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Further to my previous Journal (I know, it's been a while), I am featuring some of my friends' artwork.
Enjoy and please feel free to message me with inspiration ideas to showcase here.

Grin by tomhegedus  Autumn sun by sheeban Hedwig by NordicLynx Nunja Training by BardicKitty

Irrevocably Marked by GothicNarcissus Horrors by Rowye  anxiety: defencelessness by stvn-h  Duality by OleWormius

Unchained Melody by Andaelentari Frozen Outside II by Linealonhoiden  Little Red Riding Hood by llamadorada

Clair de lune by CeliliaWonder  KEEP CALM PESTILENCE CONQUEST by CarlosAE  Hello There by GreenAngel5  Red moon by TalviEnkeli

Note Add me on Instagram


Services & Professional Information

My work is available to be licensed for books, cd covers, magazines, school projects, websites, visual poetry and more. I am also available to work on graphic design and illustration projects. If you are interested in working with me please click here to know more. 

Copyright Information

The work contained in my gallery is copyrighted © 2017 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. Any questions or doubts concerning must be directed to If you are interested in using my work or if you would like to work with me, please use the email address provided above.


After being away from deviantART for too long, I decided to start dedicating myself to this page once more.

A lot has happened since the last time I updated my journal but life can take a toll on your personal work. I have been working as a Graphic Designer for 3 years in an international company in Ashford, England and I truly feel I have grown SO much in this area. Unfortunately, due to the company policy, I will have to keep my work private and will not be able to share it on the internet, however, if you are interested in seeing a sample of my portfolio I can provide it privately upon request.

For too long I was pulled away from my personal illustrations; having to move to a different house and doing my best for life to work in a new country, I was forced to focus on professional matters before anything else.

Nowadays, I am completely settled and I know in my heart that I could never stop doing my illustrations. deviantART is my home and my work is my passion and my therapy. Having your continuous support throughout the last 11 years of my life, has helped me more than I can express, especially in times when I felt completely alone.

Unfortunately, I am completely out of date with the dA website and app so I will do my best to work with it. In the meantime, please feel free to leave a comment with a link to your work or to a friend's page so I can take a look and feature it on my next journal. I know there are some amazing new artists out there and I want to be inspired!


:note: Add me on Instagram


Services & Professional Information

My work is available to be licensed for books, cd covers, magazines, school projects, websites, visual poetry and more. I am also available to work on graphic design and illustration projects. If you are interested in working with me please click here to know more.

Copyright Information

The work contained in my gallery is copyrighted © 2017 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. Any questions or doubts concerning must be directed to If you are interested in using my work or if you would like to work with me, please use the email address provided above.


Services & Professional Information

All you need to know if you are interested in working with me.Click here to read more


Copyright Information

The work contained in my gallery is copyrighted ©2006-2013 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. 

Professional Information

My name is Liliana Sanches, I'm 32 years old, I'm from Lisbon, Portugal. I'm currently living in Ashford, England.
I graduated High school specializing in Arts in 2001, and finished my Graphic Design college degree in 2006 at the Technology and Management University in Portalegre, Portugal. I started working as a freelancer while I was still in school. At first I worked on personal projects to develop my Photoshop skills while searching for a dark/ ethereal feeling. Along the years I've looked to develop a more surreal visual language but not abandoning the dark themes. These last few years I've worked with bands, designers, authors and publishers from around the world. I have also won several awards and I have been featured in Art and Design Magazines for my artwork and my digital resources. I'm currently available to work as a freelancer, if you are interested please make sure you read below to know what kind of services I offer. 

Image Licenses

The works in my gallery are available to be licensed to be used in book covers, CD covers, stationery, websites, magazines and more.

        The Image License includes:

  • High Resolution image file of the image(s) you chose;
  • Image License document signed by me stating my permission for the use of my images on your current and future projects featuring you and/or your company; 
  • Exclusive rights over the image, meaning that no one else can use it on their projects;
  • Minor editing if needed: author/ band name and title of the book/ album, lighting, hue and lights adjustments,...
Wanderlust by Princess-of-Shadows  on that silver silence night by Princess-of-Shadows siren of death by Princess-of-Shadows  the shivering howling by Princess-of-Shadows


I'm available to work on commissions as a graphic designer, illustrator and as a photographer.
  These are some of the services I offer:
  • Corporate and stationery design ( logo, business card, letter paper design, envelope, folder,...);
  • Annual Reports;
  • Photo editing ( such as printing preparation, removal of undesired elements, retouching ) 
  • Photo recovery ( removal of paper wrinkling and uneven coloring on vintage photos, overall quality improvement )
  • Website design;
  • Flyers, brochures, booklets;
  • Book/ CD covers;
  • Illustrations;

commissioned book *example* by Princess-of-Shadows ASYLUM: The Colour of Insanity by Princess-of-Shadows 

Digital Resources

Take a look at my Resources Gallery here and if you can't find what you are looking for, I can make you exactly what you need for your projects to have that extra impact on your client and audience.

These are some of the resources I offer:
  • Stock photos;
  • Textures; 
  • Photoshop Brushes;
  • Photoshop Actions;
  • Costumized .psd files;
  • Photoshop Tutorials; 
vintage grunge textures by Princess-of-Shadows 20 vintage grunge textures (part 1 of 2) by Princess-of-Shadows  darkness kiss - 5 Stock Photos by Princess-of-Shadows  cold cold heart - 5 Stock Photos by Princess-of-Shadows

Contact/ Enquiries


Guide to Job Interviews :: Part 2/2

Journal Entry: Sun May 27, 2012, 7:21 AM
This Article results from a gathering of information I've done along the years while I was looking for a job, as well as some experience  being on the other side ( employer side ) and what the company/ institution is looking for in this process. I hope you find this useful, and please feel free to add anything you find important, to make it as complete as possible for those who need it.

:note: Click here for Part 1

1. Non Verbal Communication
1.1Why it matters

Knowing that recent studies show that around 93% of our communication is non verbal, really gives us a completely  different perspective of some situations, particularly when we are being evaluated such as in a job interview.
It is important that you are as natural and comnfortable as possible, but there are things that you should avoid doing as they might give a negative/ less positive impression of you. And if you have a basic knowledge you can actually take it to your advantage and have a better idea of how the interview is going.

2. Greeting
The social protocol is a nice, firm, confident handshake. Keep your hand vertically and hold on to the person's hand with the same strength as you would a phone or slightly harder to emphasize your enthusiasm. Don't let your palm face upwards, because that immediately puts you in a vulnerable and submissive position ( and not in a good way ).
Smile and saying something like "Nice to meet you" or "Thank you for this opportunity" will score you extra points for friendliness and openness.

3. What to do with your hands
Your hands should be able to be seen at all times, or as much as possible. This shows that you have nothing to hide, that you are being completely open and honest with your probable future boss, which he appreciates. Some hand positions will help you show confidence and credibility:
The hand steeple is very famous among lawyers and politians. It's where you make a "roof top" with your fingers. When used for extended amounts of time it might come across as arrogant, but it does show strength when negotiating.
The inverted hand steeple, is more used while listening. And since women are considered to be better listeners, it's more often used by them.
The "safest" hand position to have, in my opinion, is to have your arms ( not elbows ) laying on the table in front of your chest, and your fingers entertwined.

4. Eye Contact
If the interview is being conducted by more than one person, you can use this to your advantage instead of being a reason for you to be nervous:

- Choose the person you find the friendliest and come back to him/ her with your eyes, make sure that when you talk to distribute the attention you are giving to everyone focusing on each for a few seconds. This will help you shine and connect with each one of them and none will feel ignored.
- When asked a hard question, keep your eye contact as natural as possible. The most natural reaction is to look away, usually down, so you might need to practise this in front of a mirror.
-If you don't feel comfortable at all looking in someone's eyes, try choosing a different spot to look at. Eyebrows or cheeks are a little away from the eyes but in this context, it's not going to make a big difference.
- Don't forget to blink!
- Avoid looking outside the window or down, this will immediately show you as insecure.

5. Credibility in Voice Tone
Studies show that the higher and pitchy a voice is, the less credibility it has. So in this particular situation and in any other where you need to speak publicly you want to keep your voice as smooth and low as possible. If you have a naturally high pitched voice, keep it lower.
Articulating the words carefully can also help you in several ways: you won't be tripping over your own words, you will have more time to think about what you are saying and develop your ideas better.
Make sure you are breathing from the diaphram, many people are shallow breathers, which causes their voice to sound strident and consequently less credible.

6. Being confident and positive
This is actually the topic that glues everything else together, and without it, be sure that all your other efforts WILL fall apart. Imagine you are the employer entity for a moment, and that you have before you a person who has a pretty nice portfolio, but who is constantly bringing himself down, insecure, negative, .. you start doubting this person yourself. I mean, if he is insecure, it must be because he has a reason for it, right?

Most people can't value their own work. You don't need to be conceited and arrogant, only realistic. Remember that the company found your work interesting enough to give you a job interview, they want to know more about you, and that should already say something very positive.

It is indeed necessary that you have a good solid and realistic idea of the quality of your work. To do that I often look at my own work as my worst enemy would. I criticize it, and make it grow. The same goes for comparing it to other people's works. Use whatever criticism and insecurity you have about it to make it better, instead of whinning and complaining, use that energy to do something about it.

1. A "Thank you" note

It's something that most people don't even consider, and therefore something you should keep in mind to make a difference. It's important to differ yourself from others, and make yourself remembered by the best reasons.
Send the company a "Thank you" note, and make it special and heartfelt by handwriting it. Say how much you appreciate the opportunity that was given, congratulate them on the quality of their work and hope that you will work with them soon. Whatever feels right to you in that moment.

2. Learn from possible mistakes
Don't lie to yourself and consider the possibility that something did not go right its best in that interview. And if you feel that is the case, and you actually know what it was, keep it mind so that you don't let it happen again.

3. Don't beat yourself up!
Keep in mind the company interviewed a lot more people, and of those people, many were more experient in interviews than you, or had a particular set of skills you don't. Whatever the case is, it's not the end of the world.
Job- hunt is incredibly frustrating, time and energy consuming. Don't give up! Reward yourself for all the effort and things you achieved and keep your mind focused  on the next opportunity.
It might take years to finally get a job, and it might not even have to do with how you perform in an interview. Your time will come, keep believing and keep trying. Opportunities and jobs don't fall on your lap.

:note: Click here for Part 1


Services & Profesional Info

All you need to know if you are interested in working with me. Click here to read more

Where you can find me

Prints Store
Resources Store
Advanced Photoshop Gallery
Facebook [ personal page ]
Facebook Page [ professional page ]


  Important Copyright Information

The work contained in my gallery is copyrighted ©2006-2012 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. Any questions or doubts concerning must be directed to

About Journal / Post-Sanity
Journal CSS by post-sanity. Credit goes to the amazing thespook & janvanlysebettens. For more info of this journal click here.

Guide to Job Interviews :: Part 1/2

Journal Entry: Thu May 24, 2012, 5:34 AM
This Article results from a gathering of information I've done along the years while I was looking for a job, as well as some experience  being on the other side ( employer side ) and what the company/ institution is looking for in this process. I hope you find this useful, and please feel free to add anything you find important, to make it as complete as possible for those who need it.

Part 001

1. Do your homework
2. Rehearse
3. Organize your Portfolio
4. What to Wear
4.1 Why it matter
4.2 What always works and never goes out of style
4.3 Cleavage and Associates
4.4 Make uP

Part 002

1. Non Verbal Communication
1.1 Why it matters
1.2 Greeting
1.3 What to do with your hands
1.4 Eye Contact
1.5 Credibility in the Voice Tone
2. Being Confident and Positive

Part 003

1. Make it personal
2. Learn from your mistakes
3. Don't beat yourself up!

1. Do your homework

When looking for a job we all flood the market with our resumes and presentation letters, samples of our portfolio and so on. But from the moment you know a particular company is giving you a chance at an interview, it is crucial that you know as much about it as possible.
Keep in mind that some employers actually ask you questions such as:
How do you relate to the mission of our company?
What do you think you will bring that is new and fresh to the company?
How can your work help our comapny reach the next level?

Having a solid idea of the work they develop, the concept, their mission and objects is extremely important in order to be able to deliver profesional answers that will make the difference. Companies appreciate the fact that you actually took the time to learn more about them, it not only shows that you care enough to prepare beforehand, and that you truly want to work with them but you will also serve as a marketing vehicle from then on.

2. Rehearse
Don't be ashamed to be found talking to yourself in your room. Once you know everything you need to know about a company, rehearse the possible answers. Don't memorize words that don't have any meaning, instead find an idea that you'd like to transmit and stick to it. When the time comes you will be able to express yourself freely ( without having to remember the exact words), and you will be more genuine and credible.

3. Organize your Portfolio
If you need help organizing your Portfolio, you can check the Article I dedicated to this theme right here:  princess-of-shadows.deviantart…
In general, have a digital and a physical version of your portfolio. Keep the design neutral and simple, so that it won't overwhelm the artwork itself. Don't forget to add a description, the client and the briefing by each work.

4. What to wear
4.1. Why it matters:
Having a great portfolio, unfortunately, isn't everything. Your physical appearance, the way you hold yourself and your clothes are just as important. Maybe they won't care if you have tattoos in visible places, or if you have your own unique punk-rock-goth-electro-rap-style in the long run, but they need to know that you cared enough about this job that you were careful and prepared profesional work and age appropriate clothes for this interview.
You want to be taken seriously, look AND act profesional. These three should be fused together. And don't forget the saying "Dress for the job you want, not for the job you have".

4.2 What always works and never goes out of style:
I advise wearing a suit whenever possible, however I believe this might be way too formal, specially for younger people. A neutral coloured blazer, dark washed trouser/boot cut jeans and a dressy shirt give you a neat profesional look. If you are a woman and prefer skirt, try a pencil skirt, never more than two fingers above the knee.
You can play it up and show your personality through fun accessories.

4.3 Cleavage and associates
Even if you are desperate for a job, nothing justifies the use of cleavage or mini skirts as a persuasion means. If you do it there are two possible outcomes:
You will not be taken seriously, make a fool out of yourself, will be disrespected and in the end, will not get the job.
Or you will get the job and consequently, all kinds of wrong attention, disrespect, will be taken advantage of and will never be taken seriously profesionaly.
Ultimately, companies are looking for the person who can do the job better than anyone else. No one will hire the hot girl just so they can look at them all day. And even if they do, sooner or later, they will regret it when the work isn't done.

4.4 Make up
Make up needs to match your outfit and not take over you.
If you don't usually wear any make up at all, the idea is to simply look groomed and neat. You don't have to put make up on, specially if you are not comfortable with the idea. Try hydrating your skin, lips and hands with good moisturizers that can make the difference.
In case you are more comfortable with wearing make up, a neutral tone smoky eye and rose/peach lips work the best.

Part 002 [ coming soon ]

  Services & Profesional Info

All you need to know if you are interested in working with me. Click here to read more

Where you can find me

Free Resouces Gallery
Resources for Sale
Advanced Photoshop Gallery
Facebook [ personal page ]
Facebook Page [ professional page ]


  Important Copyright Information

The work contained in my gallery is copyrighted ©2006-2012 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. Any questions or doubts concerning must be directed to

About Journal / Post-Sanity
Journal CSS by post-sanity. Credit goes to the amazing thespook & janvanlysebettens. For more info of this journal click here.

Commissioned Resources

Journal Entry: Tue Apr 13, 2010, 11:49 AM

journal header

g o o d i e s r e s o u r c e s store e m a i l
flickr advanced photoshop twitter ask me anything

I am currently taking requests for commissioned digital resources. I offer Texture Packs, Brushes, Actions, Patterns,Stock Photos... please contact me to my email to know more [ ]  Prices are very reasonable and it includes a document stating my Permission for its commercial use.

Words from Clients
"We are very satisfied with your work. Your aged paper textures and grungy backgrounds give the realistic touch we were looking for our application.
Your have delivered high quality work in a short time span, and offered us many alternative design for every resource. We won't hesitate to recommend your work to others."

"As an inspiring photographer  and graphic designer Liliana's tutorial's have helped me take my skills to the next level.  Not only is her work amazing, she is wonderful herself to work with."
Zsa'nee Gaines

[ more to come ]

Ask me anything…

Important Copyright Information

The work contained in my gallery is copyrighted ©2006-2010 Liliana Sanches. All rights reserved. My work may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. Any questions or doubts concerning must be directed to

About Journal / Post-Sanity
Journal CSS by post-sanity. Credit goes to the amazing thespook & janvanlysebettens. For more info of this journal click here.
Elizabeth-May is one of the few artists that leave me waiting and longing for new art submissions and feeling like a kid in xmas morning. It's so filled with beauty, so haunting and hypnotizing. And so today I'd like to invite you to know her and her work better. She is one of my favorite artists on dA and even outside and it personally makes me sad to see that her talent and her work is not getting the exposure that truly deserves. Please show her your love and support!

:thumb51117746: :thumb53652848: :thumb53654038: :thumb56004868: :thumb58973589:

1:: I love how your work has a mix of fashion, surreality and macabre twist going on. I've never seen anything like that, and it's absolutely hypnotizing. Tell us, was this something you've always wanted to achieve from the beginning, or is it a combination you explored by chance?

Thank you!  I would like to claim that combination was completely intentional, but it’s just something that happened. There aren’t many examples now in my gallery, but if you go back far enough, there is a distinct difference in the atmosphere of my pictures.  I only really started exploring a dreamlike aspect to portraiture in…well, about early 2007.  I actually remember the moment distinctly because it was after one of my vacations in college and I was talking to my roommate and said
something like, “My photography’s gotten weird.”  It was strange because before that I had mostly been experimenting with different looks in photomanipulations, altering colors, etcetera.  And then, erchance—maybe the stars aligned correctly or something—the style clicked for me.  

2:: The make up styling you have on your photos is also a very unique element, and it really blends everything together in harmony. What are your thoughts on make up being a kind of art in itself and what are your thoughts while choosing the right one for each piece?

It’s all very well and good for the composition/lighting/whatever to be compelling in a photograph, but make up does allow  for the ability to more aptly draw people into a photograph, especially unconventional make up.  Of course, everyone sees  people wear make up on a daily basis, but in photographs it can be used to an extent to make people take notice of a photograph.  Even better is when it is used to transform a model.  The job is done well when a model seems to become a different person which each different look.  It’s almost as if without the make up, she is any other girl you see on the street and she acts according to her normal, every day personality.  Make up and a different wardrobe in general brings out something different —like a part in a play?  A different facet to their personality?  I don’t know, but the effect is damn awesome.  And that is proof in and of itself that make up is an art form.  It is one thing to be able to apply it meticulously enough to make  it look good, but it’s quite another to transform a model into a completely different person.  But the balance has to be  there as well.  All models have a certain range and a photographer has to have some idea of what that range is.

Sometimes there are moments when the make up just isn’t fitting to who a model is.  The make up can be incredible, but if the model doesn’t know what to do with it to create an effect, then it is going to show and people are going to notice.  And you know what they’re going to say?  “The  make up is awesome, but the model looks really uncomfortable.”

:thumb60461645: :thumb61742220: :thumb49805497: :thumb50593062: :thumb46129988:

3:: There is something I'm very curious about. Throughout your gallery we see the female figure being portrayed as beautiful, delicate but also with a very dark and even haunting side. Would you like to tell us about that?

When I started practicing portraiture in 2004, they were incredibly unremarkable.  Actually, they probably would have been  unremarkable for a Sears portrait (of course, at the time, I thought they were the most awesome pictures in the entire world,  courtesy of my sixteen-year-old ego).  At the highest point of what I’d like to call the Pretty Girl, Bad Composition phase  of Deviantart’s popular section (rivaled only by the Pretty Girl, I Cry Tears of Blood phase), I finally realized just how unremarkable my photographs were.  My expectations of a portrait were the same as many other amateurs—to make the model look their absolute prettiest, show their best side, ect.  In the first question, I mentioned that in early ’07, my photography  took a very different direction and became a lot darker and more surreal.

Well along with that, I started looking through the lens and seeing a kind of darker sub-reality and with it a completely new facet to the model.  I started focusing on eyes  and general expression more than “what can I do to make this model look drop dead gorgeous”?  I’m approaching the pictures from an artistic viewpoint rather than a commercial one.  For me, it isn’t about the superficial nature of making a model “look good”.  It’s getting people to see what’s behind the eyes, not just looking at the eyes themselves.  And everyone has something vulnerable and haunting and even tragic in their past—everyone hides a part of themselves from other people.

Pictures become the equivalent of their real life: force the smile, get it over with, cut, print, hang it on the wall for people to look at.  For some reason, this has become people’s conception of a portrait should look like.  People have enough  fake snapshots of them smiling reluctantly.  For my photos, I want something deeper—I want the part of them they hide to be revealed in my work.  Sometimes, it makes people deeply uncomfortable.  But if I wanted to make people comfortable, I suppose  I’d take a Sears portrait.  No offense to Sears.

4:: You're mainly a portraiture photographer, and you have explored both working with models/ friends and also some self portraiture. What are the main differences between each? How do you feel about exploring a personal theme/ emotion with someone else?

The stuff that I do with self portraiture is mainly experimental, because if the shoot doesn’t work out, the only person I disappoint
is myself.  But self portraiture is also harder, because it’s difficult to get all the creative aspects in a picture to work when one is in front of the camera, as opposed to behind it.  That’s why most of my self portrait shoots don’t work out—basically what I’m doing with it is seeing what lighting techniques are effective, what make up colors look the best, etcetera.  I tend to be very critical of my self portraits, especially if I’m going to use a certain technique in a model shoot.  That’s why I tend to only post  maybe one or a couple shots from any of my self portrait shoots and more from my model shoots.  I spend most of it just trying to  get stuff right, so the range tends to be rather limited.  But I love working with models, and infinitely prefer it to self portraiture.
  The interesting thing about working with another person is getting an incredibly large range of pictures.  I can control the aspects  of the shoot behind the camera, but all the emotion is theirs.  I’m incredibly bad at direction.  I’m afraid that once I start controlling what the model does in front of the camera that it’ll take away their personal input.

Some photographers may not prefer that method, but to me, that’s the one artistic part of the shoot that the model deserves to  do on their own.  All of the poses and  emotions are genuine and belong to the model, they are not directed by me.  It creates  a large spectrum of emotion, where each picture is incredibly distinct from the other because I’m not interfering with the model’s self expression.  For me, that’s what makes a portrait a genuine artistic collaboration.  It’s no longer me the Photographer and  her the Model—we’re both practicing our different artistic and emotional outlets, and they happen to come together for a photograph.  

:thumb62131141: :thumb62354593: :thumb62947489: :thumb64164384: :thumb65099563:

5:: Still a bit related to the question above. What kind of work do you go through with each model to tell her about the kind of session and theme you want to explore? Do you sit and talk about each detail and emotion, or do you prefer things to happen naturally?

Naturally.  When I meet with a model for a shoot, I generally ask if they have any ideas for make up and if they don’t, I just tend to go at it, no forethought.  It might sound bad because I’m sure there are models out there that want to be reassured about every aspect of the shoot by the photographer, but they would probably get a lot of cryptic answers out of me.  Think of the photographic  equivalent of one of those hippie artists that just throw paint at a white canvas and spread it around.  That’s me: hippie photographer.
For my shoots, I feel like the emotions and the resulting effect is more genuine if I just let things take shape as I’m shooting.
I’ve tried creative preplanning, and nothing quite works out the way I want it to.  So eventually I just adopted the idea that by letting things happen naturally it gives both the model and myself room to express ourselves at the spur of the moment rather than expecting the shoot to turn out with a certain look.  I’m sure that detailing shoots before they happen work incredibly well for some photographers, but I just can’t do it.    

So the effect of my photographs happens quite by accident—which sounds completely weird given that it has become something of a trend.  When I’m preparing for a shoot, it’s like a shot in the dark, kind of like composing a story with no real direction.

Preparation and taking photographs is kind of like a free writing session: I have no idea what’s going on, but I feel something compelling it to take shape.  So I start with a model, and she’s like a blank page.  I get out my make up and just start something.
I mix colors and make up styles and when it feels done, I stop.  And then I choose the outfit, generally trying to go for something interesting or colourful.  I don’t intend for the rather dark outcome.  I start out with a pretty girl in a lovely dress.  

I get behind the camera, look through the lens…

And all hell breaks loose, as it were.  

I don’t see what’s happening until I look through the lens.  But with its cropping and focus, I see a story unraveling.  Sometimes its dark and sometimes its terrifying, but it doesn’t look the same with normal eyes.  And the effect is almost indescribable, where I’m looking at a creature that is no longer The Model, but a separate entity.  And she’s scary and tempting and vulnerable and intimidating all at the same time.  For me, that sort of effect cannot be created through preplanning.  

6:: We all go through the same, every now and then some smart ass comes to our gallery and tells us what we should and shouldn't  do about our art, or something very similar. Have this ever happened to you? How do you react when you hear such things?

Yes.  I’ve discovered that this sort of thing is unavoidable.  If I’m going to share my photographs to the public, I’m going to get some criticism.  One of the things I’ve learned to accept as a photographer is that not everyone is going to like my work.  Sure, I’d love it if no one hated my work.  Who wouldn’t?  And I’d like to shake the hand of a person who has never felt a moment of seething irritation at the one person who comes along and tactlessly proclaims, “This picture is horrible.”  No explanation.  

An artist’s work is kind of like, well, their baby.  And no one wants to hear their baby is ugly.  So when someone says it, the artist’s first reaction is to defend their baby.  Explain why it’s good and significant and unique.  This is a bad way to respond.  The person has already shaped their opinion of the photograph and no amount of bitching at them is going to change it.  If anything, it’s going to accomplish one of two things: make them roll their eyes because the artist clearly cannot
handle negative commentary, or make them laugh in glee because they got a rise out of the photographer.  

I try not to get too defensive in my responses.  With a lot of my work, I turn on the “No Critique Desired” option for comments. I realize that there are artists out there who are under the assumption that this is because artists don’t want to be critiqued. I turn it on because anything else inevitably breeds comments like: “You should have straightened the necklace during the shoot. It’s distracting!”  I realize they’re trying to be helpful, but I like to hear stuff I can actually change about the photograph, not what I could have done during the shoot.  The shoot’s done.  I can’t fix anything after the fact.  It sucks that I didn’t notice, but it’s a moot point.  Sometimes I get notes with critiques for my work, and I actually really like these, especially when they’re in depth.

I feel like I need to hear critiques because if I don’t, then how can I know if something’s wrong with a picture?  Other eyes might notice something I might not have and it really helps if they succinctly point it out.  I always thank these individuals because they took the time to note me about it and write out their critiques.  In my opinion, that kind of critique is the best kind an artist can possibly ask for.  It’s objective and informative and it was clearly written with the intention of helping an artist rather than to just be mean.  I always feel sorry for the people who write out beautifully written critiques of work only to get a pissed off message from the artist.  Deviantart should be about improving work, not about being consistently praised.  

And then, well, there are the dicks out there who appear to get off on giving an artist negative comments.  You can usually pick them out
of a crowd because they’re the ones who can’t seem to articulate their negative view of a picture.  They’re usually trolls who say something mean, hurtful or just plain rude, expecting an enraged response.  I try not to reply to these comments.  This individual is desperate for attention and wants the artist to get angry.  But you also don’t want anyone else defending your honor with these people.  Occasionally they respond with what I like to call Giant Troll Freakout.  They spam the picture with comments, they reply to the defender with the ever clever, “shut up!” responses (generally raping the English language in the process and typing like their caps lock is broken) and basically make onlookers roll their eyes at their general idiocy.  I just hide the comments so that doesn’t happen.  If they continue being an asshole, I block them from my page.  They don’t need the extra attention.  If they want it, they should apply to participate on a reality show.  I hear people make asses out of themselves on those all the time.

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Interview with maril1

♥ A true gentle and sweet soul, her personality and intelligence is reflected on her Art. Each piece tells a story of passions and hidden treasures. I'd like you to meet maril1 someone who I find very dear
and talented.

:thumb81385084: :thumb81460955: :thumb82516661: :thumb83280673: Peacock by maril1

Hi and thank you so much for yout time to do this interview. I'm so happy I have the opportunity to do this with you :] I'd like to begin by asking you, what a drives a fantasy artist, who mainly focuses on fantasy related themes such as fairies, and angels, to all the sudden add exquisite touches of the macabre on her gallery? [as we can see on your works "Greek Mary's Blood" and "Planet Hell"]

First of all, I’d like to thank you from the depths of my heart for this interview because you give me the chance to point some things about my art to my friends here in DeviantArt. I’m very happy this interview is being taken by you, a person I respect, admire as an artist and think is a very good person. Regarding my art, I think that the term “Fantasy Artist” describes me best, because everything I draw is influenced by fairy tales, stories from the ancient Greek mythology and miscellaneous books that fascinate me.
"Through my art, I feel like Alice in Wonderland who leads my viewers to Neverland". This attracts me and makes me want to draw worlds that no one ever imagined, worlds that no one ever ever has traveled to and feel like a little child, just because deep inside I feel like a child too.

Along your gallery we can see that your older works were very different from what you've been developping lately, as you are now more focused on digital paintings and manipulations. Do you believe you have finally found your own path in Art?

I always loved painting. My dream was to study painting, not graphic design, but the circumstances led me to graphic design school. As a result, when I first joined DeviantArt, I uploaded paintings mainly. At some point, about 10 months ago, I started working at a creative studio where I manipulated photos, so I was into manipulation for a while.
left the studio a bit later and I met Nick who I admire very much. He saw my early paintings, he believed in me and told me I have skills in painting. Although I didn’t believe in myself back then, his words made me think of the good old times I used to draw I got into digital painting and I’m very happy about it.

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If I asked you to, would you be able to pick one of your works as a special and more meaningful one and tell us about it? Like something you really would like your watchers and friends to know about a particular piece, what inspired you, what happened in your mind and heart to create it, and how it changed you as a person and artists.

My favorite work to this moment is “Passion and the Opera” and that’s because it’s the first work after a long time I exceeded my limits and I hope I can keep it at this level. This work has a lot of detail and many difficulties in some parts. It took me 5 days to finish it and I worked for something like 10 hours a day without tiredness, with a lot of passion and love to make something good. As for the subject, I’ll have to talk about my favorite Nightwish. It’s inspired by their song.
I thought they wrote this song cause they wanted to write something similar or opposite to “Phantom of the Opera” so I drew “Kristin” where the phantom should be. Nightwish has inspired me a lot. I love their music and their lyrics give me lots of emotions and images that I want to draw from the depths of my heart.

I've already mentioned that you have been working on fantasy art lately, but even among these, we can see a beautiful dark twist on it. Do you believe fantasy and dark art can live side by side as parallell paths of different styles, or do you think they can be blended and fused into one original and unique style?

Personally, I don’t separate anything at all in art. I believe all art genres can be combined, as long as the artist knows how to handle each genre right. I’m fascinated by the use of Fantasy and Dark elements in a work of art and other genres as well. Things like these fascinate me and makes me think that the artist has many emotions and wants to pass many messages through his work.

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In your work "Oceanborn" [ very beautiful and magical piece ], what drove you to use a male model, when in most of your works you clearly prefer working with the female figure?

This specific work is inspired by the album of the same name by my favorite band Nightwish. This album is one of my favorites and all of its tracks give me power, passion, energy… make me awe… I used a muscular, fit man in this work. The subject demands power and only a male model could portray that. As for male/female models, I mainly use women but it depends on the subject.

I see you've already started sharing your knowledge and technique in a tutorial you've made. As a digital painter and artist, how do you feel about exposing your technique, what you've learned to others? Doesn't it make you feel a little uncomfortable knowing anyone can mimic or try to reproduce what you do?

I’m afraid that someone could “steal” one of my works. This can be easily done to an artist who is not famous, like me. Imitation on the other hand doesn’t scare me at all. It pleases me because it
shows that my work counts, it’s not plain. I believe though that when we admire an artist it’s a good thing to keep some elements from him and put our own personality in our work.

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How to make a good profesional looking portfolio

Hey everyone, how are you?
Some people have been asking me about this stuff so I decided to gather all information in one single article on how to make your own portfolio, in a profesional and clean looking way. I hope it's useful, because these steps I myself take.

First of all I'd like to add that personally I don't have only one or two portfolios. I have a few, and each one of them was developped and done having in mind a certain kind of company and job I applied for. It's always important to know what kind of services they offer, the quality and "visual language", as well as the specific job you are going for, so that you can have the "right" portfolio for that.

Also, when you are looking for a job you want to keep your work updated, so even though it takes a lot of time and energy, you should always gather strenths and your best efforts to keep managing your portfolio, to keep it updated and high quality at all times.

What layout styling should I go for?

>> Use neutral tones whenever possible so that the viewer won't be distracted by the layout. This will help him focus on what is really important - the evolution and quality of your work.

>> In case you are developping a digital portfolio, and if you choose to have white background, if possible turn down the brightness by adding 10% black to the white. This emans, don't make it plain white and go with a subtle shade of grey, because this way the viewer's eyes won't get tired as easily.

>> Keep the layout design nice, clean and even minimal for the same reason as you don't want people to be distracted by bright and vivid colors aside.

>> Reserve an area for the description of each work. This should contain informations such as the date, the client, a small briefing, and general guidelines.

>> Your portfolio should also be organized, following a specific order so that it's not randomly thrown together. You can choose organizing it by date ( which will allow the see your evolution ); by client ( which will allow to evaluate your creativity and ability to change style ) or even by concept.

Quantity or quality?

>> Filling your portfolio with dozens of works might not be a good idea, because companies need to absorb as much information they can in little time ( as they are also evaluating other people )

>> Make sure you select up to 20 different works - when printed - the best in your personal opinion and that these give a good idea of how much you've evolved, as well as the different styles and media you're able to work on.

Does size really matter?

>> The size of your portfolio depends on the kind of work you do. If you are a photographer, you won't of course showcase your photos on an A5. In my opinion an A3 is the best one for photographers, illustrator, painters, architects, ..

>> In case you're a graphic designer or such, you can go with an A4. Your work is detailed but this size is more appropriate to show logotypes and corporative images that can easily have a different reading when printed on a giant size.

Finnishing details

>> Finnishing details are as important as the whole portfolio, in these little things companies will realize wether you are sloppy or did it in a hurry.

>> When printed, make sure you have a nice minimal clean looking briefcase. If you have a black one it's even better.

>> You can either have all the sheets bond ( only for small sizes up to A4 portfolios ) like a profesional book, or have them loose ( for portfolios bigger than A4 )

>> For the digital version of your portfolio, make a nice cd cover, with your name and specialty ( graphic designer, photographer, ... ) A sober looking one, with an elegant font always looks great. And when I say "elegant" font I do not refer to some kind of gothic revival font, go with Trebuchet, Arial, Verdana, Century Gothic, Gill Sans, ...

When looking for a job the image you pass on to others is the most important thing, simply because it's the only element you have to impress people who don't know you at all. You might even be one hell of a profesional, but if you don't SHOW it and PROVE it, how will everyone know? These facts are important not only when you are looking for a job, but in any situation when you wish to showcase your work. I decided to share a few guidelines that might help you give the best of yourself and help you be a better profesional.

:bulletblue: Printed or Digital Portfolio?

The right answer would be, in my opinion, both.
A good digital portfolio is an excellent choice when you need to show it to companies you don't have immediate access to, such as when applying and sending out your resumé and other personal information, to later on narrow it down and choose the ones they are going to interview.
deviantART has now a lovely portfolio option, with a very clean and minimal design, with a space where you can write a few words about you and your work. There are also other websites you can try and that allows you to have free accounts and lots of customizable opitions such as
You can also design your own, and save it as a PDF. Some companies prefer this one actually, as it is easier to access ( usually burnt on a cd ) and can be sent out by mail. Make sure you make it clean looking and minimal.

Your printed or physical portfolio as you prefer should be for when you are face to face with the interviewer so he can take a look at your work, and ask you questions about your technique and concepts. Don't make it to extense, if they have had previous contact with your digital portfolio, make it so it has around 10 examples or less. But try to give them examples to all kinds of work you can do, the most varied it is the best, this will be proof of your creativity, versatility and ability to adapt yourself to different styles.

:bulletblue: Know your audience

As a graphic designer I have basically dealt with it all. Different companies have different "personalities". I have been to extremely formal places where they seem to have a stick up their bum, and I've been to very down to earth and laid back places where they even smoke pot at the office. Before you go to an interview or organize your portfolio for a specific company, don't forget to do your homework.
Try to find out and really study the company you have applied to, as much as you can. ( This happens because sometimes you send out several resumés, having just contact with the fact they want to hire someone and give away their contact )

It's a very uncomfortable and awful feeling when they ask you "Why would you like to work with us?" or "Why do you think you're right for this job?" and you have no idea what to say.. I know I rehearse these at home everytime :] If you have a prepared, clear and informed answer, you are half way there.

:bulletblue: What to wear... what to wear?

And if you think the only ones who should worry about this matter are the girls.. boy, you couldn't be more wrong... As I have mentioned before "image" is the only way you have to get to them and I personally believe that first impressions DO count. If you have done your homework and studied the company you're going to, then you will know what kind of clothes you should wear. I usually choose something in between, I dont wanna look too confident and laid back, and if I wear something too formal I won't be able to be comfortable while they ask me all the questions. I know this because once I wore a blouse that was a size below mine ( I kinda bought it in a hurry, don't ask haha ) and I couldnt breathe the whole time. Nice huh?

:bulletblue: Body Language

Come on, who doesn't get nervous when being interviewed. It's a normal thing, but that doesn't give you an excuse to chew a gum while you're at it! ;) One of the things that is harder for me to control is my hands. Just like when I'm teaching classes, or at a palestre, my hands are all over the place, and you can avoid this by using a pen to play with. This will calm down your movements and make them more natural.

Try to keep your hands at sight, don't hide them on your lap or cross your arms, for that can show insecurity. You want to be strong and open, honest about your questions. If you are being interviewed by more than one person, keep the eye contact with all of them, shifting as you speak in a calm natural way. Usually there's always one that talks the most, but don't be fooled and ignore the others, they are all judging you.


Hope it helps somehow, please if you have any guidelines and tips of your own share them in a comment, don't be rude. Thank you.
   Interview with devmjranum:

Marcus Ranum, is one of the nicest people I've met here on dA. He's so funny, kind, very generous and such a talented and creative artist, someone who I highly admire. But who is the one behind the camera, what secret thoughts hide in his mind. Let's find out!

Marcus, thank you SO much for taking the time to do this interview. And I also would like to thank you in behalf of the whole community for having one of the best stock accounts around here. It's really amazing and very generous of you to provide such high quality, and creative photos for us all to use freely.

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The Black Cat Blocked My Path by mjranum

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Sweetness and Light by mjranum
Corset Test by mjranum

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The Granddaughter Clock by mjranum

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Next? by mjranum

Now I must begin with the obvious, and it's something I am always very curious about, because it's something that shocks me. How do you feel and how do you act when people go to your account and accuse you of being a "pervert", and say that your work is nothing but "porn"?

It infuriates me, as you can imagine! Not because it hurts my feelings or I care that deeply about what other people think, but because it serves as an unpleasant reminder to me of how stupid people can be. I used to take the time to try to engage in debate with them, but it's a complete waste of time - the "eek porn!" crowd don't actually have a functional definition of "what is porn" to work from. So, basically "porn" becomes "whatever I don't like" - it's silly. I see lots of stuff that I don't like but I don't feel obligated (or justified) in reaching out and poking the artist to try to ruin their feelings about their work. If I don't like something, I move along or go to places where I don't encounter it!

Then there's the matter of calling someone "pervert." Wow. Let me see if I have this right: I've been programmed by hundreds of millions of years of evolution to find females interesting to look at. And there's something wrong with that? I can imagine nothing more natural on earth than for a person to respond to sexual cues that are deeply rooted in our evolutionary biology. "Perversion" implies abnormal sexuality - and enjoying looking at naked girls(or guys, whatever your preference) presenting themselves attractively is about as normal as you can get. The real "perversion" is that some cultures and religions have convinced people that something quite natural and understandable is dirty, nasty, or improper. It's amazing hypocrisy, really! We are the only animals on earth that are ashamed of our bodies. How stupid is that?

You have such a creative mind, that I honestly envy. You explore and mix themes, poses and concepts that none of us expects when looking at nude photography. Where do you get such great, and unique ideas from?

I can't help it. The ideas come whether I want them to or not. For every thing I actually do, there are hundreds of ideas for things that I don't care enough to carry forward. A few years ago, I spent several days (as part of an exercise) thinking about my creative process, and I concluded that really it's all just a form of free association. I'll see something and it'll stick in my mind and later combine with something else and - blammo! - ideas come out.
I've heard similar explanations from other highly creative people: one comedian I know says that when he needs an idea, he just thinks about chicken and then goes around trying to combine chicken with everything else he sees or thinks. His theory is that chicken is somehow inherently funny. It kind of is, if you think about it. :D So, in a sense, that's what I am doing: I walk around asking myself how I could combine a pretty naked girl with whatever I see or think.

I'm only partly joking about that, by the way. The other day I was sitting in my office organizing a bunch of ideas for a shoot with a model and I saw my old flat-bed scanner sitting on my equipment rack. Instantly, I thought "what a fun idea for a photoset! A girl playing with a scanner..." Once the basic idea assembles itself in my mind, the details fill themselves in amazingly quickly. In fact, I usually assess how good an idea is based on how quickly it fills itself out. The really fun ideas leap into my mind full-fledged, and in glorious detail.
Creative inspiration, to me, is this process of free association, combined with lateral thinking and obsessive attention to detail. It's something you can practice and train yourself to do - but be careful - once you crack the idea-valve open, it's really really hard to get it closed again. Ask my friends: I walk around all day going "Hey, we could do this! or that!" It can be exhausting.

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Golden Dreams by mjranum

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Submission V by mjranum

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Banshee by mjranum

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Bondage Photography: How To by mjranum

When working with a model for the first time there is always a certain "tension" in the air. We don't know who we are working with, we don't know if she is easy going, her technique, her habbits, the way she responds to any criticism or helpful comments, ... How do you make your models more comfortable and also to be less anxious about the photoshoot yourself?

I don't hire anxious models! It's as simple as that. Mostly, because I'm lazy. :D I have to say that there is nothing more unpleasant than shooting a model who has self-image problems; it's like there's a shadowy 3rd person in the room trying to make sure the shoot goes poorly. When you work with professional models, they've usually gotten over their self-image problems, or they wouldn't still be modelling.

Usually, when I'm shooting with a new model, I just talk 200 miles an hour for a few minutes and explain what I have in mind, how I work, etc. I make sure they understand that I'm not interested in pulling them out of their comfort zone, that I am totally OK with them ad-libbing, that I'm not a control freak, etc. Sometimes, I have a very specific idea, and I say "OK I need to be a control freak for a second..." For the kind of work I do, getting a sense of fun in the photos is pretty important - so keeping everything light, fast, and casual is best.

Each model is able to convey different emotions as they all have different body languages and expressions. When you have a certain idea/ concept in mind and are looking for a model, what are the main things you have in mind?

I usually fit the concept to the model only when it's appropriate. For example, if I want to shoot a picture where the central message involves a fantastic backside, there are a couple models I'd use that have fantastic backsides. Other times, if I want a set that has a particular overall feel that fits a certain model, then I'll hold that idea aside for her or sometimes schedule a specific shoot around getting that idea.
I have a mental punch-list of ideas that are tagged to certain models. So when they come in to shoot, I can just jump right into it. For example:

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For the deconstructed Hooters' waitress series, I just knew I had to use Zinn because she's the quintessential bouncy blonde. And, sure enough, she loved the idea and nailed the concept. Whenever I need a curvy little ninja I use Rayn, etc. It's typecasting but it works.
Then I have a mental list of generic ideas that I can try with pretty much any model. I'm not sure if it's cheating, but, for example, I have my "women o on pedestal" series - I can shoot every new model I work with in that context, and several more "standard ideas" enough to fill up a whole shoot. I get mad at myself when I find myself just shooting "the usual stuff" though. Deconstructions, rotationals, 3D shots, cat-girls, pedestal shots, and - whoops - a 3 hour shoot has just gone by and I haven't done anything new.

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Alone by mjranum

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Figure Study XIV by mjranum

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Submission - The Dying Light by mjranum

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Mosh IV by mjranum

You recently had the great opportunity to work with mehmeturgut and also miss-mosh and I heard you guys had a blast :] Is there anyone else here on dA who you particularly would like to work with? ( photographers, models, digital artists, ... )

Oh, gosh, golly, darn, I could go on all day answering that question!!! I'd love to shoot Princess-of-Shadows for example, but she lives too far away.

And now to finish, a hard question =D deviantART is a community devoted to many different kinds of artists, and one of the most incredible things here is how many people there are around able and willing to share their secrets and techniques by offering tutorials, tips,tricks and helpful links.
But often this is a hard job to do because some people want to know "a little too much" or they ask tough questions that would require years of training, and study to answer. How do you feel when people approach you and make such general and vague questions such as: "Can you teach me how to photograph like you do?"

I try to start them down a useful path, anyhow. It's really funny you asked, because someone just sent me one of those open-ended questions the other day, and I spent 3 hours writing up an answer (which he kindly allowed me to post publicly on DA here:… .

The funny thing is that the really big questions still have interesting answers; it's just that the answers are really big, too! I.e.: "How do I get to be a famous artist?" "Go crazy, work like a fiend, and don't let anything get in your way." It's such broad advice that it's almost useless - like the question - but it's also true and accurate.
Last summer one of my friends was saying he wished he could shoot stuff like I do but he had this litany of reasons it wasn't possible - not enough practice, not the right kind of lens, etc. So I invited him over to my studio and had Amber (who is a dream to work with) come over, set up lights, told him, "go" and he came out with some really nice stuff. Seeing that kind of removes all the excuses, and after that he started making big jumps on his own. I had a similar thing done to me by one of my friends, Olaf Starorypinski, who let me use his studio and really rattled my brains a lot to get me thinking differently.
Another of my friends, Tal McBride, is a professional photographer who has been unstintingly helpful - periodically I email him an image and ask "how was this done" and he takes time out of his busy day and explains the way the lights were set up to get the shot (or the photoshop tricks that were used).

Artists who are improving constantly are the ones who surround themselves with friends who are willing to challenge their bad work, and rattle their brains every so often with new ideas. I try to rattle my friends' brains in return. I think that the most fun I've had in years was when I was invited to be a guest teacher for one evening of an art photography class, and brought cat-girl outfits and bunny ninja costumes and my red tricycle. Some brains were severely rattled that evening, I assure you!

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Fetish on a Pedestal by mjranum

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La Mystere by mjranum

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Hanging Around - 1 by mjranum

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HeadStand by mjranum

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Vassanta by mjranum
Interview with TheTragicTruth-Of-Me

Today I am bringing you one of the artists who I most admire and love. I've known her for many years now, even though in the first times she had no idea I even existed, and she has helped me find my way in art and is a constant source of inspiration, kindness and intelligence. Her main goal is to combine two things that most people believe are impossible to fuse: beauty and concept. And this makes me all the more interested in her ideas.

Thank you so much my dear Victoria for taking the time to answer these questions. I'm sure many others want to know who you are behind the camera and what inspires such wonderful creations.

Lip Trauma by TheTragicTruth-Of-Me ..Poison.. by TheTragicTruth-Of-Me Ruby by TheTragicTruth-Of-Me A Visitor by TheTragicTruth-Of-Me

How would you define yourself in 10 words so that we know a little more about the artist behind the lens?
I never take myself too seriously but I am very, very determined. (sorry I know that’s tweleve! )

Your works are very unique in a magical way, you are able to combine beauty and glamour, however they are filled of real life intense emotions we can all relate to. What inspired you to choose the path of fashion/ beauty/ glamour in your art?
I have always been interested in fashion and beauty and their intense power of communication and how easily they can spark the imagination. My room is filled with fashion and photography magazines and if I’m not taking photos I’m looking at them. Creating an atmosphere and realising a concept with makeup and clothes is what I love to do most and beauty and fashion allows me to do that.

Don't Speak.. by TheTragicTruth-Of-Me Winter by TheTragicTruth-Of-Me The Beautiful Moment by TheTragicTruth-Of-Me Noir by TheTragicTruth-Of-Me

You are a very beautiful young lady as you must know by now and of course very talented as well. Beauty and talent usually bring a
lot of jealousy from other people. Have you ever had to deal with rude comments judging you for working mostly with yourself as the model?

You are far too kind!
In the past yes, but I think the best way to deal with that is to carry on what you are doing and do it to your best. When I first started submitting on this site some people would question my motive for using me as the model. I do think that some people would truly like to believe
that I use myself in my photography out of vanity or because it is easier, but that couldn’t be further from the truth.
I use myself for various reasons. It is convenient for a start; you do not need to plan in advance so this enables spontaneity when shooting.
But using myself in my photos also enables me to bring my personal experience and emotions to my images. As you say my photography deals a lot with the emotions I have gone through, so it is often fitting for me to portray them myself. I also feel a great sense of achievement when I am both in front of and behind the lens, its hard work. It’s been a long time since I encountered any animosity. I think people are more accustomed to seeing self portraits now and realise that it is an artistic choice over anything else.

  One of the themes I find particularly interesting in your gallery is how you portray Love as being something truly Tragic, beautiful and yet sad. Is this your vision of it in real life, or is it just your artistic vision?
Just like most aspects of life, love has its ups and its downs. I’ve experienced both in abundance and its power has such an enormous effect of my life and beliefs. I don’t feel all love is a negative thing, often on the path to finding it there is a lot but there is also love out there that is truly happy. However I do often find it more of a natural process to turn the hurt and sadness into images as my photography is a great outlet for my emotions.

Sixty Three Colours by TheTragicTruth-Of-Me Blossom by TheTragicTruth-Of-Me Water Lilly by TheTragicTruth-Of-Me Delicate Heart by TheTragicTruth-Of-Me

When you look back to your older works, do you realize how much you've grown? Is evolution your main goal, or do you focus on expressing your thoughts and feelings above all?
I love to look back at my older works and see the progression I’ve made. I have learnt so much since I started taking photos. I’m always trying to better myself and evolve technically to create the best photos possible. But my main aim is to produce photos that have aesthetic AND concept. To me that’s the greatest goal. I don’t want to get complacent, I can always pick out areas where I need to improve and having deviants that are helpful enough to critique and advise me as well as suggest areas of improvement means I always have something to aspire to.

I think a lot of people are also very curious about your user name. What is the meaning behind it, if you don't mind sharing?
Lol. I get this question a lot. And to be fair, I have no idea. It’s rather ambiguous; it can mean anything to anyone. I guess everyone has their own ‘tragic truth’, a self realisation that they don’t want to have, but this has only manifested myself in my photo ‘the tragic truth of me’.
But if I ever realise what it truly means to me, I’ll let you know!

Diavolina by TheTragicTruth-Of-Me Pale Reflection by TheTragicTruth-Of-Me In Memory Of Innocence by TheTragicTruth-Of-Me Saw You Drown by TheTragicTruth-Of-Me The Offering by TheTragicTruth-Of-Me
Interview with mmenathalie

A very dear friend of mine and a truly talented and gifted artist. Nathalie de Lane has the most amazing life story that is shared and cherished throughout her art, and each of her pieces is a valuable lesson to us all. I'd like you to meet and know what a wonderful person she is.

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♥ First of all, I'd like to congratulate you in public for the huge growth and development your art has been through. You just went from a fantasy/ magical artist and grew into something that explores a more sensual artistic side of a woman  in such a beautiful classical way. What led you to this change?

First, thank you so much for your nice words. (;
A change about you said I usually call a natural way of developing of each artist. One day you open your eyes and you realize you can mend something, change something and you know that it is very needy and correctly with development of you alone. I believe that true artist, as each human, has a several stages of his life, I talk about artistic life of course. This is only an another stage of my artistic life. I don't know what I'll be doing tomorrow or in a week, month, year... but I know I'm changing... now, from minute to minute, as a human and my work is changing also. That's why I don't believe in work of artist who always creates the same things. His is only a person with  workshop for me. People are changing... they might stabilize their style, but not an internal meaning of art.

I've always been a lover of fantasy. I grew up with a lot of fantasy stories. My favourite fantasy book, which inspires me  all time is a story of C.S.Lewis "The Chronicles of Narnia". I had (and I still have as well) a big wardrobe at house. And perhaps you'll be laughing, but I still believe in a winter way behind the door... This is something which stayed in me and will stay for the rest of my life, something which helps me to stay a child. But as I mentioned, I'm changing, I'm not a child in some ways, so I grow as a woman, I feel as a woman, so my work has been changed. Until when? I don't know...

♥ On a more personal note: we all know how people can be mean and overly critic towards other's art. I mean in some of your latest works you are nude, (as an ode to the woman's body and feminity in ememberance of the renaissance classics I believe ).  However not everyone sees it this way.. Doesn't it scare you that because of this change in your art, people will see you differently?

I'm not afraid. God didn't create us with pans and bras. I don't understand why people are ashamed to show them naked. It's something such natural like orange colour of orange. I guess the main reason of their shame is a conviction that their body isn't perfect. But who has?
I also wasn't afraid of people's reaction on my different arts. I belong to this kind of human, who loves to suprise others. And you're right.
I'm a lover of classical themes and styles in art, so be sure I won't show a porn kind of photos. (; But if somebody criticizes work only because a model is naked, it shows only his lack of knowledge and culture. Human body is saint for me and I treat it as a sanctity.
People should treat it this way also, because body is a temple of soul.

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♥ You are one of the few people I personally know that are able to explore melancholic feelings with such twists of hope and magic, as we often see this kind of emotions associated with a more "dark art". Do you consider yourself to be a positive person who simply reflects that in her art?

Generally I'm a very positive person. My mind if always full of hope and light and I want to share my hope with everyone through my arts for example. It grew in me with fantasy worlds from my childhood with belief that whole our world is a one, pure magic. But my soul is melancholy. This is a part of me which helps me with creating arts and lets me look in a depths of human soul. Sometimes I'm suprised how many deviants show sadness and melancholy in dark category. Dark world, dark places and all the rest  dark things are very dangerous, bad and dark and it has nothing to do with human melancholy, sadness etc. I laugh often with words: "Do you really create dark arts? Really? Darkness is soo dark. If you met a darkness, you would run so quickly as light can." I don't feel to be dark. I'm a good, bright person. Each human has a dark side, I have also, but darkness is a darkness - it always made our world evil. So why should we use it? It isn't needed. It won't help us with problems and sadness. I prefer to be fair and true with me, so I don't cheat myself that creating darkness is properly with my emotions. It isn't.

♥ On a previous interview I asked someone what was the most inspiring time of the day. Along the path of art you've been following we  can clearly see many allusions to autumn landscapes, tell us what exactly you find so fascinating about it.

Yes, I love autumn and winter. There are the most inspiring seasons to me. Whirling leaves, snow roll before my eyes many magic worlds, visions... I can stand in wintery weather many hours and think, dream, imagine so many things. I just feel magic. Each thing which can brings me magic is inspiring. Autumn and winter landscapes have many magic. More than summer for example.  I cannot explain it clearly. It is like your hearts beats faster and your soul is being filled up with hope and melancholy as the same.

I love this feeling. I have more power to work then and I feel my work is connected with nature and nature is my mother. So I we can call it a full harmony.

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♥ In your gallery we can see so many different feelings and emotions, it's just likea fresh shower on a hot summer day. Your gallery
always brings such great emotions of strength and power. Is there anything that particularly inspires you to bring us these amazing messages?

Yes, there's a one thing... needed creating world more beautiful. My own, little world also. The second... realize myself, express myself and
show myself the way I usually cannot show every day. Show to others that human is a very great, mysterious and diverse creature. Just like I am.

♥ As someone who knows you in a more personal level, I know that you've been struggling on dA to make this a more fair and grown up art community. Is there any particular message you'd like to leave to the ones who will read this interview?

Yes, I do. As a part of this community, I have a natural feeling to care about others in this big, artistic world. Dear people... dear artist who
reads this interview. No matter what you think about me, but remember... You are the artist. We are born as artists and we are die... as artists
or noughts. This is your choice whom you will be. Being artist - is being someone who is above other people - who leads their souls. Artists stand closest to God, they read from His mouth and they give a birth to His children. That's the way artists should be. In other way... we are nobody. Use your artistic law to create world beautiful.

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Some people have asked me about the formal/ official way of registering your work and detaining copyrights. I have gathered some information I believe is useful. If there is anything else you know and would like to share, cos you believe it's important, please add your comment to this article. All help is important.

"In general, copyright registration is a legal formality intended to make a public record of the basic facts of a particular copyright. However, registration is not a condition of copyright protection. Even though registration is not a requirement for protection, the copyright law provides several inducements or advantages to encourage copyright owners to make registration. "

click here to access the original website page

:bulletblue: What does this mean?

This means that copyrights refer to the rights an author detains over a certain work ( wether it is an image, a text, music, or any other object that can be created from scartch ). Meanin it cannot be reproduced, used, distributed, eddited or sold - unless stated otherwise.
However, in order to make it official you need to register your work, fill out some paper work, gather your work in a cd, book, or whatever other mean, and add your signature, date and other important info that might be necessary so that in the future you can prove that it is your work and no one else's.
This matter will bring you advantages such as:
:bulletpurple: you will be able to prove a certain artwork, music, graphic,... is yours and yours alone
:bulletpurple:  it might also cover your intellectual property ( idea, concept, something you've been working on but isn't
quite finnished, ... ) when stated
:bulletpurple:  in case your work is stolen and sold without your permission, you will have rights over the money made with it

:bulletblue: How can I register my work in order to make it official and detain all copyrights over it?

For all USA residents, you can check out
Here, you can choose between a range of different kinds of works such as literary, visual works, performing arts, sound recordings, serials and periodicals, and masks works. For example, when it comes to visual artworks, the following steps are needed:

" :bulletpurple: Step 1
Make sure your work is a visual arts work. Visual arts are pictorial, graphic, or sculptural works,
including 2-dimensional and 3-dimensional works of fine, graphic, and applied art. (... )

:bulletpurple: Step 2
Put into one envelope or package:

    * a completed application Form VA and Form CON if needed.
    * a $45 payment to "Register of Copyrights."
    * nonreturnable copy(ies) of the material to be registered. Read details on deposit requirements. (... )

:bulletpurple: Step 3
Send the package to:

Library of Congress
Copyright Office
101 Independence Avenue, S.E.
Washington, D.C. 20559-6000

Note: Your registration becomes effective on the day that the Copyright Office receives your application, payment, and copy(ies) in acceptable form. If your submission is in order, you will receive a certificate of registration in approximately 6 months." (Note: We are currently experiencing processing

click here to access the original website page  

:bulletblue: For Portuguese residents/ citizens

Conheço uma forma mais simples, através da qual podemos lidar mais directamente com a pessoas do que propriamente no outro lado do oceano.
:bulletpurple: Guarda os teus trabalhos num CD e faz uma copia para ti.
:bulletpurple: Em seguida, dirige-te a uma "Loja do cidadão", há várias espalhadas pelo país e muito provavelmente uma perto da tua residência. Aí explica-lhes que queres registar os teus trabalhos de forma a deteres os direitos de autor.
:bulletpurple: É muito importante referires que queres guardar/ registar o bloco de trabalhos incluído no CD, e não cada um dos trabalhos em separado, porque assim fazem-te pagar por cada image separadamente.
:bulletpurple: A última vez que me informei este processo tinha o preço de €25.
:bulletpurple: É só seguir as informações que te são dadas.


Hope it' helps!
aegina has been away from dA for one year and a half, I remember I follow her work almost since the very beginning and it has always fascinated me. I am so happy she is back that I decided to ask her a few questions I want to share with you guys, so you too can know about her beautiful art, inspirations and thoughts about the main differences she notices after such a long time away.

A Fair Judgement by aegina Breathe New Life by aegina Scarlet Garden by aegina Taste of the Scythe by aegina

♥ I must begin with the obvious. you have been away from dA for one and a half years. I'm sure I'm not the only one to say that I missed you and your Art. Now tell us, how does it feel to be back? Is there something you already noticed different in the community ( people and works )? </p>

dA is a great community for sharing art with other people and getting feedback about how you might improve your work.
I feel lucky to be a part of this community. Even though there are a lot of pretentious and hypocritical people STILL around here and just because of that some great artists stop creating/sharing their art… I'm so happy to see the whole improvement of the people I admire. What particularly attracted my attention was; there are so many new people who create such nice works, and I hope I can watch their progress day by day... It's really good to be back.

♥ Your works have a natural ethereal twist, it's very beautiful and magical. What can we expect from your new works? Such a long time, changes a person with life experiences. Do you think you're gonna walk on a different path of art from now on?

I am usually inspired by music. I can't listen to any song which is not related to my self identity & inner world.
When I was distant from dA, my music taste didn't change but I start to listen more peaceful songs, mostly instrumental, so there were no lyrics… But there is always a melody which tells a story and takes you far away from the present-day world. For example; my work Serenity
is way too different from the other works of mine. I was needing some peace in my life, so I made that work.
I feel myself in it. I was always creating works which are real, like an expression of what I've been going through. So this is new for me to create something which I NEEDED. But I don't think that I would walk on a different way other than I used to, but some labyrinths could come across to my way.. ;)

Tat Tvam Asi by aegina Serenity by aegina Thunderbolt From Hell by aegina Anxiety by aegina

♥ I've noticed that in some of your artworks, the model appears turning her back on the viewer. Does this have a special meaning?

Frankly I realized it when you ask me. :blush: It's like a symbol of being lovelorn, or leaving a person or even everything behind. I usually start making my manipulations with background image, after I can visualise the concept in my mind, then I start looking for a model...and so on.

♥ In most of your works, you write a personal note on the description. And I must say you would be an amazing poet/ writer. Are these "messages in a bottle", thrown away to get rid of those emotions, or are they something to remember and learn from?

Actually there are only 4 or 5 writings that belong to me, my English is not that well to write something poetic, I mean, it's really hard to translate… Since my mother tongue is Turkish. But what I can share with my writings, is that they are all coming from the bottom of my heart & mind. I wrote them when I was full of feelings and when I was most sensitive.
I never felt like I was thrown away, and in fact it was make those feelings permanent when I wrote them. Even if I would try to isolate those things in my mind, writing them is making it impossible. So they are just coming from a moment of lunacy.

Serpent's Desire by aegina Loufi Lane by aegina River Flows Frozen by aegina Lifeless Silhouette by aegina

Loufi Lane is one of your works that I find most interesting, maybe because it's so metaphorical and symbolic. It's been a while since you've submitted it, but would you like to tell us a bit about it? What were you trying to express?

Loufi Lane's story is really weird for me. I had a my dream, I was lost in a very eerie place, I was not able to see or hear anything, but interestingly I can see the things by their smell. There was only one thing that I could not smell, and it was a creature
which looked like a snake...I was conscious about his intention, and submissively waiting for his bite... But he could never succeed in catching me. Then there was someone who is more mighty and heroic than that evil serpent. I was flowing from a river to another… Then I was waking up from my dream, and started texting a message to a friend of mine; ''My name is Loufi Lane and I am under his protection.'' Then she responded; ''Rise and shine, you must come back.'' Then I woke up, and wrote down everything so I would not forget. So I made Loufi Lane
and Serpent's Desire. For me, they are the most important ones in my gallery so far. And I'm really glad to hear that it is interesting for you too. By the way, I really had no idea about what Loufi Lane means, I saw that name in my dream for the first time and memorized it. I love it.

♥ You seem to be greatly inspired by music. What else inspires you, not only for art but in life?

I'm a person who says ''Music is my boyfriend'' :P I can't think of a life without music, as a person who like to dream a lot, I can say that music is a great way to reach your inner world. For my art, except music, I could only say ''pain inspires.'' I can talk like a very elegiac girl sometimes, yes. :P Other than that, I'm kinda obsessed with the myth and ancient/dark ages… I even remember that I was dreaming about being a Dryad. (Dyrads are tree nymphs and they can marry
with humans.) There's a lot of things in my life that inspire me that are too complicated to put into words.

December Wounds by aegina Bitter Sweet Revenge by aegina No Turning Back by aegina Gomorrah by aegina

Previous Interviews
Interview with Sheispretty

Interview with Furtivelungs

Interview with WCS-Wildcat

Interview with Glitterdarkstar
♥  Most of us know her by glitterdarkstar, specially by her mind blowing concepts explored in each piece. Each work is a mind teaser that make us look into ourselves and many times realize how wrong we are as a society. But her works have deep and very personal meanings that have helped her grow as a person as well. Today she is giving you the opportunity to know her a little better.

la strada by glitterdarkstar

  ♥  First of all, let me congratulate you for the Senior Member Award, I know it's been some time but it must be a real honor. How does it feel to be recognized with such a respectful award in such a huge art site such as this one?

For me it was a surprise,a wonderful surprise. Anyway, it changes nothing if you are a senior or a simple member on dA cause we all have the same rights and duties, I think so. I continue to support art as I always did. It is my intent on dA.

   ♥ You have the incredible talent to absorb and have so many different styles and still keep the same unique and amazing language that defines you. May I ask, what inspires you to create such surreal/ conceptual/ intelligent pieces of art?

Inspiration is in the air! I find it all around, when I watch a movie or while I'm listening to a song, reading a book or simply watching ART. I improve my abilities looking at others with humility. Then I had a big fortune, to have a boyfriend who shares my passion for photography. I talk with `dibbi about our ideas and he was a great inspiration for me always.
But life, the ordinary one, is my mentor. What I do and see everyday. Streets, ideas, concepts, love.

q u i c k s a n d by glitterdarkstar the eye by glitterdarkstar the armour by glitterdarkstar indivisible by glitterdarkstar

  ♥  Along your gallery, in a deeper analysis we can see that your works are a lot about the "ego", the "personality" and even some psychological disorders, as well as phobias. Do these work as a therapy, or is it simply a language you want to develop and themes you personally like to explore?

I take photos since 2005. Before I have never considered to have some artistic attitude...Then I had a little camera and I started to shot myself. More I saw about me, more I learned. Photography was my teraphy , the cure for my insecurity. I always try to tell about me and my inner mood. Sometimes I found a cure for my troubles or doubts just looking at my creations.

    ♥  We can also find a couple of polaroids in your gallery. As a photographer, is it possible to choose between film and digital photography? Or do you believe each one has its advantages?

I think that the camera doesn't make the photographer but viceversa. So, a talented person will be talented in the same way if he uses a toy camera or an hasselblad one or simply a very cheaper digital or film camera. Anyhow the sensations you can feel while you develop and print a photo by your hown hands is so unique and intimate. The real way to make photography, I think. It is for a niche while digital is for everyone. In that I am a supporter of digital photography. Art is not for few people but for the whole humankind.

white scar by glitterdarkstar distance by glitterdarkstar l'attesa by glitterdarkstar

  ♥  I remember that in one of your recent works "rock'n'roll suicide" you were accused of doing porn, when we can't even see your body. We all understand how hard it is for an artist to hear such things. Would you like to tell us, how you felt about it, and how you ended up dealing with the situation?

I was very hurt about that comment. I found it vulgar and false, first of all because no part of my body was bare or nude. And also because that pic wanted to tell something very intimate and sentimental about my life. My passion for the music of David Bowie. I think that the pic doesn't contain anything of vulgar or allusive, for that I was more than offended. The will to misrepresent the photo in a way so bad has offended me so deeply and it has hurt my sensitivity.

   ♥  You've been on this site for a while, and we can all see how beautiful and amazing your work is, and how fast you've been growing in each piece. As a senior and highly respected member of dA, would you like to leave a message to other users, about Art, critics and mutual respect?

deviantART has been created for people with the same passion: the ART. People that want to share the things they have to say. It isn't important how much they are talented, the real important thing is how they have to say , not the "words" but the "stories" behind every word.
For that I never offend people if their works are not in my taste, and I always support people that in my opinion have a lot to say.
We can't judge no one because of their faves or pageviews and watchers, but we can use our eyes and heart to feel what they try to communicate with art.

20th century boy by glitterdarkstar eyes without a face by glitterdarkstar

Interview with S.R. Callow aka WCS-Wildcat

Mr. Callow has been on dA for some time and Ive followed his work almost since the beginning. His willingess to grow and develop his own visual language is so so nice to see. In this interview he talks about his motivations, inspirations and leaves also a few words to the "haters" out there.

fleurs du mal by WCS-Wildcat love's darkness by WCS-Wildcat never let go by WCS-Wildcat

As someone who has been following your work for some time, I know that you've been through some hard times here on dA. What makes you so unhappy and unsatisfied with your beautiful art?

Some problems in real life and on dA, I have had hard times and people have said some mean things about my artwork. Sometimes people are just playing a joke when they say things but it still effects me. With every artwork I create, I always try to grow into new things and as well, I always try to get better and learn new techniques.

Most of your work has some very sad/ melancholic notes. Would you like to talk a little about it, let us know what makes you prefer this kind of art, is it art imitating life, is it following the "dark art trend" that some say, or is it really some kind of therapy?  

Some of the feelings in my artworks come from deep thoughts about some of the problems I've had and this is sort of a therepy without speaking about it to others. I've really enjoyed the work of others here on deviantArt and when I look at your work and some others I can relate to them. I really enjoy creating this art and the feelings I have so that others can relate to the feelings I have as well. To me, it is not a trend. I love creating these artworks and I keep trying to creating something new and a little different each time.

never enough by WCS-Wildcat fleurs du mal by WCS-Wildcat a heart you promised to keep by WCS-Wildcat :thumb75043573:

  ♥ Just like everyone else who posts art on the internet, you become vulnerable to criticism and judging. How do you act towards people who have.. less positive things to say about your art?  

At first, I know I acted very badly towards people making garbage comments on my art or journals but now I just tell them thanks and ignore it or if it's not so bad I will tell them I appriciate their advice for next time. I am more positive towards their feelings too and I can learn from them. If they are really bad then I simply ignore them or have the person blocked if they continue to harass me. I always give chances for these people to e-mail me or talk about things in private if they want to. I deal with this problem a lot better now.

Most artists say that the time of the day they feel more inspired and free is at night. Do you feel the same way,  or is there another time of the day when you feel particularly inspired? Why do you think that is?

I am always seeing new, inspiring and beautiful art on deviantArt all the time and during the day I can get a lot of new ideas but during the evening in night time is when I normally like to relax and create my art. Often times I will complete my art so it is half finished and wait to do all the hard detail and finishing touches when I am awake in the morning.

come find me by WCS-Wildcat too lost to be saved by WCS-Wildcat Winter Nights by WCS-Wildcat another chance by WCS-Wildcat

Now on a more personal note, we can all see a clear evoltuion in your work and for that we all wish to congratulate you. But now instead of looking at the past and the path you've been through, if I asked you to take a look into a future that only you can imagine, how do you see your creations in one year from now?

I would still love to enjoy creating the work and photomanipulations I do now, however I would also like to practise more on the works I love that I am not so talented at like photography and digital painting. I would also love to continue with my traditional artworks as well.

This is the biggest art community around the world, with many different art styles and people, and lately we can see many artists "against" each other, bringing fanart, animé and even dark art down.  Is there something you'd like to say
to those people, as an opportunity to defend your own art?

I think so many people are just so jealous of the most popular artists here. The artists that never give up and always continue to grow are the ones that are the strongest here. Some people can get so upset here that they just quit or give up and I know how this feels because at times I have wanted to as well but I want to get better and I think I could have a lot of potential to be a great artist and also a person people could look up to in the community. I think the little communities with in the different genres like anime and the darkarts should be supporting eachother. I try to just do my own thing and I don't worry about the people trying to put others down.

when you say nothing at all by WCS-Wildcat secrets within by WCS-Wildcat where the lost ones go by WCS-Wildcat frost flowers by WCS-Wildcat

♥   Interview with Anni Suvi aka FurtiveLungs  

♥  Some of you already may already know her from deviations such as "Madhouse" or "Sweet lips but bitter eyes", some of her most popular works. But who is this young girl who is able to express such different emotions and roleplay such different characters?

My time is here and now by FurtiveLungs Red by FurtiveLungs :thumb51423511: Beautiful liar by FurtiveLungs

Anni you are such a sweet sweet girl, and personally I find it amazing that you are so young ( 17 year old ) and yet so talented. What led you to begin with photography, and how long have you been working with it?  

I've always been quite artistic, I mean... I've always been interested in acting, drawing, painting and singing(I sing in a band, bet you didn't know that ;)) But about two years ago i saw some awesome works from zemotion, larafairie and Princess-of-Shadows.
I was so amazed by all the beauty and emotions that were captured and i knew that i never could do that good when I'm drawing... so i basically begged my mom to buy me a camera and after six month of begging my mom finally bought me Olympus IR300 (which is still use) And since that day i fell in love with photography, but all that because of those amazing artists who made me want to be as good as they are. It's been already two years, but I'm still not anywhere near to their level.

One of the things I admire about you is the way you can really work so many different characters in each of your photos. You have fashion works, you have emotional/ romantic, and then you have very colorful images that make us smile just by looking at them. Do you have a kind that you particularly prefer? What do you enjoy doing the most?  

Well yeah, of course it's more fun to make bright and colorful pictures, but i really can't say that i prefer any of my "characters", because my works are based on a real feeling and emotion. For example, when i was doing "Madhouse" i was quite depressed, but when i was doing "The spring is peeking" i was in a very good mood. And of course music plays quite big role when it comes to my pictures, because while listening bands
like Placebo, Coldplay and Linkin Park i suddenly get ideas out of the lyrics which i can relate to. It's hard to explain it and most of the people probably won't understand.

No More Sorrow by FurtiveLungs She is an idiot by FurtiveLungs My emotional breakdown by FurtiveLungs Passionate redhead by FurtiveLungs

  ♥ "Sweet lips but bitter eyes" is one of the most popular works in your gallery. You have an incredible innocent deep look in this one. I think people would love to know what you were thinking when you took this shot, and what message you were trying to share.  

I remember that i had fever on that day and i stayed home from school and i had a big fight with my boyfriend. What i was exactly thinking... quite hard to say...something between "My boyfriend can be such an ass" or "I friggin' hate when people lie to me" so "Sweet lips but bitter eyes" represent the idea of telling lies, your words are great and sweet, but your eyes tell a lot more than the words that come out of that pretty little mouth.

  ♥ Do you share your artwork with people that know you in real life? Such as with friends, parents or teachers. How do people react when they see it?  

I really don't think that there is a way than not to share my artwork with my family and friends. They are the first ones who i show my works because their opinion means a lot to me... the only thing that bothers me is that i get too much positive feedback ...a little criticism wouldn't hurt. Some of the teachers know that i love photography but they haven't seen any of my works, most probably because it's my first year in new school and i really haven't had the chance to show them my works. But other people usually ask if i was a model...and when i say no, then they are quite amazed. But i always get good feedback about my works :)

:thumb63480129: Miss Christmas Spirit by FurtiveLungs Hiding in the dark by FurtiveLungs How you like me now by FurtiveLungs

Make up is an art in itself and you use it to compliment your photography. You use make up to enhance and convey so many different emotions. Where do you get your inspiration from? And have you been taught by someone or just experiment by yourself?  

Most of my inspiration i get from fashion magazines and even walking through make up stores...they have those cute little advertises on the walls ans stuff :D and of course....from other artist in deviantArt, specially from littlemewhatever. She is perfect when it comes to make-up. But I'm mainly self taught, i like to experiment with different things, even with my hair and clothes.

Is photography something you do for fun, or would you really like to study to work on it profesionally one day?  

Photography is something that I'd like to study to work on it as professional one day. When few years back I was just happy that i had some pretty pictures from myself, then now I'm bored of capturing only my face and I'm looking for models who would be interested in working with me. So yeah, hopefully one day I'm a professional photographer, it's my little dream :)

The Spring Is Peeking by FurtiveLungs Blind by FurtiveLungs Sweet lips but bitter eyes by FurtiveLungs Behind Those Dirty Lies by FurtiveLungs

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:bulletblue: "Interview with Erica Leighton aka Sheispretty"

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Known as sheispretty here on dA, Erica has been working hard along the years to create and develop a unique surreal style of her own. I was so glad when she told she accepted to answer a few questions, this is my way to share her work and letting you know a bit more about such a sweet artist. Strong, independent and talented, she has the power of a tornado and the gentleness of a breeze.

You have without a doubt created a world of your own. Your unique style can be recognized miles and miles away, because it's so beautiful, sharp and professional looking. Now let's be honest, have you dealt with people wanting to know the "secrets" of your work or even trying to reproduce it?

Yes, of course. I think that just comes with the territory. It's extremely flattering on most accounts, but when people constantly ask for your "secrets" it is frustrating that they cannot seem to just experiment and find their own way... it says something about a person.

This will probably be a question that many artists nowadays deal with, but personally I would love to hear what you have to say about this matter. Why is it that in most of your works you use only the feminine figure?

I've been asked this somewhat often. For me personally, I just prefer the feminine figure (straight up). I am a female and I understand myself far more then male attributes. I always naturally associate a masculine figure with more aggressiveness in a portrait. Not to say that they are, only that it is really only about how I feel for my work and I usually, naturally feel feminine and on a softer note. If I do feel aggressive, it comes out on a darker said rather then a masculine one.

You seem to use very symbolic elements along your art path, such as stars and hearts. Would you like to talk about them and let us know what is the meaning behind it?

First thing , do not always take everything so literal. There have been moments when creating my work that I have been in search of a heart because mine felt heavy (hanging stars make me think of childhood). For the most part, it is simple, I like how it looked.

  Something else that appears along your art are suitcases here and there. And the subject seems to be getting ready for a trip, to run away without destiny. Is it a metaphor, or is it something you truly feel in real life?

There was a time in my life that I did just pack up what I could in my car and drove off. I didn't run away, people knew where I was going, but I was perhaps running away from specific things I will not mention. I love travel, and we are a military family and move around every 3 years... and I love that. I like a new slate, and I need that. The only thing that truly stays consistent is this... my online being.

When you look back to your earliest works, what is the first thing that comes to your mind? Do you realize how much you have grown, or are you a perfectionist always striving for bigger better and never able to be happy with your own results?

I am happy with new results usually at the time of conception, of course. After time passes though... I do begin to dislike and wish to strive for much much more. I feel I am currently in transition of something and I do feel that it reflects in my work. ("perfectionist"? i wish and like to hope so).

When you have some time alone for yourself, apart from all artistic activity what do you enjoy doing?

I don't have much time alone because I am a mommy and I choose not to be alone. When my husband deploys, when I'm not working on my work (which is my alone time)... I listen to music, and just lay... on the carpet, in the grass, on the beach... As of lately, I run (on an elliptical) and... I sure do love "running away". So yeah, music it is.

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