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Currently tearing through Vol. 1 of Walt Stanchfield's notes in the book Drawn to Life... Awesome stuff. I can't wait to start school again to have a planned time slot to animate. Also I can't wait to get Vol. 2.

I need to draw more. Gotta start carrying a sketchbook with me where ever I go.
Better leave one in the car.
Just working on my life drawing and animation timing. Hopefully I will have a good head start for next semester.
  • Listening to: A Silver Mt. Zion & Godspeed You! Black Empero
  • Reading: Before Mickey & Timing for Animation
Animating takes a long time. It takes a lot of effort and creative thinking. That's if you want it to be good. I want to do my best for my classes at Columbia, but with work, doctor's appointments and the rest of life, I feel like there just isn't enough time!!!

Does anyone have some time to spare? I'll gladly take it off your hands...
  • Listening to: A Silver Mt. Zion & Godspeed You! Black Empero
  • Reading: Before Mickey & Timing for Animation
So I am so glad to have mostly animation classes this semester, but my only other class is driving me crazy. It's a screenwriting class and the teacher has this thick Romanian accent. I actually love his accent, it reminds me a lot of grandpa. Anyway... its frustrating because the class goes so slow and choppy. Students won't understand what he is saying, and he won't understand what they're saying. Its just on huge mess. Let alone I am not the best writer, so I have to spend more time to crunch out something worth while.

Ah... Whatever.

Well, I am glad I cut back to just four classes this semester. Hopefully I'll be able to concentrate on animation work and do an excellent job! I am at this point where I have to prove myself... to myself. I read a lot, and I talk a lot, but I haven't been DOING a lot of animation. Hopefully I will have the time to do some work I will be proud of.

There needs to be a procrastinator's anonymous.
There we go. My first semester at Columbia College has OFFICIALLY come to a close. Looks like I did well, mostly A's and B's, and I had one teacher ask to present my coursework to the department! We'll see where it all takes me. For now I am going to relax this break. I will still have to work a Target, but at least I won't be worrying about homework during my free time. I have a few projects set-up, such as a painting for :iconforgottenwritings: upcoming trailer shoot and some personal projects I want to work on.

Oh, and I found out that Shoe shines cost $6 a shoe from a bum on the street. I gave him a $1.25... I don't think he was very happy with me. He offered!

Anywho... when I get some of my coursework back, I will post some of my storyboards an concept art for my various classes.

Take Care!
Okay, so I am nearing the end of my first semester at Columbia College Chicago... GAWD am I just waiting for it to get over! I like my classes, but they've just reached the point of tedious work in order to have points and be able to grade us students.... I feel like I've reached the peak of the might semester hill, and someone has pushed me down the otherside.... and instead of reaching the bottom faster, this side of the hill is 3 times as long!!!

Yeah, I don't even know what I am talking about either... just don't omit is from your brain... yeah.... that's good.

Anywho, I will have a ton of storyboards and concept art to post from my Development and Preproduction class, as well as a few short animations from my Animation 1 class (which I've already taken at KCC... :::yawn:::)

Check out a charcoal drawing I recently finish <<< and then stay tuned for an upload of this semester's work (probably happen in December).

Not that anyone looks at my DevArt site anyways.

I really need to stop talking and writing to myself... ::sigh::
Thats right everybody, I am married! June 21st I became the husband of the best woman to ever walk the face of the earth!

If you're a friend of mine on facebook, you can check out the pictures our friends took of the wedding on there . Otherwise I may be posting the official wedding pictures here, pending the contract with our photographers.

The Great Smokey Mountains in Tennessee was the perfect honeymoon and I can't thank my wife's sister enough for paying our way!!!!

Thanks for everyoe's help and support in making our day and our honeymoon absolutely fantastic!

Backers of the Orphan Works bill are circulating their Talking Points:

"Neither the House nor the Senate drafts of the bill contain the word "registries," [they write] but rather they require users to search non-governmental databases of copyrighted works. The purpose of any database is not meant to take the place of copyright registration, but to have a way to search for visual images. Any participation in such a database would be voluntary."

But this doesn't mean what it appears to say. Take it point by point:

Talking Point #1: "Neither the House nor the Senate drafts of the bill contain the word 'registries.' "
Response: Correct.  They contain the word "databases," a synonym:

Registry: register: an official written record of names or events or transactions…

Database: A database is a structured collection of records or data

Q: Why a synonym?
A: Because international copyright law forbids member countries to impose registries as a condition of protecting copyrights: Berne/Article 5(2) "The enjoyment and the exercise of these rights shall not be subject to any formality."…

In other words, if they used the word "registries" in the bills, it would be a red flag to other countries that the US is flirting with non-compliance with international treaties.

Talking Point #2: "...rather they [the bills] require users to search non-governmental databases of copyrighted works."
Response: Non-governmental databases" means databases maintained in the private sector.
For users to find your work in these commercial databases, your work would first have to be in the database.
Work not in the database would be orphaned.

Talking Point #3: "Any participation in such a database would be voluntary."
Response: Congress cannot pass a bill making registration mandatory because that would violate Berne/Article 5(2).
And that would state explicitly to other countries that the US no longer intends to honor its international agreements.
There are red flags all over these talking points.

Summing up: The Orphan Work bills would mandate the creation of registries by commercial interests.
You would not be legally forced to place your work with these for-profit registries.
But failure to do so would orphan your work.

The deceptive talking points accompanying this bill are another red flag.

— Brad Holland and Cynthia Turner, for the Board of the Illustrators' Partnership

Take Action/ Write Congress…

Over 37,000 messages have been sent from the site in the last 48 hours. Please spread the word.

Please forward or post this announcement in its entirety to any interested party.
Take Action: Don't Let Congress Orphan Our Work

We've set up an online site for visual artists to e-mail their Senators and Representatives with one click.

This site is open to professional artists, photographers and any member of the image-making public.  

We've provided sample letters from individuals representing different sectors of the visual arts.

If you're opposed to the Orphan Works act, this site is yours to use.

For international artists and our colleagues overseas, we've provided a special link, with a sample letter and instructions as to whom to write.

2 minutes is all it takes to write Congress and protect your copyright:…

Please forward this message to every artist you know.

Today the House and Senate sent us draft copies of the new Orphan Works Act of 2008. They haven’t officially released it yet, but we’ve been told the Senate will do so this week. A quick analysis confirms our worst fears and our early warnings. If these proposals are enacted into law, all the work you have ever done or will do could be orphaned and exposed to commercial infringement from the moment you create it.

You’ve probably already heard Mark Simon’s webcast interview with Brad Holland. If not, please listen to it at:…

Then forget the spin you’ve heard from backers of this bill. This radical proposal, now pending before Congress, could cost you your past and future copyrights.

The Illustrators’ Partnership is currently working with our attorney - in concert with the other 12 groups in the American Society of Illustrators Partnership to have our voices – and yours - heard in Congress. We’ll keep you posted regarding how you can do your part.

Please forward this information to every creative person and group you know. Mr. Holland and Mr. Simon have given their permission for this audio file to be copied and transferred and replayed.

For additional information about Orphan Works developments, go to the IPA Orphan Works Resource Page for Artists   

If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at:   
Place "Add Name" in the subject line, and provide your name and the email address you want used in the message area.

Orphan Works: No Myth

We've seen "Six Misconceptions About Orphan Works" circulating on the Internet. It's a well-reasoned piece, but has one problem. The author cites current copyright law to "debunk" concerns about an amendment that would change the law she cites.

How would the proposed amendment change the law? We'll get to that and other questions in a minute. But first, let's answer the broader charge that news of an Orphan Works bill is just "an internet myth."

Q: There is no Orphan Works bill before Congress – one was introduced in 2006, but it was never voted on.
A: Correct. The last bill died in Congress because of intense opposition from illustrators, photographers, fine artists, and textile designers. The Illustrators' Partnership testified against it in both the House and Senate. www.illustratorspartnership.or…

Q: So if the bill is dead, why warn everybody about it now?
A: Because a new bill is due out momentarily. According to Andrew Noyes of the National Journal:

"Legislation aimed at reworking a portion of U.S. copyright law dealing with 'orphan works'... will likely be a priority for the panel headed by House Judiciary Courts, the Internet and Intellectual Property Subcommittee Chairman Howard Berman, D-Calif., in the spring...

"American Library Association copyright specialist Carrie Russell said her members are 'excited about having orphan works legislation' move this session,'" adding: "the House effort is 'so close to being a done deal that we're on the edge of our seats.'" -Intellectual Property -Progress Seen on Developing 'Orphan Works' Legislation, by Andrew Noyes © National Journal Group, Inc. 02-21-2008

Q:  But if there isn't a new bill yet, how can we know what's going to be in it?
A: Our information indicates the new bill will be basically the same as the old one. According to the Copyright Clearance Center:
"Subcommittee chairman Howard Berman made it quite clear that he intends to introduce new orphan works legislation shortly... It is likely the new bill will look very similar to The Orphan Works Act of 2006."…

Q: But if it's due out shortly, why not wait until it's been introduced before we oppose it?
A:  To quote from the Copyright Clearance Center:
"Since this is an election year, and re-election campaigns will be in full swing by late summer, new orphan works legislation will probably be fast-tracked to reach the floor of the House by mid-May".…
Since that would give us only a month to notify artists, we decided to start now.

Q: Do we have any direct corroboration for these press reports?
A:  Since the last bill died, we've met with:

- Chairman Berman
- Attorneys from the Copyright Office
- Representatives of the House and Senate Subcommittees  
- A lobbyist for Getty and Corbis. (Getty and Corbis oppose the bill, but are negotiating for favorable concessions.)

Q: Where did we get the idea that the Copyright Office wants to impose for-profit registries?
A: That proposal has been there from the beginning. Two examples (with emphasis added), the first from page 106 of the Copyright Office's 2006 Orphan Works Report:

"[W]e believe that registries are critically important, if not indispensable, to addressing the orphan works problem...It is our view that such registries are better developed in the private sector..."…

And on January 29 2007, twenty visual arts groups met in Washington D.C. with attorneys from the Copyright Office. The attorneys stated that the Copyright Office would not create these "indispensable" registries because it would be "too expensive." So I asked the Associate Register for Policy & International Affairs:

Holland: If a user can't find a registered work at the Copyright Office, hasn't the Copyright Office facilitated the creation of an orphaned work?
Carson: Copyright owners will have to register their images with private registries.
Holland: But what if I exercise my exclusive right of copyright and choose not to register?
Carson: If you want to go ahead and create an orphan work, be my guest!
- From my notes of the meeting

This exchange suggests that if Copyright Office proposals become law:

- Unregistered work will be considered a potential orphan from the moment you create it.
- In the U.S., copyright will no longer be the exclusive right of the copyright holder.

Q: What does it mean to say your copyright is an "exclusive right"?
A: Under existing law, "[a] copyright gives the owner the exclusive right to reproduce, distribute, perform, display, or license his work…Under current law, works are covered whether or not a copyright notice is attached and whether or not the work is registered (emphasis added)."…

Q: Why does this exclusive right matter?
A: Two big reasons:

- Creative control and ownership: No one can use or change your work without your permission.
- Value: In the marketplace the ability to sell exclusive rights to a client triples the value of your work.

Q: So how would the Orphan Works proposals endanger that right?
A: It would allow anyone who can't find you (or who removes your name from your work and says he can't) to infringe your work. Since infringements can occur anytime, anywhere in the world, they could be countless but you might never find them.

Q: So?
A: So:
- Under this bill, you would never again be able to assure a client that your work hasn't been – or won't be – infringed. Therefore
- You would never again be able to guarantee a client an exclusive right to license your work. This means
- Your entire inventory of work would be devalued by at least 2/3 from the moment this bill is signed into law.

Q: But the "orphan works problem" isn't just something dreamed up by evil corporations to steal your vacation photographs. It's an actual problem faced by academics, librarians, and others.
A:  In drafting the 1976 Copyright Act, Congress weighed the issue of older works whose owners can't be located. They concluded that the problem it created for users was outweighed by the benefits of harmonizing U.S. copyright law with international copyright law.

"A point that has concerned some educational groups arose from the possibility that, since a large majority (now about 85 percent) of all copyrighted works are not renewed, a life-plus-50 year term would tie up a substantial body of material that is probably of no commercial interest but that would be more readily available for scholarly use if free of copyright restrictions...

"[I]t is important to realize that the [1976] bill would not restrain scholars from using any work as source material or from making 'fair use' of  it; the restrictions would extend only to the unauthorized reproduction or distribution of copies of the work, its public performance, or some other use that would actually infringe the copyright owner's exclusive rights (emphasis added)." SOURCE: H.R. Rep. No. 94-1476, at 136 (1976)  - Quoted on pages 15 –16 and 41 - 44 of the 2006 Orphan Works Report…

Q: But the backers of the Orphan Works bill say it would merely amend the law to solve the problem of old work whose owners can't be found.
A: It would solve the problem alright! But it would do so by making a potential orphan of any work by any artist, living or dead. This would be like trying to solve the crime problem by making everything legal.

Q: How would it orphan "any work by any artist, living or dead"?
A: As we testified before the Senate subcommittee in 2006: "The inability to distinguish between abandoned copyrights and those whose owners are simply hard to find is the Catch 22 of the Orphan Works project.

"Put simply, if a picture is unmarked, it's impossible to source or date it. Therefore this amendment would orphan millions of valuable copyrights that cannot otherwise be distinguished from true orphaned works - and that would open the door to cultural theft on an unprecedented scale."  www.illustratorspartnership.or…

Q: But the Copyright Office says the infringer would first have to make a "reasonably diligent search" to find the copyright holder.
A: Yes, but last time, this opened a Pandora's Box of problems. No one was able to draft a foolproof definition of a "reasonably diligent search" (remember that the infringer would have a serious financial incentive not to find you). So the Copyright Office proposed registries.

Q: Why registries?
A: Because a search of registries would allow the infringer to legally claim he had made a "reasonably diligent search."

Q: And the problem with that is?
A: You can't find a picture in a registry if it's not there. Any picture – published or unpublished, professional or personal – that hasn't been registered could therefore be orphaned by a successful orphan works defense - even if the artist was alive and otherwise managing his copyrights.

Q: But if you do become aware of an infringement, you can always claim a "reasonable fee" from the user.
A: Another Pandora's Box because:

- Infringements can occur anytime anywhere in the world; therefore
- You would have to search every publication, every website, everywhere - on a regular basis - to see if anything you've ever done has been infringed.  
- This would be an impossible task - but
- Even if you did find an infringement, you'd still have to
- Locate the infringer and get him to respond; and   
- While the infringer would only have to make a "reasonably diligent search" to find you,
-You would have to make an absolutely successful search to find him.
- Then, if you were able to track him down and get him to respond, you'd have to
- Settle for whatever he was willing or able to pay you; or
- Take him to Federal Court; but remember
- If the court accepts the infringer's claim that he made a reasonably diligent effort to find you,
- You'd get no more than what he was willing or able to pay you in the first place; but
-You'd be out-of-pocket for legal expenses; and
- There'd be no limit to the amount of damages and legal fees the infringer could get from you in a countersuit.

Q:  But what if you do sue an infringer and win? Then can't the court award you full costs, including a reasonable attorney's fee?
A: In theory, yes. But here's how a full-time litigator, advising us in 2006, said it would happen in real life:

"Under current law, infringement cases follow two scenarios:

"Scenario One: If a copyright owner has registered his copyright, he can get statutory damages and attorneys fees. As a result, it is relatively easy to find a contingency fee lawyer to take these cases. (That's because the copyright owner doesn't have to pay the lawyer; the infringer does). In addition, the copyright owner usually finds that he gets more in settlement than he pays in legal fees, if he decides to hire an hourly-rate lawyer.  

"Scenario Two: If a copyright owner has NOT registered his copyright, he can only get actual damages. In these cases, it is usually impossible to find a contingency fee lawyer [because in these cases, the copyright owner will have to pay - and may not be able to]. Moreover, it is often not wise for the copyright owner to litigate these cases anyway, because the settlement value is so small.  

"Under the orphan works legislation, ALL infringement scenarios are, as a practical matter, Scenario Two."

Q: But the Copyright Office says that infringers who act in good faith need "certainty" that they won't be penalized for using an "orphaned" work:

"Most [commenters to the Orphan Works Study] agreed that statutory damages and attorneys fees should not be available [to copyright owners] because those remedies create the most uncertainty in the minds of users (emphasis added)." - Page 7/Orphan Works Report…

A: Maybe so, but under this bill
-You would never have certainty because you'd never know if, when or where your work has been infringed.
- Yet the infringer would be guaranteed the kind of certainty the law would deny you.

Q: The Copyright Office says that user certainty is "essential to encouraging the use of the [orphaned] work." -Page 7/Orphan Works Report
A: The issue of certainty for the user/infringer is the lynchpin of the whole Orphan Works issue, so let's take it step-by-step:

1. Congress can't pass a law to make you register your work or put copyright symbols on it because these formalities would violate the obligations and commitments of the United States under the international Berne Copyright Convention:
Berne/Article 5(2) "The enjoyment and the exercise of these rights shall not be subject to any formality (emphasis added)."…

2. So because Congress can't impose formalities on you, the Copyright Office crafted a recommendation that would expose your work to infringement if you didn't impose formalities on yourself.

3. They say this "limitation on remedies" is necessary to guarantee "certainty" to the good faith infringer of your work.

4. But uncertainty is the only mechanism the law gives you to protect your work from thieves.

5. There is no Copyright Bureau of Investigation; no Copyright Police Force.

6. You are responsible for policing your own copyrights – and penalties for infringement are the only weapon the law gives you.

7. Fact: most creative work is never registered with the Copyright Office and most infringers know it. So

8. If an infringer wants to rip off your work, he can guess that a.) you may never find out about it; and b.) it probably wasn't registered anyway.

9. He may guess correctly but – he can't be sure – and this uncertainty is your key safeguard against unjust infringement, because

10. If an bad actor guesses wrong, he'll be liable under current law for statutory damages of up to $150,000 per infringement, plus attorneys fees.

11. This is a powerful incentive for a thief not to risk stealing our work.

12. So it turns out that in the real world, uncertainty in the mind of a bad actor is the only weapon you have to protect your copyright. Remove that uncertainty and you remove the only realistic safeguard the law provides.

Let's say that again: Without uncertainty, thieves can reasonably gamble that their thefts may never be detected, the work they steal won't be registered, the owners of the stolen property will never find them and – if once in a while they do get caught – they can simply say the property had no name on it when they found it and dare you to sue them. From that point on, the risk will be all yours.

The Dog that Didn't Bark In 2006, visual artists banded together and flooded Congressional offices with faxes protesting the harm the Orphan Works Act would do to professional artists.

Lost in the swamp of debate over "reasonable searches" and "reasonable fees," no one stopped to think that the bill had been written so broadly that the inclusion of unpublished work would expose even personal and private work - such as sketches, diaries, family photos, home videos, etc. to infringement. This issue was the dog that didn't bark. The January 29 2007 exchange with the attorney from the Copyright Office finally woke the dog:

Carson: Copyright owners will have to register their images with private registries.
Holland: But what if I exercise my exclusive right of copyright and choose not to register?
Carson: If you want to go ahead and create an orphan work, be my guest!

This radical expansion of the public domain makes this legislation much more than an issue of copyright infringement. Its unintended consequences would amount to a violation of private property and potentially, of privacy itself.

In a 2005 paper submitted to the Copyright Office, legal scholars Jane Ginsburg and Paul Goldstein warned that Orphan Works legislation must precisely define the scope of its mandate or fail to uphold our country's commitment to international law and copyright-related treaties:

"[T]he diversity of [orphan works] responses highlights the fundamental importance of precisely defining the category of 'orphan' works. The broader the category, or the lower the bar to making the requisite showing of due diligence, the greater the risk of inconsistency with our international obligations to uphold authors' exclusive rights under copyright. Compliance with Berne/TRIPs is required by more than punctilio; these rules embody an international consensus of national norms that in turn rest on long experience with balancing the rights of authors and their various beneficiaries, and the public. Thus, in urging compliance with these technical-appearing rules, we are also urging compliance with longstanding practices that have passed the test of time (emphasis added)."  -Item 1/page 1 Orphan Works Reply Comments…

It may sound absurd to argue that the unintended consequences of this legislation will raise privacy issues. But the absurdity arises from the Copyright Office's inversion of basic copyright law. On page 14 of the Orphan Works Report, the authors write:

"If our recommendation resolves users' concerns in a satisfactory way, it will likely be a comprehensive solution to the orphan works situation (emphasis added)."…

Yet any law that permits users to commercialize the private property of others cannot be "comprehensive" if it "prejudices the legitimate interests of the copyright holders." See Article 13/The Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS)…

This includes unpublished work and personal expressions as well as works intended for commercial use. Authors' rights are exclusive. Public interest cannot compel anyone – artist or private citizen – to publish his or her work. So by what right of eminent domain can Congress assert a sweeping right to let others publish it for them?

The Copyright Office has stated that they'll regard their recommendation as "satisfactory" if it makes millions of copyrights, no matter how valuable, available to users, no matter how worthy, under a system that would introduce permanent uncertainty into the markets of professional creators and into the lives of ordinary citizens. By placing the wants of users over the rights of rightsholders, the Copyright Office would invert the simple logic of copyright law, which in 2006, one artist expressed very clearly this way:

"If you find a creative work, you may not know who created it, but you know you didn't."

Despite 127 pages of the Orphan Works Report, you need only common sense to tell you this: The primary goal of copyright law is not to make creators' work available to others. If it were, there'd be no need for copyright law at all: everything would be free for anyone to use. Copyright law exists primarily to protect the property rights of creators and secondarily, to extend the benefits of the creator's work to the public. It does this by defining specific, limited exceptions to the creator's exclusive license. In doing so, the law promotes the useful arts and provides certainty to users and creators alike. Invert the law and you invert the only way it can benefit society.

- Brad Holland © 2008 with additional research by Cynthia Turner, for the Illustrators' Partnership

The author has given his permission to post or forward this article in its entirety to any interested party

Brad Holland is a self-taught artist and writer whose work has appeared in Time, Vanity Fair, The New Yorker, Rolling Stone, the New York Times and other publications. He is a member of the Society of Illustrators Hall of Fame. His satire on the art business,"Express Yourself, It's Later Than You Think" was first published in The Atlantic Monthly  "First Things About Secondary Rights" appeared in The Columbia Journal of Law and the Arts, published by the Columbia University School of Law

Cynthia Turner is a certified medical illustrator and a Fellow of the Association of Medical Illustrators (AMI). She is a founding member and Board member of the Illustrators' Partnership of America, and a member of the Society of Illustrators. She creates original illustrations for medical publishers, pharmaceutical companies, biotechnology firms and their agencies.

For additional background on Orphan Works, go to the IPA Orphan Works Resource Page for Artists   

If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at:   
Place "Add Name" in the subject line, and provide your name and the email address you want used in the message area.
Due to Mark Simon's article, there has been a outbreak of of people who have been sucked into a scare of losing copyright. Upon furthur investigation, the situation is not as it seems. Mark Simon's article is misleading and make assumptions of a bill that was never voted on in the previous congress. Although it has recently been brought into topics within this congress, no actual bill has been redrafted yet.

Please read this article, as it helps to correct some misconceptions >…

Although, as skeptical as I am, I do not fully agree with a orphan works bill if one resurfaces. I say keep things the way they are now.

PLEASE do you research and discover for yourself what is going on out there.
Okay. The end of my last semester at Kellogg Community College is drawing near. After completing most all of my general education classes, I can now concentrate on my major. Columbia College Chicago, here I come!

There is a lot still to do!

I need to find an apartment in Chicago, MOVE everything out there, get married in June, and help my fiance pass her NCLEX so we can have a source of income!!!!

Yeesh... it is going to be rough! I am confident though. I am finally moving down my path to becoming a professional artist.

Anywho! Thats the update for now! Hopefully I'll post some artwork sometime soon.


definition: Ecclesia (or Ekklesia) in Christian theology denotes both a particular body of faithful people, and the whole body of the faithful. Latin ecclesia, from Greek ekklesia had an original meaning of "assembly, congregation, council", literally "convocation".

  • The rise of a militant religious sect, bent on the destruction of the United States
  • The use of human beings as weapons
  • Rise of a special U.S. defense group to utilize the "human" weapon
  • The question of the morality of our action
  • A single boy who is the only hope left
  • His struggle as an atheist - Is there a god?

Creator notes: THESIS I have only recently become a Christian, and still have memories of who I was, what I thought, and my reasonings for not following God. Now I look back and can't understand why I thought that. In my story of Ecclesia, I want to present the typical atheistic and agnostic views alongside the views of Christianity. My goal is to reveal both sides of this mental battle and hopefully gain a better understanding of who God is and how I percieve Him.

Please check back again for an update of the plot and story of Ecclesia!
I haven't been on Deviant art much in the past year... I don't think I will be taking on any new projects for a while, or at least outside projects. I want to work on something of mine. I am always giving my time to others... and then I never see anything of mine getting done.

No more. I am tired of it.

Creative Commons

Tue Dec 12, 2006, 12:36 PM
<div align="center>animation project WIP

When did dA get CC??? In any case, this is awesome! Well, not like super awesome, but it is nice to see they have adapted it into there submission process.

Now stock fotos and other resource material will already have the guidelines on them through CC and you won't need to always worry whether or not they are usable.



Fri Dec 8, 2006, 9:03 PM
<div align="center>animation project WIP

I have never been good at budgeting my time.

Four Finals and I am only prepared for one.

Devious Journal Entry

Tue Aug 8, 2006, 8:53 PM

1. Grab the nearest book.
2. Open the book to page 123.
3. Find the fifth sentence.
4. Post the text of the next 3 sentences on your LJ along with these instructions.
5. Don't you dare dig for that "cool" or "intellectual" book in your closet! I know you were thinking about it! Just pick up whatever is closest.
6. Tag five people.


Feuled by the discovery, Holloway insists on exploring at least some of the immediate hallways branching off the staircase. Soon enough he is stalking doorways, leading the dancing moon of Jed's flashlight with the barrel of his rifle, and always listening. Corners, however, only reveal more corners, and Jed's light only targets ashen walls, though soon enough they all begin to detect that inimitable growl (superscript 155), like calving glaciers, far off in the distance, which at least in the minds eye, inhabits a thin line where rooms and passageways must finally concede to become a horizon.

Book's Dedication: This is not for you.

Gallery Re-Showing

Thu Jun 1, 2006, 6:45 PM

I have finally submited the 11 paintings that were displayed at my solo-exhibit "Living Battles". They are all abstract but some show human figures. "Ownership" is probably the most realistic in terms of concept.

The middle of June I hope to be very productive in establish my portfolio with life drawings and storyboards. I need to contact my partner-in-crime and ask him if he'll pose for some gesture drawing sessions and a few longer duration life drawings. My goal is to have my portfolio ready to send out by August 2006 with my application for Fall Semester 2007.

Some Schools in Consideration:

1. Cal-Arts (California Insitute of the Arts, Valencia CA)
2. RMCAD (Rocky Moutain College of Art and Design, Lakewood CO)
3. Columbia College (Chicago IL)
4. SCAD (Savannah College of Art and Design, Savannah GA)


Fri May 19, 2006, 3:00 PM

You can still view all my old deviations, but there now reside in my scraps folder. I am hoping to keep my gallery open for only my truely finished works. Much of my previous deviations were doodles/ sketches/ideas.

I will be updating photographs of my paintings from my recent solo-exhibit "Living Battles" into my new gallery. I may also try to establish a print account so that anyone who may desire a print of one of my paintings will be able to do so.

Thank You.

Gallery Closes $$$

Wed Apr 26, 2006, 11:55 PM

My art is changing as I establish my Artistic Voice.

All previous Deviations will be moved to Scraps as soon as my Art Exhibit has closed.

My Art Exhibit is coming down this Monday (May 1st)
It was fun while it lasted and I learned a lot.

I will be shooting some photographs of my work onto slide film for my portfolio and some digitals to put up here on Deviantart.

I sold three of my paintings!!!
Awesomeness ensues...

School is ending and finals are eating me up.

Will return and update my devart page mid-may.