deviantART: favby:woktiny/2015861

shadow

Fri, 05 Mar 2010 16:47:47 PST

_{the shadows are after me,

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flickr: [link]
tumblr: [link]}

Illusions No 4

Wed, 01 Aug 2007 07:57:12 PDT

[link] Illusion 1
[link] Illusion 2
[link] Illusion 3
[link] Illusion 4

Blade Warrior

Tue, 23 Dec 2008 00:40:47 PST

How to make the water effect: fill a ballon with water and swing the sword to destroy it by the model.

Photo by me
This is what you get when you daydream too much.. D

edit by and me you are the best bro..

remember

Thu, 27 Mar 2008 03:52:46 PDT

gokhan susler
model: handan eksıoglu

Coffee with milk

Tue, 21 Jul 2009 22:35:39 PDT

Thank you so much for "dropping" by!

Have a fantastic day!!!

/ Andreas Stridsberg ©

My website -> [link]
My Blog -> [link]

"Humor" in Binary: Detail

Fri, 29 May 2009 15:56:26 PDT

Work from my Bachelor of Fine Art thesis show

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This is one of my favorite pieces, just because I really had a vision and passion to complete it. Here I spelled out "Humor" in Binary code using ceramic toilet paper. I threw the toilet paper on the wheel as a closed off double cylinder. It took a while, and I don't think I would have finished it if it wasn't so close to my heart. It's not the best image, it's much better seen in person.

Complete View
___________________________

In this line of work, using everyday objects as text, I wrote out concepts which I have struggled to grasp in binary code. I chose binary code because of its simple yet complex characteristics. In binary code, you either have a “1” or a “0”. It’s simply one or the other. However, when put together in a sequence they can represent characters which form words used for communication. Everything input into a computer has to be filtered through binary code. I compared this to the way people think. Everything I feel is brought into me through a language that I understand. The objects I choose may or may not make sense to everyone because it is the mental connection I make when I relate difficult concepts to my tangible, physical world. The viewer may be able to draw the same connections I do, or to their own ideas. These pieces also work as hieroglyphs in that sense, giving this body of work a bilingual quality that I enjoy.

deviantART is NOT Flickr stamp

Wed, 01 Mar 2006 06:30:00 PST

Group : Read the comment =karth made about this stamp (see original location below).
Made by : =karth
Link to : [link]

Original location: [link] please over there.

Sub-Con

Sun, 17 Aug 2008 01:22:27 PDT

My Super Mario Bros. piece has always gotten a great reaction-- that is by far my most popular, commented drawing. I had a lot of fun working on that piece, and always wanted to do some sort of follow up. So I began working with something similar-- the characters of Super Mario Bros. 2 reworked in my own style. There are far more characters in this piece, and much more focus on the environment-- more so than I think any drawing I have ever worked on. I put hours and hours working on the details of this piece, making sure that optimal viewing was at 18"x24". So, needless to say, I think that the small internet version you see here takes away quite a bit.

I'm pretty happy with it. To be honest-- I'm kinda happy to be done with it. I have some other ideas floating around in my head, and I needed to get this done first!

August, 2008
18" x 24"
Pigma Archival Ink on 18" x 24" Bristol Board
Colored digitally on Adobe Photoshop
Super Mario Bros. and all related characters © Nintendo

Princess Peach

Mon, 08 Oct 2007 09:29:20 PDT

Princess Peach and Yoshi. Photoshop 7.

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Buy a print of this piece at: [link]

I'll Never Forget

Wed, 14 Jan 2009 22:43:47 PST

Sanctus Infinitum

Mon, 07 Feb 2005 00:23:33 PST

About the pic: I wanted to call this "The Road to Eternity" but I thought that Sanctus Infinitum is more suitable. Roughly translated, it means "Infinite Santuary". If anyone guesses what the the photo actually is (not what it represents) then I will treat you with a special gift

Poem: Gregorian Anthem by Gabriel Faure

You take my death away

Libera me domine
From everlasting death
On that dreadful day
When the earth
Shall be moved
When thou shalt come
To judge the world
I quake with fear
I tremble
Awaiting the day
Of account and the wrath to come

Libera me domine
Deliver me my Master

That day, the day of anger
Of calamity, of misery
That day, the great day
And most bitter

Libera me domine
Deliver me my Master

ULTIMATE Photography Critique

Mon, 04 Apr 2005 12:01:14 PDT

I compiled this for =stumbleine179's club, (that I co-founded)
CLICK HERE to see the full illustrated version

On a side note, if you could help get the word out there on this Critique by placing it in your journal, signiture, or just by simply faving it, it will be very much appreciated. Thank you!
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Please note that this tutorial is focusing on critiquing photography

The whole point of commenting is to express both your positive and negative thoughts on whatever piece; the positive will act as compliments on the artist, while the negative will help them realize their mistakes. When we point out mistakes, we often do not know how to say it constructively, and in the end we tend to skip the negative all together, which is a big no-no. Speaking of which, if you have received the ultimate critique, do not fret; it is not directed to you as a person. Do not take them as personal attacks, and feel all mad and confused. This should be a helpful learning tool. `leodadominico

If you follow this simple structure based on `leodadominicos How to give better comments, we are sure that your comments will be helpful and appreciated.

Interpretation- How this image makes you feel, what it says to you, how you relate to the image.

Compliments- Now is the time to build the artists confidence by telling them exactly what you like about the photograph. Why do you love it? What caught your eye?

Critique- Find something that might help the artist with his or her future work. Or find something that can be easily changed. It is ok to point out the errors even if you do not know the artistic term for it. Just remember to be polite.

Questions- Learn from other artists. Is there something in the image that you dont know how it was achieved? Ask about it! This expresses a genuine interest

Now onto knowing what to look for to give a good critique:

There is no right or wrong way to give a critique. There is no order. But there are certain things that you can address to give a well-rounded and meaningful critique. We are going to address these topics:

1. Message
2. Creativity
3. Technical Aspect

1. Message
The parts of photography include the technical aspect, the composition, and also the emotion behind a photo. What moved a person to take this photo? Is there a hidden or double meaning? Most artists love to hear your interpretation, so make sure to take the time to really look at the image and think about it.

Some questions that you might ask yourself and comment on:
How does this image make me feel?
What message is conveyed in the image?
How do I connect with or relate to the image?
Is there an emotion or story attached to the photo, and does the photographer do a good job conveying it?

2. Creativity
You could teach a monkey to take a picture, but it takes an artistic eye to compose one. =stumbleine179
To create can be defined as to appoint to new rank or position. A creative image is one that stimulates the mind and eye by being both imaginative and original. Originality is one of the key factors in creative photography. Photography, does not have hard and fast rules, but composition does have a number of guidelines that can be understood, considered and applied--or not We will consider those in the technical aspect of our critique.

If you are about to comment on a photo, it must have caught your attention. Make sure to note why it caught your attention. Is it a different view of a commonly photographed subject? Is it a macro shot of an everyday item? Does it make light of a serious subject? Is the photo taken from a unique angle? An eagle or worm's eye viewpoint can totally change a picture's impact. Does the photo leave any elements to the imagination?

When giving a critique note this:
What makes this image different from the rest?

3. Technical Aspect
Yes, this is the longest section by far because there are a lot of terms involved. We will try to keep it short and simple.

I. Composition
II. Colors and Lighting
III. Contrast
IV. Depth of Field
V. Perspective

I. Composition
Composition is simply defined as the organization of space. Take a good look at the photograph and try to note the center of interest. Also note any distractions that you might find that you might offer up as some constructive criticism. Here is a good link to understanding parts of composition
Has the artist used the Rule of Thirds?
How does the center of interest relate to the other parts of the image?
Is there a story told by the placement of the objects?

II. Colors and Lighting
The light that falls on objects constantly changes, and thus the color. Daylight is warmer and has more reds at the beginning and the end of the day. An overcast day produces cooler bluer images than bright sunshine. Hazy sunlight gives muted colors. Filters and Photoshop can edit these colors to make certain parts of an image stand out more.

Color Terms
High and Low-Key Colors: High-key color pictures contain large areas of light desaturated colors (pastels) with very few middle colors or shadows. A low-key effect is created when the scene is dominated by shadows and weak lighting. Low-key pictures tend to have large areas of shadow, few highlights, and degraded colors. Naturally dark subjects are best for low-key pictures.

Monochromatic Monochromatic colors are all the hues (tints and shades) of a single color. As a result, the energy is more subtle and peaceful due to a lack of color contrast.

Complimentary Colors: Colors that are located directly across from each other on the color wheel. Complementary pairs contrast because they share no common colors.

Clashing Colors: Colors that do not look good near each other

Lighting Terms
Ambient Light: the available light completely surrounding a subject that is not introduced artificially.

Diffuse Lighting: lighting that is low or moderate in contrast, such as on an overcast day.
Studio Lighting Terms Broad lighting, Short lighting, Butterfly lighting, Rembrandt lighting, Split lighting, Rim lighting. For detailed info check out This Link

Questions to think about:
Do these colors help convey an emotional response?
Do these colors hurt the art rather than help it?
Does the lighting create any weird shadows?
How does the lighting harden or soften the photograph?

III. Contrast
Tonal Contrast
In black-and-white photography, contrast is considered either high, normal, or low. A high-contrast scene or photograph consists primarily of white and black with few or no middle gray tones. A low-contrast (flat) scene has colors or tones in which highlights and shadows have very little difference in densities. In other words, all colors or tones within the scene are very similar in appearance. In black-and-white photography, high contrast conveys a sense of hardness and is characteristic of strength and power. Low contrast conveys a sense of softness and is characteristic of gentleness and mildness.

Color Contrast
Colors with opposite characteristics contrast strongly when placed together. Each color accentuates the qualities of the other and makes the color images stand out dramatically. Color contrast is enhanced when you create the contrast of detail against mass. Cold colors and warm colors almost always contrast. Cold colors recede, while warm colors advance. Light colors contrast against dark ones, and a bold color offsets a weak color.

Things to think about contrast:
Does the contrast make the image jump out at you, or does it convey a softer greyer feel?

IV. Depth of Field
Depth of field (DOF) is described as the range in a photograph, from near to far, that appears to be in focus. Basically A smaller depth of field would mean that the subject is in focus, and the background is not, whereas a larger depth of field would mean that the foreground and the background are in focus. Depth of field can be a great help to get rid of a confusing background, thus drawing all of your attention to the main subject. The same desired affect can be accomplished in Photoshop by using a selective blur.

When considering a photograph ask yourself:
Does the depth of field draw my attention to the main subject, or does it detract from the photo by making me wonder what is in the background?

V. Perspective
Perspective refers to the relationship of imaged objects in a photograph. This includes their relative positions and sizes and the space between them. In other words, perspective in the composition of a photograph is the way real three-dimensional objects are pictured in a photograph that has a two-dimensional plane. In photography, perspective is another illusion you use to produce photographs of quality composition. Different kinds of Perspective

When thinking about perspective:
Does the perspective make the objects in the photograph look bunched together, or far apart?
Do the lines from the linear perspective converge at a central point, giving a strong feeling of depth?
If the photo is of a building does the building look like its leaning, or does it give a powerful feeling?

"Now you have a set of tools at your fingertips to give well thought out, meaningful critique. Bear in mind however that these are only guidelines, not rules to be strictly followed. If you want to follow a rule, let it be this: Be respectful and honest. Only then can both you and the artist benefit from your critique. And both of you will." =saddogeyes

Also think about what ~lewcid has to say as a final touch:
"'Critiques are a two way street. If you want people to critique your work you have to appear receptive to it. In other words, even if you dont agree with the suggestions/opinion expressed, respect it and respond accordingly. Whatever you do, dont be blindly defensive. Try to be objective about the opinion received.

There is nothing more demoralizing for someone who just spent a long time critiquing your work, than to get a generic reply 'thank you for the comment'. Therefore try to be open to discussing the suggestions that may have been given and put some effort in to your reply, to mirror that of the person who commented on your work.

In situations where a possible flaw or improvement might have been pointed out in your work, and you agree with the assessment, show a willigness to change and improve. No one will come back to critique your work a second time around if you arent receptive.'

We hope that these tips can help you to improve and become and even more active member of the community. Have fun, and remember to be positive when giving or recieving critiques!

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References
I want to give a huge thanks to:
~lewcids Photography for Beginners
`splats Guide to Commenting
~ProCritique Critique Standards
`leodadominico How to give better comments
Photoinf.com
The Luminous Landscape
Travel.State.Gov Glossery
Virtual Training Help Center
Sanford Adventures
PSA Journal> Creative Photography

Opinionhated - Posterboard

Sun, 08 Jul 2001 21:12:33 PDT

A newer, more colorful version.

Mind the deity on your way out

Tue, 08 Mar 2005 14:53:39 PST

This is my poetry submission for a competition. Don't worry, it's more or less a one off (unless something similar crops up in future)... so I won't be trading my photoshop boots for a caligraphy set.

I affixed this following explanation to the poem entry to clear up "grey areas" (I quietly don't believe the judges are competent enough to appreciate the poem).

With this submission I feel a need to explain the processes that were involved into the creation. I simply do not believe that it would be possible to appreciate wholly the poem in its entirety without some sort of explanation.

The theme was carefully chosen to avoid the cliché. The poem is effectively a short story depicting a man who, initially Godless, chooses to make prayer on his deathbed so to escape going to hell. It tackles the point that it’s entirely hypocritical to denounce God during life then expect him to save you later. God is not here to be used when it suits you.

I initially aimed for a free verse effect. No specific structure, no obvious meter or rhyming system. However, several attempts at this led me to come to the conclusion that enveloping my ideas with some sort of loose structure would better the fluidity and readability of the poem. So, I encapsulated the words with the following style:

Line 1 : A familiar phonetic adverb (commonly ending in “ly” for repetition and common factors in stanza) – reflects the tonality of the stanza.
Line 2 : Free rein is given for this line
Line 3 : Free rein is given for this line
Line 4 : Free rein is given for this line
Line 5 : Free rein as long as it rhymes with the ending of line 3. (rhyming couples introduced).
Line 6 : Free rein as long as begins with second person pronoun “you”
Line 7 : Bracketed, begins with (in fear … – broken for last stanza as symbolic of more upbeat tone. Brackets depict how it’s less “said”, but added as more of an afterthought, depicting the real reasons behind actions.
Line 8 : Short, structured with “… divine …” – word following divine ends in “tion” for repetition and common factor in stanza.

It boils down to a regular 8 line per stanza poem, but with a unique twist in how each line is presented when looking at the poem as a whole, giving room for a good degree of repetition, rhyming, and unique flair. The poem also demonstrates visual symmetry.

In stanza 1, there is reference to the “immaculate conception” by means of opposites. There is no word “in-immaculate” or “un-immaculate”, and this is purely intended to be symbolic.

Instead of “you” – poem initially used “him” and “his”. However, this caused conflict when referring to God as him/his in the same stanza. I concluded that changing to “you” and “your” would involve the reader more in any case, holding attention for longer (although at the slight sacrifice of the “story” effect).

I hesitate before going into any more detail on this, since I don’t want your own conclusions and ideas drawn from the poem to be clouded by my explanation. But what is presented above is more-over a clearing up of what would initially come across as grey areas.

Glossary :

Numen = God or divine spirit.
Ipsissimis Verbis = Word for Word
Verbatim et Literatim = Word for Word (different way of saying it, used for subtle repetition).

Something different from me, I may move to scraps after a day or so, depending on how well it's received.

PLEASE NO IN DEPTH CRITICISMS - not saying I can't take it, but I'd like to think that this is an entry I'm finished with, and I'd rather have no regrets about submitting it as it is. DO NOT IGNORE THIS.

Hold Yourself Together

Thu, 11 Nov 2004 12:58:01 PST

I wanted to do a different style of self portraiture and make it original and meaningful as well as encorporate my love of photography and drawing. The use of my hands holding the picture together is supposed to symbolize how many people like to keep everything in their lives together by themselves(including myself), and the sullen look on my face represents how trying to 'hold yourself together' can be emotionally straining. It's impossible to be perfect or to keep everything together on your own. That's sort of the general idea behind the portrait.

Medium: graphite
Size: 14"X 20"
Tools: Staedtler Mars Lumograph graphite pencils (HB, 2B, 4B, 6B, 8B<--I used an entire 8B doing the background ), kneaded eraser, masking tape, tissue, blending stump
Time: I didn't really count, but I'd estimate...about 15-20 hours, the longest I've ever taken on a drawing