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Monday, September 04, 2006


The Little Fella ia a animation created using AMD 64 technology. Fascinating, but at the same time, slightly disturbing.

( Also check out their earlier production Drum Machine )

Here is another awesome animation from Tokyoplastic -


Check out these walls: Amazing !

Graphitti art hits it big. But to really see it, you need high resolution photos.


Sunday, September 03, 2006


featuring the Bullwinkle Puppet

The Bullwinkle Show was a spin-off of Jay Ward's successful Rocky and his Friends series. The Rocky and Bullwinkle characters had been created in the late 1940's by Ward's former partner, Alex Anderson, as part of The Frostbite Falls Revue, a series proposal which didn't sell.

The series was to be the adventures of a group of animals running a TV station in the North Woods. The cast (seen in the background of this web page) included Oski Bear, the station's cameraman; Blackstone Crow, the director; Sylvester Fox, an egotistical actor ; Flora Fauna, the leading lady; and Rocky the flying squirrel and Bullwinkle, a French-Canadian Moose.

Ward loved the moose and squirrel characters, and years later decided to use them in a new series. Rocky and his Friends premiered on ABC-TV on November 19, 1959. On September 24, 1961 it was renamed The Bullwinkle Show and moved to NBC-TV in prime time.

In addition to airing the shows in color, NBC devised a gimmick where the cartoons would be introduced by a Bullwinkle puppet, voiced by Bill Scott. The puppet would make fun of current events and celebrities, including Walt Disney, who happened to follow The Bullwinkle Show on NBC Sunday nights. You can now hear a rare closing to The Bullwinkle Show in RealAudio, with Bullwinkle mentioning Mr. Disney.



Jeff Soto really needs no introduction here, He has quickly become a giant force in this hard to label new art movement. With a blend of Graffiti, cartoons, robots, cacti, and illustrative know-how, his work has gained a broad audience that is sure to only grow in the future. Jeff is a personal inspiration to me as one of my contemporaries, so it’s really an honor for me to welcome him to our Art Dorks Community.

What would you say the percentage of the work you do is commercial and how much is personal or for galleries these days?

First, thanks Chris for the nice intro and for welcoming me to the Art Dorks. My friend Maxx always calls me an art nerd, which I guess is about the same as an art dork. I should get his ass in here too, he’s an Art Dork for sure. Anyways- the question- My goal has always been to do more gallery work and slowly phase out the illustration portion of what I do.

But so far this year I’ve been doing mostly commercial work; the jobs keep on coming in and I keep on accepting them. I usually don’t like illustration too much but this year I’ve actually had a lot of fun projects where the Art Directors just let me do my own thing pretty much. So this year so far it’s been like 95% commercial work. Usually it’s like 50%.

Are you still doing installations?

The last big installation I did was about a year ago. It was so time consuming and I put so much effort into it, but it was worth it. I’ll be working on more small pieces and doing more installation work in the future.
How long before you got out of school did you start showing? How did you hook up your first show?

When I was in high school I decided I’d like to do something in the arts so I got a book that talked about different avenues you could take as an artist. When I graduated I wasn’t really sure what I wanted to do but I liked to paint and draw so I started trying to show in galleries.

I took photos of my artwork, and this was all high school work by the way, and sent them to galleries in Southern California. I never heard anything back for the most part, but I kept trying. I was in a group show about a year after high school at a small local gallery/coffee shop.

That was the first time I’d shown in a real gallery setting. After that I took part in a few local group shows, which were almost always at coffee shops. So I guess I started showing in 1994 a year after I finished high school. My first solo show came much later in 2001. I was a student at Art Center and I went to talk to Marsea Goldberg at New Image Art Gallery.

Somehow I played my cards right that day and Marsea said she’d take a look at my work. Luckily she liked what I was doing and put me in a show called “Paintaholics”, where my work went over pretty well. This led to my first show, “Potato Stamp Dreams” in Sept. 2001. I worked as hard as I’ve ever worked to finish enough good work for that show.



>what is this red bear dead thing, anyway?
well, red bear dead is a story involving the intertwining lives of a number of characters inhabiting the red bear dead universe.
>yeah ok, but what exactly is it?
there is currently no specific media which the story is tied down to. i've got some (fairly ambitious) ideas and plans for where i would like to take it, but we'll see what happens in the future. right now i'm mostly concentrating on developing and fleshing out the red bear dead universe.

>are you marketing anything?
i dont have anything to sell currently, but i think i'm going to get some stuff made in the near future. if you can help in any serious matter (a cool product idea and an understanding of how to go about getting it produced, or someone looking to invest, etc.) you are mroto contact me.

>what's up with the whole "alexander" thing?
haha, well... no, alexander is not supposed to be me more than any of the other characters. i named him that because i really like the name (though i hate being called the full version, personally... it's weird) , and i like to joke around about starting dark empires... not that we dont naturally share some characteristics. :P

>where can i get the latest information on this stuff?
i'll try to update the site as often as possible, but if you'd like to see some stuff as i work on it, i tend to post things to the
redbeardead livejournal, i have set up. additionaly i post things in the forum section of this site.

>what happened to that first chapter flash animation?
i'm not really keen with a tale told in red (katya's quest): chapter one. it was basically me learning how to make a cartoon in flash, and there are many problems with it (for instance not being able to click through things, horribly slow pacing, etc) but if you'd like to see it again you can >click here<. keep in mind though, its quite old, and a first effort.

>are there going to be any new animations?
i lost all the files to the first chapter and library of animations i made in a hard drive crash. i've already started rebuilding the animation library, but not with doing more animations in mind. i think i may take up the animations again, though. if i do the first chapter will have to be redone, and it also takes a bit of time to get them done and all red bear dead work is done in my free time, so if i do make some they probably wont be very frequent.


random alien creatures

some quick warmups before getting into anything serious
from today and yesterday.

I find that to create sometimes adequate poses for a character you have to think about what personality types they have. I think there are some basic archatypes but iIthink it gets real interesting when you mix up types that are complete opposites. for these warm ups I am sad that they come and go so fast I dont really get a chance to dive into how they think and move to really push their posing and character.

that is for more important things ;)


Give A Hoot Don't Pollute

Well the title pretty much sums things up! Keep our oceans clean. I love trying to convey some sort of message in my work. I felt we could find a lighter side to the matter, and hopefully still provoke the thought of helping to stop polluting our waters.

I had been asked to draw Aquaman, and at that time I was already working on an idea, for Aquaman, that kept cracking me up. My friends say I am weird, but I find humor in just about everything. I couldn't finish it at the time because I had been so busy but I finally made time for it.

I wanted to make Aquaman seem like a sissy by putting floaters on his arms. HAHAHA

I interpreted what I could remember of the beaches, in Florida, when I lived there, for 10 years. I loved Sarasota, Florida the best because of the white, soft sands, and the weeds growing on the beach. i wanted to recapture that memory in this.

I draw, eat, draw, sleep, draw...

CHECK OUT THE GREAT ART on GotCheeks blogsite -

Saturday, September 02, 2006


I completed C++ fundamentals using Visual Studio.NET 2003 class with an A. The class was definitely well organized and a good compliment to my previous C course. I learned a lot about C++ as well as the new managed code (MFC) for .NET and the program itself, which is very powerful.

I'm taking another run through with the notes because some of the concepts take some getting used to. This semester I will take 'Introduction to UNIX and Linux' and take this to the next level. I've decided recently that I am going to aim to get certification on the subjects I am taking because I am kind of on that course anyhow and these other courses will really tie it all together for me.

After a year or so I'm guessing, I plan to get a Certificate Program in C/UNIX. That means though that there is still a handful of courses I will have to take after this one, including 'Advanced C Programming Techniques', 'Intermediate UNIX and Linux', 'UNIX and Linux Shell Scripting', and 'Introduction to Perl with Applications to CGI Programming'.

On another note, we are moving into this brand new office that has all new age design, game room, gym, awesome viewing room, all for Infinity Ward. The new work we are doing is going very well. I'm adding all sorts of new ideas and 'inventions' to the pipeline. I'm doing mass amounts of stuff as usual, trying to push everything to THE next level.



I've been working at Deluxe in San Francisco in the art department diligently creating skateboard designs for the next production line. You can see my skateboard stuff in the skateboard section of the gallery. Or you can visit

I am currently co-writing and doing all the art for a comic book called "ZOMBIES AND BROKEN HEARTS". My partner in crime and co-writer, on this project, is Matt Delight. We debuted a "ZOMBIES AND BROKEN HEARTS" mini-comic at the ALTERNATIVE PRESS EXPO in San Francisco recently and the response was better than I could have expected. The comic was just a few issues shy of selling out.

I will have samples from the comic in the gallery very shortly. Issue #1 of the series will be published this August, just in time for the San Diego Comic Con. I will post more info and images as soon as I can. A section to buy issues and merchandise of "ZOMBIES AND BROKEN HEARTS" will be added to this site in the future.

Aside from my day job and comic book, I am working on the character designs for a line of toy figures called SCENESTERS. The SCENESTERS are based on stereo-typical characters found in various rock and roll sub-cultures.



It was a lovely evening... Even the women washing linen in the waters of the bay looked somehow different, more festive... The sun, declining towards the west, colored their white frocks and kerchiefs purple...

They were beginning to collect their things and set out for home, when a horseman appeared on the road. He galloped across the village in clouds of dust and hurried up the hill towards the fortified monastery.

The hoofs clattered on the wooden bridge leading to the western gate - then the yard resounded with the hollow echo of the heavy brass knocker. The door opened slowly, the echo repeated the grate of hoofs on the pavement and the crash of the closing gate.

At the same time one of the canons impatiently threw away a sheet of parchment stained with ink and started dictating the letter anew. "Write, then. As before - Frauenburg, the fifteenth day of September. Anno Domini one thousand five hundred and fourteen... Ready? Now: My Dear Uncle...I send my regards and hope... However the letter was never to reach bishop Watzenrode... A knock on the door... " Brother Nicolaus, Brother Nicolaus! You have a guest from Rome! He is here! You will see him, won't you?" " Yes, Brother Andrew! Well, you're lucky, boy - off you go! We shall finish writing tomorrow".

Granny Agatha has suffered from insomnia for many years. What can a lonely, old woman do, when bothersome thoughts whirl around her head and sleep won't come? Agatha can always find something to do - she would darn old clothes or go to the forest to gather some herbs which are most potent when the moon is full... That's why she was the only one to see something really peculiar..

Just before dawn, before even the village cocks started to crow, two horsemen in gray left the monastery and headed west. But no one in the village believed her story. She must be crazy, they said, everyone knows how dangerous the roads are nowadays... Who would dare to set off in the dark?

>TO THE WEBSITE -© 1987 Slawek Wojtowicz

SPECTRUM Fantastic Art

Believing that there was a tremendous amount of high-quality fantastic-themed art work created each year that some how wasn’t being represented in other annual art books and shows, Spectrum was established in 1993 with the intent of providing creators with a regular showcase for the best fantasy, science fiction, horror, and otherwise uncategorizable artwork created each year.

A Call For Entries went out to the arts community and the response was overwhelmingly positive. A blue-ribbon jury convened to make selections from the work submitted and the results appeared in the first full color book, Spectrum 1, published by Underwood Books in 1994. A new installment in the Spectrum series has appeared every year since. Unique in its concept, significant in its content, beautifully direct in its execution, Spectrum is designed for readers who want to satisfy their sense of wonder while simultaneously serving as an invaluable resource for art directors, art buyers, and artists from all walks and sensibilities.

The focus isn’t the only characteristic that sets it apart from other art annuals: Spectrum was the first to specifically feature categories devoted to 3D, comics, and unpublished works. Likewise, Spectrum was the first book to significantly cut the time between the jury’s selection and the appearance of the annual: some of the other books appear up to two years after the close of their competitions, whereas Spectrum usually appears within eight months of our jury’s selection.
Spectrum is open to every artist who wishes to participate and can adhere to the competition’s rules: international entrants are welcome. Students, fine artists, and illustrators are all treated equally. There are no limits on the number of pieces an artist can submit and there is no pre-screening prior to judging.

The press run for Spectrum matches or significantly exceeds the circulations of the other art annuals/ source books published each year. Spectrum is sold in the mass market through all the major bookstores. Copies are also sent to many art directors and publishers to maximize exposure for the artists featured in the book. More eyes means more opportunities. As an international resource, participants have reported receiving commissions for work from clients from around the globe who have cited Spectrum as their contact source.

Spectrum doesn’t exist to categorize or define fantastic art; rather, it exists to honor the imaginations of very special artists who delight in helping us see the world in a wonderfully different light. It’s our job to help them reach a wider appreciative audience.