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Introducing depthRADIUS

Logo design by Mario Luevanos
Film and animation by Scott Pagan


About depthRADIUS


depthRADIUS is named after the deviantART community that it reflects and represents. Built in service of the largest and most influential community of culture creators and culture responders in the world, this on-line journal explores the depths of the arts world from fine art to the most eminently accessible community arts projects. depthRADIUS endeavors to connect artists and art enthusiasts with other artists and art appreciators from all levels of the arts community, from its most successful stars and innovators to beginners just learning their crafts. The “radius” of this journalistic conversation will extend in its boundaries into arts advocacy, cultural relevancy, education and appreciation.

A Few Recent Journals



“We are all listening to each other.”

:icondepthradius:



You owe reality nothing and the truth about your feelings everything. — Richard Hugo 

82%
882 deviants said True - Please advise.
18%
196 deviants said False - Please advise.

Epiousios

Art

the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

-Marcel Duchamp

Burns Brighter

I want a trouble-maker for a lover,
Blood spiller, blood drinker, a heart of flame,
Who quarrels with the sky and fights with fate,
Who burns like fire on the rushing sea.

From Rumi’s Kolliyaat-e Shams-e Tabrizi

True

Among those whom I like or admire, I can find no common denominator, but among those whom I love, I can: all of them make me laugh.
--W. H. Auden

Do You Realize? by The Flaming Lips -- Lyrics

Do You Realize - that you have the most beautiful face
Do You Realize - we're floating in space
Do You Realize - that happiness makes you cry
Do You Realize - that everyone you know someday will die

And instead of saying all of your goodbyes - let them know
You realize that life goes fast
It's hard to make the good things last
You realize the sun doesn't go down
It's just an illusion caused by the world spinning round

Do You Realize - that you have the most beautiful face

By The Way...

The best things in life are not things.

Shoutbox

crazyartist12:iconcrazyartist12:
meh
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hi am new here
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love2photos:iconlove2photos:
Hi everyone check out my profile!
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Shoutout to you sir
Sat Nov 15, 2014, 8:09 PM
RhynWilliams:iconrhynwilliams:
To find oneself's strength, one must first find weakness
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Punkboyart1970:iconpunkboyart1970:
Shhhhh I'm whispering this! HELLO
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Hey great platform you have. Upset I missed the creature post! Hopefully can earn a feature one day :D staying tuned
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EranFolio:iconeranfolio:
Thank you for the subscription. =)
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I am scared
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Nobody

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Activity


75-img-00 by techgnotic













Nature is a cruel mistress. As pioneering filmmaker Werner Herzog once wrote about the dangers of explorers heading off into the wilderness seeking enlightenment:



I believe the common denominator of the universe is not harmony, but chaos, hostility, and murder.”


— “Grizzly Man” (2005)



The wilderness has always fascinated mankind as a subject for art.


It’s the first thing that our ancestors recorded in cave paintings. Sometimes we foolishly attempt to ‘tame’ it: seventeenth century English gardens were purposefully laid out in man-made rectangles, in order to illustrate our mastery over our environment by subordinating the landscape to empirical rules of mathematics. Sometimes we attempt to capture a joyous spirit of reconnection with lost pastoral idylls: the paintings of the nineteenth Pre–Raphaelites embraced the landscape, perhaps realized in its most sublime expression in Sir John Everett Millais’ painting of “Ophelia,” in which the doomed heroine literally drowns herself in an act of transcendence.



However, in the early twenty–first century, when satellite science has mapped ‘everything,’ and wonderment is in short supply, it takes a special artist to make us appreciate nature anew.


Andy Goldsworthy is that artist, who collaborates with nature to make his art. Goldsworthy reconfigures natural elements into new forms: cutting, splicing, stitching and stacking found elements including pine needles, leaves, ice, twigs and rocks; creating sculptures and formations that make us look at the world differently, as if seen with new eyes.


Many of the resultant sculptures are ephemeral (like Millais’ “Ophelia” with those fake flowers on her dress, as she sinks into the water—it all rots in a symphony of fecundity), and their only manifestation is in recorded photographs—taken back from those lonely sojourns into the wild, then, themselves, reconfigured as photographic prints in a gallery context—that capture that ‘perfect’ second’ before these works will, inevitably, expire.


Goldsworthy exacts his own meditations on “chaos, hostility, and murder” to create new forms that radiate a sense of harmony and wonder. When looking at photographic works such as “Iris Leaves with Rowan Berries” (in which green slats of leaves are arranged into a fusion of Asian and Mondrian–esque forms that contain iridescent fields of red berries within, all free–floating on water), or ice forms literally put together with the artist’s saliva, it’s possible to glimpse a fragile poetic metaphor for how mankind’s impact on the planet is both intimate but also a matter of free will:


What will you do to this ecosphere that we live on?


Will you create wonders, or will you destroy?











Goldsworthy, however, doesn’t seem to be an artist with an agitprop eco–theme, or an “earth first” tub to thump.


Rather, he seems to exult in just being in an environment that has no morality; just opportunities for expression. It’s a state of simultaneous emotions of humility and savagery: the former because he submits himself and his abilities to making his art from whatever nature presents to him; the latter in that he destroys to create, by splicing and cutting and imprinting his humanistic view on a world that was quite happy in its own proclivities and wonderments before this ‘man’ came along.


It’s a heady mix that asks profounds questions of the viewer. Goldsworthy’s permanent pieces (sculptures, not photographs), include a series of rock–built sheep pens, in rural English farming locations, that might appear more CGI in execution than the actual collection of physical materials, as they ‘jump’ over walls in arcs of brick… and yet they are real. Tangibly so, constructed from separate parts but containing their own fragile balancing eco–system within themselves. They are strange and otherworldly, yet also practical, designed to last for decades, repulsing the eroding forces of wind and rain.


Those amongst Goldsworthy’s viewers who are prepared to put on some hiking boots and get themselves out into nature can see these permanent artworks for real; or can see Goldsworthy’s photographs and imagine themselves, Ophelia–like, communing with a bigger world.












Your Thoughts




  1. Do you have a preference for either Goldsworthy’s permanent or transient works, and if so why? What does this say about your own conceptual leanings in working with, or contemplating, nature?
  2. What would be the bigger thrill for you: being driven 20 minutes to a museum to see a massive survey show of Goldsworthy’s photographs, or hiking for three hours to see a single Goldsworthy sculpture? Either way: why?
  3. Goldsworthy brings nature into man-made spaces. Is this a legitimate strategy, or is it just trendy co–option? Does the fact that these works are even seen in a gallery pollute the spiritual core of the original artistic impulse?
  4. Is “process” (i.e. the hidden unseen aspects of Goldsworthy’s work before we get to see the final work) a critical part of an artwork, or is all that just preparation, that we don’t need to know about, and which has no impact on the final singular work?









Andrew Goldsworthy: An Artist's Celebrations
It’s the first thing that our ancestors recorded in cave paintings. Sometimes we foolishly attempt to ‘tame’ it: seventeenth century English gardens were purposefully laid out in man-made rectangles, in order to illustrate our mastery over our environment by subordinating the landscape to empirical rules of mathematics. Sometimes we attempt to capture a joyous spirit of reconnection with lost pastoral idylls: the paintings of the nineteenth Pre–Raphaelites embraced the landscape, perhaps realized in its most sublime expression in Sir John Everett Millais’ painting of “Ophelia,” in which the doomed heroine literally drowns herself in an act of transcendence.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
Loading...

Collection: The Steampunk Menagerie

Thu Dec 18, 2014, 6:51 PM
51-img-00 by techgnotic








The magic of thousands of years of natural selection and other evolutionary factors has created in all living creatures pretty much the optimal version of each for where each fits in the world. But never tell a human being, especially a steampunk, that there’s no need to fix what isn’t broken.


Here’s a collection of interesting imaginings of mechanical steampunk replacements for the somewhat mundane denizens of the actual natural world. For some people, especially some artists, until there’s been an upgrade or enhancement to anything, there just isn’t any “there” there.









Collection: The Steampunk Menagerie
The magic of thousands of years of natural selection and other evolutionary factors has created in all living creatures pretty much the optimal version of each for where each fits in the world. But never tell a human being, especially a steampunk, that there’s no need to fix what isn’t broken. Here’s a collection of interesting imaginings of mechanical steampunk replacements for the somewhat mundane denizens of the actual natural world. For some people, especially some artists, until there’s been an upgrade or enhancement to anything, there just isn’t any “there” there.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
Loading...
01-img-00b by techgnotic












Foreword by techgnotic

Introducing Slywia Telari



The Today Page welcomes Slywia Telari (aka STelari) with a review of the one of the most beloved animated feature films of Hayao Miyazaki, “The Castle Of Cagliostro.” A DeviantArt community member for over six years, Slywia is a traditional artist, working mostly within the mediums of ink, graphite and water color, as well as a wonderful storyteller and concept artist. Slywia is also a Community Volunteer for Traditional Art, so please let her know if you see an artistic work that you feel is worthy of a Daily Deviation in that category.











I watched The Castle Of Cagliostro after having seen all of the “Master” Miyazaki’s more recent films. It was a fantastic opportunity to see the foundations of his career and the roots of the magic Miyazaki formula that he would apply in his later productions. Based on the “Adventures of Arsène Lupin III” manga created by the artist Kazuhiko Katō (or Monkey Punch, as he prefers to be known), The Castle of Cagliostro (1991) has continued to be very positively received by audiences over the years, despite a not so enthusiastic review by Monkey Punch himself, who liked the movie overall but felt the character’s interpretation was too far a departure from his original conception.


Arsène Lupin III is quite the charming burglar, said to be a grandson of Maurice Leblanc’s famous character, the French gentlemen thief, Arsène Lupin, whose first adventure was published in 1905. One of the major differences between Miyazaki’s version and Monkey Punch’s original is Lupin’s personality, transformed from a cold and ruthless criminal into a fellow who is rather heroic and good–natured at heart. Such changes didn’t bypass the other characters either, creating the sort of ensemble so recognizable (although still not fully developed) for those familiar with Miyazaki’s later films.


One can easily notice the signs of the Miyazaki style that was to become the flagship of Studio Ghibli. Not quite what you can see in Nausicaä of the Valley of the Wind, released 5 years later, but with the attention to detail, the unusual camera angles and the pattern of movements personalized for each character, is exactly what you expect from Miyazaki in his other works. The setting, both the landscapes and the architecture, is a wonderful example of akogare no Paris, a romanticized vision of Europe (and European inspired locations), another trademark element of his productions. What may be surprising for Ghibli fans is probably the language, as he didn’t restrain himself from using more mature dialogue.


This movie will make you smile. It has a never-ending display of beautiful visuals to marvel at and chase scenes the animated equal of any in the James Bond films. It does have a few cheesy moments here and there, and a stereotypically evil, one–note antagonist, so atypical for a Hayao Miyazaki character. But it also has those forever memorable scenes that steal your heart and details that will make you wonder. The Castle of Cagliostro should be on your watch list. It’s a good one.










Hayao Miyazaki: The Castle of Cagliostro
The Castle of Cagliostro (1991) has continued to be very positively received by audiences over the years, despite a not so enthusiastic review by Monkey Punch himself, who liked the movie overall but felt the character’s interpretation was too far a departure from his original conception.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
Loading...

Animals Within, Spirit Animals

Wed Dec 17, 2014, 5:34 PM
71-img-00 by techgnotic













There has always been this obsession with the others we share this planet with.


We communicate with them on certain basic levels and yet they inhabit a plane so different from ours: savage, instinctive, a life of sheer survival. At the same time they can do things beyond human abilities: fly through the skies, swim the oceans, apply the physical strength of a dozen strong men. They survive and thrive where we would perish. Yet animals cannot tell tales of their experiences. When we speak of an animal, even our beloved pets and friends, we can only imagine their emotions, thoughts, and inner lives.


Is it then any surprise that from cave paintings to cereal mascots—animals and art are inseparable?



From the beginning of recorded time, animals have been immortalized in pottery, statues, been worshipped as gods, and had fables and myths created in their image. Seventeen thousand years ago, in a cave shielded from the sun, a Cro–Magnon artist raised her bundle of split reeds, dipped them into charred black soot, and began illustrating an opus of animal life: stags, cats, bears, birds. Five thousand years ago, Egyptians integrated animal features into creation myths, and used them as hieroglyphs, adapting the recognizable forms of vultures, bulls, cobras and lions (among others) into a communication system.


Today, in every culture across the globe, animals serve as mascots for sports teams and cereals. We have Tony the Tiger and Toucan Sam. Anthropomorphized animals star in movies and comics. My Little Pony has amassed groups of Bronies. Animal cosplay is mainstreaming into mass culture. It all still begins with a child given that first crayon who immediately begins to sketch the familiar forms of cat and dog.


Animals are intrinsic to creativity and art—but why are they so satisfying to observe, mimic, and draw? What is the power they maintain over us to the extent that so many feel an actual spiritual connection with a particular species of their own extended family—cats, dogs, wolves, dolphins, raptors? While so many feel this connection, artists seem particularly sensitive to the presence of their animal spirit kindred and guides.












Why are artists so drawn to animals?


Visually, animals are beautiful and compelling subjects.


Animals are an efficient subject. Identifying characteristics can be drawn and recognized easily— cat eyes, elephant tails, butterfly wings, bunny ears: all unique visual traits. Powerful physical capabilities lend themselves to artistic expressions of motion. The long fluid moves of a deer, expressively captured with a few expert lines. Quick brushstrokes sketch a hyperactive monkey. Heavy pen lines suggest the static power of a stoic elephant. Physical similarities help artists develop a quick visual shorthand for a specific species—but unlike humans, animals that look alike often behave similarly. While anyone who’s ever lived with a pet knows animals have individual personalities, it’s not over–simplifying to state that each type of animal has its own range of specific behaviors and attitudes. It’s this species–by–species predictability that draw individuals to become fond of a particular animal. Just as an artist may prefer certain subjects or materials, so do artists become fascinated with the idiosyncrasies of a species.



Emotionally, animals express primal urges and desires.


Animal personalities are predictable. Tigers are fierce, squirrels are nervous, sharks are stealthy, hippos are lazy. Compared to the complexity of human behavior, animals are simpler beings. They behave according to instinct, not reason. As such, they serve artists well as ciphers for emotion. It’s not just art that allows us to connect spiritually with animals. It’s easy to observe, in ourselves and others, subconscious similarities between personal behaviors and the characteristics of a favorite animal. We’ll call a clever person a fox, or a stubborn child a donkey. A sweet guy is a puppy dog. A sexy lady is a minx. An angry, stubborn man is a bull. Animals serve as elements of our visual and written language.


Humans explore our own instincts through animal art.


Using animals in art, we recognize the most beautiful and terrifying parts of ourselves—our instincts. Society and language are important for humans, but when we feel urges or emotions beyond what is widely accepted or understood, both of these creations fail us.


When we talk about “spirit animals,” it can be in a magical sense, the idea that an essence we can’t see is guiding us through our lives. Or it can be an affinity for a species we find our instincts connecting with. Perhaps we have a fondness for the way they move, finding them fun to draw. Maybe we can imagine the world through their eyes, running, flying or swimming at top speed. But perhaps we see something more than the animal. We see ourselves.


Animals provide a bridge between the alien and familiar, allowing humans to recognize ourselves in strange forms. We can represent our fears and our desires expressed without reserve. Through animal eyes, we can acknowledge the oddness and the fallibility of humanity. Featuring animals in art, we can interpret many spiritual aspects: the primal and the innocent, the beautiful and mysterious. As long as we share a planet, artists will look to our Earth companions for inspiration and understanding of ourselves.






Community Thoughts



I personally have been drawn to animals my whole life and my earliest pictures were always of wildlife. I think artists see the world through different eyes than most and the things that fascinate us speak to us on a deeper level. Animals are an enigma, they have intelligence and their own means of communication and yet we can only hope to understand and be a part of their world. If you've seen my gallery you know I clearly have a fondness for big cats, I find everything about them to be beautiful and awe inspiring. My art is a way for me to get close to these animals in the only way possible, I’ll never be a zoo keeper (because I know myself and I wouldn’t be able to respect the boundaries they do and I’d get eaten—that’s a fact) and I’ll never own one because it goes against everything in their nature to held in captivity as a pet. It can be a very intimate experience to draw an animal in detail and it makes me feel close to them and privileged to show a side of them that others may not see. Any great animal art in my opinion has to come from a deep love and respect for the subject first and foremost by the artist, and what follows is their tribute.”


:iconheatherzart: Heatherzart






I think people gravitate toward depicting animals in art because they are simply aesthetically stunning to look at. Humans are very visual beings and we have always enjoyed striking colors, beautiful patterns, flowing lines and powerful forms. All animals have something which can be appreciated. Like for example dramatic plumage, or the intricate silver and black patchwork that is the coat of a snow leopard. To capture that on canvas is something many artists find alluring.”


:iconailah: ailah












Your Thoughts




  1. What animal do you find yourself drawn to in your art? What about this subject is so ennobling that you would seek to emulate?
  2. What personal qualities do you possess that drive you to feel a shared connection with a particular animal?
  3. Do you have vivid dreams in which you become, or run with, your “spirit animal”?
  4. Over time, how has your understanding of this animal evolved? Has your perception of the creature changed?
  5. What are some challenges you’ve experienced in terms of drawing animals, and how have you solved them?
  6. How does drawing an animal compare to drawing a human?
  7. Who are your favorite animal-focused artists in the DeviantArt community?









Animals Within, Spirit Animals
We share the planet with them and communicate with them on certain basic levels. Yet they inhabit a plane so different from ours: savage, instinctive, a life of sheer survival. At the same time they can do things beyond human abilities: fly through the skies, swim the oceans, apply the physical strength of a dozen strong men. They survive and thrive where we would perish. Yet animals cannot tell tales of their experiences. When we speak of an animal, even our beloved pets and friends, we can only imagine their emotions, thoughts, and inner lives.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
Loading...

Paul Tobin's Scavenger Hunt Part 2

Wed Dec 17, 2014, 5:33 PM
72-img-00 by techgnotic










Avatar & Narnia: Inspirational Tutorials


Masterful Resources on DeviantArt


:iconpaultobin:

PaulTobin is a conceptual designer, illustrator and graphic designer who has worked at Weta Workshop of New Zealand since 2003.




He has worked on films such as Andrew Adamson’s The Lion, The Witch and the Wardrobe, Prince Caspian, Peter Jackson’s King Kong and James Cameron’s Avatar and most recently The Hobbit.


A master illustrator who has had gallery showings of his own original fantasy and sci–fi art, he has become a spokesman and advocate for other New Zealand fantasy and sci–fi artists. White Cloud Worlds was the 2010 “coffee table” anthology edited by Paul featuring the works of 27 of his amazing fellow NZ fantasy artists.


Paul has recently been the subject of a series of DeviantArt tutorial videos in which he outlines his work as a conceptual designer in film production and describes his methods at Weta Workshop for developing the best original concepts for the prehistoric or alien inhabitants of other worlds of the artist’s imagination. These tutorials should prove an invaluable resource for deviants interested in pursuing careers as studio graphic designers and illustrators in fantasy films.


Read the full interview


Paul Tobin There and Back Again








White Cloud Worlds Volumes 1 & 2






With forewords and introductions from Guillermo Del Toro, Richard Taylor, Iain Craig and Wayne Barlow, these two lavish volumes represent the finest fantasy artwork from New Zealand.






Paul Tobin has graciously given us 20 copies of his books for a DeviantArt competition.


What you need to do


All you need to do for a chance to grab one of his books is to post in the comments below a link to a piece of art from the community that you think might inspire Paul for his own personal upcoming project about the lost city of Atlantis. Paul will then select 10 of the pieces and the deviant posting the piece will get a copy of one of the books as well as the deviant who produced the piece.


Paul will select his favorites on December 31st and we’ll post a wrap–up shortly after.








View the rest here










Paul Tobin's Scavenger Hunt Series









Leave your selections for Paul in the comments below








Paul Tobin's Scavenger Hunt Part 2
A master illustrator who has had gallery showings of his own original fantasy and sci-fi art, he has become a spokesman and advocate for other New Zealand fantasy and sci-fi artists. White Cloud Worlds was the 2010 “coffee table” anthology edited by Paul featuring the works of 27 of his amazing fellow NZ fantasy artists.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
Loading...

Animals Within, Spirit Animals

Wed Dec 17, 2014, 5:34 PM
71-img-00 by techgnotic













There has always been this obsession with the others we share this planet with.


We communicate with them on certain basic levels and yet they inhabit a plane so different from ours: savage, instinctive, a life of sheer survival. At the same time they can do things beyond human abilities: fly through the skies, swim the oceans, apply the physical strength of a dozen strong men. They survive and thrive where we would perish. Yet animals cannot tell tales of their experiences. When we speak of an animal, even our beloved pets and friends, we can only imagine their emotions, thoughts, and inner lives.


Is it then any surprise that from cave paintings to cereal mascots—animals and art are inseparable?



From the beginning of recorded time, animals have been immortalized in pottery, statues, been worshipped as gods, and had fables and myths created in their image. Seventeen thousand years ago, in a cave shielded from the sun, a Cro–Magnon artist raised her bundle of split reeds, dipped them into charred black soot, and began illustrating an opus of animal life: stags, cats, bears, birds. Five thousand years ago, Egyptians integrated animal features into creation myths, and used them as hieroglyphs, adapting the recognizable forms of vultures, bulls, cobras and lions (among others) into a communication system.


Today, in every culture across the globe, animals serve as mascots for sports teams and cereals. We have Tony the Tiger and Toucan Sam. Anthropomorphized animals star in movies and comics. My Little Pony has amassed groups of Bronies. Animal cosplay is mainstreaming into mass culture. It all still begins with a child given that first crayon who immediately begins to sketch the familiar forms of cat and dog.


Animals are intrinsic to creativity and art—but why are they so satisfying to observe, mimic, and draw? What is the power they maintain over us to the extent that so many feel an actual spiritual connection with a particular species of their own extended family—cats, dogs, wolves, dolphins, raptors? While so many feel this connection, artists seem particularly sensitive to the presence of their animal spirit kindred and guides.












Why are artists so drawn to animals?


Visually, animals are beautiful and compelling subjects.


Animals are an efficient subject. Identifying characteristics can be drawn and recognized easily— cat eyes, elephant tails, butterfly wings, bunny ears: all unique visual traits. Powerful physical capabilities lend themselves to artistic expressions of motion. The long fluid moves of a deer, expressively captured with a few expert lines. Quick brushstrokes sketch a hyperactive monkey. Heavy pen lines suggest the static power of a stoic elephant. Physical similarities help artists develop a quick visual shorthand for a specific species—but unlike humans, animals that look alike often behave similarly. While anyone who’s ever lived with a pet knows animals have individual personalities, it’s not over–simplifying to state that each type of animal has its own range of specific behaviors and attitudes. It’s this species–by–species predictability that draw individuals to become fond of a particular animal. Just as an artist may prefer certain subjects or materials, so do artists become fascinated with the idiosyncrasies of a species.



Emotionally, animals express primal urges and desires.


Animal personalities are predictable. Tigers are fierce, squirrels are nervous, sharks are stealthy, hippos are lazy. Compared to the complexity of human behavior, animals are simpler beings. They behave according to instinct, not reason. As such, they serve artists well as ciphers for emotion. It’s not just art that allows us to connect spiritually with animals. It’s easy to observe, in ourselves and others, subconscious similarities between personal behaviors and the characteristics of a favorite animal. We’ll call a clever person a fox, or a stubborn child a donkey. A sweet guy is a puppy dog. A sexy lady is a minx. An angry, stubborn man is a bull. Animals serve as elements of our visual and written language.


Humans explore our own instincts through animal art.


Using animals in art, we recognize the most beautiful and terrifying parts of ourselves—our instincts. Society and language are important for humans, but when we feel urges or emotions beyond what is widely accepted or understood, both of these creations fail us.


When we talk about “spirit animals,” it can be in a magical sense, the idea that an essence we can’t see is guiding us through our lives. Or it can be an affinity for a species we find our instincts connecting with. Perhaps we have a fondness for the way they move, finding them fun to draw. Maybe we can imagine the world through their eyes, running, flying or swimming at top speed. But perhaps we see something more than the animal. We see ourselves.


Animals provide a bridge between the alien and familiar, allowing humans to recognize ourselves in strange forms. We can represent our fears and our desires expressed without reserve. Through animal eyes, we can acknowledge the oddness and the fallibility of humanity. Featuring animals in art, we can interpret many spiritual aspects: the primal and the innocent, the beautiful and mysterious. As long as we share a planet, artists will look to our Earth companions for inspiration and understanding of ourselves.






Community Thoughts



I personally have been drawn to animals my whole life and my earliest pictures were always of wildlife. I think artists see the world through different eyes than most and the things that fascinate us speak to us on a deeper level. Animals are an enigma, they have intelligence and their own means of communication and yet we can only hope to understand and be a part of their world. If you've seen my gallery you know I clearly have a fondness for big cats, I find everything about them to be beautiful and awe inspiring. My art is a way for me to get close to these animals in the only way possible, I’ll never be a zoo keeper (because I know myself and I wouldn’t be able to respect the boundaries they do and I’d get eaten—that’s a fact) and I’ll never own one because it goes against everything in their nature to held in captivity as a pet. It can be a very intimate experience to draw an animal in detail and it makes me feel close to them and privileged to show a side of them that others may not see. Any great animal art in my opinion has to come from a deep love and respect for the subject first and foremost by the artist, and what follows is their tribute.”


:iconheatherzart: Heatherzart






I think people gravitate toward depicting animals in art because they are simply aesthetically stunning to look at. Humans are very visual beings and we have always enjoyed striking colors, beautiful patterns, flowing lines and powerful forms. All animals have something which can be appreciated. Like for example dramatic plumage, or the intricate silver and black patchwork that is the coat of a snow leopard. To capture that on canvas is something many artists find alluring.”


:iconailah: ailah












Your Thoughts




  1. What animal do you find yourself drawn to in your art? What about this subject is so ennobling that you would seek to emulate?
  2. What personal qualities do you possess that drive you to feel a shared connection with a particular animal?
  3. Do you have vivid dreams in which you become, or run with, your “spirit animal”?
  4. Over time, how has your understanding of this animal evolved? Has your perception of the creature changed?
  5. What are some challenges you’ve experienced in terms of drawing animals, and how have you solved them?
  6. How does drawing an animal compare to drawing a human?
  7. Who are your favorite animal-focused artists in the DeviantArt community?









deviantID

techgnotic
Art is long, life is short, judgement difficult, opportunity transient. --Johann Wolfgang von Goethe
United States
Current Residence: A Peaceful State
deviantWEAR sizing preference: L
Print preference: As Big As Possible.
Favourite genre of music: Rock. Jazz(Hard Bop). Blues. 80's Metal. Tribal(Aboriginal thru Electronic). Classical.Troubado
Favourite photographer: Sebastio Salgado. Richard Mapplethorpe. Walker Evans. Weegee.
Favourite style of art: Post-impressionist. Abstract-expressionist. The New Digital Vanguard. Contemporary fantasy.
Operating System: OSX
MP3 player of choice: Shuffle
Shell of choice: Any Conch will do.
Wallpaper of choice: French Louis XIV Rococo Style
Skin of choice: Thick enough to persevere and thin enough to feel.
Interests

Journal History

Comments


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:iconserel:
serel Featured By Owner Dec 1, 2014  Hobbyist Photographer
Thanks a lot for the watch! :hug:
Reply
:iconsonjasnowbourn:
SonjaSnowbourn Featured By Owner Nov 29, 2014  Hobbyist Photographer
Thank you so much for including my photograph "Glencoe" in your collection "The Scottish Highlands". It is truly appreciated :)
Reply
:iconsewing0109:
SEwing0109 Featured By Owner Nov 27, 2014  Hobbyist General Artist
Thanks for the fave!

It means a lot to me that you both saw and liked my response!

Just out of curiosity, why did you delete the article?
Reply
:iconmiclov:
MiClov Featured By Owner Nov 27, 2014  Student General Artist
Thank you (// u //)
Reply
:iconlove2photos:
love2photos Featured By Owner Nov 27, 2014  New member Hobbyist Photographer
Why do you have a devintart sign next to your user name?
Reply
:iconbanfia:
BanFia Featured By Owner Nov 28, 2014  Hobbyist General Artist
Hi! I know you didn't ask me, but I know the answer to your question! :D
It means that he is part of deviatART's staff!
If you see a symbol next to someones username and want to know what it means, all you have to do is hover over it to see the title! :) If you click it a box will pop up showing you all the symbols! Hope I could help!
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:iconlove2photos:
love2photos Featured By Owner Nov 29, 2014  New member Hobbyist Photographer
thanks
Reply
:iconvercingetorix52bc:
vercingetorix52bc Featured By Owner Nov 26, 2014  Hobbyist Digital Artist
How do you join?
Reply
:iconstarfire-the-wolf:
StarFire-The-Wolf Featured By Owner Nov 20, 2014  Hobbyist Digital Artist
Thank you for making such beautiful collections
Reply
:iconshaudawn:
Shaudawn Featured By Owner Nov 18, 2014  Hobbyist Writer
I enjoyed your article on Triptree, Jr.  Thank you very much for writing it.  I look forward to more of your work.  :D
Reply
:iconskinnymaniniowacity:
skinnymaniniowacity Featured By Owner Nov 16, 2014  Student General Artist
Dead Space One, the original on x box 360, without cheat codes. That game scared the hell out of me !

just look for the "Twinkle Twinkle Little Star" Trailer for the Game on you tube, or if you own the game, just wait for the intro !
Reply
:iconsatanschick:
SatansChick Featured By Owner Nov 16, 2014  New member Hobbyist Traditional Artist
You have cool group!!!
I also enjoyed the way you journal , but why did you send me this?
Reply
:icondeusartmachina:
DeusArtMachina Featured By Owner Nov 14, 2014  Hobbyist Digital Artist
Hey, just wanted to say thanks for including me in your Italian Masters of Horror piece! :D
Reply
:iconashkinmor2:
ashkinmor2 Featured By Owner Nov 14, 2014  New member
I will delete your account
Reply
:iconforest-child232:
Forest-Child232 Featured By Owner Nov 14, 2014  Hobbyist General Artist
You got hugged :iconplzhug: !!!!!!!!!!!!! 
Spread the DA love around! (you can copy and paste this message on their userpage!) 

RULES:
1- You can hug the person who hugged you! 
2- You -MUST- hug 6 other people, at least! 
3- You should hug them in public! Paste it on their page! 
4- Random hugs are perfectly okay! (and sweet) 
5- You should most definitely get started hugging right away! 

Send This To All Your Friends, And Me If I Am 1. 
If You Get 7 Back You Are Loved! 
1-3 you're a bad friend! 
4-6 you're an ok friend! 
7-9 you're a good friend! 
10-& Up you're a great friend!
 
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