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Guide to Job Interviews :: Part 2/2

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

:note: Click here for Part 1


DURING THE INTERVIEW
1. Non Verbal Communication
1.1Why it matters

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

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

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

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

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

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


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

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

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

AFTER THE INTERVIEW
1. A "Thank you" note

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

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

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

:note: Click here for Part 1

:heart:

Services & Profesional Info

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


Where you can find me

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

Contact
Email: lilyana.sanches@gmail.com

  Important Copyright Information

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

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

Guide to Job Interviews :: Part 1/2

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

INDEX
Part 001
BEFORE THE INTERVIEW

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

Part 002
DURING THE INTERVIEW

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

Part 003
AFTER THE INTERVIEW

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

BEFORE THE INTERVIEW
1. Do your homework

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

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

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

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

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

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

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

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


Part 002 [ coming soon ]


  Services & Profesional Info

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


Where you can find me

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

Contact
Email: lilyana.sanches@gmail.com

  Important Copyright Information

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

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

Job Interviews Article Preview

Journal Entry: Tue May 22, 2012, 12:35 PM



:wave:

Since I deleted the resources I had available for free because they kept being stolen and sold by others, I feel guilty that I haven't shared and given anything back to the dA community. So, I just wanted you to know that I am currently gathering some information and will be writing an article on "How to prepare for a job interview", with the end of the school year near, and with some years of experience now, I would like to give some guidelines to those who need them.

Here are some of the topics that will be discussed in the Article, hopefully I will be going through a couple more. Is there any other you'd like me to discuss?
001 :: Do your Homework
002 :: What to wear
003 :: Portfolio Presentation/ Artwork Selection
004 :: Non Verbal Communication
005 :: No-Nos


  Services & Profesional Info

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



Where you can find me

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

Contact
Email: lilyana.sanches@gmail.com

  Important Copyright Information

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

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

journal

Journal Entry: Mon Mar 5, 2012, 12:34 PM
  Services & Profesional Info

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


Where you can find me

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

Contact
Email: lilyana.sanches@gmail.com

  Important Copyright Information

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

About Journal / Post-Sanity
Journal CSS by ~post-sanity. Credit goes to the amazing `thespook & `mindfuckx. For more info of this journal click here.
Known as one of the kindest people on dA, loved by many, admired by her romantic style, and looked up to, Ana Cruz or `LuneBleu has been struggling against people who steal her artwork and offend her.

Strong as she is, she rises up and keeps a steady path finnishing her graphic design degree after many years of practising a completly different art: professional make up.



You've been working on digital Art for quite some time, when you look back to your oldest works, how do you see them? How do you feel you've grown?
Honestly I look at them and I think “wow, I was really bad”; but at the same time, I have a special place for them in my heart. There was a certain purity about them and they are all part of my growth and evolution as an artist. I developed my style, my techniques and along with that, a new perspective of my own art. I still have a long path ahead of me but that just puts a smile on my face.


Do you think the people who follow your work feel the same way as you?
I believe that some of them might feel the same way I do or even are similar beings. I always try to create images from within my emotions and my state of mind so, if people feel connected to them  there’s a big possibility that they identify themselves with my art, with my own state of mind. In the end that’s one of the biggest pleasures of doing art: doing something that you know people will relate to, doing something that bonds them to me in a certain way.





You started as someone self taught, but recently you started studying graphic design in college, how did it help you develop your most recent illustrations?
It definitely was a big help, specially in the way that the course is enlarging my horizons in a way to better understand the audience and to be even more focused on things around us; understanding a concept and what we are asked to do. Regarding software, even on Photoshop I learned some very cool tricks I still didn’t knew about.  In a general way, it’s been very fulfilling and rewarding.

If you could work with any artist in history [ contemporary or already dead ] who would you choose?
Well… I won’t be naming anyone that already got very high standarts (like Da Vinci or Dali). I would really love to work with Brom. He’s an American artist/illustrator and his artworks simply blow me away. I found out his work some years ago on “Magic the Gathering” cards and, since then I’ve been following his work. In my opinion: a true master.




Do you try to have your own "visual" signature in your works, or is it something natural that comes with having your own style?
Honestly, I never planned to have a certain visual signature, in the way that “ohh I’ll do this all the time so people know it’s me”. People usually tell me that the super long entwined hair, the low saturated tones and the little pair of skulls I usually put on the model’s hair are my stronger visual signatures but, I started to use those features a lot because I loved them. For a very long time I’ve been loving to do low saturated images and very long hair, entwined on branches, horns, etc., and, even without noticing, it ended up being part of my visual signature, my style. The little skulls, well, I found them so cute that I just have to add them on my artworks every time I can. In the end, they also became part of my visual signature as well. Anyway, I always try not to get too attached to a specific visual language; I always aim for evolution. Right now I’m trying to avoid low saturated tones and I’m adventuring myself in the world of colors. Let’s see what will happen from there.


Do your friends and family know about your wonderful talent? How do they respond to it?
Yes of course! They all give me tremendous support and like what I do. Even the most conservative family members appreciate my art, despite they say sometimes “oh it’s very beautiful but girl, you should try doing some more cheerful things. It’s all very dark”; but in the end they respect and like my art and, that’s all that matters.





What was the weirdest moment you felt inspired to start a new work?
I guess it was when I created “La danse macabre”. I was literally having a “dying stupid” moment, watching circus on TV. It was a number where little poodles were hopping through a hoop and suddenly I thought: “ohh this is cool, I should do this with crows definitely”. On that moment I instantly got the whole image on my head; and I ran to the computer to start creating it.


Do you portrait yourself in every picture, in a wishful way, or do you solely project a world of fantasy?
I always portray myself in my artworks. Even the hoop with crows has a special meaning. The crow standing on the hoop has a key; that key will open the gates to a secret realm, away from this sad reality. I’ve always been disappointed with the real world so, big part of my day is spent day dreaming about other realms and other ways of living live, rather than just surviving. I have to say that, that is definitely my biggest inspiration for creating a new artwork: the dislike of reality and the passion for the mystery and everything that’s beyond this sad and boring life.




Do you have your own favorite pieces among your own work? Which are they and why?
I have to say that “Prelude to immortal dreams” is definitely my favorite artwork. I created it after a long period being ill and not able to almost get out of bed. My thirst for create something was killing me and, the pleasure I had while creating this image is beyond words. I love the final result because it’s so smooth and pure. Also it was the first time I used the crow & key symbology so, that image definitely holds a very special place in my heart.

How does being an artist fit in your daily routine? Is it something you feel and live along your day, or is it something you keep for alone times?
Not counting my house duties, my days are divided between my Graphic Design course and my art & freelance projects. I spend my days dealing with this and I have to say that I love it. I try to make a good use of my time because, after my boyfriend gets home, everything stops. I noticed that I can’t work if there’s someone around; as if my creative flow was pressed the pause button. I need my space, my music, my time….. I need to be me without anyone or anything distracting me.



Thank you Ana for allowing me to have this interview with you :heart:


:note: Links
:: Ana Cruz is `LuneBleu
:: Contact anacruz.arts@gmail.com
:: Facebook
:: Twitter
:: Website

How many people have you heard saying something like that? How many times have you said it yourself? The fact is that when we look back at some artwork we do get the feeling that it was amazingly simple to do. Then what made it "become" masterpieces? What made them so popular and respected in the history of Art? The answer lies deeper then what our eyes can see.

:note: Desclaimer: This article does not express anyone's opinion but my own and its primary objective is to inform about the facts on the lives of the refered artists, every opinion stated is my own and it does not intend to change your view, or to state deviantART's staff or members ideas.


:bulletblue: Giotto di Bondone
If you've ever looked at Giotto's frescoes, I'm sure you've realized how naive it looks. The human body posture is unnatural, the camel's legs bend wrongly, animals eyes are sometimes green, and overall there isn't anything exciting in the whole picture. However Giotto, being great architect he was, was one of the first ones to develop something without which art would never be what it is today - Perspective.

"Giotto  attempted drawings in perspective using an algebraic method to determine the placement of distant lines. The problem with using a linear ratio in this manner is that the apparent distance between a series of evenly spaced lines actually falls off with a sine dependence. To determine the ratio for each succeeding line, a recursive ratio must be used.One of Giotto's first uses of his algebraic method of perspective was "Jesus Before Caiaphas" [see below ]. Although the picture does not conform to the modern, geometrical method of perspective, it does give a considerable illusion of depth, and was a large step forward in Western art."

How he got in the Art Books Even though Giotto didn't draw everything perfect just as it is in real life, he did give us a huge push into the perception and techniques we have today. There are people who have a life that is too little for their work, and it was the case with him.

:bulletblue: Marcel Duchamp
"World War I scattered the writers and artists who had been based in Paris, and in the interim many became involved with Dada, believing that  excessive rational thought and bourgeois values had brought the conflict of the war upon the world. The Dadaists  protested with anti-art gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued."

One of the Artists in this movement was Marcel Duchamp who was known to be a very playful man who loved challenging conventional thought, specially after he read Max Stirner's philosophical tract, "The Ego and Its Own", which he afirmed to be "...a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything." This is the point he himself assumed had changed his perception of the art processes and decided to take his own work to the next level.

"The most prominent example of Duchamp's association with Dada was his submission of "Fountain", a urinal, to the Society of Independent Artists  exhibit in 1917. Artworks in the Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar amongst the Dadaists, and led Duchamp to resign from the board of the Independent Artists."

How he got in Art Books
Duchamp's primary objective was to prove that at that time the Museums were so saturated with "art" that the public and the critics weren't filtering the intellectual process/ concept behind each piece anymore and were accepting everything inside the Museums walls
as ART. Being the playful man he was, he decided to push the boundaries to the ridicule to prove his point. What made him the Artist he is considered nowadays was the concept and thought put to the act of provoking the public and making him think for himself. It might not sound like much to you right now, but in the beginning of the past century nobody had done it before him. Duchamp ftw!


:bulletblue: Jackson Pollock
Paul Jackson Pollock was an influential American painter and a major figure in the abstract expressionist  movement. Unlike many other Artists, Pollock was recognized and looked up to in his own life time, however is was mostly a reclusive artist. Known to have a volatile personality, he struggled his whole lifetime with alcoholism. "In attempts to fight his alcoholism, from 1938 through 1941 Pollock underwent Jungian psychotherapy  with Dr. Joseph Henderson and later with Dr. Violet Staub de Laszlo in 1941-1942. Henderson made the decision to engage him through his art and had Pollock make drawings, which led to the appearance of many Jungian concepts in his paintings. Recently it has been hypothesized that Pollock  might have had bipolar disorder."

After his marriage, he took over a barn which he turned into his own personal studio and began experimenting with dripping, which he called "action painting" and "drip". With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension, literally, by being able to view and apply paint to his canvases from all directions. On a Times Magazine article, he was playfully called as "Jack the Dripper" and in his own words:

"My painting does not come from the easel.  I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added. When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only  when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well." </i>

Being the bold and new kind of Art it was, Pollock was also heavily criticized through the years even until today. Some critics and Art majors defend that Pollock's works are events and not Art. Others never understood abstract Art, and even others believe that it was completely non sense, random, and an ofense to all true academic artists.

How he got in Art Books By being bold, by loving his creation to the point where he felt he was in it. For coming up with new concepts and new ways of not only making Art but of being Art. Pollock might seem non sense to some people but he created a whole new world and perspective, images that were brought to life and now linger frozen telling a story just like an other realistic formal piece of Art.

:note: Biographical information in Wikipedia.org
Presenting a short study of colors and their different graphic uses, the way they're percepted by the human brain and the effects caused in our emotional and physical state.

:bulletgreen: "Green occupies more space in the spectrum visible to the human eye and is second only to blue as a favorite color, is the pervasive color in the natural world that is an ideal backdrop in interior design because we are so used to seeing it everywhere.

The natural greens, from forest to lime, are seen as tranquil and refreshing, with a natural balance of cool and warm (blue and yellow) undertones. Green is considered the color of peace and ecology. However, there is an "institutional" side to green, associated with illness or Government-issued that conjure up negative emotions as do the "slimy" or bilious greens."

in [link]

How the color green affects us physically and mentally
:bulletgreen: Soothing
:bulletgreen: Relaxing mentally as well as physically
:bulletgreen: Helps alleviate depression, nervousness and anxiety
:bulletgreen: Offers a sense of renewal, self-control and harmony












Every artist dreams about having his own exhibition in an art gallery, the recognition and respect it brings sounds like something only for a few... but have you ever even TRIED to do something to achieve it?

For many years I have been working in my Art, having the honor of some people who can actually relate to it and enjoy it. It always brings a smile to my face when somebody shows me that they understand what a certain artwork meant and even more when somebody finds a new meaning of their own to it. Very recently I decided to move away from the shadows and the silence, and talking to people about what I do, asking questions and planning things in my head.

Having our artwork on a gallery wall doesn't have to be a dream, doesn't have to be only for others. Unless you ask questions, talk to people, advertise yourself and actually move towards doing something about it, you will never know. And let's face it. The worst that can happen is hearing "no". And even if you hear it a lot, it should give you a reason to stop working on what you love.

I'm leaving here a small list of things I believe are very important to keep in mind. This shouldn't be taken as a guide, but more as a sharing of experiences and thoughts. I hope it helps somehow.

:note: Am I good? Vs. I'll never be that good
This is something we all need to struggle against at some point. As an artist you need to have your feet on the ground and a great sense of reality. We can't fall into the mistake of being too humble, because this will only stop us from going out there and show what we can do, however we can't fall into the exact opposite of being too arrogant and cocky, thinking we are the best and that there is nothing left to learn.

Understand the true value and quality of your work. Be humble and accept your mistakes, accept that you have a lot to learn and a long way ahead of you [ until the end of your life!] , keeping in mind that there will always be someone who is better than you, but at the same time, don't tear your work down as there will be many who will do it for you along the way. Earn your own respect so others can respect you and your work.

:note: Move your arse!
Stop daydreaming and do something about it. How much longer will you put things on hold? Even if you take little baby steps, try to walk towards a goal every day. Look around your city and make a list of possible places where you think your Artwork could be shown. Include Art Galleries, Institutions, Cafes, Lounges, Bars, City Halls, ... Talk to your closest friends and family about it, they usually give us even more ideas as they pay attention to more and different things from us, and some of them might know people who work at some of those places, which would make it easier for you.

:note: Presenting your portfolio
Keep an updated portfolio with you, you never know who you are going to meet, or run into. If you've never created a portfolio, and need a little help, please check my Article about it here - [link] . Go to the places you've listed and talk to the responsable, if needed, make an apoitment, this will give you more time to prepare.

While the other person is thumbing through your work, don't be too silent, explain the meaning of some of the works, why you chose that particular media and theme and don't be afraid to say that you are new to the exhibition world. Being humble and honest will earn you respect. Show yourself open to any critique or questions the viewer may have.

Don't forget to leave your contact with the other person, if possible, a nice simple and elegant business card will do the trick. Sometimes it happens that they can't have your work exhibitted immediately, and therefore it's important that they can keep in touch with you, and to leave a positive profesional impression on them.

:note: Preparing the Final Works
Wether you are a Digital Artist, a Photographer, or a Traditional Media Artist, everything needs to be absolutely perfect when it goes on the wall. Look for the best price deals if you need to have it printed on bigger sizes and let them know you are present from the very beginning to the very end of the whole process. If the colors are off, blurry, or if it has any other mistakes, don't settle with it. Be polite and explain them that you cannot take the artwork like that and negotiate with them, explaining how they can do it better.

The relationship between artist - print shop can be tricky however you will not achieve anything if you lose your mind, act arrogant or rude with them.

:note: Who to Invite?
If you have the opportunity, make some invitations to make it more official and "serious". Give some to your friends and family, and ask them to pass them on to other people they think might be interested in your art, or simply give you some support. If you think it's appropriate personally hand some to the Mayor, and a few other Directors/ Presidents of the biggest Institutions in your city. There's nothing like giving it a try, they might not come, but at least they will know about the event, and you have done your part.

:note: Preparing the Dream
Spend as much time as possible on the gallery preparing the exhibition. Make sure the light, the placing, the order of the works is the best possible. Consider details such as "What will somebody think when they see these 3 works first, followed by those? Will he be more interested, or immmediately bored?" Make sure glass is clean, without fingerprints, frames are steady and straight,... Look at your own work as if it was the first time, give it a different reading from different angles and contexts, especially if you're exhibitting at a Bar/ Lounge.

No
Is really the worst that you can hear. Should you stop trying after you hear it? No. Should you stop trying after you hear it for 49 times? Hell no.


:heart:

profesional information

Journal Entry: Wed Jun 2, 2010, 1:39 AM
  :note: Commissioned Artwork, graphic Design,...

As a profesional in Graphic Design, I offer you appealing designs, with your own personal touch that your clients won't forget. Be recognized as the best in your field by giving your business card, your book, or cd cover your own voice and language. I offer:
- Logo, business card, envelope, letter sheet, fax sheet, note pad design [ Business Pack - to be sold as a pack or separate ];
- CD Covers, Book Covers, [ various media ];
- Webdesign [ no coding, design only ];
- Illustrations for books, T-shirts and other bases;

Some of my Clients:
- Kamelot [ north american metal band ]
- istorm [ fashion photography studio ]
- Portuguese Red Cross
- Sinister Design [ graphic design studio ]
- Empire Merchandising GmbH, Germany [ posters company ]
- Crescent Moon Press

:note: Commissioned Resources

I am currently taking requests for commissioned digital resources. I offer Texture Packs, Brushes, Actions, Patterns,Stock Photos... Prices are very reasonable and it includes a document stating my Permission for its commercial use.

:note: Image Licensing

My work is available to be licensed for cd, book covers, magazines and such. Please email me to find out more about written permission and eventual fee.

:note: Contact

Any doubt, order or simply wish to discuss something with me? Please email me to lilyana.sanches@gmail.com

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

Commissioned Resources

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

journal header

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


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

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


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

[ more to come ]

Twitter  [link]
Ask me anything [link]


Important Copyright Information

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

About Journal / Post-Sanity
Journal CSS by ~post-sanity. Credit goes to the amazing `thespook & `mindfuckx. For more info of this journal click here.
Presenting a short study of colors and their different graphic uses, the way they're percepted by the human brain and the effects caused in our emotional and physical states.

:bulletpurple: Purple

"Purple embodies the balance of red simulation and blue calm. This dichotomy can cause unrest or uneasiness unless the undertone is clearly defined at which point the purple takes on the characteristics of its undertone. A sense of mystic and royal qualities, purple is a color often well liked by very creative or eccentric types and is the favorite color of adolescent girls.
How the color purple effects us mentally and physically
* Uplifting
* Calming to mind and nerves
* Offers a sense of spirituality
* Encourages creativity"
in [link]

"What color were the robes of kings and queens? Yes, they were purple, our most royal color that is associated with wealth, prosperity, rich sophistication. This color stimulates the brain activity used in problem solving. However, when overused in a common setting it is associated with putting on airs and being artificial/ Use purple most carefully to lend an air of mystery, wisdom, and respect. Young adolescent girls are most likely to select nearly all shades of purple as their favorite color."
in [link]






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:bulletpurple: Next color: Green.
Presenting a short study of colors and their different graphic uses, the way they're percepted by the human brain and the effects caused in our emotional and physical state.

:bulletblue: BLUE
"Blue is the color of the sky and sea. It is often associated with depth and stability. It symbolizes trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven.

Blue is considered beneficial to the mind and body. It slows human metabolism and produces a calming effect. Blue is strongly associated with tranquility and calmness. In heraldry, blue is used to symbolize piety and sincerity.

You can use blue to promote products and services related to cleanliness (water purification filters, cleaning liquids, vodka), air and sky (airlines, airports, air conditioners), water and sea (sea voyages, mineral water). As opposed to emotionally warm colors like red, orange, and yellow; blue is linked to consciousness and intellect. Use blue to suggest precision when promoting high-tech products.

Blue is a masculine color; according to studies, it is highly accepted among males. Dark blue is associated with depth, expertise, and stability; it is a preferred color for corporate America.

Avoid using blue when promoting food and cooking, because blue suppresses appetite. When used together with warm colors like yellow or red, blue can create high-impact, vibrant designs; for example, blue-yellow-red is a perfect color scheme for a superhero.

Light blue is associated with health, healing, tranquility, understanding, and softness.
Dark blue represents knowledge, power, integrity, and seriousness."

in [link]





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Coming next : Violet

:heart:
Some time ago while I was browsing, not only for digital resources but for inspiration, I ended up venturing myself through the world of 3D stock photos and you know what? I loved it!

I can't believe so many artists dedicate their efforts and time to create authentic works of art for us to USE freely! In the world of 3D stocks [ most of it unknown to the photomanipulators ] you can find truly inspiring fantasy and surreal elements that could never be captured by a regular camera. And the best part is that most of them come in a transparent background, so we can simply click and drag onto our work. How fun, fast and easy is that?

So today I wanted to share with you only a small part of these resources, because there are so many more I'm sure you will love!

:postit: Objects and precious details







:postit: Delicious Backgrounds






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:postit: Beautiful models






*Auriethepixie is one of the few artists that leave me waiting and longing for new art submissions and feeling like a kid in xmas morning. It's so filled with beauty, so haunting and hypnotizing. And so today I'd like to invite you to know her and her work better. She is one of my favorite artists on dA and even outside and it personally makes me sad to see that her talent and her work is not getting the exposure that truly deserves. Please show her your love and support!

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

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


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

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

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

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

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

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

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


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

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

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

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

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

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

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

I get behind the camera, look through the lens…

And all hell breaks loose, as it were.  

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

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

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

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

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

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

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

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:postit: I know absolutely zero when it comes to photo manipulation. What do I do?

Well it's always interesting to know about the history of the art form you wish to take part of. `WilderWein77 wrote this amazing article where you can know everything about it - [link] In this same article she quote wikipedia in its definition "Photo manipulation is the application of image editing techniques to photographs in order to create an illusion or deception (in contrast to mere enhancement or correction), through analog or digital means."

So what does this mean? It basically means that a photo manipulation is putting different parts together (usually different elements of different photos) to create a whole and new one, thus giving the illusion that it all belongs to one and the same piece. This "illusion" definition applies mainly to the cases where we are talking about realistic photomanipulation.


:postit: Ok, that's cool. But how do I work on it? What gear/ tools do I need?
Basic things any photomanipulator needs:
:: camera
:: high quality/ high resolution photos
:: computer
:: image editting software

Camera

In some cases you might have a camera, but all the rest seems to be against you. Lack of the subject you wish for, lack of digital photos quality, or you can't seem to take the photo you wish. If any of this is the case, you can always use stock photos.

Some artists here on dA, provide other artists with amazing photos that you can use in your creations, wether you're looking for background, models, objects, textures, ... take a look around and don't forget to make sure you are allowed to edit those photos.

High Resolution Photos

I wanted to make sure I reserved some space for this matter as it is extremely important the quality of the photo you are working with. The ideal image resolution is from 150dpi to 300dpi. You can of course work with lower resolution than that. It always depends on the level of its detail.

Make sure you match the color palettes, angles of light and even textures of the different photos you wish to work with. Of course this can be enhanced in post processing, but some things can't be changed, such as the angle and intensity of the light. Not unless you are going for a disasterin the making!

Computer and image editting software

Photomanipulation is a digital kind of art and once you have the raw material done [ wether photos, textures, etc ] you will have to sit down and spend a great deal of time to get the final piece done. It's not my main goal to give out computer model references or anything, but it would be best if your computer has both a big RAM and ROM memories as well as graphics to support the software.

My personal favorite is Adobe Photoshop as some of you may know. This is the only software I use to achieve the illustrations you see in my gallery. You can download a 30 days free trial version at Adobe.com. However if you really are a beginner, then you better take it easy and begin with a basic version, that is easier to work with and more intuitive, called Photoshop Elements [trial available in the same website]. With time, you will get used to it and explore and maybe even feel the need for something more, then you might wanna consider Photoshop profesional.

~chulii mentioned that Gimp [gimp.org] and Paint [paint.net] are also very popular programs among illustrators, and in many things similar to PS.

`fangedfem added that "ArtRage is another great program and while the full edition is $25, they have a starter edition thats great and is free  [link] . Another interesting program that is free is Inkscape. Inkscape is an open-source vector graphics editor similar to Adobe Illustrator, Corel Draw, Freehand, or Xara X [link] . Also, there is a plug-in some might find handy you can find here, called virtualPhotographer [link] ."


:postit: What are the basic guidelines one should consider when working on a photo  manipulation

This is a hard one. But I'm gonna focus on the kind of manipulation I have on my gallery, because this is the kind people ask me more about.
So to achieve a realistic look on your final piece, you might wanna look out for details and match color balance, light levels, textures, and the soft edging of each photo, as well as perspective.

Also, if you are working on something and don't know how an element would react with another, I say do some research and look around you. See how things behave in real life, such as the hair being blown by the wind, or how smoke vannishes, how water splashes behave with different kinds of intensity and such. These are the details most people ignore and that really make all the difference in your final piece.


:postit: I am really happy about what I've done but I'm not sure if I wanna show it to others

That isn't something that happens only to beginners. All artists go through it at all stages of their profesional life. If you like a piece but feel there is something wrong with it, keep your computer on and leave the image fullsized on the screen. Or if you prefer you can even print a copy of it and keep it on the wall for a day. As you walk by it throughout your day doing your chores and your other stuff, you will realize the little mistakes even when you're not thinking about it.

When we spend too much time looking at the same word/ image/ our brain kinda disconnects and it no longer has meaning, or it gets boring and our brain no longer pays attention to its details.

I'm dead serious. This is what I do for every single one of my works. I spend days with them on the walls until I finally fix all the mistakes I find. Others would find a lot more I'm sure!

One of my teachers once said: "If you wanna know what the mistakes on your work are, then look at it, as if your worst enemy would and say outloud all the things that person would say about your work." Might sound silly but it stuck to me :]

You might never want to show it to others, but think of all the positive things you can learn with others who are willing to share. If people are rude to you instead of giving you a good solid critique, then they are not even worth your time or attention. Just move on and keep focusing on your work ;)


:heart:

:postit: IMPORTANT LINKS
Products
Adobe.com
Paint.net
Gimp.org
Adobe Downloads
Virtual Photographer
Inkscape
ArtRage

More Stuff about...
ABC to photomanipulation
History of Photomanipulation

Special thanks to
:iconfangedfem: :iconchulii: :iconwilderwein77: :iconeilorendil:
Interview with ~maril1

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

:thumb81385084: :thumb81460955: :thumb82516661: :thumb83280673:

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

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


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

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


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

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


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

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

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

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


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

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


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Interview with *kayceeus

♥ *kayceeus is one of the Artists I feel that truly deserves all the recognition, respect and admiration. She started just everyone of us, in her own humble style and has been growing in beautiful ways exploring themes of innocence, fantasy, surreality and the macabre, in a combination of unexpected elements that makes breathtaking art.



Thank you so much for doing this interview, it means a lot. And I know people will love to know more about you! There's something I've been meaning to ask you for a long time: you seem to use childhood and children a lot in your works. Is there a metaphorical or a special meaning behind it?

I had a fantastic childhood it was such a great era to grow up in but I did have a rough patch when I was about 11 years old. It was the end of my first year in Junior High. A girl who had been a very good friend got mad at me, I still don't know why, and turned everyone in our group of friends against me. It was a very lonely and sad time for me that has come out in pieces like Innocence Lost and Girl at Gate.


Following the previous question: Childhood is usually seen as a happy time in our life, when we are free and happy, laughing out loud and playing. However in your work we usually see children with a melancholic and even dark twist. Is it something too personal to talk about it with us, or is it simply your path and vision for artistic purposes?

I'm very sure that dark twist comes from what happened in Junior High, it's such a hard age anyway and being ostracized left scars that haven't healed to this day. It's strange it was probably only 2 months out of my life but still had such a huge impact.

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I absolutly love your work "Tiny Dancer", it's so beautiful, and truly epid in my personal opinion. May I ask what you had in mind while creating it? What message where you trying to bring to the viewer?

When I saw that great little girl stock I knew immediately what I wanted to do with it. I see her as a very normal little girl who like all little girls at that age had very big dreams. You know the time between visions of ballerinas and cow girls and the reality of babies and waitresses? Jeez I sound so cynical!!!


deviantART is a place where we are constantly being exposed to each other's art and it's very easy to be inspired with such great works of art. Is there someone who particularly inspires your creations, or does your inspiration come from real life away from the computer?

Oh I think we're all inspired by others' work I know I certainly am and whenever I hit a wall I just need to look through artists such as *oloferla, ~meluseena, `AutumnsGoddess, ~sheispretty
and `tracie76 and so many more fabulous people here on DA to get me motivated!



On a more personal note - you seem like a very reserved personal, which I think is very good, because the more you expose yourself, the more vulnerable you become towards others. however I'm sure your watchers and other people would love to know a little more about the person behind the computer. Tell us a bit about yourself. ( nothing too personal of course )

Well I'll just say this, so far I've lived a very full, fun and tragic life and I can't imagine what more is in store for me...

I'm sure that some people have asked you for help and advice on art. How do you react and how do you feel when people come and ask questions about your technique or how you get a certain effect in your works? Do you find it fullfilling or does it make you uncomfortable that people would want to "mimic" something you've created on your own?

I remember starting here on DA and that feeling of getting a nice comment or a fav and how it gave me the desire to go on and improve. I really think that if people hadn't been so kind to me back then I would have quit. So yes, whenever anyone asks me for advice or a technique I give it to them, if my help or mimicking my art can give that sense of accomplishment to someone else I'm more than thrilled to do it!




:heart:
As a photomanipulator, I know how frustrating it can get when we have an idea in mind, but once we try to make it come true we cannot seem to find the right resources for it.
We can even take our own photos, however sometimes it's a matter of angle, detail, or we simply do not have what we want near us.

So I decided to make a small list of some royalty free websites. This way you will be able to look up and find what you need more easily. The most important part is that the are free! In some of them signing up is requested but this wouldn't take more than a few minutes.

Also I'd like to give a special thanks to `fangedfem who helped with this research. At first I thought about making a small description of each website, but then I realized maybe it's not necessary because these are all high quality stock services.


:postit: Personal Favorites & Some of the most Popular

Stock Xchange [ has a profesional paid option at Stock Xpert ]

Morgue File

Image After

Dreams Time



:postit: Other High Quality stock Photos

Free Pixels

Stock Vault [ includes design templates and .PSD files ]

Free Range Stock

Big Photo [ great textures!]

Font Play [ search by theme and resolution ]

Free Photos Web

Free Photo Bank

Image Base

Free Photos Bank

Burning Well

Stock Cache

Unprofound

Free Foto

Stick stock [ Free Vector downloads as well ]

Open Photo

Majestic Imagery

Vintage Pixels [ vintage high quality stock photos ]

Image blowout

Pix

Creativity 103

Image Temple



:postit: Specialized in Textures

Personal Favorites

Grunge Textures

Urban Dirty

Bashcorpo


Other Great Textures Websites

Texture Warehouse

CG Textures

M Textur

Amazing Textures

vyonyx

Texturez

Satisfaction Box

:postit:  As you might understand I did not personally try downlaoding from ALL these, so if you find any that isn't actually free, or some other situation, please let us know.
Interview with ~sokolova-katarina

Today I'm bringing you a baby deviant who I know will be very famous among us, for her real talent and passion for art. Her fantasy paitings with a sensual and even erotic twist make her Art something amazingly unique you will never get tired of, simply because it keeps surprising you one piece after another.



♥   As a "baby-deviant", what are your thoughts on this community. Tell us about what you are enjoying the most so far, about people and artists you've found, the things you've learnt so far ( if you feel you did) and if you've ran into something you didn't like as much around here.

Wow, it's a really great place :) I find many great and very talanted artist here! And it seems to me, I find a lot of a new friends :) It's absolutely crazy - to have chat with exellent, very nteresting people in all over the world! I'm really new here, but I hope, to talk more and mopre, find new impression, inspirations and incredible feelings at DA :)


Your work is truly magical, beautiful and very detailed. I'd like to ask you what goes in the process of making each piece. Do you start working on it with a vague concept, then change it while devopping it, or do you sketch all the ideas and details first?

Of course, all is began from the idea.
At first some story is emerge in my head, I started to think about it and create some sketches. Every one of my paintings start's with pencil sketch. I create many of them until I finally understand what I need for realization of my idea. So, step number one - a draft of a picture. I have sketched a general composition of a drawing and have planned proportions of the characters and background in general.

After that the idea for the picture has determined, composition has been found -I started to work out the fair sketch in detail. I have scanned it to get the necessary size, (usually it is A2 format), and started work in Painter. I started to impose general colour at first. The shadows, light and transitions between basic colours have been applied to the woman`s figure (cause I always paint woman in every my work. Also the general tone for the background has been determined.

After that I began to work with details. I love to paint woman`s faces and figures, rich long hair. I always devote much time to details of dress, make-up, accessories. As usually, I paint some fairy tale landscape on background.. I think, it`s looks great in fantasy pictures.




Each of your pieces is so amazingly expressive that it tells a story of its own. And to tell a whole story in just one work and one
frame is trule a wonderful achievement. May I ask, what mostly inspires these magical worlds? How did you get in digital Art?


I have been drawing for as long as I remember myself. At first,I sketched on random pieces of paper torn from my sister's notebooks, then in my own sketching album, presented to me for my fifth birthday. When I was six, I began attending classes at the painting studio. I started with drawing, then moved on to graphics, and finally learned batik.

As a result, after eleven years, I have completed the programs for graphic artist and batik artist. I do not have a preference of one over the other. The drawing is actually a mirror of my emotions, my atmosphere, and my life. I think at every time my inspiration is different. I cannot say that I get inspired at a specific time or at a specific place, of course not.

Our life is the best source of inspiration - joy, emotions, the beauty of the surrounding world, travel. I like to travel, to discover new countries, their traditions and cultures, their people. Some years ago I visited Japan. The oriental culture and traditions have conquered my soul.

Japanese girls are very beautiful. :) Therefore, I often use oriental images in my drawings. I think, a lot of things can trigger the artistic impulse that leads to a new picture, but what really matters is the final result. Most of all I would like to in my works express my own emotions, feelings and, of course, the general beauty of the world around us. Lately I have found a new source of inspiration. It is my little niece. My sister makes up incredible stories for her and I draw the illustrations to them.

I've noticed your work "Lady of Blood" seems to have something in common with the fairytale "Little Red", and I was wondering if it was a coincidence or maybe your own version of it. Do you enjoy exploring stories that already exist and give them your own twist, or do you prefer coming up with your own "fairytales"?

My syster Christina love to devise fairy tales about little princesses, elfs and fairys for her little daughter, named Lia. I decided to paint some illustrations for this fantastic stories. It` was painting for fairy tale about kind fairy,called Lady of Blood and her secret laboratorie. But oftenly I enjoy the beauty of this world, which is my greates inspiration.I think this world is the big fairy-tale :).

It is extremely, unbelievably beautiful. It is perfect and complete. Sometimes I even feel scared by its beauty. I see many exceptionally beautiful feminine forms, and I want to draw them and to show them to my audience. A woman, being an object of admiration and even worship, has always been the best source of inspiration for artists. Being a woman myself, I am intimately aware of the feminine nature, emotions and feelings and I can use them to enliven my work. A woman, just like the nature, is an object of beauty. And beauty, as we know, will
save the world.

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One of my favorite pieces from you is "You're in my dreams". It's a beautiful combination of nostalgic emotions, textures with a surreal twist. Would you like to tell us the story in this one?

Computer graphics has taught me to see the beauty in everything around me and to experience it sharper, I often find myself trying to save to my memory the fleeting images and compositions, which then start to live their own lives inside me. I am very grateful to computer graphics for teaching me to see things differently and for turning my world around.

For me, drawing is a kind of a dialog. It is a dialog between an artist and a surrounding world. It is also a dialog between an artist and
an audience. Drawing is a way of life. It is pieces of moments lived.... "You're in my dreams" is a vary gently and sanly story about young girl, who lost her love..I was not in love, when made it, but I tried to show this strange mystical workd of unrealised dreaming and inpossible love magic.


I'm sure I am not the only one who looks forward to your next works. What can we expect from you: What kind of works will you be sharing with us in the future? Are there surprises on the way or will you be giving us more magical worlds?


Oh, I have a lot of plans! I want to create series of paintings - oriental, exotical and very rich-coloured. I hope, it will be base for my second future Art Book. Also,I want to create a picture featuring men :) I think I`ll do it in my nearest holidays. I have already some ideas
for this - maybe it will be the portrait of my lovely husband :).

How to make a good profesional looking portfolio

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

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

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


What layout styling should I go for?

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

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

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

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

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


Quantity or quality?

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

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


Does size really matter?

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

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



Finnishing details

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

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

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


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


:heart:

Shoutboard



:iconprince-of-shadows::iconlvplz::iconprincess-of-shadows:


Some of the best galleries on dA

♥ Romantic & Beauty Photography
:iconthetragictruth-of-me: :iconaleksandra: :iconretrodiva: :iconzemotion:


♥ Artistic Nude, Glamour, Expressive Photography
:iconnikosalpha: :iconmehmeturgut: :iconpelicanh: :iconabrito:


♥ Dark & Fantasy Digital Paintings
:iconblueblack: :iconenayla: :iconblackeri: :iconaquasixio:


♥ Traditional Art
:iconshimoda7: :iconzindy: :iconzancan: :iconfaboarts: :iconpyromaniac:


♥ Conceptual & Surreal
:iconsauco-m: :iconsheispretty: :iconloganart: :iconglitterdarkstar: :icondibbi: :iconlady-dementia:


Credits
Gallery icons by `manicho