| all of this artwork are my previous work and i am still practicing my skill on penciling and other reviewing on it to make it fine and the right process of detailing and perspective, most specially my learning process on the flexibility of the muscle movement on the human body.and yeah, i don't deny that i am weak on anatomy.but im still study on it.and hoping for the days and near future to come you will see my updated artwork and design on tattoos.critique are welcome to my site. and i will respect there opinion regarding from my artwork critique to every person that i met.thats the trials to push me up in artistic direction to enhance my knowledge in the name of arts and design. "Usually custom designs require you to make an appointment with an artist who is then paid hourly to consult with you. Your best bet is to talk to people about their tattoos beforehand and see which shops around your area are most reputable. Each artist at each shop will have a portfolio of work they've done, both custom and off the wall. Keep in mind that while many do both, not every artist is a great custom artist...If you have any questions, ask. Although seemingly intimidating sometimes (especially your first time), most tattoo artists are thoughtful, intelligent, and wildly creative people who want you to love your tattoo as much as you want you to love your tattoo. If you get a bad vibe, definitely go somewhere else. But before you waste anyone's time (including your own), look at the portfolios. Then make an appointment with the artist whose portfolio you feel matches your own preferences the most."Make sure to ask for a portfolio before hand. Look around the shop, check for pictures of past work. LOOK FOR DETAIL. This is a custom job, don’t just get it done because the guy/girl is close to you. If it means traveling a few miles, do it. You want perfection, not half-assert. Basically the list is as follows; Big Portfolio Has actual evidence of his custom work. Actually has a skill on drawing, (you shouldn’t have to walk upstairs to enter a tattoo “  arlor” Is very detailed Has used different colors |
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| chosen for different artist and there work are my personal references and apart of my daily life. Comic angle is the viewer’s position viewpoint of a particular scene in panel with or without border, it could be either eye-level, low angle or high angle viewpoint. The eye-level is the ordinary straight look of the viewer that is not looking up or looking down. The low angle is sometimes called the worm’s eye view; or the worm on the ground that is looking up at anything above it. And the high angle is the bird’s eye view, or the bird in the sky that is looking down. The eye-level comic angle is less dramatic or interesting than the low angle or high angle view. However, it is a good position of the viewer for viewing character in close-up, character looking directly at the viewer, ordinary scene of people in market place or street, factory scene, panoramic landscape, etc. See the 2nd drawing in Chapter 13 as example of an eye-level viewpoint. Also, see the 9th and 10th drawings in Chapter 29. Low angle view in comics is not necessarily viewed from the worm’s position on the ground looking up at the subject. Actually, the viewer is anywhere below the subject he’s looking up at, either near or far from it. The word “worm” is used only to facilitate the understanding of the idea of low angle. Usually, low angle is used to evoke awe or reverence on religious subjects like God or gods, persons with power and authority, or anything extraordinary and wonderful. It is also used to magnify height, speed of subject moving toward or away from the viewer, violence, or dramatic perspective of any structure. In addition, low angle is used to make a character dominant by drawing it higher than another dominated character; it even dominates the viewer who is looking up at it. See the 4th drawing in Chapter 15 and the 1st drawing in Chapter 44 as examples. Mainly, the aim of the low angle view is to magnify the dramatic effect of the action, emotion or power of the subject that is viewed by the viewer and also to dramatically enhance the perspective of its environment. The high angle is also not necessarily viewed by the viewer from the flying bird position in the sky that is looking down; the idea is that the viewer is above, either near or far from the subject he’s looking down on. High angle is used, for example, in military, industrial or commercial installation, city, or any map-like geography of a particular area. It is also used to emphasize great depth or distance, superiority of a character over another; and heavenly authority over everything. Example of a high angle view is the 3rd drawing in Chapter 26; see also the 2nd drawing in Chapter 22. Another type of comic angle is the double angling. Here, the viewer angled his look at the subject, then tilted it either upward or downward. The resulting perspective of the subject being viewed is very dramatic because of the great 3d effect. A good example is a high angle view of a building so that its front, side and top are seen; if the building is viewed in low angle, its length, width and height are seen. A building showing only its height and width is uninteresting and flat. Generally, any double angled structure or figure is dramatic to look at because of its 3D effect. Examples of multiple double angled structures are the 4th and 5th drawings in Chapter 29. Tilted comic angle is a slanted or off-balance viewer’s viewpoint. Usually, this is used in horror, forceful or violent scene, or when a character is disoriented or highly emotional. Example is a drawing of a character in a boat that is tossed by violent waves, or a building swaying during an earthquake. Also, see the 2nd and 3rd panel drawings in Chapter 16. Anything slanted from left to upper right is symbolic of going up; and if slanted from upper left to right is going down. To illustrate, a character hiking up on a mountain trail toward the viewer, usually the mountainside should be drawn slanted from left to upper right. But this rule is not generally applicable if there are two hikers on opposite sides of the mountain. Contrasting comic angles are two different viewpoints that are viewed from two opposite sides. For example, see the drawing in panel B that is contrasted with the drawing in panel C in the preceding chapter. Repeating comic angles are series of similar angled viewpoints of the same or different scenes. The similar angled viewpoints of the viewer at the different stages of the manufacturing process of a particular product are good examples. Progressive or regressive comic angles are series of angled drawings viewed from a position that is progressing or regressing in height. Example, say, progressing from low angle to eye-level, then to high angle; or it may regress in height. The position may also progress around the subject from the front to the side, and then to the back; or it may regress in opposite direction. The position may progress or regress also in distance which can start from exterior shot to interior shot, or vice versa. For example, in a sequence where the position of the viewer that is decreasing in distance from the subject he’s viewing may start from an exterior long shot to full shot, to interior medium shot, and then to close-up; the reverse is progression. Clearly, there is progression and regression in the image size of the subject being viewed. Actually, the viewer’s position while viewing a particular subject may start from one of his angled viewpoints and then progressively or regressively ends with another one of his angled viewpoints. As example, notice the progression and regression of the angles of the drawings in Chapter 41. Remember this progression and regression in angle, height, around the subject, distance and image size of the subject because they are very important guides in making comics panels with visual continuity. The long comic angle shot is a panoramic field that is viewed by the viewer from a distance and higher elevation position. From a much greater distance and higher elevation position, the viewpoint is called an extreme long comic angle shot. Ordinarily, extreme long shot is used in establishing the setting of a vast panoramic field, showing the general environment, weather, atmosphere, and time of a day. For example, the exterior extreme long shot of the city of Manila, its general environment, weather, atmosphere and time of a particular day. Long shot in the other hand shows only a segment of a vast panoramic field. Using the city of Manila again as example, one of its long shots shows only some of the buildings in its commercial center, its immediate neighborhood, the people and the things in it to acquaint the viewer about it. Full comic angle shot is the viewer’s viewpoint of one or more characters in full figure in a defined exterior or interior setting. Example, referring to one of the buildings of the commercial center of Manila, the interior of one of its rooms has many cubicles, and in one of the cubicles can be seen a full shot of two programmers sitting while typing in front of their computers. Medium comic angle shot of one or more characters is the viewpoint of the viewer from above the knee or upward. Generally, this shot is used to show clearly the character or characters’ actions and expressions, the setting is still obvious to the viewer. Medium shot is also used most often in two-shot of two characters. If there are more than two characters, usually they are divided into two groups to create a two-shot. Notice in the example of the cavewoman chasing the caveman in the preceding chapter, it is a two-shot. In panel B, visually, the caveman dominates the cavewoman because he is bigger in size, closer ¾ angle and in better position. But in panel G, the cavewoman dominates the caveman because she is positioned higher than the caveman. Referring again to the two programmers in the cubicle mentioned above, the two can be viewed closer in a medium two-shot interacting with each other while typing in front of their computers. A close-up angle is a shot viewed from above the waist or higher. A much closer shot is called extreme close-up. In any close-up the emotion of a character are very evident as shown by its expression. Again, referring to the two-shot of the two programmers, if one of them laughs, it will cause a reaction from the other. A closer shot of the other programmer’s reaction is called a cut-in close-up. A reaction closer shot of another programmer that is in another cubicle, near or farther away, is called a cut-away close-up. The direction and position of the character in cut-in or cut-away must always be the same as in its previous direction and position in the preceding panel. By the way, cut-in or cut-away is not necessarily a close-up of a single character, it can be a shot of more than one character, or it can also be a medium or full shot of one or more characters. Extreme close-up is used in subject that is too small for the viewer to see. Example is the extreme close-up of the actions of the ants in their underground chambers, etc. Scheming character if drawn in close-up or extreme close-up should be in low angle shot because it is out to dominate even the viewer who’s beneath it. On the other hand, a sneaky character if drawn in close-up or extreme close-up should be in high angle shot to emphasize that it is sneaking even under the viewer. In addition, character in grief or anguish if drawn in close-up should be in high angle shot or below the viewer to accentuate its dejected feeling. An example of a scheming character in low angle close-up is shown in the 2nd drawing in Chapter 19. One important thing to remember, an artist must never use close-up for no apparent reason but just to fill up the space of the illustration page, it doesn’t contribute to the comics visual storytelling. Close-up most often is a reaction shot to an action or another reaction shot! But the most important thing to remember is that comic angles are also symbolic that are similar to the symbolic comic panels and lines; they are used as psychological techniques and tools in comics illustration. And as visual aids, they enhance and exaggerate the comic story. However, the other much simpler and easier thing to remember for any artist to become an effective comic storyteller is that “he must assume that he is explaining and telling a visual story to the viewer who doesn’t know how to read the captions and dialogues.” This is another one of my fundamental principles. Posted by Floro Dery at 8:36 PM Monday, July 6, 2009 Chapter 49: SEQUENCE AND CONTINUITY Comics sequence is a series of drawings that are shown in different angles and in varied panels which covers a single setting or event, or several orderly settings or events. If it is a series coming out every week or every month, each weekly or monthly episode can be considered a sequence with single or several settings or events. To have an idea of what a comics sequence is, see the song sequence with different cuts in Chapter 41 as example. Every sequence in comics must have logical visual continuity to convey a coherent part of the story. And a sequence has visual continuity only if its series of drawings of the characters or objects in motions have consistent directions or if not in motion must have consistent positions in every panel they appear, except in the neutral panel and if the directions and positions change. The direction and position in comics are ignored by many comic artists, either because of ignorance in their use or some other reasons. For example, an artist draws a character moving in a particular direction in one panel, suddenly the character changes direction in the following panel, and then changes again to another direction in the next panel without transition connecting panels. This is very confusing to the viewer. Consequently, the comic story can be understood most often only by reading the captions and dialogues. As I have pointed out in the preceding chapter that comics are primarily visual medium, and that the captions and dialogues are only secondary in importance; but because of the confusing directions and positions of the characters or objects, the drawings become secondary instead. There are many things to consider in comics illustration when direction and position are involved. For instance, for two opposing groups, say, A and B, the directions and positions of A and B should be maintained in every panel they appear provided either A or B does not change direction or position. That is, if A is moving from left to right and if A is shown in another panel, its direction does not change; same thing for B. Closer shot of a character in A or B with dialogue or reaction can be inserted but still has the same direction and position as A or B, respectively. Another example, an airplane taking off with direction from right to left in one panel must land with direction still the same from right to left in another panel. In a panel showing a drawing of a group of characters, their directions and positions relative to each other must be maintained in the following panel if they are shown in the same or different angle. If one or more characters in the group are shown in another panel, the rule also applies. In particular, if one or more characters are shown facing to the right in one panel, in the succeeding panel, the same character or characters must still be facing to the right. Violating these rules cause mismatch of the directions and positions of the characters that confuse the viewer and cause also the drawings to have conflicting visual directions and to loss continuity. In general, the principles explained in the preceding paragraphs apply to all kinds of directed motions; they are also applicable to anything that is not moving. The thing to remember is that the direction of the motion of action of anything or the position of its inaction must be maintained in every panel it appears, except in the neutral shot or if it changes direction or position. But the best and simplest guide to follow by any artist is shown in the following drawings, a simplistic pictorial outline I did for comics drawings to have visual directions and continuities. In the preceding drawings, notice the viewer is looking at panel A with the drawing of the cavewoman with a club chasing the caveman. The viewer can move anywhere on one side of the bottom borderline of the panel, even along the line, but he is NOT permitted to cross the line; otherwise, he becomes one of the comic characters, hehehe. Seriously, crossing the line abruptly reverses the direction of the chase from the viewer’s point of view. In panel B, the viewer moves ahead, he now looks over the shoulder of the caveman on the cavewoman. In panel C, the viewer moves behind and looks over the shoulder of the cavewoman on the caveman. To repeat for emphasis, remember that the viewer is moving anywhere on one side of the line and he can even move along the line but is not allowed to cross the line. The viewer now moves closer to the cavewoman, his point of view is shown in panel D; and his other point of view is shown in panel E as he looks closer at the caveman. Panel F is the viewer’s close-up neutral look at the caveman’s scared reaction. By the way, a neutral shot direction is neither to the left nor to the right but directly toward or away from the viewer. It is a transition shot because after it is where an artist can change the direction of the motion of the action of his drawing. Also, it is an exception to the rule and it is not necessarily a close-up shot. But is the change of direction always necessary? Absolutely, because comics need variation in directions and positions, comics with only one direction and position are very boring to look at. After panel F, we can change the direction of the chase; see the Mermaid drawings in Chapter 16 as example of direction change. However, here, I did not change the direction as indicated in panel G, the cavewoman clubs the caveman. Ka-blam! Crazy SFX. Anyway, the cavewoman captures the caveman and makes him her mate, hihihi. Take note that this cavewoman chasing the caveman can be considered as a short sequence which is also made up of different cuts. Except in the neutral shot, the principle illustrated in the above drawings is applied to every cut. Also, one must always remember that usually the direction and position of the last drawing in any preceding sequence must always match the direction and position of the first drawing in the following sequence, or else there will be no visual continuity between the two sequences. But most often, this is only applicable to sequences with related settings or events, and not necessarily applicable to sequences with unrelated settings or events. What if there are three or more characters? Is the principle illustrated in the above drawings still applicable? With slight modification, the answer is yes. For any angle shot of the characters that are considered, arrange them into two groups and draw a line along these two, then apply the principle. But my advice to the artists is not to be so dogmatic in following or applying the principles I presented in the previous chapters and the principle I outlined in the above drawings because they are only some of the many principles out there that they all need to discover, know and master in order to enhance their creativity and then for them to eventually break all these principles. Also, they always must not forget that their mastery of any rule first is a prerequisite before they can break it. Posted by Floro Dery at 9:00 PM Friday, July 3, 2009 Chapter 48: COMICS PANELS The reason why I pointed out the different approaches to comics illustration in the preceding chapter, is first, based on the restricting rules of good illustration and composition, second, based on the breaking of these rules, and third, based on obliterating and trashing of the artwork because I have known many skillful old and young artists who can create great drawings outside the confines of these rules but produce only mediocre works when the conditions of these rules are imposed upon them. Others, especially the young artists nowadays, create excellent illustrations within the rules and domain of the constipated superheroes, but amateurs when it comes to other genres, and woefully hopeless when it comes to violating all the rules in comics. Still others are simply devoid of artistic talent but stubbornly want to become comic illustrators. The truly gifted comics artists are those who are flexible and can adapt to different situations with or without limitation. These different situations can reveal the extent of an artist’s creativity or can also break him. Since there’s nothing more to know about how to violate the rules of comics illustration or how to obliterate and trash a drawing, then it’s best instead for an artist to concentrate on knowing and mastering the rules because, to repeat, one can only break a rule if he knows it. So, let me elaborate these other rules in this chapter and in the following chapters. Comics are visual. It follows that the main reason for comics is to tell a viewable story, if possible, without the use of captions and dialogues. Sadly, comics nowadays are dominated by the writers with limited visual abilities, and to rationalize and justify their usefulness, they splatter the comic page with captions and dialogues. And the poor confused artists, without room to show their creative capabilities, use different shapes of panels to accommodate these captions and dialogues, and unknowingly many of them reason that they are for variation. Still others simply don’t know the proper symbolic use of comics paneling. The different shapes of the panels in comics have proper uses that contribute to the comic storytelling. Generally, the first big panel without borders is called a “splash,” other first panel has borders. This is the establishing shot to introduce the environment of the story to the viewer and reader; it can also be a symbolic shot. As example, see the 1st panel splash of the 2nd comic page in Chapter 36; examples of symbolic first panel, see the 1st drawing in Chapter 42 and the 4th drawing in Chapter 15. By the way, this first panel is not necessarily a big one; it can be also an introductory shot to the establishing shot, see the 1st panel of the 2nd comic page in Chapter 28. Panel without borders is excellent for a shot that evokes freedom, hope, joy, or any unshackled intense feeling. It can also be used for a great panoramic space shot and for any extraordinary thing that is not bounded by space and time. Ordinarily, a panel has borders, but borders imply restriction. So, bordered panel is good for a shot, say, of a character that is in chains, or a character that is despondent, grieving, or in a confined space, etc. Horizontal panel is usually used for a panoramic eye-level shot, also for a character in action that is moving in horizontal direction from left to right or right to left, or anything moving horizontally, etc. See again as example the 1st panel of the 2nd comic page in Chapter 28. Also, see the 3rd drawing in Chapter 15 and the following drawing. Note that it is simply idiotic to use a horizontal panel for just a close-up of a character and nothing more because it doesn’t contribute to the storytelling, unless the artist wants to emphasize one eye reflecting something and then move horizontally to the other eye showing another thing. Horizontal panel is associated with a horizontal line, so anything calm and quiet should be drawn in a horizontal panel. Vertical panel is used also in panoramic shot with height, depth, or both; it is also used in vertical motion of a character or object that is moving up or falling down. Anything that is holy, invoking grandeur, or godlike should be drawn in a vertical panel because it is associated with a vertical line. An artist must try to discover the many uses not only of the horizontal and vertical panels but also of the other types of panels as symbolic story telling aids and not just to use these to fill the comic page spaces. Again, see as example the 2nd panel of the 2nd comic page in Chapter 28. Also, view the following example of a panoramic shot with vertical height, depth and actions. The best panel for action is the tilt or diagonal panel because a diagonal line is associated with fast and violent actions, but overuse of this kind of panel is also not proper. By the way, can a diagonal panel be used to depict a holy place? It can but it is not proper as pointed out in the preceding paragraph. To see example of action in diagonal panel, see the next drawing. Twisted panel is a complicated panel that conveys multiple actions, emotions, varied depths, heights, or distances. See the 3rd drawing in Chapter 21 as example. But can an artist also use a horizontal panel instead of the twisted panel in the example just cited? The answer is maybe not because horizontal panel conveys also a singular serene emotion, and so it contradicts the varied multiple moods of the characters in the given example. Unless there is a justified reason, the horizontal panel is also appropriate. To illustrate, a horizontal panel can be used in a scene showing an undisturbed figure in the foreground while in the distant background can be seen a noisy group. The horizontal panel enhances and multiplies the tranquility of the figure in the foreground. Clearly, this is another one of the methods of exaggeration, and it follows that the proper use of different panels can exaggerate a comic story. Ordinary panel is used in an ordinary shot. Generally, ordinary panel is used in a close-up and non-action shot like in comedy, drama, etc. But series of ordinary panels can be used also in action and non-action shots. Since almost all artists know what ordinary means, there’s no need for me to elaborate further on this ordinary panel unless some of them are half-wits, hehehe. However, it is important to remember that a comic page is interesting to look at if it has varied panels. Conflicting panels are two panels drawn side by side with each other, where the action direction of the drawing in the first panel is opposite to the action direction of the drawing in the second panel. For example, two opposing armies should be drawn in conflicting two panels if possible in a comic page, otherwise one horizontal panel is used instead provided the two conflicting armies are shown simultaneously in the panel, one is on the left side of the scene and the other is on the right. An overlapping panel with a drawing of a strong character is used to dominate another weak character in the overlapped panel. A panel within a panel is used, for example, in a shot of hunters surrounding the hunted, the panel within is the shot of the scared hunted. Multiple overlapping panels are used to emphasized chaos and disorder. Insignificant panel is used as intermediary between two important panels. Series of panels receding away from the viewer, from left to right, are symbolic of past events and time; the reverse series of panels moving toward the viewer, from left to right, are events and time that are moving forward. Circular panel is used for a drawing that is the point of view of a character that is viewing through a telescope. And there are many more different types of panels which most artists need to know to aid them in their visual storytelling in comics. But all these different panels most often must be readjusted or ignored by an artist because of the limitations of the comic pages, he should not be so dogmatic, unless the panels considered are absolutely necessary, appropriate and effective in the telling of the story visually. As a final reminder to artists, different types of panels are associated with symbolic lines, and as visual aids, they enhance and exaggerate also the visual of a comics story. Posted by Floro Dery at 7:16 PM Monday, June 8, 2009 Chapter 47: THE BARBARIC STYLE OF DRAWING Realistic comic illustration is difficult to master. So, my advice to any artist of mediocre ability who wants to become a comics illustrator is to develop a style that is not only easy to mass produce but also attractive and exaggerated to look at, and also that can be done easily without him even trying to learn all the rules of good illustration and composition. What is the style technique for this kind of artist? The technique to remember is to come up with an attractive and exaggerated style of drawing that “violates” all the rules of good illustration and composition. Such style of illustration I call the “barbaric style.” It has many variations, and can be created with ease even while an artist is sleepy or drunk, hahaha. See the following drawing as example. Remember that an artist can only violate a rule if he knows that rule. What if he doesn’t know the rule and he unknowingly contradicts it? Then he is an “ignoramus.” However, if his artwork is attractive, exaggerated and pleasing to himself or the viewer, then to hell with the rule. But still, being an ignoramus, he will be called a “gifted ignoramus.” And his style of drawing is still also barbaric. Hehehe! How about those people who obstinately still want to become artists even though they have no artistic talent whatsoever? Is there also a style technique for them they have to follow? Yes, there is. All they have to do is to “terrorize” their drawings; that is, they should obliterate and trash their drawings, hihihi. Below is a good example of one such drawing, the drawing of Sik Sikat. But, like Sikat, these people that are devoid of artistic ability are the ones who are famous and their artworks command a very high price. To know more about the likes of Sikat, read Chapter 5: The 5 Cents Artwork and Chapter 7: Abstraction in “Tales of Two Artists.” Posted by Floro Dery at 9:19 PM Wednesday, May 20, 2009 Chapter 46: COLOR EXAGGERATES A DRAWING An ordinary looking woman enters a beauty saloon. After a while she comes out with a different look. Her raven hair is bleached blond with green and blue highlights, her black eyelashes are changed to brown, her eyebrows slanted, her lips are painted red with lipstick, her face is tanned with make-up, etc. Simply, she’s really stunningly attractive to look at. Indeed, colors change her look, or the change in her appearance enhances and exaggerates her look. The same thing with any illustration; coloring a black and white drawing enhances and exaggerates everything in it. That is, color multiplies the attraction of a drawing. This is the reason why many mediocre artists color their drawings to somehow compensate for their mediocrities, hehehe, and even a great number of professional artists also color their drawings to hide the inadequacies of their artwork. Seriously, aside from enhancing and exaggerating a drawing, color gives also life to the otherwise anemic black and white drawing. To see examples, see above my black and white drawing which I inked using kolinsky round sable brush #4, and shown below is its enhanced and exaggerated colored version where I used seven different pantone colored markers. Of the two illustrations, the colored one is more attractive, isn’t it? Many artists habitually color their black and white drawings, a number of them do not know the reason for doing it. This is what happens when any artist is doing the same thing repeatedly, he forgets the reason for his artistic work; he is like a soldier in a war for many years, he forgets the reason he is fighting for. Unknown to a number of these artists, coloring a drawing is also one of the psychological artistic techniques of illustration exaggeration. |
black widow tattoo
| Zodiac Tattoos Zodiac tattoos symbols are extremely popular, both for aficionados and true believers in astrological influence on our lives and for the individual who just likes the zodiac sign associated with their birthday.* The zodiac refers to a belt or strip of constellations that are centered on the elliptic path of the earth around the sun (though early believers, of course, thought it was the path of the sun around the earth!). This belt is divided equally into 12 sections, and there is a primary and viewable constellation pattern of stars in each of those sections. Each constellation has an image and a story behind it. Zodiac tattoo designs are artistic renderings of those twelve images. A Brief History of the Zodiac There is some disagreement on what the word “zodiac” actually means, but the common viewpoint is that it comes from the Greek word “zôè” (meaning “life” and the word “diakos” (meaning “wheel”. A similar Greek word, “zoon,” means “animals” or – more correctly – “life beings.” Put together, we see the word zodiac refers to a circle of living beings, both animal and human. Other terms associated with the zodiac are generally Greek in origin, but also include Hellenistic, Arabian, Babylonian, Egyptian, and Indian (Sanskrit) language and words.Our current zodiac symbols have their roots in the ancient Middle East. Written records go back to more than 2000 B.C., but there is evidence that humans have looked to the stars earlier than that. (For example, the Great Pyramid in Egypt was built to line up with the North Star. Knowing the path of the star, astronomers can fix the date of the pyramid’s construction to approximately 4700 B.C.) The study of the stars most likely began in ancient Mesopotamia (now Iraq). The Babylonians developed an early form of writing, known as cuneiform, and began to record their stargazing predictions. At that time, astrological readings were conducted only to benefit the king. The Egyptians broadened the application, focused mainly around Ra, their sun god. It was Claudius Ptolemy, a Greek scholar and astronomer living in Egypt, who blended the Mesopotamian and Greek views to develop astrology as we now know it. Surprisingly, very little has changed in the images or interpretations since those early days. Interesting Zodiac Facts People today like to look at their horoscope in the newspaper, to see what suggestions their astrological sign might have for them. The word “horoscope” also comes from the ancient Greek, and roughly means “look at the hour,” i.e. compare the hour you were born to the placement of the stars in the sky. When you look at a horoscope, you see that it begins with advice for Aries birthdays (March 21-April 19). Ptolemy fixed his astrological year at the vernal equinox, or the start of spring. Since the zodiac was about life, it made sense to link it to the time of the year when new things started to grow. Our current use of January as the start of the year is a modern day practice by comparison, having been around since only 46 B.C. When Ptolemy first created his astrological calendar, the constellations selected were correctly aligned overhead. Since constellation paths change over time, the actual stars in the sky no longer match up with the dates associated with them. The rotation moves backward (called equinoctial precession). Now, when we celebrate birthday parties for those born under Aries, the Pisces constellation (soon to move backward to Aquarius) is actually overhead! The stars should properly realign themselves in just under 26,000 years! Zodiac Tattoo Designs As you think about your zodiac tattoos designs, there are some points you can consider. First, do you want a zodiac tattoo of the image associated with the constellation (e.g. Aries is a ram), or simply the letter-form glyph (sometimes called a sigul) associated with the constellation (e.g. Aries looks like a “V” with curled down tips, resembling a ram’s horns). Each zodiac is associated with one of the four elements: earth, air, fire, or water. Each element is linked to certain personality characteristics. • Earth: uses physical body to make things happen; works hard to achieve goals • Air: all-pervasive and everywhere; tries to create unification • Fire: has independent element of self; expresses self without fear • Water: fluid and self-reflective; sensitive and emotional One way to custom design your zodiac sign tattoo would be to include artwork representing the corresponding element within your zodiac tattoo designs. For example, Leo the lion is a fire element. How about a lion’s mane made of flames? As you will see on the pages that follow, each zodiac symbol is also associated with a part of the body, a color, a metal, a flower, and a gem. Different sources sometimes list different characteristics or colors; we’ve included the most popular choices. (Note: some zodiac signs have both an ancient and modern-day gem association. Modern gems will be set apart in parentheses.) Each one even has a food assigned to it, which sign-bearers are recommend to eat for optimum health! While it is not necessary to include these characteristics in your zodiac tattoos, it may help you custom design one that is truly unique. For example, Aquarius is associated with the ankles and shins, the color blue-violet, and the tulip. You could design artwork of a flowing water pitcher, decorated with blue-violet tulips, and have it tattooed on your lower leg. A word of caution. The practice of astrology is based on ancient world-views that existed before our understandings of modern day science. Repeated scientific studies have found no link between celestial bodies and earthly events. Many western religions have condemned astrology as a form of magic. Thus, you will encounter people who will look down on astrological tattoos and accuse you of being superstitious. If you are really into astrology, and don’t care how people react, then tattoo away. Pisces is the twelfth and final of the twelve signs of the zodiac, corresponding to the constellation Pisces, and is depicted as two fish swimming around each other and connected by a band. Pisces glyph The glyph for Pisces looks like a fancy version of the capital letter “H” in which the center points of the two vertical lines are drawn inward, causing the top and bottom of the lines to bow out. Pisces tattoos can be of the image, glyph, or combination of both. Pisces is a water element sign, and is ruled by the planet Neptune. The legend behind the Pisces fish is varied and unclear. One version from Syrian lore is that the two fish are in reality the goddess Atargatis and the god Dagon, who was half-man and half-fish. Greek mythology says that the fish are really two black dolphins. They were sent by the god Poseidon to save Eros and Aphrodite from the monster Typhon. The Pisces personality may at times appear split or two-sided, e.g. they may be ambivalent or undecided about courses of action. They can be so open-minded that it comes across as irrational. Though skilled mediators, Pisces would rather daydream or pray to avoid getting “too much” reality. Actors, dancers, photographers, and ministers are often Pisces. The lists below show a number of characteristics, both positive and negative, that different sources attribute to Pisces: Positive: emotional, intuitive, artistic, sympathetic, imaginative, poetic, easy-going, sentimental, kindly, adaptable Negative: withdraws, insecure, malleable, self-pitying, self-indulgent, lack of drive, dreamy, lazy, unstable, restless, chaotic, fickle |
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| * There is a strong resurgence of people getting tattoos from a Philippine design in the Filipino/ or foreign community. It has been taking part of our lives as a new moral, a new code, a new love, a new respect and a new vision. The tattoo process is not like getting a happy meal or a papers l at the drive in. It requires patience, and understanding of what you're about to do to your body and spirit, not to mention good artistic ability. People seeking to identify with Philippines tattoo art have done their creativity . For many, people in the Philippines still view tattoos as a symbol reserved for those in jail, a dirty expression, and a dying art form with the tribal peoples of the mountain provinces. Once revered as a symbol for headhunters and their relations, the tribal peoples have since abandoned this expression (as well as headhunting) and lean towards more western ways. The symbols of their tattoos are minimal in documentation and may be seen in my 1st book on tattoos from the Philippines that base from the ancient to modern tribalism book.* Today, those who have been tattooed are predominately of Filipino and foreign culture descent although the "revival" is picking up in the Philippines as well between acceptance and popularity. They have had keen interests in various styles- American, Japanese, moko or Polynesian tattooing or any of tattoos influence. "Filipino Tattoos" or "Tribal Filipino Tattoos" of the ancient were paved by Filipino Americans and tahiti tattoo emphasizing identity to one's roots. The Alibata/Baybayin tattoo was one of the first identifications and was documented by individuals in the mid 1990s. The first documented person to wear an Alibata tattoo was Rahul Lagura. Specifically, the unifying "Ka" syllable/symbol which was tattooed on his sternum about 4-5" wide in the early 1990s. Larger back tattoo patterns from collages of Filipino life, ornate insturments to large family names in Alibata/Baybayin have been some themes people have chosen for their tattooo expressions. my Tribal book have been made with a unique pattern a few but it was chosen design that i created my own combinations from various Filipino tribes and the strong refences from all over the worlds from the root ofancient tribalism history. One of the first full sleeves on a Filipina- American is worn by Sabrina Margarita Alcantara-Tan who lives in New York. She was fully sleeved around the mid-1990s. Emcee Kiwi of Native Guns was originally tattooed by Aleks Figueroa (then accentuated/improved by Pedro Babugo) who in turn, Kiwi with his many public performances and community advocacy has influenced the diaspora the world over.** Ed Habacon (Tribal Pinoy) was one of the first to have his forearms heavily tattooed with traditional Kalinga headhunter patterns which were tattooed in the late 1990s by the great Leo Zulueta. More recently, in the early 21st century, adding to the urban indigeneo landscape are a new generation of Filipino descendants that have full sleeves and chest tattoos reminiscent of the traditional tattoos that the headhunters of the highlands wear. They are contemporary in design with a heavy Polynesian influence that follows the style that Tricia Allen co-pioneered. They share a vision to spread the wealth and beauty of our culture through tattoos and by those that wish to be in touch with them. With artistic ingenuity, experience and reference, Filipino tribal tattoos or Filipino neo-tribal (new tribal) tattoos can be designed and tattooed to tell a story of what a person desires in a tattoo adding to the tribal tattoo experience. If you choose to get a tattoo inspired by Filipino tattoo art, we hope you consider contacting us for your interests.thanks i will show my expanded ability in tribal tattooing style here in philippines with arm of the basic principle and for the near future with the help of my friend i just want to realize my original book for tattooing on tribal art. |
Devious Info
- Current Residence: rosario cavite ph
- deviantWEAR sizing preference: small
- Interests: internet drawing tattoo roller blading
- Favourite movie: maimi ink and star wars a walk to remember
- Favourite band or musician: metallica and guns n roses and bon jovi
- Favourite genre of music: inter sandman/always
- Favourite artist: james hetfield/ axl rose/bon jovi
- Favourite poet or writer: shakespear
- Favourite style of art: realistic abstract cartoon caricature
- Wallpaper of choice: wolverine
- Skin of choice: devil jen
- Favourite game: tekken 6 and marvel vs capcom
- Favourite gaming platform: red alert final fantasy
- Favourite cartoon character: spawn wolverine and hulk
- Personal Quote: do your job with respect
- Tools of the Trade: pencil and rotary machine tattoowith ink
- Website: http://www.tattooartists.org/Gal2881_rotary_tattoo_machine.asp
- Email: jims_ph@yahoo.com
- Yahoo: jims_ph
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Journal History
- Jul 12, 2009 all about me.
- Jun 5, 2009 thinks on it
- Jun 5, 2009 thinks on it
- Apr 25, 2009 single needle tattoo artist
- Mar 1, 2009 journey on life
- Feb 11, 2009 about tattoos and there meaning
- Dec 20, 2008 to all my mentor
- Dec 15, 2008 fine line my love for tattooing way
- Sep 30, 2007 hi to all the readers and online deviant art fans
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jimmy is my friendly name aka wolverine
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jimmy is my friendly name aka wolverine
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jimmy is my friendly name aka wolverine
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jimmy is my friendly name aka wolverine
this is ~Zeamay a proud member of bayan knights ^^
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jimmy is my friendly name aka wolverine
this is ~Zeamay a proud member of bayan knights ^^
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