Interview with Tomas Medina


How has your Dad's arc as a photographer influenced your career personally and professionally?


It’s very exciting to be a part of a creative family.  It gave me the tools to create my own vision of the world.  Professionally, it's a great start if you have 4 eyes!


Can you talk a bit about your current camera set up and also offer some travel tips for the young photographer about to set out on a first trip as a paid photographer?


We like Canon Equipment, and we travel light, but bring very selective gear to cover any lighting  condition.


Have you ever instantly known when you’ve captured the death of the perfect moment?


Yes. Sometimes you can feel that instantly! But also, many great photographs are made only after observing a subject, learning when it looks best, and returning to photograph it at its most spectacular. This is how you make anything look extraordinary.

Video Narrated by Alan Watts

CREDIT: :iconjacquelinebarkla: A Dark Horse Running in a Fantasy by JacquelineBarkla

Questions For the Reader

  1. What happened that confirmed for you that you had chosen correctly in making the arts a focal point in your life?

  2. Have you ever collaborated with a close friend or family member?  Was it a moment of growth or did it result in a retreat.

  3. Are you in the process of planning a full commitment to a career in the arts?  Do you need to choose between many talents in the arts?

  4. Do you think there is a well of inspiration waiting to be tapped by the right artistic stimulus in every human being?

A study in artistic diversity, Bernardo Medina embodies the renaissance spirit of the consummate artist, always inspired and inspiring artists around him to create and capture the rhythms of life and beauty in a multitude of mediums.

Writers: $techgnotic
Designers: $marioluevanos
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The Enduring Enigma of Collage

Thu Feb 21, 2013, 8:15 PM

Collage is one of those art forms that immediately sets off heated debate about our most fundamental ideas and visceral feelings about the very essence of art itself.

Turn of the century troublemakers Georges Braque and Pablo Picasso began enhancing their paintings with glued on bits of cut out fabric and other materials, thus neatly blurring the line between the art categories of painting and sculpture. They shifted the emphasis or “meaning” of their painted images beyond an attempted interpretation of the painted “text” to thinking about the artists’ “process” – something wholly separate from the paintings themselves.

And with that a whole new Rubic’s Cube of basic questions about art was opened up:

Is an assemblage of “found” junk really art? Is the artist’s technique in “building” an artwork more important than the artist’s aesthetic skills? Should ideas and feelings evoked in experiencing art come from a “story” or narrative painted on a canvas or are ideas and emotions with perspectives tempered by glued on newspaper clips and photographs just as valid? Is this “sampling” just a form of plagiarism? Is it simply an artist’s shortcut to his vision or expression, and ultimately never really his own best “statement?”

untitled urban collageby gregoriousone

Windsweptby JessicaMDouglas

pionerby igorska

self portrait collageby fantomas1

The Castleby patbremer

Kissed By a Birdby LauraTringaliHolmes

ATC: LoVe BiRdby abstractjet

Outwardby patbremer

Restlessby babsdraws

Leave it to the truly great artists and creative thinkers to leave more questions in their wake than answers. That the creation and interpretation of any artwork is a mad kaleidoscopic endeavor shouldn’t bother us so much a century after Picasso’s transgressions especially in a time of string theory and serious consideration of parallel universes. In fact, any evening spent in front of your end point of choice easily illustrates the triumph of the collage “idea” – as commercial after commercial batters us with seemingly disassociated sounds and images that somehow come together to push a singular perspective: like and want this product... because it is part of a desirable but unobtainable lifestyle implicit in the commercial’s collage of images.

But what of collage as a purely aesthetic artform? It seems the surrealists immediately following Picasso embraced collage, especially because it so nicely served in the presentation of political and anti-war messages, with the grim reality of war in photographs juxtaposed with the artists’s painted pleas for peace. Collage has never really gone out of style, as it seems to be that idea with a little added something that artists, like Warhol in the sixties, rediscover over and over to reinvigorate their messages. One particularly popular school of “wood collage” has endured, in which the artist glues wood cuttings or panels to painted canvases, again creating a painting+sculpture effect. Some artists use natural found driftwood to enhance their paintings, igniting again the “but is it art?” question. By now most of that conversation has died down into a truce:

Any artist’s expression is art. And art is in the eye of the beholder. Period.

Queen Of Black Words Blindfoldedby ArianeJurquet

Bird 3 -- Diveby LauraTringaliHolmes

carmageddonby live-by-evil

sumo surfingby almcdermid

Traditional american familyby Drogul-le-Mogul

Crosswalk on Manhattanby rpintor

Dannyby patbremer

Collage seems to have won a place in our collective hearts as an artform that “anyone can do.” We start cutting and gluing pictures in Kindergarten to add to our crayon creations and many happy homes have photo collages of smiling famiy members hanging on their walls. Whatever comment the serious artists are making about “process” or political activists are making about world peace is now wrapped warmly in the same artistic space as our baby photo collections.

“Digital Art” is the latest artform in search of a theory by the academics. But its commercial application as CGI is transforming the look of the imaginary worlds in films and video games and no doubt doing much, for better or worse, to imprint those (usually dystopic) landscapes in our sub-consciences.

Personally I love collage as an artform.

You Obviously Lack Originalityby Chickenman74778

Perfect Strangerby wicked-vlad

Questions For the Reader

  1. Is collage even relevant as a technique in the face of digital tools that instantly paste content into almost every image we see?

  2. What is your first reaction to the “is ‘found’ art really art?” question?

  3. Does the experience of the “meaning,” or at least your perception of a painting, being changed to a new perspective by added materials engage your mind in a positive way, or make you feel like what’s the point? Does too much relativity kill your soul?

  4. How would you feel if some of the plates fell off your very expensive Julian Schnabel “painting?” Would you first wonder if re-gluing them made the work somehow altered or bogus?  Would you wonder first about insurance or resale value?

  5. Do you have personal collages of friends and family? Did the placement of individuals’ pictures within the collage have any particular significance?

Collage is one of those art forms that immediately sets off heated debate about our most fundamental ideas and visceral feelings about the very essence of art itself. Turn of the century troublemakers Georges Braque and Pablo Picasso began enhancing their paintings with glued on bits of cut out fabric and other materials, thus neatly blurring the line between the art categories of painting and sculpture. They shifted the emphasis or "meaning" of their painted images beyond an attempted interpretation of the painted "text" to thinking about the artists' "process" – something wholly separate from the paintings themselves.

Writers: $techgnotic
Designers: $marioluevanos
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Final Thoughts from Clive Barker

Odyssey. I can think of no better word to describe the journey that took place these past few months.

With the prologue, “They’re Mad, They Are,” I began work on a vessel that was not yet ready for sea. And on that holed ship, together we embarked over open waters towards an unknown destination.

What I then witnessed both touched and humbled me. You, the mighty crew of the HMS Odyssey, simultaneously crafted her and plotted her voyage with artistry and grace.  No small feat.

The path we traveled was treacherous, to be sure. But we passed through the eye of the storm, and found ourselves in a new world. It was brutal, brilliant, and inspiring.

Thank you for sharing yourselves with me. You are among the finest shipmates I’ve ever had the privilege to work beside. Make no mistake; we’ve built something beautiful.

Though our paths must now diverge, we will forever be connected by this sweet and terrible ride through the eternal, collective universe of That Which Can Be Imagined.

Odyssey II






Read Prologue

Chapter 1

A Shower and a Change

ARTWORK BY: littlecrow

LITERATURE BY: markmywords85

Read Chapter 1

Chapter 2

The Host With the Most

ARTWORK BY: David-Steele


Read Chapter 2

Chapter 3

Skin Glowing From Within


LITERATURE BY: MelissaBoreal

Read Chapter 3

Chapter 4

Dreams of the Deep



Read Chapter 4

Chapter 5

Techno-Colored Psychosis



Read Chapter 5

Chapter 6

Something Worse than Nobody

ARTWORK BY: littlecrow


Read Chapter 6

Chapter 7

A Man Reborn


LITERATURE BY: demonsweat

Read Chapter 7

Chapter 8


ARTWORK BY: Micha-vom-Wald


Read Chapter 8

Symptom of the Universe

The Vision is Getting Clearer...

The inimitable author and artist, the fantastic Clive Barker, lent his special, brilliant madness to Odyssey Project 2.0 by writing the first “prompt” chapter of our experiment; setting the tenor for what would evolve into a weirdly wonderful and beautiful tale. We were honored by his participation.

For marioluevanos and I, This was our second effort at creating an ultra-collaborative short story fiction, our delirious, inspired version of the “exquisite corpse” salon game once played by the Surrealists. So far this incredible community of creative artists and storytellers have given life to two amazing “monsters”. The Grand Game will continue.

There were, once again, a whole host of minor glitches, particularly with so many entries needing to be read and fairly assessed in such a short time by so few judges (Clive himself was the ultimate arbiter this time).  All of your suggestions for improving this endeavor that have been coming in are greatly appreciated. You all have been writing the rules of the next Odyssey project throughout this process.

“Baby steps” for now, but together, we dream mightily…

Of all the unforeseen collateral fallout surrounding our Odyssey endeavors contest, none has been more heartening than the many incidences of participants branching off from the main narrative of the “chosen” story to continue their own personal vision. Often in collaboration with other writers and artists, they discovered their own preferred narrative vein and finished out their own separate stories. The idea behind this project has always been all about sparking creativity in collaboration, not simply winning a place in the main story.  That so many fresh new stories were born from the deviously germinated seed of a single Clive Barker chapter is precisely the magic we can all achieve together.

Many have been asking about the hard copy publication of Odyssey and Odyssey II, as well as the attendant charitable donations to come from those sales.  I am preparing a separate article for everyone that will go out in the next two weeks which will outline the plans for publishing both works this fall. There will be digital versions as well as hard copy versions. We have also expanded the content to include a full explanation of Odyssey Project with a behind the scenes feature outlining the process and participants from the beginning. I will create a list of the timelines, elements, and structure that we can all discuss in the comments and I will also schedule a featured chat with marioluevanos and I so that we can all talk about it in real time.

Odyssey II



by puzzledpixel

This body,
against the rage of strongest winds
and waves of virulent assaults
will endure.
My feet,
through vicious aftershocks
shall grow roots
and when the eye of the storm
has looked me in the eye, I
will be left standing,
alone, intact,
My life is not my
own and this body,
is only worn.
I am
my spirit, ethereal
Not by anything in this world
can I be touched,
you can not even bend me.
How can you destroy me?

A Subtle Shift in Course

by Beatleyperson

A subtle shift in course
That seemed quite insubstantial at first
Has given way, till you're far off path
And lost in a distant trance
What seemed inconsequential at the start
Has now made your life slowly fall apart
As you watch it crumble and crumple in your hands
You feel yourself loose your grip, and go mad
A certain paranoia sinks through the weary haze
You desperately try and slip away
As it grows into an uncontrollable panic
And you begin to grow drastic
And as the fear begins to grow
A soft voice in your head begins to echo
What did you do to deserve such a fate?
But put it out of mind, because it's too late
You're surly going to die by the hand
That you didn't see, didn't expect, and
The one you weren't afraid of
Brought this nightmare to life
And all of this came to roust
From a subtle shift in course

Inside Out

by portraitinflesh

Nausea, not me:
I boil within
my own skin
is a stranger
flaming and searing
me, not me.

The pain is in plain view
if only I weren’t hidden
if I could see me
would I recognize
or avert my eyes
knowing it has all
been taken away.

Me, not me
not since she,
or it, or them

Me, why me
a chosen vessel
without my consent

I may not have been much
but I’m all I’ve ever had
and now, no
nothing, nowhere.
The skin—my skin—
taken, broken
bruised, flayed
I fade

because of her
or it, or them
I will end;
even my wasted time
is torn away.

I’m tearing now
she-it-they want out.
I want to shout, scream
But my voice is alien to me.

Two of me
from me
of me
but not.
No longer.


by portraitinflesh

what’s mine is mine
to twist or unwind
I know what I hold dear

the end is near
if you had your way
each night you’d erase the next day

the price you had to pay
was far too high,
you ripped apart the sky

no explanation why
other than wanting to play God
you needed no encouraging nod

my ally was odd
even to you, yet she
also betrayed me

I can finally see
the truth you tried to hide
I saw once I died

so I turned the tide
you are out of time
what’s mine is mine

Outside In

by portraitinflesh

Look at the beauty
There is shit everywhere, every
breath drags it into me.

There is beauty all around
The ground under my feet is poisoned
I look up, and the sky is dying.

I see what you cannot
We avert our eyes, our
sighs we bottle up inside.
So much potential, so much
A shell of protection,
we’re so close to breaking apart.

You ignore your treasure,
this precious world, a shining
reflection of infinite possibilities—
you don’t deserve it
and you won’t miss
what you never noticed

Day in, die out
it’s all the same.
No one knows my name,
I’ve grown OK with that.
Life should make sense by now
instead, it drags me down.

A way in, that’s all I ask—
a path to your world, a
chance to taste neglected wonders

I wander through life,
everyone does—
it’s what we do when we don’t dream.

A seam to rip apart;
I’ll tear through you
Something has entered me
You may not make it
but you’ll create it
I feel so empty inside.

The Vision is Getting Clearer... The inimitable author and artist, the fantastic Clive Barker, lent his special, brilliant madness to Odyssey Project 2.0 by writing the first “prompt” chapter of our experiment; setting the tenor for what would evolve into a weirdly wonderful and beautiful tale. We were honored by his participation.
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:icontechgnotic: Aug 29, 2012 by techgnotic

I am bringing your attention to a documentary, Beauty is Embarrassing, that
deeply inspired me after a screening last week. The life wisdom and positive
philosophy unfolding over a lifetime of living as an artist was deeply motivating.
I invited Wayne White, the subject of this documentary, to join deviantART afterwards.
I thought this would be something you would enjoy no matter where you might be at
on your own personal journey as an artist. While watching this I was also reminded
of the heartfelt explanations by many artists of what it means to choose the life of an Artist.

"Do what you love, It's going to lead where you want to go."


Please stop and say hello and welcome seewaynewhite in his first week at deviantART.

A strange thing happened at a local café called Fred 62, a sudden sense of something
askew in the universe. I realized it was the painting hanging on the wall above my friend’s
head. Could that really be the mundane landscape painting that hung on the wall in one of
the rooms in my child hood home? Why yes, it is. But the painting has been … infiltrated.
Geometric shapes now hung in the air above the autumnal scud of fallen leaves. Then you get
it: the shapes are actual words. The painting is protesting its near-purposeless existence
by breaking the fourth wall and “speaking” to me. And it’s saying: FoodBasedLifestyleEnhancement –
which is really funny, given the theatre of this moment. What is this? Graffiti? Tagging?

Wayne calls his word paintings and his other creations his “beautiful things” and he exhorts
other artists to ignore the pull of “seriousness” (in hopes of being officially declared “real”)
and instead be guided by what brings them joy to create, to do whatever it is creatively that
makes them happy. Fun and funny shouldn’t be anathema to the “serious artist” – the moment of
laughing at a joke one isn’t even sure one really understands… that should be the most sacred
artistic epiphany.

What I unknowingly discovered is Wayne White’s “word paintings.” Wayne “samples” (buys) otherwise
pointless examples of forgettable paintings, mostly landscapes, and then he paints his messages across
them like billboard credits kicking off a movie. His messages tend to be funny, sometimes deeply poignant
and are often slightly obscene. Not that pure juvenile silliness isn’t his guiding principle. The official
art world doesn’t quite know what to make of Wayne’s increasing popularity and the success he’s experiencing
after a lifetime of being a “jack-of-all-trades” artist. They’ve hung a general “surrealist/pop artist”
label on him and dismissed him as a “non-serious Ed Ruscha.” But Wayne White’s art, funny and silly and profane
as it might be, is far from being a joke. He’s a man and an artist on a mission.

If your first experience of Wayne’s art is his “word paintings,” then you’ve come in late to an amazingly
multifaceted and storied adventure that has been his creative life. It’s a life now documented in a new film,
"Beauty is Embarrassing," which every creative person will enjoy immeasurably and will provide every person seeking
the secret to “what makes the artist tick” with palpable insights. His journey has been as long, oblique and
serendipitous as only a lifelong muse-driven pure artist’s journey can be. Wayne left his home in Tennessee to become
a cartoonist and illustrator for some of the hippest pop-art-laden publications of the day, like The Village Voice.
He then became one of the driving creative forces on the now legendary Pee Wee Herman Show, creating props and puppets
and performing voices. He won three Emmy Awards. His puppetry and art direction talents earned him awards for music
videos as well, including Peter Gabriel’s Big Time and the Smashing Pumpkins’ amazing George Melies-inspired Tonight,
Tonight. But it’s his word paintings that are finally making his name known. Are they “real” art? Or is this some kind
of a joke? It’s Wayne’s mission in life as an artist to address this endlessly-arising “question” so vital to
conversations concerning "high art."

An Interview withWayne White

Your “word paintings” “sample” pre-existing paintings of kitschy landscapes (i.e., depressing Americana memes).
Do you feel a kinship with early rappers who reinvented music in a similar way, sampling tapes in bargain bins?

Not really. Even though there is a similar aesthetic of recycling. I've recycled junks since the 70's... way before
rap came along. But like rappers I do feel like i'm collaborating with the original artist and harmonizing with the work.

In what ways have your non-fans in the official art world sought to delegitimize your art and your very status
as an artist?  They seem to believe that as an artist provocateur injecting humor into fine art, you are a major threat.
What is this perceived threat?  Why are they so threatened?

First of all I am not perceived as a major threat. if anything I'm perceived as an imitator of Ed Ruscha because I live
in L.A. and I use text. I wish I was a major threat. That would be fun! But I'm afraid I don't have that kind of power. I guess
some people are threatened by humor in fine art because they see it as a corrupting influence.

Your credo that the purpose of artists is to create beautiful things, and your belief that humor is a major part of the “beautiful” might indicate that you hold technical art “study” in low regard. Is there as much point in studying why a portrait is “beautiful” as there is in analyzing why one laughs at a joke?  In fact, as with “deconstructing” jokes, the analysis itself destroys the joke. Do you in fact prefer to remain “awed” by great art and laughing at funny art as the highest tribute to be paid to art (critics be damned)?

The creative act is not an act of analysis. It’s an in the moment spontaneous experience. The analysis comes later by the viewer and the arts. And yes too much analysis sucks the juice out of anything so its the challenge for the artist and the viewer when they are confronting art and humor.

Your broad artistic palate, stretching from painting to cartooning to video to puppetry, indicates a wildly wandering artistic consciousness.  As someone who simply creates, like a mountain climber, “because it’s there,” do you ever feel the need to let the rational part of your mind catch up with the creative part of your mind that is so obviously in control of the show?

I try to keep it strictly creative in the studio. After the physical act of creating something the rational mind always takes over and starts to analyze it so its always a balancing act. Nobody is 100% creative or 100% rational.

What would you say to someone who thinks your art “mocks” art?

Uh.. Thank you.

What would you say to someone who says you’re talented enough to be a “real artist,” if only you’d take it more seriously?

Fuck you. Seriously.

What’s the most important compliment you’ve ever received from someone whose opinions on art you really respect?  

Joel Hodgson called my paintings "magic" and that's coming from a magician!

What would your advice be to a young artist with interests in multiple disciplines and mediums just embarking on a lifetime of making art?

Don't let anybody tell you that you have to concentrate on one thing. You don't. It’s possible to cross over as many times as you want. I think crossing over is a healthy and invigorating thing to do. It freshens up all the genres. Many teachers will try to pigeon hole you unfortunately. Don't listen to them!

QuestionsFor the Reader

  1. When an artwork makes you laugh, do you consciously (or subconsciously) label the work as “not serious art” regardless of the artist’s creativity and talent?
  2. Has there been one moment in your life above all others when you were absolutely awestruck (“embarrassed”) to be in the presence of a particular artwork? Can you compare this with laugh you laughed at the funniest thing you’ve ever experienced in your life?  Are beauty and humor necessities of life – or the whole point of life?

Watch the trailer: Beauty is Embarrassing

Beauty is Embarrassing directed by Neil Berkely hits theatres on Sept. 7th.

The wisdom and positive philosophy that unfolded in "Beauty Is Embarrassing," the documentary about artist Wayne White, was so deeply motivating, we reached out to invite him to become a part of the deviantART community. No matter where you are on your personal journey to become an artist, this documentary is for you. Watching his story take shape, one can't help but be reminded of the heartfelt explanations given by many artists on deviantART of what it means to choose the life of an artist.

Writers: $techgnotic
Designers: $marioluevanos
Featured: *seewaynewhite
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"Really liked the different perspective/point of view, made it stand out from the rest of the entries. Very unique idea that was well thought out. The various layers and colors of the fall trees captures how close a harvest moon appears to be just within reach."
  • $2,500 USD
  • 6,000 deviantART Points
  • A trip to attend a deviantMEET in either Portland, OR, or Seattle, WA, USA on March 16, 2013
  • dA PRO Digital Artist Backpack
  • A Print of your choice from**
  • A pair of shoes from the Merrell Vendemmia Collection*
  • *
    Depending on sizes and availability
  • One-Year Premium Membership to deviantART
  • **
    Depending on sizes and subject to availability. Maximum value $250.00 USD.
  • Nintendo Wii U Deluxe Set
"Captures the joy and simplicity of a fall day. You want to be a part of this dream. The amount of detail, wrinkles on old man and overalls the boy is wearing, really brings to life the emotion. Like how the trees extend above the shoebox."
  • $2,000 USD
  • 2,000 deviantART Points
  • dA PRO Digital Artist Backpack
  • Nintendo Wii U Basic Set
  • DeviantART Gear T-Shirt of Winner's choice*
  • Six-Month Premium Membership to deviantART
  • *
    Subject to availability.
"This entry has its own uniqueness (there aren't any people or animals) and simplicity that makes it stand out. The attention to detail of all the components really makes it life-like."
  • $1,000 USD
  • 2,000 deviantART Points
  • Apple iPod Nano (16GB, Silver)
  • dA PRO Digital Artist Backpack
  • DeviantART Gear T-Shirt of Winner's choice*
  • Six-Month Premium Membership to deviantART
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    Subject to availability.

The results are in for the Merrell Diorama Contest! We challenged you to depict your favorite fall memory using a shoebox, and the winners have been chosen. Check out what Merrell's VP of Global Marketing had to say about the top choices, and relive these treasured memories!
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HTDI:TSBTS aims to guide emerging photographers by showcasing tips, techniques, and stories generously shared by some of dA's most accomplished Photography > Animals, Plants & Nature artists.  At the same time, we hope to shed light on the often overlooked amount of effort that is required to create striking images like these.  Making a great photograph takes time, planning, a creative eye, and solid photography skills.  What happens behind the lens is just as important as the final product!

I am sure many of you have been told "Great photo!  You must have an awesome camera!" or "Wow, you sure were lucky to get that shot!"  While a "good camera" and "luck" are small ingredients when creating a visual feast, we photographers would like to remind everyone that technical competency, determination, patience, and creative vision are the real meat and potatoes of any tasty photo.

"Was it luck that I happened to wake up at 3am five days in a row, hike two miles through a snow covered forest with a flashlight and freeze my butt off waiting for the moose to arrive at the lake just as dawn broke over the mountains?  I don't think so!"

If you would like to submit your own amazing APN photo and story for a future installment of How They Did It: The Story Behind the Shot, note trevg with your image, story, and the subject "HTDI:TSBTS."  Also, please go show some love to the amazing photographers who contributed to this article and thank them for sharing their insight!  :squee:

Starry Night by Meowgli

Camera: Canon 40D
Shutter: 112/1 second
Aperture: f/5.0
Focal Length: 11mm
ISO: 400

There are only a few days each month when attempting this shot is possible.  To get good star visibility, it's best to shoot around a new moon.  Of course, a clear night is also a must and several months this past year the two never coincided.  Other times I was simply too busy with other engagements or afflicted by an uncharacteristic apathy and laziness (call it seasonal affective disorder or something!).

Anyway, last night ticked all the right boxes and I was psyched to go give it a try.  Probably a little too excited cos I rushed out the door not long after sunset, drove the 15 miles there and realized immediately upon getting out of the car that I didn't have my tripod.  Muppet!  I played around with a makeshift support on my bag and coat for the best part of an hour before deciding it was hopeless.  Dejected and mad at myself, I got back in the car and drove home under starry skies.  Damn.  Can't be having this...gotta go back...

So I packed a sandwich, mini bottle of whiskey, whacked a load of tunes on my phone and headed back out about 11:30, determined to have something to show for my efforts.  After about an hour of experimenting with points of view, camera settings, and lighting methods, I had formulated a game plan.

The shot went something like this:

Open the shutter on bulb mode, paint the windmill with a powerful handtorch, fire an external flash into the foreground on 1/64 power, leg it up to the mill, fire two flash bursts into the ceiling on 1/8 power, search for the red light of my camera in the field so I could find my way back to it, wait about half a minute, close the shutter...all the while with my playlist blaring on full volume in my pocket.  I must have looked a right nutter having my little one-man rave and shining lights everywhere!  Fortunately I was alone with nobody to witness my madness :giggle:

Eventually got home just before 3...


Just Look Up by MeowgliRadiant Dawn by MeowgliInquisition by MeowgliBefore the Storm by MeowgliUnder the Stars by Meowgli

To me (and these are purely my opinions) there are three critical factors to a good nature photograph.  The first, and maybe the most important, is light...

Light transforms objects, especially natural objects.  Ever watch a time lapse video and see the shadows of an object spin a 180 or more?  It's the position of the sun that draws us to certain locations at certain times of the day.  As most photographers will say, shooting in the early morning hours and late evening hours will provide the most dramatic lighting conditions.  This is true for the most part.  Only on rare occasions I have seen incredible light mid-day due to atmospheric conditions and intense storms.  The image above was shot about a half hour before the sun set behind the horizon.  Typically, I find this to be some of the harshest light to deal with and, of course, some of the most appealing when you know how to handle it.  This was shot at the tail end of an early winter storm.  It may be odd to hear, but the best thing a photographer can ask for is inclement weather.  Storms provide the most dramatic lighting conditions, especially when there are gaps in the clouds.  For the serious nature photographer, being out when its raining, snowing, hailing, or even a dust storm, are usually the happiest moments, especially when you have captured something out of the ordinary.  It isn't easy trying to photograph in pouring rain or around extremely close lightning.  In fact, a lot of nature photographers have put their lives on the line to get that one shot.  Weather has limits, so don't push those limits.  I can count the number of times on one hand where I knew I had some special light, and this was one of them.  As it's always hard to incorporate the feelings and actual view of a scene on the web, one might not think this light is anything to get happy about.  It's the glow on the foreground cacti that really drew me to this scene.  As the sun peeked through the clouds it also illuminated much of the desert in different shades and created a very nice contrast to the scene.  Knowing how to expose for the light was critical.  The use of graduated neutral density filters was also very helpful.

The second important aspect of any photograph is the composition...

I always head out to areas I know I will photograph either at the time or in the future much earlier in the day to scout out compositions.  However, referring back to the first aspect, you never know how the light is going to look over a specific area.  I frequent the area shown in the photo for hiking and, of course, photography, and one thing I always look for are groupings of cacti and a clear view of the mountains.  Here, the mountains create a nice backdrop and almost make you wonder what is on the other side.  As mentioned with the light, those foreground cacti were vital to the scene.  They act almost as sentinels of the desert watching the dramatic light drift over the mountain.  With the inclusion of the cholla and saguaro cactus, one can easily pinpoint that this is the Sonoran Desert, hence the title "Sonoran glow".

The last and final aspect to a good image is patience...

This is almost a two way road, because sometimes you get lucky, and sometimes you have to wait and wait for that moment.  All too often nature photographers are told they are so lucky to have photographed a scene or an animal.  However, luck has little to do with the time and effort one puts into the image.  Although it does happen...luck that is.  Being at the right place at the right time and knowing the subject will help you get the most out of your time in the field.  There have been times that I have gone to the location only to be shut out by clouds or an animal never showing their face.  On the other hand, I have showed up at a random location and shot some of my favorite images.  The shot above did not require a lot of patience.  This specific outing was mere chance of getting anything decent.  Once I saw the heavy clouds and some clearing towards the sun, I hit the road.  This evening I felt I took some of my best photos including this.  I will spend countless hours in the field maybe just in one little spot waiting for something to happen.  And when it does, it usually pays off big.  To be a good photographer and see things others might not see, you must be patient.  Spending days and days at a location will help you visualize something someone had missed or, perhaps, never thought of photographing, and fuel your creative airwaves.  I've learned to be patient with almost anything these days because of photography.  Don't get frustrated because you can and will miss the shot of your life.  Believe me, it's happened to me.


A mountain castle by PeterJCoskunRed wave over the canyon by PeterJCoskunCottonwood stilt by PeterJCoskunFalling fire by PeterJCoskunComing together: The sequel by PeterJCoskun

Season's First Flake by FramedByNature

Camera: Canon Rebel XSi
Shutter: 1/332 second
Aperture: f/inf (reverse mounted lens)
Focal Length: mm (reverse mounted lens)
ISO: 400

Macro images are perhaps the most underestimated and overlooked sub-category of the Animals, Plants & Nature gallery.  The common viewer may think "Oh, they saw a sweet insect, pulled out their camera, and took a photo of it. Cool."  But this couldn't be farther from the reality of what a macro photographer goes through while taking their images.  Insects can be extremely skittish and can find a million ways to escape.  Jumping spiders are absolute escape masters!  Even if your subject isn't a living thing, that doesn't make it any easier to photograph.  Snowflakes, one of my favorite things to shoot during the winter, last only a few seconds before being destroyed.  They are such delicate objects.  One degree too warm, and they melt in an instant.  The slightest breeze picks up and they completely disappear from your viewfinder.  This shot was taken during an early season snowstorm back in 2009.  This meant that the flakes were particularly wet and only held their crystalline structure for a couple moments.  Since I don't have a macro lens, I used the reverse macro technique to capture my subject.  I steadied my camera on my wrist, waiting for a snowflake to grace my glove.  I dialed in my settings, using a moderately high ISO in order to counteract any shaking caused by my shivering hands.  The moment a snowflake fell on my glove, I quickly tweaked the camera into position and took the shot.  The first few attempts didn't turn out so well (the depth of field associated with the reverse macro technique is very shallow).  I was about to give up but I finally managed to get this shot after about half an hour of standing out in the snow.  My gloves were soaked and hands frozen, but I didn't care.  I got the shot I was hoping for!


Love of Winter by FramedByNatureStormy September Horizons II by FramedByNatureUniversal Energy II by FramedByNatureWindshield Wipers by FramedByNatureDay 219 by FramedByNature

Suspended in Light by justeline

Camera: Nikon D300
Lens: Nikkor 18-200mm
Shutter: 1/2 second
Aperture: f/5.0
Focal Length: 150mm
ISO: 200
Filters: Lee 2 stops soft grad ND (0.6), Hoya ND8

The Metéora (Greek: Μετέωρα, "suspended rocks", "suspended in the air" or "in the heavens above") is one of the largest and most important complexes of Eastern Orthodox monasteries in Greece, second only to Mount Athos.  The six monasteries are built on natural sandstone rock pillars, at the northwestern edge of the Plain of Thessaly near the Pineios river and Pindus Mountains, in central Greece."

…a low mist was the kind of weather I had hoped for even before we set off for that surreal place.  But after having spent 4 afternoons and 4 mornings at the same chosen spot, having to deal with light but annoying showers for the most part, after witnessing rainbows materialize in all the wrong spots (over my companions head), after watching a wonderful cloud formation changing colors over the wrong spot (the road), I went to bed on our last night there having already put this place in my "to re-visit" list and I would have gladly stayed in bed on the following morning, dreaming about this shot rather than be mocked by the weather once again.  Fortunately KirlianCamera wasn't ready to give up and it was on that fifth morning that the rising sun worked its magic and created the low mist I was hoping for.

Location: Meteora, Greece


Autumn Interlude by justelineThe Dark Traveler by justelineThe Song of the Sirens by justelineThe Dark Traveler II by justelineUnder the Red by justeline

Autumn Aquarel by DimensionSeven

Camera: Nikon D80
Lens: Nikkor 16-85mm
Shutter: 1/2 second
Aperture: f/22
Focal Length: 85mm
ISO: 100
Filters: Soligor CPL

2010.11.04, Árpádtető, Mecsek, Hungary.

I know, it's been done before a lot, but I always wanted to have my take as well.  The trick in shots like this is to get the shutter speed and the panning angle together so that they fit the subject.  Easier to be said than done! :D

The first problem I encountered was the tripod: a ballhead won't do.  It's nearly impossible to get a perfectly linear pan with the camera being either perfectly horizontal or vertical during the pan on a head that allows free movements in all 3 dimensions.  Lucky enough, I could find a way around this with my ballhead: my tripod can have it's center column taken out and attached horizontally.  I loosened the screw between the base of the head and the horizontal central column, and voilá, there you have your one dimension rotation.  However, I still had to pay attention that the ballhead gets the camera level so that vertical trees are vertical in the picture.

The second problem is the perspective distortion.  Unless you use a tilt-shift or PC-E lens for the pan, you'll end up with bent trees on both sides. The trick to work around this problem (it's not perfect, though), is to use longer focal lengths with small panning angle to minimize this effect.

After this, there's the shutter speed problem.  If it's too long, you land on the overly abstract side with lines only.  If it's too short (or you start the exposure with the camera being steady), the scene becomes too recognizable.  It's a tough decision, and it's also subjective, depending on the result you want to achieve.  The shot that I picked to upload is neither too abstract, nor too recognizable.

As for the composition, it's always a trial-error thing.  The camera had to keep moving as the exposure started and ended, therefore, I never really knew what was gonna be on the final picture.

Oh, and one last thing: DON'T forget to blow dust off your sensor/front lens/filters before the shooting, as small apertures tend to reveal a small Sahara inside your gear! :XD:


New Year's Day by DimensionSevenRainbow Country - III by DimensionSevenHighway to Heaven - II by DimensionSevenKikerics by DimensionSevenInfrascapes in Somogy - XXXI by DimensionSeven

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In our continuous effort to improve the deviantART experience, we're publishing weekly Site Updates to keep members informed and to gather feedback. Below is a list of recent changes to the site, bug fixes, and feedback that was brought up by members in the last Site Update.

What's New

More Like This on Deviation Pages

Please note: This feature is available to a limited number of members and will be rolled out to everyone over time.

We've brought More Like This results to deviation pages, to make the experience of exploring art on deviantART even easier than before! Featuring a mix of art from the artist whose deviation you are viewing and related artwork created by other artists, More Like This lets you delve even deeper into a world of artwork you love.

Change Log

  • In the Message Center, deviation titles and authors displayed incorrectly in Critique stacks. Fixed by yury-n
  • When using Firefox on Android devices, the keyboard would automatically open on the home page in some cases, due to the search field being auto-focused. Fixed by banks
  • The Customization > Icons > Misc category briefly did not accept .jpg files. Fixed by shahyarg
  • In the Journal Portal section of the site footer, the "comments" labels were misplaced. Fixed by helloandre
  • When changing the category of a Group Journal from "Personal Journal" to anything else, the new category was not saved. Fixed by helloandre
  • Paging was briefly broken on some pages and modals. Fixed by shahyarg / New Submit

  • Dragging the mouse to select was very slow when a large amount of items were present. Fixed by adahacker
  • The title of the browser tab did not update when the file was renamed. Fixed by drommk
  • The "Submit Prints" step would consistently generate an "invalid value" error. Fixed by adahacker
  • Unchecking the "Submit Prints" checkbox when editing did nothing. Fixed by drommk
  • Editing a Journal's category could cause it to show up in one's Gallery. Fixed by adahacker Writer

  • Pressing "Done" in Writer would sometimes remove Writer documents from stacks other than the "Drafts" stack. Fixed by kemayo
  • Pressing tab when in lists will now indent the list item, if appropriate. Fixed by Alisey
  • Pressing tab three times would cause the cursor to jump past the current word. Fixed by Alisey
  • Submitting multiple comments on items without reloading the page would cause problems. Fixed by inazar
  • For mobile devices, the Writer sidebar covered things up when trying to comment. Fixed by inazar

Your Feedback

Thank you for the feedback left on last week's Site Update! Quite a bit of feedback was left, and we wanted to address a few concerns that were raised in the comments.
  • Questions were raised regarding the royalty structure of 80% for artists and 20% for deviantART.
    • To put things simply, it costs money to run deviantART. This feature alone required building a new interface for the widget, a My Earnings accounting system, integrations to allow conversion of Points to U.S. Dollars, constructing a range of new backend functions for the Submit process, a new Message Center feature organizing all correspondence about commissions using the widget, and the integration of the deviantART Points platform that permits micro-payments without the buyers using credit cards. The fee helps us build these things, and there is more to come and more to be built.
    • We are considering tiered fees in the future for people who reach monthly sales levels, and for Premium Members, but we’d like to see this spread out onto the site before making those changes, so we can accurately project where the breaks for the different levels should be placed.
    • Anyone who chooses to use the widget will be providing us valuable insight and data that we will use to mold the future of the widget and the forthcoming Portal/search ability that will allow people to browse and discover artists who are offering commissions.
  • There was a concern voiced by some deviants that we would try to make the Commissions widget mandatory. 
    • This is not the case. The Commissions widget is and will be an optional tool that deviants can use, but no one is obligated to use it if they prefer not to.
  • Many deviants were pleased with the updates to deviantART muro.
  • The suggestion regarding a word count in Writer was well received.
  • Some deviants would like a way to sort through deviations in their Message Center based on whether or not the deviations have critique requested. Suggested by tisinrei

Lightbulb Have a suggestion, idea, or feedback? Leave a comment on this article!
Lightbulb Want to keep track of known issues? Check out our Status Forum!
:bug: Find a bug? Report it to the Help Desk(Be as detailed as possible!)

This week's Site Update includes an easier way to explore art on the site!
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Street Photography for dummies

Wed Nov 23, 2011, 12:10 AM

<da:thumb id="200158918"/>

What do we need to shoot a Street picture?

1. A camera

Whatever kind of a camera is good. Either it is a ridiculously expensive rangefinder or an unbelievably cheap point and shoot compact. Either it shoots digital or it shoots film. Either it weighs a ton or it weighs few grams. ANY camera is fine as long as you have it with you.

2. A public place

This can be out in the streets or at the beach or inside a hotel's lounge or in a diner place or inside a supermarket or a mall or a school or whatever PUBLIC place. This public place must be visible in our picture. And things must be happening in this public place.

3. People

Exactly, people! We need people in candid situations. Definition of "candid" from Merriam-Webster's online dictionary: "subjects acting naturally or spontaneously without being posed" Definition of "candid" from Wikipedia: Candid photography is best described as un-posed and unplanned, immediate and unobtrusive. This is in contrast to classic photography, which includes aspects such as carefully staged portrait photography, landscape photography or object photography. Candid photography catches moments of life from immersion in it.

4. A story,

a unique moment, an interaction between people and their environment or between people and people, a special "something" that is being happening in front of our eyes and it is worth capturing in a picture.

There's nothing special in people strolling down a street if we can't focus our attention in something special that's being happening in front of our lens.

Let's see now some examples of pictures that I don't consider as  "street".

First Autumn Rain-Song+Lyrics by StamatisGR
We have the street, we don't have the people here. 

Here we have the people but we don't have the environment, the place.

Warm light, cold women by StamatisGR
Both people and environment are present here, but there isn't really a strong interaction between them.

Colour vs B/W

Street photography is very much about composition. Sometimes colour can be distructing. Sometimes colour adds to the frame. Try both. Decide yourself what suits you better in every particular picture. Avoid selective colouring, partly desaturating or tinting. Street needs no cheap frills which make a good image bad and a bad image worse.

Street, Photojournalism or Portrait?

Very often, the line between Street Photography, Photojournalism, or Portrait Photography is very THIN and responsible for endless arguements. Many times there are subtle differences between these 3 categories. But these differences are not the subject of this SIMPLE street photography guide.

Useful resources and articles

:camera: For a more complete guide about Street Photography make sure to click on this… and download the 160 pages book included. It's mostly full of great examples of what Street Photography really is.

:camera: Another article certainly worth every minute of reading it, is this:…
:camera: A bunch of links from the The-Yard-Collective the-yard-collective.deviantart…

Please feel free to ask me anything, concerning the Street genre. I'll do my best to answer you.

See also: Street Photography for experts

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A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.

Dwayne “The Rock” Johnson will produce a movie based on a drawing (“sweet Halloween dreams”) by deviantART digital artist begemott. The drawing depicts a tiny teddy bear with a tiny wooden sword and shield defending a sleeping child from the advances of a hideous beast sprung from the child’s nightmare.

The drawing was spotted on deviantART and brought to the attention of The Rock, film company, New Line, and the production company that produced The Rock’s successful movie “Journey 2: The Mysterious Island.

Begemott’s gallery is full of wildly imaginative art works... We want to become a part of that world and find out what happens next.

Begemott’s gallery is full of wildly imaginative art works that succeed in capturing the moment in an idea’s “story” that represents a portal into a separate world. We want to become a part of that world and find out what happens next. Almost any of the images from this artist’s gallery could serve as a more interesting story platform than the mostly stale stories released every Friday in our movie theaters. So what at first blush might seem a bit crazy— constructing an entire film narrative from a single artist’s image— becomes much more understandable.

Even within short viewings, the striking and evocative story possibilities of begemott’s artworks spark the imagination. But so many of these paintings deserve longer viewing sessions offering even greater reward by allowing the constructed tableau to percolate and truly come to life. Sensing the dilemma these characters are facing becomes the core focus when viewing these works. Empathy for the subject and situations and the just occurred events comes easily as the scenes unfold and the characters’ relationships with themselves and others become clear. These newly familiar characters exude more identity and personality than the scripted clichés populating too many a screenplay.

The creativity, imagination and resonance with seekers of art that is always next-level, delightfully wicked and yet thoroughly human, always the portal moment of a story we want to enter, is what makes begemott’s art so special. And as a moment of captured “living narrative” his work is drawing in those in the entertainment businesses charged with finding life buried in the stacks of deadheaded old-thought pitches and submissions.

DeviantART's great proletarian aesthetic is infusing media. Presented for your consideration: the likeness of a central character in Bioshock Infinite was sourced from a prominent cosplayer on deviantART, ormeli; and the recent suggestion by a snarky critic that the key art poster for The Great and Powerful Oz must have been made by a “14 year old on deviantART”— it certainly reflects deviantART because that’s what the world wants to see.

This community is the dominant aesthetic.

DeviantART is becoming known as the place to come to, where the imagination for the new millennium and the new narrative spaces of the Internet are to be found. And begemott is the newest example of the narratives being discovered here.

Deviants should be made aware that this phenomenon of Hollywood finding movie ideas in the galleries of deviantARTists is not novel. This community’s impact on the aesthetic and narratives of all media is substantial and constant though frequently invisible. This event is distinguished by the high profile acknowledgement of the artist and of deviantART as the source of his work.

Interviewwith begemott

How integral was your network of friends and watchers on dA in the “discovery” of this artwork?

I think it was crucial. It is only a guess, since I cannot know the people who posted the image on reddit and facebook, but I would expect that it started from people watching me on dA. Same for the people who posted links to my page in comments when the image appeared without attribution. I'm very thankful to them.

With so many screenplays competing for the attention of movie producers, how surprised were you that your drawing was chosen as the basis for a feature film?

It was very unexpected. I guess it shows how social media are changing the landscape. I think that recently another movie project was based on comments on a thread in reddit. It is certainly exciting to have such opportunities offered to outsiders. I would guess that one attractive property of picking up an idea from the internet, is that it has already received feedback from people.

What do you think it was about your drawing that so intrigued a producer looking for a unique story to tell?

I think that the drawing implies a larger story, and it's probably easy to relate to. The night is scary when you are a kid, and I'm sure many children have comforted themselves by imagining that something in the room protected them from all the imaginary dangers in the dark.

There are so many elements balanced in your simple piece – childhood fear and wonder, heroism and loyalty, the safety and the terror of one’s own bed. Do you spend a lot of time thinking about achieving desired balances or effects, or do you just construct “story narrative platforms” instinctively? What can you tell us about your process?

I try hard not to think! When I do try to think about such things explicitly, it all goes wrong. I don't have a process as such. What usually happens is that at some point, usually late at night, often after listening to music for a long time, I have an idea, and I make a quick sketch on a piece of paper to remember. These quick sketches are very rough and probably totally incomprehensible to others. At some other time, when I have time to spare, I go through these sketches, find one that seems like it's worth the effort, and finish it.

Have you been approached by Hollywood about obtaining film rights to your other artworks?


Can you share with us your preferred tools when creating your artworks?

I usually draw with a mechanical pencil on plain paper. When I want more detail, I may use larger Bristol paper. I then scan it and do the coloring on the computer using a Wacom pen.

There is an ongoing rash of movies “updating” classic fairy tales that all seem to fail by losing all sense of childhood as adult themes are added to the mix. Do you think the “Rock” might succeed in creating a gem like “Time Bandits” amidst the current mishmash affairs like “Snow White and the Huntsman?”

I don't really know much about the movie. I will not be part of the creative process, but I certainly hope the end result will be enjoyable. I don't think that adult themes are necessarily a bad thing in a child story. I think that the problem is that in many recent movies revisiting fairy tales, the adult themes are simplistic and inserted in a forceful and explicit way. On the other hand, many good child stories have real underlying adult themes, without losing their magic.

Questionsfor the reader


Is there a particular artwork, or an artist’s work in general, in which you notice this “moment from an unwritten story” phenomenon?


Have you ever been intrigued enough by a “narrative moment” artwork on dA to ask the artist in a comment to tell the rest of the story? Would you like to do that?


Do you think the Hollywood studio trend in seeking more imaginative narratives in dA’s “unwritten stories” will increase?


Is this because audiences in the Internet age in general are demanding more full spectrum or multifaceted platforms for their narrative entertainment?

A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.

Writers: $techgnotic
Designers: $marioluevanos
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Features by Kenny-Winker

Features by Thiefoworld

Felis Princess by mansarali mystery eternal by YellowBoots Smaerd by Alex-Vas Twins by Myrmirada
DUST_MINMATAR_Character_Male_LogicisticsSuit_Helme by Lorenzo-Lee Inner Beauty by AmandaDuarte Eagle by danielhannih meta by danlikestrees
A Good Fishing Day by rskizzen :thumb347788310: king of birds by CircuitDruid SURVIVOR SHANGHAI 2173 : The Arrival by The-Ronin-Artist
Poison Beats by m4gik Snegurochka (Snow Maiden) by Morgainelefee another earth elemental by Keltainen We'll See by sighthoundlady
Dragon illustration by JoasKleineArt Hope by melaniedelon 21.10.12. Murmur by Verschroben Dragon Cave by Milkmom
I think I'm lost by wolfenkind Shallow water by kamanwilliam Year of the Dragon Fish by lanegarrison
Lava boiler by Zoriy :thumb349218852: Laura Timmins by JuneJenssen :thumb350161693:

Features by others

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