“We're all going to die, all of us, what a circus! That alone should make us love each other but it doesn't. We are terrorized and flattened by trivialities, we are eaten up by nothing”
Please welcome suzymae as our newest guest writer for depthRADIUS. Journalism is the latest turn in Suzy’s communications-dedicated existence, her resume revealing her to be a lifetime arts world gypsy only recently having alighted in Los Angeles where she is involved with not only transmedia artwork, video and collage but also the stand-up comedy scene. Please join me in welcoming suzymae to the deviantART family, the best home for artists displaying Suzy’s spirit of peripatetic creativity, thoughtful human observation and all-in life commitment to self-expression through art.
It’s a simple art form, yet it provokes extreme reaction. One either loves it or hates it. Children understand it. What child has not cut out and glued together collages of family members or friends or favorite entertainer role models? Yet when an artist combines objects that evoke more subtle meditations, collage is often dismissed as the lazy man’s art form.
Where’s the technique? The hours? The “value.”
Indeed, collage is often assemblages of roadside detritus. But the power or melancholy of the image then created to be experienced uniquely by each of us can be a thing of wonder, magical. How to appraise this “value?” Quotation fails. Perhaps it’s the purity of this magical artist-viewer exchange that so confounds the assayers. Sometimes junk can be pure gold.
Collage, as a fine art form, was consciously explored in the early 1900’s across Europe and the Americas, inspiring a new wave of contemporary commentary, as artists integrated physical objects from everyday life directly into their art, transforming pieces of mass media into imaginative, opinionated statements on society.
In its purest form, collage is alchemy: a power that transforms something in a mysterious or impressive way, merging components from multiple sources into an entirely new expression of emotion.
One need not be a technically skilled illustrator or photographer to assemble an effective collage—but to invoke a new reality out of existing components, a sense of storytelling and composition is crucial.
As each observer develops their own unique emotional perspective on the piece, attaching their personal history to the components within, viewing a collage becomes an act of alchemic creation in itself.
“Collage is the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them.”
Collage derives its name from the French verb coller, to glue.
It’s a technical description, reducing the practice of collage to its most basic form: attaching things to a surface. Conceptually, collage is controlled serendipity, combining disparate pieces of imagery into one singular experience.
Materials are limited only by imagination: parking passes, fine Japanese papers, cigarette butts, doll arms, dollar bills, seashells, human hair. Anything on earth becomes a medium.
Since the invention of the printing press, words and images have been re-appropriated to tell stories and process information.
Information retained by a single person, such as quotes, recipes, poems and laws.
Compendium of signatures and drawings, collected from a variety of individuals.
Photographs and drawings cut, colored, & pasted to depict relationships & events
Artworks incorporating mass media objects alongside traditional materials.
Digital compilations of moving & still images, text, and sound.
“In collage you can mix up new flavors and thoughts for people to find.”
“The outsider might see it as collage; I regard it as painting. The paint I use comes with ready-made pictures and ideas in it, and as it doesn't blend, painting with it is like playing a giant game of open-ended three-dimensional Tetris, wherein each piece retains its roots in the material while the growth is angled towards the topic it portrays.”
The first deliberate and innovative use of collage in fine art came from Georges Braque and Pablo Picasso in the spring of 1912.
Pushing the limits of dimension and illusion via Cubism, the two broke 2D barriers with a series of papiers collés. Picasso incorporated an Italian postage stamp in his painting “The Letter.”
Braque used a wallpaper wood grain to conjure café tables in Fruit Dish and Glass.
After these well-known artists initiated the use of everyday objects within traditional paintings, the technically simple concept of collage came to affect the trajectory of contemporary art over the following century.
“Regardless of the medium, whether it is in Eliot or Picasso or a TV thirty-second advertisement, I think collage is the twentieth century's greatest innovation.”
The process of collage is anarchic and constructive at once, a practice with infinite possibilities.
This freedom and power inspired progressive artists to push boundaries, while simultaneously legitimizing pop as culture. Cubists, Surrealists, and other visionaries took on collage as idea, creating assemblages, constructions, readymades, and cut-ups. Neo Dada, Pop Art, and Conceptual Art all sprung out of this radical transformation of what art could be and contain.
As a process to invoke new realities, collage allows any artist to explore immortal nostalgia: transforming what already exists into a desired reality. Inclusive and quick, open to personalization and multiple mediums, the lack of rules and infinite sources of material challenge all creative individuals to develop their own innovative approach to collage.
“It’s not where you take things from—it’s where you take them to.”
He could just turn around but he’s asking his army of twitter followers to photoshop the hell out of whatever it is that's on the green screen directly behind him. What an opportunity, deviants
spyed and myself have been wishing Comic-Con was NOW. We just, miss it. The artists, the alley, the 120,000 kindred souls all together aligned in the collective world mission of a color exploded pop culture singularity, blending every possibility real and imagined.
We want the obligatory Wil Wheaton Comic-Con sighting now.
Do it to Wil. Do that now.
What better way to kick things off for the depthRADIUS Road To Comic-Con than by feeding poor Wil to a one-eyed-one-horned flying people eating Cthulhu! marioluevanos could do it blind (and he may) but consider Wil’s green screen, fellow kindred deviants, as your first Challenge!
This weekend do your thing! Get crazy!! Expose Wil to every dark corner of the universes that so far he has only pretended to be in. The clock is ticking!!! Tweet it to Wil #photoshopwilwheaton and then link us to your devious efforts in the comments below.
Some suggested themes and prompts to whet your Wheaton:
Only you have the answer, lazing in the darker depths of your sleeping psyche. Time to conjure up some silly madness and surface the winning tweet! Don’t worry, more to come on the way to Comic-Con San Diego!
depthRADIUS is named after the deviantART community that it reflects and represents.
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 arts-related individuals 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, education and appreciation.
“We are all listening to each other.”
"There is no escape. You can't be a vagabond and an artist and still be a solid citizen, a wholesome, upstanding man. You want to get drunk, so you have to accept the hangover. You say yes to the sunlight and pure fantasies, so you have to say yes to the filth and the nausea. Everything is within you, gold and mud, happiness and pain, the laughter of childhood and the apprehension of death. Say yes to everything, shirk nothing. You are not harmonious, or the master of yourself. You are a bird in the storm. Let it storm! Let it drive you!"Herman Hesse
A New Wind Lifts Storytelling
First imagined as a bedtime tale for his son by Kenneth Grahame in 1908, The Wind in the Willows has remained in the top twenty children’s stories ever since. But things have been getting weird out in the Willows, as the new comic on deviantART, Weirding Willows, will attest to.
Badger, Mole, Ratty and Mr. Toad are back… but they’re joined by Alice, Frankenstein’s Monster, Mowgli, The White Rabbit, Peter Rabbit and Benjamin Bunny as they defend the world from the Wicked Witch of the West, Doctor Moreau, the Mad Hatter, Mister Hyde and the Queen of Hearts (not to mention the flying nightmare monkeys from Wizard of Oz.)
The new direction taken by Weirding Willows, recently published in multiple formats, reflects the new worldwide comic audience being opened up by the Internet and the new technologies and the needs and desires of that audience being serviced by those who recognize it.
reator and writer of Weirding Willows, Dave Elliott, is at once introducing beloved childhood fables and adolescent fright tales in Western culture to new readers, while re-imagining them for those of us already familiar with them on some level. Tying the separate strands of the disparate fantasies into a cohesive narrative is accomplished by centering the narration in a new Alice in Wonderland. And by “new” I mean smart and engaging—rather than being simply the target of CGI effects as she’s been reimagined in the latest studio rehashes. Librarians and teachers have been embracing Weirding Willows and are reporting a heightened interest in the classic “Frankenstein” and “Jekyll & Hyde” texts as well as a revisiting of all the other fantasy figures of bedtime tales. This new comic seems to be generating an interest in a dozen classic characters’ “back stories” and that couldn’t be better news for the future of fantastic storytelling.
No better an example of the new storytelling is to be found in Weirding Willows, published by Titan. What would have once been developed as a simple “mash-up” of diverse childhood story characters in a sort of very strange Justice League, Weirding Willows has the benefit of fan input into precisely which characters have been chosen to resurrect from deepest childhood dreaming as well as a continuing conversation with the story direction with the writer as the issues progress.
The new paradigm, wherein lies the future of storytelling—opens the next chapter in the history of pop literature.
funny thing happened on the way to the funeral for the storytelling narrative, its obituary written by the traditional publishing industry: the genre is thriving rather than dying, and with an infusion of more independent spirit and creativity than has ever before been possible. Weirding Wilows is a prime example. The Internet has done more to liberate rather than destroy storytelling, the new technology encouraging fan comment, contribution and even collaboration on an unprecedented scale. The publishing houses feared their loss of total control of dissemination of “IP” (intellectual property) would mean novels, comics and all other storytelling vehicles would be pirated into chaos, creators unable to find a way to get paid for their art. Instead of this deathly scenario, a new dawn has broken – with fans exercising more direction over their favorite stories and characters while the narrative is still in creation.
Dave Elliott puts an enormous amount of effort into helping deviantART community members move forward as artists as they try to determine how they want to enter the industry.
After launching two of his own anthologies Dave has just announced, through a journal on his page, plans for a third regular anthology locked and loaded with deviant artists of every medium exclusively.
he comics industry’s insiders know Dave as the go-to guy whose name alone will lend mighty credibility to any project in need of more lift to get off the ground. He’s the best coordinator and facilitator of talent in all comicdom. He’s the man who finds a way to make independent projects happen. What should be better known by the reader-consumers, fans and advocates of comic books and graphic novels is Dave’s extensive resume and well-deserved reputation as one of the most influential figures in the industry, as both creative artist and businessman.
For the last few years Dave Elliott has become known as one of the most sought after World Builders, an essential skill necessary to facilitate “Full Spectrum Narrative” IP development for the entertainment industry. From co-founding Radical Studios where he developed a new more realistic and grounded version of Hercules, that Dwayne “The Rock” Johnson is currently shooting under Brett Ratner’s direction, to co-founding Benaroya Comics, creators of Red Spike, Samaurai’s Blood, and The Marksman, all released last year through Image Comics. Sam Sarkar’s comic series The Vault sold to Graham King after being co-developed and packaged by Dave.
As the industry stands now, what are the best tips for breaking in?
I think the ‘Industry’ is being redefined right now. The traditional model of publishing is crumbling and what ‘is’ Industry has almost personal relevance now. If you draw Superman every month your idea of the Industry is the Direct Sale Market which caters to the 1,200–1,500 physical stores around the countrty. The Direct Sale Market expanded into the digital domain through companies such as Comixology and iVerse.
Breaking in is actually best done by proving you've got what it takes to do a great job and producing high quality, consistent, work. Marvel and DC look towards IDW, Boomstudios, Dark Horse and Image Comics for their talent. They do that because there is no hiding when a creator can't keep their deadlines or has an emotional meltdown. Editors are also scouring deviantART for new talent. They're watching creators who post often, consistently and get a lot of traffic. If you do a piece of work that you want a specific editor to see tweet a link to them but don't always expect a response. Don't send a Wolverine pin-up to the Batman editors. If you want to draw something in particular you're going to have to do some samples of that character. You can always get more eyeballs on your pages by doing mash-ups where characters meet who couldn't in their own books. Have Batman meet the new Sherlock. Draw how you would imagine the Justice League would look in J. R. Tolkien's world. Have Blade and Buffy team up against the Twilight characters. Images and ideas that will get people adding your images to their favorites and talking about them. Send people to your deviantART page by using Facebook, Twitter and Instagram with teases.
All these additional hits will increase the chances of you getting noticed.
First ask yourself do you love the idea or are you doing it because others might like it. You have to love your own idea and world. If you want it to resonate with an audience it has to resonate with you first. You have a far better chance of connecting with people if your heart is in it. It'll come through. It's no guarantee of success but your chances will be higher. Here's a small list of things that you must know before you start;
If you have come up with the story first and are creating the characters afterwards, make sure they stay in character. Don't have them go against character just because you want something to happen, plan ahead. It sounds obvious but people run into it all of the time and many end up creating a new character just to move the story along. Those characters are always forgettable and a distraction.
Have you experienced having your comments and suggestions alter the narrative of stories-in-creation on deviantART or elsewhere?
Yes, we all suffer sometimes from being too close to our ideas and think that we've explained things out well enough only to find someone ask a really obvious question that leaves us scratching our heads.
This happened only recently when I posted a couple of pages of Weirding Willows up relying on everyone knowing who the characters were and the setting. You can't always rely on people having read all your deviantART entries or read every issue of your comic or book.
It's also happened when I've seen people warm to characters I wasn't expecting them to and after reading comments and seeing what they saw you have greater appreciation yourself for them. That happened when I decided to team Peter Rabbit and Benjamin Bunny with the White Rabbit. Their dynamic changed and I now want to do a set of stories focusing on just them (and their new friend Jack. Who isn't a rabbit).
Do you see artists considering the suggestions of other artists and fans as democratic or authoritarian, as community building or interference with artistic freedom and independence?
Every artist is different. Some just want fans. Some like the real artistic discussion of method and influences. Remember, when you post something you're going to get comments and not all of them you'll like. It is something we all need to come to terms with that not everyone will like what you do. Some may take time to warm up. It is your artistic freedom to post just as it is for someone to make a comment. It is how we react to those comments that will define how we grow as artists and as members of this community. You have your freedom and your independence and only you can give it away.
Do you think stronger (or weaker) mythic narratives will be the ultimate fruits of technological changes underway?
I believe if you want to connect with as many people as possible using a mythic narrative is essential especially if you ever plan to open up your narrative to others to participate in. A well thought out mythology to the world (no matter how real or grounded) adds to the believability of it and encourages immersion into it. Techgnotic came up with the best term for the development of a story or concept that can spread across many different platforms and art forms; “Full Spectrum Narrative.” We are all in this new technological age of communication. A single device can be a book, a comic, a video game, an animation and they can all be about a single idea. Each medium can be a different facet of your concept, not just the retelling endlessly of the same story. A rich mythology give you and others a universe to play in without once bumping into each other.
Can you talk a little bit about the artist, writer, producer collaboration when building new narrative worlds? Should creators be their own Editor/Producers?
We are all producers. We ‘produce’ our work. In this new age we also need to be our own editors. More and more we'll be assembling projects to be published ourselves rather than have a publisher come along and act as the producer for us. We all have to learn how to wear more than one hat. The process of sharing messages between each other isn't much different than utilizing social media to bring an audience to our work. Fortunately as deviantART has grown so has the variety of skills coming to the community. If you need a letterer or colorist or a model just write a journal. It may take a while but somebody will always know someone who you can talk to. In comics, the writer and the artist must become their own editor and production managers. They must learn how to assemble and format everything they need, figure out how to post it and then promote it. Good material will usually get discovered but banging the drum really does help.
Producing The Lost Kids has forced me to wear a lot more hats than I could ever have imagined. Dave is absolutely right; we must all be producers as well as editors for each new IP. This takes someone with a lot of focus and energy and someone who knows how to surround himself with the right people for a direct delivery the audience.
Internet sites like deviantART have bridged the separation between creator and audience so that we are talking every reader, viewer or player in a very particular way. DeviantArt has done the same with creator and other talent. Now, being able to draw but not able to write or being able to write and not being able to draw or letter is no longer an excuse to abandon your vision. deviantART has killed that excuse. If you want to work on your own comic book, your novel, your film, your art, but lack skill in certain areas, you can now find artists to collaborate with who can fill in the blanks.
The Lost Kids and Weirding Willows are prime examples of artists coming together for a single vision, for a single story. What aspiring story creators should take from their example is that your own project is possible if you put in the time, energy and focus to put together the team you need. If you have a vision, you can now assemble the right support team—and be gathering feedback from your audience throughout the process. Storytelling is a very collaborative medium and Internet sites like deviantART are making it more and more possible and more and more fun.
A wonderful example of the potential of deviantART and how to use it to build out your concept even if you're not an artist is FelipeCagno and his series The Lost Kids. His ideas resonated with so many artists he was able to persuade them to do pieces that he could post on his page and in doing so designed his characters and gave life to his world. He is about to finally release his comic series on multiple formats.
“I like Bradley's work because you can tell that from time to time he wants to get lost in his own details of the world he has created for his Thrilling Tales of the Downright Unusual adventure series. He has created a world spawned by his own interests and his love for them pulls you in.”
“Maybe it's a generational thing but I really miss the three panel newspaper strip format in this age of digital news.
2GAG (Two Guys and Guy) is a reflection on society and how we interact with each other in relationships. It is also very funny because of that. I've found myself laughing at myself many times.”
“Lost in the Vale is a lovely series produced by Julie and Alan Curtis. Julie's artwork seems to mix several influences, such as manga, anime and traditional American comics, but doesn't adhere to any and so she's created her own look that appeals to several different tastes.
Her deviantART page complements her website nicely where you can see all the designs and thought processes going on.”
“Plume is an awesome fantasy, action, supernatural western. Hopefully this will find a good publisher that will get it out to a wider audience. K. Lynn Smith has a fun series here that should appeal to most ages and sexes.
There is a universe built around Plume that even though it is only hinted at you know it is there and that she's not about to run out of story material soon.”
“Toby Cypress is one of those artists who grows and grows on you. His influences are diverse but don't expect all those influences to show in his art as many of them influenced what he draws more.
Toby decided to not bother waiting for the main comic publishers to discover his talents, instead he went it alone and self published Rodd Racer through his own company Punkrock Jazz Publishing and has been working on his next big project KURSK that he's gearing up for a Kickstarter launch but has been sharing pages and designs of his deviantART pages.”
“Humor is usually tied by geography and local circumstances. MAD magazine used to be awesome when every country could do its own thing. Carpediem, created by Rhoald Marcellius (from STELLAR Labs), is one of those action strips filled with humor that crosses every border. It wouldn't have been out of place in MAD magazine and, I'm going out on a limb here, it may just be the next Tank Girl.”
Looking for an exclusive insiders view on participating in the Comic book/graphic novel indusry. Look no further than this journal series "Acts Of Creation."
• • •
“When the well’s dry, we know the worth of water.” ~ Benjamin Franklin
“Don’t sacrifice yourself too much, because if you sacrifice too much there’s nothing else you can give and nobody will care for you.” ~ Karl Lagerfeld
Love yourself first and everything else falls into line. You really have to love yourself to get anything done in this world. ~ Lucille Ball
Last day of Mission-Preparation-Protocol. Slow roll of the mighty Artist Alley rocket ship out to the launch pad has begun.
Systems and housings look stable.
Fuel lines clear and steady.
Test firing booster engines.
San Diego flight and arrival path confirmed.
The 200 wondrous artists of Artist Alley are approaching, armed, adrenalized, and ready to draw.
Psychologicals of all deviantART personnel and support staff assessed and locked down.
Llamas prepped and groomed.
Security alerts and procedures initiated. All Creative Systems cranked to “11” and then broken off.
All nations beware and all nations rejoice.
We are Inked, Locked, and Loaded.
Fella just flashed the GO Signal.
ComiCon 2013 is on
Come join us at San Diego Comic-Con 2013! DeviantART's booth, located in Artists' Alley, will be open and available throughout the convention. Stop by to play with one of our many computer stations, take a photo in front of our deviantART/Comic-Con backdrop, or just say hi to deviantART staff members! Additionally, we're also hosting three interactive panels that cover a range of topics from motion books to the business of fan art.
As soon as you're born they make you feel small
By giving you no time instead of it all
Till the pain is so big you feel nothing at all
A working class hero is something to be
They hurt you at home and they hit you at school
They hate you if you're clever and they despise a fool
Till you're so fucking crazy you can't follow their rules
A working class hero is something to be
When they've tortured and scared you for twenty-odd years
Then they expect you to pick a career
When you can't really function you're so full of fear
A working class hero is something to be
Keep you doped with religion and sex and TV
And you think you're so clever and classless and free
But you're still fucking peasants as far as I can see
A working class hero is something to be
There's room at the top they're telling you still
But first you must learn how to smile as you kill
If you want to be like the folks on the hill
A working class hero is something to be
If you want to be a hero well just follow me
Working Class Hero by John Lennon
With the singularity right around the corner, leading neuroscientists, social psychologists and philosophers from universities around the world consider the ongoing, cutting-edge, scientific and philosophical research on the question of free will to be the most important inquiry occurring today as it relates to the fate of humanity. Millions of $'s in funding are being allocated to answer these big questions and concepts. (As technology for mega-destruction or mega-healing becomes available to every human, will our survival depend on individual will (“free” or conditional) to simply use or not use it.)
Is free will compatible with determinism? (Does every new bit of information I consume instill qualifying conditions on my “free will” decisions?)
"The classic problem of free will is to reconcile an element of freedom with the apparent determinism in a world of causes and effects, a world of events in a great causal chain."
Are determinists and compatibilists correct in that if our actions had random causes we could not possibly be morally responsible? (If the only true freedom is possible in a state of absolute chaos, of what value or valor is having “free will” anyway?)
Does Accumulated Knowledge Affect Free Will? (Would we still pursue lives of wealth and excess If we knew our “footprint” to be reducing the quality of life of unknown others?
As an artist, have you ever felt the pull of self-censorship, of the need to water down an image to the level of the artwork being "dishonest" -- all in order to at least get a "partial victory" in a subject getting presented at all? Is this choice of compromise to achieve some partial good an example of the complexities of exercising your free will as an artist -- or is it an example of the betrayal of the very principle of free will?
The Conundrum: Your free will demands you make a decision that is an equitable solution to all involved. But what if your free will entertained the notion that your work deserved a greater slice of the pie. What if you wanted more though you recognized you didn't deserve more? Is free will a force that can empower either good or evil impulses? Or does the ethical development of the individual over time temper free will to the consciousness of consequences for one's actions to the point of "free will" being no more than the selfish uninformed stage of childhood or the earliest savage ages of humans fighting for survival at the dawn of time?
A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.
Dwayne “The Rock” Johnson will produce a movie based on a drawing (“sweet Halloween dreams”) by deviantART digital artist begemott. The drawing depicts a tiny teddy bear with a tiny wooden sword and shield defending a sleeping child from the advances of a hideous beast sprung from the child’s nightmare.
The drawing was spotted on deviantART and brought to the attention of The Rock, film company, New Line, and the production company that produced The Rock’s successful movie “Journey 2: The Mysterious Island.”
“Begemott’s gallery is full of wildly imaginative art works... We want to become a part of that world and find out what happens next.
Begemott’s gallery is full of wildly imaginative art works that succeed in capturing the moment in an idea’s “story” that represents a portal into a separate world. We want to become a part of that world and find out what happens next. Almost any of the images from this artist’s gallery could serve as a more interesting story platform than the mostly stale stories released every Friday in our movie theaters. So what at first blush might seem a bit crazy— constructing an entire film narrative from a single artist’s image— becomes much more understandable.
Even within short viewings, the striking and evocative story possibilities of begemott’s artworks spark the imagination. But so many of these paintings deserve longer viewing sessions offering even greater reward by allowing the constructed tableau to percolate and truly come to life. Sensing the dilemma these characters are facing becomes the core focus when viewing these works. Empathy for the subject and situations and the just occurred events comes easily as the scenes unfold and the characters’ relationships with themselves and others become clear. These newly familiar characters exude more identity and personality than the scripted clichés populating too many a screenplay.
The creativity, imagination and resonance with seekers of art that is always next-level, delightfully wicked and yet thoroughly human, always the portal moment of a story we want to enter, is what makes begemott’s art so special. And as a moment of captured “living narrative” his work is drawing in those in the entertainment businesses charged with finding life buried in the stacks of deadheaded old-thought pitches and submissions.
DeviantART's great proletarian aesthetic is infusing media. Presented for your consideration: the likeness of a central character in Bioshock Infinite was sourced from a prominent cosplayer on deviantART, ormeli; and the recent suggestion by a snarky critic that the key art poster for The Great and Powerful Oz must have been made by a “14 year old on deviantART”— it certainly reflects deviantART because that’s what the world wants to see.
This community is the dominant aesthetic.
DeviantART is becoming known as the place to come to, where the imagination for the new millennium and the new narrative spaces of the Internet are to be found. And begemott is the newest example of the narratives being discovered here.
Deviants should be made aware that this phenomenon of Hollywood finding movie ideas in the galleries of deviantARTists is not novel. This community’s impact on the aesthetic and narratives of all media is substantial and constant though frequently invisible. This event is distinguished by the high profile acknowledgement of the artist and of deviantART as the source of his work.
Is there a particular artwork, or an artist’s work in general, in which you notice this “moment from an unwritten story” phenomenon?
Have you ever been intrigued enough by a “narrative moment” artwork on dA to ask the artist in a comment to tell the rest of the story? Would you like to do that?
Do you think the Hollywood studio trend in seeking more imaginative narratives in dA’s “unwritten stories” will increase?
Is this because audiences in the Internet age in general are demanding more full spectrum or multifaceted platforms for their narrative entertainment?
Which brings us to each year’s communal celebration of the passing of our lifetimes:
New Year’s Eve
So what did you “actually get done” in the past year? How closer are you to a grand goal in life? An assessment is made and then the inevitable Step 2 of the yearly process is engaged, which is often a word for word repeat of last year’s Step 2:
The New Year’s Resolution
There seem to be two main strategies that emerge at this point of facing the New Year, a “brand new morning.” The lone wolf quietly acknowledges goals not yet reached, and is even more secretive in the “new plan.” “I’ll show them,” becomes the new private mantra. It works for some people, but my experience has been that I’m splurging on Star Wars memorabilia by Valentine’s Day.
I’ve found that rather than making secret contracts with myself, a much higher success rate is always achieved as a combination of two other elements.
To a truly worthy vision, maybe even one that cannot be achieved in a year, but in a lifetime, is just the sort of quest that engages the starving soul so much more than the common shaving a few digits off of the weight scale. (I personally implemented the "no cookie left behind" program this holiday season so I might want to think about that one too.) But the truth is, New Year’s comes but once a year. It would seem better to me to go big or not at all. Pick projects of real importance in your life – ones that require the more personal attention and dedication to the better.
Should not be a dirty word in the strategies of personal achievement. It has been my experience that the more genuinely useful support I’ve received from the like-minded (as well as the merely curious) has always gone a long way to keeping my Big Picture from faltering. When the potholes in the road forward begin to resemble archeological digs, as it seems they usually do, there’s nothing more heartening in being able to take it all in stride than a word of admiration, advice or encouragement from a fellow dA community member.
In his book "Outliers" Malcolm Gladwell outlines the 10,000-Hour Rule, the thought being that spending ten thousand hours practicing a particular discipline is necessary for mastery of that skill. He also brings up the importance of support in the from family, friends, and mentors in the ultimates success of an individual. No one achieves the highest summit's of success alone. No one. Even the most unique vision requires the nurture of human camaraderie if it is to be developed to it's fullest potential and efficacy.
I find myself thinking about recent achievements as well as a grand vision currently in formation here at deviantART, and how much the atmosphere of this community – how much dedication to art and artists, and how much they are supported and support each other – and I can’t wait to see where life will take all of us in this new year. A tough statement to put out there, considering the unbearable horrors that have recently rained down in our world from weather catastrophes, classroom atrocities, civil wars and the violence related to a radically altered political landscape around the world. But it’s true. I am still hopeful. I am still ready to rededicate my dreams on New Year’s Eve. I’m not sure I’d be making that statement were I not now ensconced and engaged in the deviantART community. But as Kurt Vonnegut used to say, “So it goes.”
Do you make New Year’s resolutions? If not, why not?
Does a goal achieved with the help and support of friends in any way diminish the power of that achievement, or does it become something made all the more memorable and special because of the participation?
What’s the most farfetched resolution you’ve ever declared?
What is your yearly resolution that has still never been achieved?
Do you think it helps to rededicate oneself to a cause, no matter how large or small, regardless of how many times the attempt has failed?
Can you share with us the personal discipline system that works for you as an artist in bringing your work to a next level?
More specifically do you have any tips for those of us balancing multiple responsibilities along with our creative endeavors?