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thearkhound · 5 years

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Exploring the Secret Behind Konami’s MSX Games (September 1988)

Akira Yamashita/山下章 is a game journalist whom I covered in the past. He was a writer for Micom BASIC Magazine who later become one of the founders for Studio Bentstuff. One of his regular features he wrote for Micom BASIC was a series of game reviews titled Honki de Play, Honne de Review (which translates to Serious Play, Sincere Review) where he would not only write an in-depth review of a recently-released game, but would also interview the developer to discuss the concepts behind the games themselves.

For the September 1988 issue, rather than reviewing a specific game, Yamashita-san decided to do an overview of Konami’s MSX library, focusing primarily on their shoot-’em-up lineup. Most westerners (specifically North Americans) are only familiar with the MSX thanks to the fact that Metal Gear originated on that platform, but Konami has actually produced a variety of quality games for the MSX that rivaled what they were also released on the NES and arcades at the time. I’m hoping this article will inspire some of you readers to explore the rest of Konami’s MSX library as well.

I might consider translating more installments of Yamashita-san’s Serious & Sincere series of articles in the future.

Going to Konami

The Konami Building at Port Island, Kobe. The first floor is the lobby and the second floor is reception office. All floors above those are dedicated to the development departments. There’s a PC floor, a Famicom floor, an arcade floor, ect.

When you mention “Konami” to anyone involved with the publishing business in Japan, they’ll immediately think of the Konami building at Jimbocho, Tokyo, but that’s mainly the division of Konami involved with sales and advertising. The development department of Konami that makes their games for the arcades, PC and Famicom [NES] is actually located in a huge building in Kobe. If I was going to write to write an article for my “Serious & Sincere” series, then I thought I would fly over to Kobe and talk to the actual developers (although, Mr. Kage, who accompanied me for this interview, wanted to go to Jimbocho to meet Ms. Kamio).

We’ve arrived at the much rumored Port Island [an artificial island in Kobe] after four hours of commuting from Tokyo via the Shinkansen bullet train and such after 4 hours. In fact, this was the site of the Portopia tournament held several years ago. The place is very similar to Heiwajima in Tokyo [another artificial island] but without the boats. The Konami Building is located at the north side of the island, although the design is a bit different from the one depicted in their TwinBee. The surrounding area is peaceful and full of greenery. A couple of nearby middle-aged women that were dropped off from a sight-seeing bus began chatting when they saw the Konami Building.

“Such a lovely building! But what does Konami sell?”

“My kid really likes them. I think they make candy.” (This story also includes some embellishment)

Even though we weren’t under a strict schedule, we quickly proceeded to Konami Industry’s headquarters, where we interview Mr. Fukutake, the manager of the MSX department about various things. In this article I decided to mix my own opinions with the comments of Mr. Fukutake himself.

Up to this point, my Serious & Sincere article series were focused on showcasing the merits and exploring the development of specific games, for this installment I’ve decided to focus on Konami’s MSX library in general.

The Branding and Colors of a Software Publisher.

Akira Yamashita (right) interviewing Shigeru Fukutake. The interview was held in a seemingly luxurious VIP room with an exceptionally large marble table in the middle.

As our readers might be aware of, the development period of recent gaming software is pretty long compared to software from long ago. The days in which a single programmer can sell a single program by him or herself are now gone. Most software publishers now have a development department that divide their work by coding, story writing, music and graphics.

The long development process naturally means that every single game in development will be given full focus and the games that were planned with much “emotional attachment” will go through a long-term effort from the developers until it finally sees the light of day.

Have you noticed that their “emotional attachment” have materialized in their recent games in such interesting ways?

Those are the “colors” of a software publisher. It’s possible to imagine the kind of games a publisher releases just by mentioning their name. For example, Koei is known for their strategy games, Riverhill Software is known for their mystery adventures, Telenet is known for their colorful side-scrolling games and Dempa is known for their arcade ports.

How is the "emotional attachment” and the “colors” connected? There is a single answer. Each software house has its own idealized image of a game from its staff members. The ideal of that game in this instance is an approximation of the company’s "colors”. The energy they use is to pursue this ideal game must then represent the “emotional attachment” of the staff.

There are many examples of “colors” when it comes to other industries. In the Japanese TV industry, Tokyo Broadcasting System is associated with dramas, Fuji TV is associated with variety shows and Nippon Television is (perhaps) associated with giant battles. For the record industries, we have Canyon for idols, CBS Epic Sony for pop music, Crown and King for enka and Scitron is known for their video game music albums (we’re kidding about Scitron).

The fact that there is such “color-coding” for publishers that let us know their intentions might be a good thing for consumers like ourselves. In a sense, the PC gaming industry might had already entered a more mature age compared to the days when software publishers would flood the market with the same type of game depending on what was trending at the moment.

Moreover, with the progress of such “color-coding” is leading to the establishment of “brand names” for PCs and software. In other words, purchasing a game from a particular publisher will determine whether it’ll be a sure bet or not.

It would be no exaggeration to say that when it comes to brand names, Konami’s brand is the strongest among MSX game publishers. Mr. Fukutake, the manager of Konami’s MSX team, has the following to say on the matter.

“That's correct. The fact that our users can trust us makes us happy as creators. We’re striving to maintain Konami’s brand image that we established.”

The Way Konami Games Are Made

The rarely-seen development room of Konami’s MSX department. This room was only accessible to employees who were assigned an ID card..

Up until now, the development process of Konami’s MSX games seemed to had been a secret. Here will be explaining the development process as answered by Mr. Fukutake himself.

First of all, there are two types of MSX games produced by Konami. The first kind are arranged conversions of existing arcade games (such as Gradius or TwinBee), while the other kind are original types (which include Metal Gear, The Maze of Galious and many others) . Arranged ports of arcades seem to progress by measuring the hardware capabilities of the MSX, but the original games are naturally much more interesting. The process is a bit different in which it seems that the person who comes up with the game’s characters is also the person assigned to do the planning and the story. In other words, the person who came up with characters such as Popolon or Pengin-kun was in charge of planning and facilitating the development of Knightmare or Penguin Adventure.

The planner will then lead a team formed by around four or five employees and then they will proceed with the development of a single game, which lasts somewhere around four to six months. With somewhere between 20 to 30 personnel employed by Konami’s MSX development department, that means there are’s a total of 5 or 6 teams each working on 2 games a year if you think about it simply, which explains Konami’s surprising release pace.

The only exception here are the music staff. A sound technology department within Konami is responsible for all the music in their arcade, PC and NES games. That’s why the music in all Konami games have a certain unified image to them.

The Relentless Obsession With Shoot-’Em-Ups

The main subject is finally here. When talking about Konami games on the MSX, the most important thing to mention is their shoot-’em-up line represented by the Gradius series. As someone who likes Konami’s shooters, I make sure to always buy them when they’re released (never got one as a gift) and enjoy them.

However, in an industry which believes the theory that shoot-’em-ups are never hits, Konami is one of the rare exceptions to that belief. All the games in the Gradius series released thus far (Gradius, Gradius 2, Salamander and Parodius) have all have a track record for staying in the top ten best-selling MSX games for extensive periods.

This seems to be a phenomenon unique to the MSX market when comparing it to other market. Silpheed for example, which I consider to the best shoot-’em-up for Japanese PCs, didn’t chart that much and I heard that the shoot-’em-up masterpieces on the Famicom that were Gradius and Zanac, weren’t quite hits.

Why are Konami’s MSX shoot-’em-ups the only ones that are selling? There might be many reasons, but the primary reason is because Konami makes its games with the key point being firmly “fun shooting”. A variety of stages, unique power-up systems, crisp music and a miraculous balance, all blend perfectly to create Konami’s unique flavor. Mr. Fukutake says “No matter what, we live and breathe shoot-’em-ups. Everyone in our staff are enthusiastic fans of shoot-’em-ups. We wish to continue our lineup no matter how much the market changes.”

Perhaps this passion for betting on the shoot-’em-up genre might be the secret that has lead to the creation of masterpieces.

The Difficulty of Difficulty Settings

One of the components that determines whether a shoot-’em-up is fun is the difficulty level. On one hand, if you make it too easy, you won’t get to savor it much. On the other hand, if you make it too hard, it will become inaccessible. Thus, the difficulty of a shoot-’em-up, much like an RPG, must be adjusted with fine-tuning.

Mr. Fukutake reveals Konami’s policy for difficulty adjustment.

“For arcade games, we make them easy to get into in the beginning. But since shoot-’em-ups for the MSX are meant to be played at home, we make them difficult from the very beginning.”

Indeed. Konami’s shoot-’em-ups are considerably difficult (only hardcore players might argue otherwise). If anything, the difficulty is adjusted to a level that it can only be cleared with continues the first time. Without enough practice, it is difficult to complete them without using continues.

But unlike an arcade game, such as Gradius II, where dying once means that you’re done for (it’s not impossible to recover, but it’s difficult for ordinary players), here it’s only a setback that can be managed with a continue. You press the F5 key [at the game over] while thinking that “this time” [you’ll beat it]. It is an experience that only people who played Konami’s shoot-’em-ups on the MSX will be familiar with.

I think Konami adjusts their difficulty settings around this continue feature to some extent. Perhaps they’re aiming for the same sense of satisfaction when you clear one of their shoot-’em-ups that a player would also feel when solving an RPG or an adventure game. At the very least, I found myself impressed by the continue feature without knowing it when I’ve completed the game after struggling during a hard battle.

This is not something that could be managed easily even with the know-how. It’s not flattery or anything. It’s what I expect from Konami.

About Salamander

For me, the only Konami shoot-’em-up I was unreasonable with its difficulty was Salamander. Even if you keep continue, the sense of hopelessness is strong after dying once, unless you bring up Player 2′s ship as a decoy and start gradually recovering all your power-ups again. There are special weapons that only be used when both players’ ships unite, but they’re not very practical since they have limited uses and they feel pretty weak. And finally, the true ending is locked away and is accessible by having a Gradius 2 cartridge on the second slot. Isn’t that a bit too much?

Konami’s Future on the MSX

There is more stuff that I want to write about Konami, but I can’t due to the limited amount of pages. So I decided end this article asking Mr. Fukutake about Konami’s upcoming MSX games.

“Gaming trends will keep changing in the future, but we don’t just want to pursue what’s popular, we want to make whatever we want and keep on making something that is true to Konami. Since games are expensive, we want to make products that suit their prices so that you won’t be disappointed with your purchase. How do you maintain such level of quality and not shatter the image we’ve created thus far? That is our next challenge.”

Indeed, the quality must remain above a certain level, but that’s easier said than done. Not just Konami, but any company that has grown in size will have a certain quota of games to release for the year and because of the reliance on external staff to meet this quota, there’s a risk that the quality will deteriorate. Although it’s not noticeable, some companies in the Famicom business are already going for a “quantity over quality” strategy (I won’t mention any names though).

I don’t want Konami’s MSX team to fall into the same trap. On the contrary, I believe Konami, who are the best brand on the MSX, must continue producing quality games and lead the MSX market as their mission. As long as Konami keeps pumping out quality games, the MSX will never fade away.

No matter what, please continue making games with the industry in mind. Never forget your original intentions. I’m looking forward to the upcoming Snatcher and their newest shoot-’em-up Parodius, as well as the supposedly “unachievable” SCC II.

I would like to thank everyone who helped me out with this article and I apologize for my rough words.

Konami’s Shoot-’Em-Up Series

Gradius [English title: Nemesis] - The MSX version of Gradius was released shortly after the Famicom version. It was notable for the additional boneyard stage, which did not exists in the original arcade game. At any rate, the fact that Gradius could be played on an MSX1 was pretty impressive to begin with.

Gradius 2 [English title: Nemesis 2] - The long-rumored sequel to Gradius made its debut on the MSX. New weapons, such as the upward laser were added, and a new storyline began depicting the conflict against Dr. Venom. It was the first MSX game to employ the SCC chip.

Salamander - The most difficult game in Konami’s shoot-’em-up library. The structure of the MSX version is completely different from the original arcade game, since Stages 3-5 can be played at any order. I was glad to see that some of the music and the power-up system from the revised Life Force edition of the game were incorporated.

Parodius - A shoot-’em-up parody that turns everything into a gag. The bosses are all unique like the giant drunk penguin, the badly-drawn monk and the eyeball. It’s notable for having the shortest development time of all Konami games, taking less than two months for the master version to be completed.

Other Notable Konami Games

Majō Densetsu [English title: Knightmare] - One of Konami’s earliest MSX games from the pre-Megarom era that was lauded as a masterpiece among players. The idea for the game is believed to be an arrangement of Konami’s arcade game titled Finalizer.

Yumetairiku Adventure [English title: Penguin Adventure] - A sequel to Konami’s early hit Antarctic Adventure that greatly improves upon its predecessor. The cute design of the penguin protagonist made it popular among female players.

Akumajō Dracula [English title: Vampire Killer] - Although based on a Famicom game, it is a masterpiece considered to be one of the top 5 games of Konami. With its high-sense soundtrack and wonderful balance, it still has many firmly-rooted fans

Galious no Meikyū [English title: The Maze of Galious] - The sequel to Knightmare. It employs a system where the player switches between Popolon and his lover Aphrodite. The game is now a full-fledged action RPG with many difficult mysteries to solve.

Metal Gear - A military-themed action RPG like nothing that came before. Its idea of avoiding conflict with the enemy by sneaking pass their blind spots is novel. The game was later ported to the Famicom.

F1 Spirit - A record-setting racing game that continues to sell to this day. The secret to its lasting popularity is due to its 2-players simultaneous mode, the option to choose the parts for your vehicle and its variety of courses.

Shalom - The conclusion to the Knightmare and also Konami’s first adventure game. The top-down exploration screens bring to mind the Dragon Quest series, but the game switches to a side-view action segment when the player confronts a boss.

Gekitotsu Pennant Race - It seems like an average baseball game, but the included WATCH mode is fun. You can create your own team and have it compete against one made by a friend.

Coming Soon: Snatcher, a Cyberpunk Adventure

Konami’s first truly authentic adventure is Snatcher, which appears to be inspired by Blade Runner. There will be an MSX2 version that consists of 3 disks and an original sound cartridge and a version for NEC PC-8801SR computers that consists of 5 disks The programmer in charge is said to be the same person who worked on Gradius 2, so I’m looking forward to it. “It’s an adventure game like nothing that came before” says Mr. Fukutake. In contrast to Parodius, Snatcher has had the longest development time out of any Konami game released thus far (8 months as of this interview). It is scheduled to be released by the end of November.

#Konami #Micom BASIC Magazine #akira yamashita #Shigeru Fukutake #MSX #Gradius #Metal Gear #Castlevania #snatcher #Parodius #Salamander

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maggot-magnet · 5 years

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People I’d Like to Get to Know Better

Tagged by @calicogoat, my Gosh I feel special, thanks.

Name/alias: Jade

Birthday: may 20

Zodiac sign: Taurus

Height: 5ft 4 (unfortunately)

Hobbies: drawing, reading, listening to music and staring at the stars, explaining over complicated plot lines of dreams of mine or a fandom, making references only me and my girlfriend get, ect.

Favorite color: purple and green (I look fantastic in green, but I love purple things to have)

Favorite book: The Fault in Our Stars (John Green)

Last Song I heard: Horrible Kids (Set It Off)

Last film I watched: oh man uh... It's been so long since I sat down and watched a movie.... Uhhh.... I think it was.... Ghost (1990)

Inspiration for muse(s) : I'm gunna pretend like i understand this (unfortunately I don't have a muse) so uh, my inspiration for a lot of things is boredom and passion

Dream Job: tbh I wanna be some sort of graphic designer, but I wanna have some other thing in mind just in case

Meaning behind the URL: uhh so when I found out the Jervis ask blog had a name for the fans, I dropped in my seat, and remembered my childhood favorite movie, the littlest vampire. So I mushed them together and now I'm thelittlesthatling.

Tagging: @s1x-foot-deep @its-2am-bois @andrew-constantine @batvillonz

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weddingphotographyme-blog · 6 years

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Where does the quick development of photography abandon us?

Photography is advancing, and it's going on quicker than the greater part of us might want to concede. Recently, I was at a wedding taking a gander at the astonishing photographs being taken on people groups new Samsungs ect from a similar occasion. The nature of the photographs were high, they were promptly accessible in the wake of being taken, the channels "improved" the estimation of the photographs (to those taking them), and the way that a large portion of the photographs were on facebook minutes in the wake of being taken: are only probably the most widely recognized reasons why 'distinctive' photography is likely going to vanish. Be that as it may, I for one don't trust this, or possibly I would prefer not to. I was one of two individuals with a hand held camera taking photographs. As I type this they are right now being stacked onto my PC for audit and altering and as of now the best candid wedding photographer like a minute celebrated and passed, and I'm just barely preparing to supply photographs to the couple. This isn't an extraordinary scene and all things considered is by all accounts what proficient picture takers dread will be the business executioner.

To start with, I'd like to address something which emerges, unmistakably more significantly to me, than the eventual fate of photography and its industry. To me, what appears to be undeniably all the more concerning is as we pack stuff into our day by day lives, we appear to move past minutes quicker, and practically more proficiently sometimes. This is mostly because of the devices we have accessible, yet more so because of the speed at which life is happening around us. We attempt to pack more in, become more acquainted with more individuals, remain as associated as conceivable crosswise over unlimited alternatives of correspondence applications. It asks the question — are we attempting to do an excessive amount of too rapidly with expectations of racking up enough "educational experience" focuses before we kick the pail?

This prompts me approach I don't get that's meaning for the minutes we experience? Also, how would we abstain from weakening them into a pack of favorited photographs on our different instruments and applications? All things considered, this conveys me back around full hover to the activity of the picture taker and why I don't trust portable innovation will be a knife to the expert photography scene. It's just plain obvious, the vast majority can take great photographs. Yet, those photographs have a great deal of coding behind them (new iPhone X, XR and XS can take pictures that hope to have been taken at f/1.8, yet truly are machine mastered coding changes to the manner in which the pixels act). So the photograph is great, however it's not incredible. A picture takers job is to take extraordinary and even past incredible photographs of these exceptional events. This is the reason I figure the art of expert photography won't be surpassed by the iPhone. You can code in as much highlights, channels and instruments as you like into the iPhone. Despite everything somebody needs to set the scene and press the catch to take the photo — which is the reason we will dependably require picture takers. The better you are at arrangement and quality, the more significant you will remain.

The intriguing thing about this is the issue picture takers face is indistinguishable to the issues Journalists, Graphic Designers, Publishers and Printers ect are facing — and the reality stays in their industry as well. On the off chance that the work is quality, individuals will see it, read it ect. There are a lot of documentaries, case throws ect all conversing with this subject, but then our interest for accommodation, speed and quality keeps on staying high. So where is photography headed?

Not long from now, I'd be shocked on the off chance that anybody was all the while utilizing a DSLR truly. I figure mirrorless innovation will turn into the standard and DSLRS will be the new film camera. From that point, I figure most picture takers will work with cameras that right, fix and detail their pictures through the locally available processor and presets, and I'm notwithstanding eager to state that dimensions of AI may show up in the camera innovation which enables us to record geological subtleties in three measurements. Facebook has just discharged an emphasis of this when you transfer photographs from specific telephones. In any case, none of that issues if the picture taker isn't there to snap the picture.

So what does the future picture taker resemble? Do we simply expect it's everybody that has a very amazing telephone camera in their grasp? We see a ton of real camera organizations collaborating with versatile organizations to enable them to improve and sharpen their innovation, so I wouldn't be astonished if the present saying of "everybody with a cell phone is a picture taker" is unmistakably progressively present, however it's not to say that the open doors will stay constrained. Only, it's simply going to be much harder to create one of a kind work that is unmistakable. The two actualities of value and sythesis continue as before be that as it may.

One of the greatest oversights I think numerous picture takers make isn't understanding their job and what they do. Photos are records of light. How you control and present that record is up to your inventiveness, which leaks through and reclassifies the records to your will. Best pre wedding photography , a road picture taker produces road photography as craftsmanship, ect ect.A photographic artist sharpens his abilities through improving their quality, connecting with their imagination and for the most part improving both of the aformentioned resources. Realizing your camera capacity and setting scenes up are optional as I would like to think. Your meaning of value so imperative in this example, I can't state that enough. So the picture takers job is snapping a picture and making it into a passionate record, which separates a decent photograph from an extraordinary photograph, particularly a photograph which envokes endless responses from the general population who see it. Building up the aptitudes to do this successfully requires some serious energy and exertion and one serious parcel of training. This is the thing that will constantly set aside a picture taker and somebody with an iPhone.

For the future, I trust that anybody not sharpening their specialty in the business will be abandoned. I see this is as a characteristic type of wearing down, and again this is indistinguishable to some other industry. The business is soaked with picture takers effectively, huge numbers of which end up careless and afterward get got rid of by the regularly developing network of skilled individuals. It's the cell phone industry and the simple access to cameras and altering instruments and instructional exercises which should keep on testing the craftsman to improve their specialty and to convey better and progressively uncommon minutes that other individuals with an iPhone can't. Staying aware of the speed at which individuals live there lives will be the greater test of things to come picture taker. Not the innovation accessible to us.

At this point — the patterns and mechanical upgrades have rolled out no significant improvements to the business, other than soaking the world with pictures. Be that as it may, this is indistinguishable to the music business in it's creations of melodies for instance. Ideal models will move and change, yet the procedure of creation remains exceptionally your own. Guaranteeing quality and your very own sound comprehension innovative voice will guarantee, at any rate, your photography will stay important as the occasions change.

#wedding photography in Delhi #candid wedding photographer #Delhi Wedding photographer

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cryscries · 6 years

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Character intros! For my capstone project/ comic Craven :)

All of these are still in the design and concept stages but more or less this is what I nailed for the designs (excluding sam). These are from my look book series which is why they look spiffy but in their actual universe where they are struggling college students you know they be lookin like a hot mess and when they initially start they are 18/ 19 years old in their second year of college

The order is the same as above :D

Kailani “Kai” Rivers - half black / half hawaiian

Practicing wiccan from her father’s side. Film major. In a committed relationship with Mia Tram for half a year. She is head strong but very compassionate. Her dream is to direct musicals/ plays and to continue doing work with Mia in the future. They are currently roommates in the same apartment complex as Leo.

Leonardo “Leo” Mori - Half filipino / half japanese

Digital Art major and supernatural enthusiast. Leo is shy and awkward but when you get to know him he warms up to you. He loves conspiracy theories and believes in the paranormal. His best friend is Sam and he has a very noticeable crush.

Mia Tram- Vietnamese American

Vocal performance & acting major. Mia is really fashionable and is very outgoing and passionate about music. Her goal is to perform one of her gf’s plays / musicals and continue to work together. Her fave musical is Rent.

Taemin “Tae” Park - Korean American

Game development/ computer science major. Taemin is sarcastic but a compassionate friend when you get to know him. He loves dnd and often hosts games for his friends. When Taemin came out as trans Leo was the second to know, Tae’s twin sister was the first.

Samuel “Sam” Carson - White/ Native American

((OG belongs to @inflomora-art but was so sweet to let me include him in my capstone because originally the cast was just supposed to be him and Leo on adventures :D))

Doesn’t go to school but works freelance in photography as well as part time in a brick and mortar shop. His best friend is Leo and other than having a just as noticeable crush he is interested in cryptids. He drove to the small town of craven from montana and is known as a “mysterious outsider.”

Wallace “Wally” Oliver - white (British/ Scottish decent)

Film Major. Plays baseball for the Craven Ravens (they kinda suck). He comes off as a jerk but is really a sweet guy who needs better friends. After meeting the group he tries to be a better person. He has a slight crush on Kailani but admires her work mostly.

These are my characters and i hope to make them official and introduce them in my story :’) I love all of them and I can’t wait for them to hunt ghosts!

Basically for my thesis I wanted to focus on representation and and diversity in storytelling. As of lately I’ve been seeing a lot of graphic novels touching on topics such as identity, sexuality, ect. books like The Prince’s Dressmaker, Taproot, Nimona, and OMG Check Please have a fun and charming story as well as wonderful representation. For my senior year I really wanted to try and do that too so this school year I hope to prove to myself I can make this happen and hoping to grow as an artist and person.

#!crysgallery #comics #digital art #digital illustration #illustration #artist of tumblr #artist on tumblr #concept art #concept #webcomic #craven #capstone #senior capstone #senior thesis

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greekstreetart-talks · 7 years

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Billy Gee

Graphic designer, visual artist, columnist and skater in other words Billy Gee. We present you his artworks although he doesn’t need any particular recommendations and we discuss with him about the age of innocence and the today that looks so different.

What have you studied and when did you began getting involved with street art? My first touch with graffiti was in November 1993 at Ag. Paraskebi’s square. When I graduated from high school, I continued my studies in Athens Graphic Design Department. A few years later I ended up for 3 years at the painting workshop in Plaka which functioned as a department of asfa. It used to be a beautiful place, it’s a pity it doesn’t exist nowadays. Since I was spending many hours there sketching and painting I was offered to attend classes as a listener on asfa, which helped me a lot.

Practically the years of innocence are your starting line, the murals were made just so the creators could express themselves since there wasn’t the slightest knowledge from the crowd that this isn’t separated from the rest of the arts. How was the experience of creating in a public space? The situation back then was like a big school, both from a practical and from an ethical point of view. Feuds didn’t exist between us. What everyone wanted was to create on a surface with their friends and enjoy. Our concern back then was whether a hooligan would approach us to steal our money. They called us “Americans” and the truth is we were different from others mainly because of our clothes. The result of this was to be considered everything but artists. Really messed up situation.

Groups, spray and music. What was the relationship among the different crews and how connected was graffiti with the urban culture? Those years music was what united us in such a magical way we didn’t even realize it. The first hip hop bands were TXC, FFC, RAZASTAR, Paremboles, ZN ect. who created a movement by graffiti artists, b-boys, skaters, bmxers and many supporting fans who followed. We weren’t thousands, but we could fill the ‘’AN club’’ and that seemed amazing! So as you can understand there weren’t any troubles in our circle, we were united, facing daily the whole intensity of our adolescence which many times felt extreme. Graffiti was the element of the urban culture that was spreading constantly throughout Greece at the golden age of 90’s. Magic!

Murals full of details on a bigger or a smaller scale and co-creator of the emblematic figure of Loukanikos on Psirri area. How many time is needed for a work like this one? Give us some information for the specific mural. I was in Belgium when I learned about the death of Loukanikos, with whom I had spent several years in Syntagma Square. He was around skaters on a daily basis, we used to give him water and food, it was a wonderful creature. So I came up with the idea of creating a mural in his memory. Around these days I met up with Alex Martinez for a coffee when I told him I had found a spot to create the dog and he looked at me saying : “ I can’t believe it, today I was thinking the same”, so we ended up painting together the favorite dog of Athens . Sunday is the day of graffiti artists. Thus early in a Sunday morning we headed for the Sarri street to paint. The rest just rolled naturally. Back then we couldn’t imagine that the specific theme would have such an impact on people and that was very moving for our work.That’s why Loukanikos continues to stand still there until now. The vandalisms at the background of the mural is a natural result of the ‘’street’’ what I mean is that by being exposed, like all street art’s artworks, in a public view, they are simultaneously exposed in a varied, heterogeneous reactions, coming from multiple politics and other beliefs. We accept it, it’s how we learned, how we grew up!

You work almost exclusively with specific roadside partners. Lune82, Martinez, pupet... How important is that for you? Describe us the stages of your working process. In Athens I now work only with the specific artists for different reasons in each occasion. We are connected by the same things, we are close by age but most importantly we all have our roots on graffiti. The key element is not to have strong ego, which is rare. A mural isn’t a simple thing, so you have to know well you partner in order to continue together afterwards and build an even stronger relationship. When we work we chose our theme and we study the way we are going to process it on the surface we have on our disposal, depending on the each time available space.

What are your views on the belief that Athens is the new Berlin or that we are the capital of graffiti in Europe!? I wish Athens had the museum infrastructure and the support of modern art that exists in Berlin and generally in German almost immediately after the end of War World 2. I would be sincerely happy if something like that happened. So from that point of view Athens clearly isn’t Berlin and I’m afraid that it’ll never be. But because I think that’s not exactly what you mean and you’re referring at the existent rumor that due to the abundant presence of graffiti in the city Athens is becoming more like Berlin, I have to answer that in that case too the social, economic and above all cultural conditions between the two cities are so different, that even if we’d say that Athens is right now the capital of graffiti, it would be in a totally different way from Berlin.

Muralists, street artists, graffiti artists, writers… and everyone on top of each other. Too much information, too many visuals especially in areas like Exarcheia. Is each one so good? How come and the perception that we respect the precedent on the same wall and we don’t paint on it has changed? This particular question pleases me because it proves that I am not only one to observe the exaggerated visual information in Athens. You are not the only one who has asked me that question, my answer as an older writer is this:We grow up, and that means everything around us is evolving. Since the internet has entered into our lives, it’s only reasonable to lose the values and the habits based on which we grew up. The younger ones learn through the internet, and this helps them to choose which way they’ll follow in order to leave their stigma in the city. Everything must exist in order to have the potentiality of comparison. At the end of the day I accept them all. Whatever we used to do, the young ones do it now, just on an other era and by having on their disposal all kind of means and much more comforts. Nowadays writing on the wall, with any form of writing, has become fashion and little consumption, as opposed to the beginning of this story where a strong eroticism dominated our relationship with the wall. The important thing to me is that in the general chaos you can discover unique pearls. So it would be great to just enjoy the freedom in our city, like going on a wall and paint on it without having anyone to bother you, where else would we do that? If the situation was different, your page wouldn’t exist, many other pages that care only about their image depending on other people’s effort without giving credits on the artists wouldn’t exist, like so many others that take advantage of the specific art with a good or a bad manner wouldn’t exist. So create as much as you can because this feast will end and we won’t believe it.

Passionate skater who creates on the boards with visuals. Talk to us about your Project. Skateboarding was my link to graffiti, my acquaintance with it, it marked me and it made me want to learn to create myself. After 25 years of being on stage, some times on a professional level, I continue skateboarding with my friends. Art was always and continues to be more than ever connected to skateboarding culture. Many of those who have gotten involved from time to time with skate evolved into artists in many fields like direction, photography, painting, music… So in my case the inseparable relationship between skating and painting looks completely normal. By acting somewhat heretically, I try to combine great classical painting with a solid dose of humor and caution by redefining my relationship with classical works through a fresh, contemporary look adapted to skate’s and society’s today reality in which this is included. I cooperate with S.O.S Skateboards which founded 3 years ago.

In ten years from now? To have health, integrity and the rest is coming. I wish great creation to everyone!

Follow Billy Gee Website \ Instagram

Γραφίστας, εικαστικός, αρθρογράφος, skater με άλλα λόγια Billy Gee. Παρουσιάζουμε την δουλειά του αν και δεν χρειάζεται ιδιαίτερες συστάσεις και μιλάμε μαζί του για τα «χρόνια της αθωότητας» αλλά και το σήμερα που μοιάζει αρκετά διαφορετικό.

Τι έχεις σπουδάσει και ποτέ ξεκινάς να ασχολείσαι με την street art; Η πρώτη μου γνωριμία με το graffiti ήταν τον Νοέμβριο του 1993 στην πλατεία της Αγίας Παρασκευής. Όταν τελείωσα το Λύκειο, συνέχισα τις σπουδές μου στο τμήμα Γραφιστικής Αθηνών. Κάμποσα χρόνια μετά, βρέθηκα για 3 χρόνια στο Eργαστήριο Ζωγραφικής στην Πλάκα, το οποίο λειτουργούσε ως παράρτημα της ΑΣΚΤ. Ήταν ένα πανέμορφο μέρος, κρίμα που σήμερα δεν υπάρχει. Δεδομένου ότι περνούσα πολλές ώρες εκεί σχεδιάζοντας και ζωγραφίζοντας, μου προτάθηκε να παρακολουθήσω μαθήματα σαν ακροατής στην ΑΣΚΤ, πράγμα που με βοήθησε αρκετά.

Πρακτικά ξεκινάς στα χρόνια της αθωότητας, οι τοιχογραφίες γίνονταν μόνο για να εκφραστούν οι ίδιοι οι δημιουργοί καθώς δεν υπήρχε η παραμικρή γνώση από τον πολύ κόσμο ότι αυτό δεν διαχωρίζεται από τις υπόλοιπες εφαρμογές της τέχνης. Πως ήταν τότε να δημιουργείς στον δημόσιο χώρο; Η κατάσταση τότε ήταν πραγματικά ένα μεγάλο σχολείο, τόσο από πρακτικής όσο και από ηθικής πλευράς. Δεν υπήρχαν ίντριγκες μεταξύ μας, όλοι ήθελαν απλά να δημιουργήσουν σε μια επιφάνεια με τους φίλους τους και να περάσουν καλά. Τότε, ανησυχούσαμε για το αν θα μας στριμώξει στη γωνία και μας πάρει τα λεφτά κάποιος χούλιγκαν. Μας αποκαλούσαν αμερικανάκια, και είναι αλήθεια ότι ξεχωρίζαμε σαν τη μύγα μέσα στο γάλα, λόγω των ρούχων που φορούσαμε. Πράγμα που είχε σαν αποτέλεσμα να μας θεωρούν τα πάν��α εκτός από καλλιτέχνες, πολύ μπλέξιμο…

Ομάδες, spray και μουσική. Ποια ήταν η σχέση μεταξύ των διαφορετικών crew και ποσό συνδεδεμένο ήταν το graffiti με την αστική κουλτούρα; Εκείνα τα χρόνια μας ένωσε η μουσική με έναν τόσο μαγικό τρόπο που δεν το πήραμε καν είδηση πώς έγινε. Τα πρώτα ελληνικά hip hop συγκροτήματα, TXC, FFC, RAZASTAR, Παρεμβολές, ΖΝ κ.α., δημιούργησαν ένα κίνημα από graffiti artists, b-boys, skaters, bmxers και πολλούς fans που ακολουθούσαν το κύμα. Δεν ήμασταν χιλιάδες, το ΑΝ Club γεμίζαμε και μας φαινόταν τρομερό!Καταλαβαίνεις ότι δεν υπήρχαν περίεργες καταστάσεις στον κύκλο μας, ήμασταν ενωμένοι, αντιμετωπίζοντας καθημερινά όλη την ένταση της εφηβείας μας που πολλές φορές φαινόταν ακραία. Το graffiti ήταν το στοιχείο της αστικής κουλτούρας που εξαπλωνόταν συνεχώς σε όλη την Ελλάδα τη χρυσή εποχή τον 90’s. Μαγεία!

Τοιχογραφίες με αρκετή λεπτομέρεια, μεγάλης ή μικρότερης κλίμακας, και συνδημιουργός της εμβληματικής φιγούρας του λουκάνικου στο Ψυρρή. Πόσος χρόνος χρειάζεται για μια τέτοια δουλειά? Μίλησε μας λίγο για το συγκεκριμένο mural. Βρισκόμουν στο Βέλγιο όταν έμαθα για τον θάνατο του Λουκάνικου, μαζί με τον οποίον είχα περάσει αρκετά χρόνια στην πλατεία Συντάγματος. Άραζε με τους skaters σε καθημερινή βάση, του δίναμε νερό και τροφή, τρομερό πλάσμα.Έτσι είχα την ιδέα να δημιουργήσω μια τοιχογραφία στη μνήμη του. Εκείνες τις μέρες συναντήθηκα με τον Alex Martinez να τα πούμε, πίνοντας έναν καφέ, του είπα ότι έχω βρει ένα spot για να δημιουργήσω τον σκύλο, με κοιτάζει και μου λέει: «Δεν το πιστεύω, σήμερα το σκεφτόμουν κι εγώ», οπότε καταλήξαμε να ζωγραφίσουμε μαζί τον αγαπημένο σκύλο της Αθήνας. Η Κυριακή είναι η μέρα των γκραφιτάδων. Έτσι λοιπόν, νωρίς το πρωί μιας Κυριακής, πήγαμε να βάψουμε στη Σαρρή. Τα υπόλοιπα έγιναν από μόνα τους. Τότε δεν φανταζόμασταν ότι το συγκεκριμένο θέμα θα άγγιζε τόσο πολύ τον κόσμο, και αυτό είναι πολύ συγκινητικό για τη δουλειά μας. Γι’ αυτό και ο Λουκάνικος στέκεται ακόμα εκεί καμαρωτός. Οι βανδαλισμοί που έχει υποστεί το φόντο του έργου είναι το αποτέλεσμα του δρόμου, και με αυτό εννοώ ότι όντας εκτεθειμένο, όπως άλλωστε όλα τα έργα της street art, σε δημόσια θέα, είναι ταυτόχρονα εκτεθειμένο σε ποικίλες, ετερόκλιτες αντι��ράσεις, προερχόμενες από πολλαπλές πολιτικές και άλλες αντιλήψεις. Το δεχόμαστε, έτσι μάθαμε, έτσι μεγαλώσαμε! Δουλεύεις σχεδόν αποκλειστικά με συγκεκριμένους συνεργάτες στον δρόμο. Lune82, Martinez, pupet... Ποσό σημαντικό είναι για σένα αυτό; Περιέγραψε μας λίγο τα στάδια της δουλειάς. Στην Αθήνα δουλεύω πλέον μόνο με τους συγκεκριμένους καλλιτέχνες, για διαφορετικούς λόγους σε κάθε περίπτωση. Μας συνδέουν τα ίδια πράγματα, είμαστε σχεδόν όλοι κοντά ηλικιακά, αλλά το πιο σημαντικό είναι ότι όλοι έχουμε ρίζες στο graffiti. Βασικό στοιχείο είναι να μην έχει κάποιος έντονο «εγώ», πράγμα σπάνιο. Μια τοιχογραφία δεν είναι κάτι απλό, πρέπει να ξέρεις καλά αυτόν με τον οποίον συνεργάζεσαι ώστε να υπάρξει συνέχεια, η οποία θα κάνει τη σχέση αυτή ακόμα πιο δυνατή. Όταν δουλεύουμε, επιλέγουμε τη θεματική μας, μελετάμε τον τρόπο που θα την επεξεργαστούμε πάνω στην επιφάνεια που έχουμε στην διάθεση μας, ανάλογα με το εκάστοτε πλαίσιο.

Τι έχεις να πεις για την αντίληψη που λέει ότι η Αθήνα είναι το νέο Βερολίνο ή ότι είμαστε η πρωτεύουσα του graffiti στην Ευρώπη;! Μακάρι η Αθήνα να είχε τη μουσειακή υποδομή και την υποστήριξη της σύγχρονης τέχνης που ισχύει στο Βερολίνο, και γενικά στο γερμανικό κράτος, σχεδόν αμέσως μετά το τέλος του Β΄ Παγκοσμίου Πολέμου. Θα ήμουν πραγματικά ευτυχής αν συνέβαινε κάτι τέτοιο. Οπότε, από αυτή την άποψη σαφώς η Αθήνα δεν είναι Βερολίνο, και φοβάμαι ότι ούτε θα γίνει ποτέ. Όμως, επειδή νομίζω ότι δεν εννοείς αυτό ακριβώς, αλλά αναφέρεσαι στη φήμη που κυκλοφορεί τα τελευταία χρόνια ότι η Αθήνα έχει πάρει τη σκυτάλη από το Βερολίνο στην άφθονη παρουσία graffiti παντού στην πόλη, έχω να απαντήσω ότι και σε αυτή την περίπτωση είναι τόσο διαφορετικές οι κοινωνικές, οικονομικές και κυρίως πολιτισμικές συνθήκες ανάμεσα στις δύο πόλεις, ώστε ακόμα και αν θεωρήσουμε ότι η Αθήνα είναι σήμερα η «πρωτεύουσα» του graffiti, είναι με έναν εντελώς διαφορετικό τρόπο απ’ o,τι η γερμανική πρωτεύουσα από το 2000 μέχρι το 2005 περίπου.

Muralists, street artists, graffitαδες, writers... και όλοι ο ένας πάνω στον άλλο. Παρά πολύ πληροφορία, παρά πολλά εικαστικά ειδικά σε περιοχές όπως τα Εξάρχεια. Είναι όλα τόσο καλά; Πως γίνεται να έχει αλλάξει τόσο πολύ η αντίληψη ότι σεβόμαστε τον προηγούμενο στον ίδιο τοίχο και δεν πατάμε πάνω του; Η συγκεκριμένη ερώτηση με χαροποιεί γιατί αποδεικνύει ότι δεν παρατηρώ μόνον εγώ την υπερβολική εικαστική πληροφορία που υπάρχει στην Αθήνα. Δεν είσαι ο μόνος που μου έχει κάνει αυτή την ερώτηση, η απάντησή μου ως παλαιότερος writer είναι η εξής: Μεγαλώνουμε, και αυτό σημαίνει ότι όλα γύρω μας εξελίσσονται. Από τότε που το διαδίκτυο μπήκε στη ζωή μας, είναι λογικό να χάνονται οι αξίες και οι συνήθειες με τις οποίες μεγαλώσαμε εμείς. Οι νεότεροι μαθαίνουν μέσα από το internet, και αυτό τους βοηθά να επιλέξουν ευκολότερα τον δρόμο που θα ακολουθήσουν, προκειμένου να αφήσουν το αποτύπωμα τους στην πόλη. Όλα πρέπει να υπάρχουν για να υπάρχει δυνατότητα σύγκρισης. Στο τέλος της μέρας, αποδέχομαι τα πάντα. Ο, τι κάναμε εμείς, κάνουν και οι νεότεροι σήμερα, απλά σε άλλη εποχή, και έχοντας στη διάθεσή τους όλα τα μέσα και πολύ περισσότερες ευκολίες. Σήμερα, το να γράφεις στον τοίχο, με οποιαδήποτε γραφή, έχει γίνει μόδα, και λίγο κατανάλωση, σε αντίθεση με το ξεκίνημα αυτής της ιστορίας όπου κυριαρχούσε ένας έντονος ερωτισμός στη σχέση μας με τον τοίχο. Όπως και να έχει, το σημαντικό για μένα έχει ότι μέσα στον γενικό χαμό, ανακαλύπτεις μαργαριτάρια. Καλό είναι να χαρούμε την ελευθερία που έχει η πόλη μας, το να πάς σε έναν τοίχο να βάψεις χωρίς να σε ενοχλήσει κάνεις, σε άλλη χώρα το κάνεις αυτό; Αν η κατάσταση ήταν αλλιώς, δεν θα υπήρχε ούτε η σελίδα σου, ούτε πολλές άλλες που πλασάρουν image με τον κόπο άλλων, χωρίς να βάζουν credits στους καλλιτέχνες, όπως δεν θα υπήρχαν ούτε όλοι όσοι εκμεταλλεύονται τη συγκεκριμένη τέχνη, με καλό ή κακό τρόπο. Οπότε δημιουργήστε όσο μπορείτε γιατί το πανηγύρι θα τελειώσει και δεν θα το πιστεύουμε.

Παθιασμένος skater όπου και εκεί δημιουργείς πάνω στις σανίδες με τα εικαστικά σου. Μίλησε μας για αυτό το Project. Το skateboarding ήταν ο συνδετικός κρίκος που με έφερε κοντά στο graffiti, και η γνωριμία μου μαζί του, με σημάδεψε, και μου δημιούργησε την επιθυμία να μάθω να δημιουργώ κι εγώ με τη σειρά μου. Μετά από 25 χρόνια παρουσίας στη σκηνή, κάποια από αυτά σε επαγγελματικό επίπεδο, συνεχίζω να ρολάρω με τους φίλους μου. Η τέχνη ήταν ανέκαθεν και εξακολουθεί να είναι περισσότερο από ποτέ συνυφασμένη με την κουλτούρα του skateboarding. Πολλοί από εκείνους που έχουν ασχοληθεί κατά καιρούς με το skate εξελίχθηκαν σε καλλιτέχνες σε διάφορους τομείς, σκηνοθεσία, φωτογραφία, ζωγραφική, μουσική... Οπότε, στην περίπτωση μου μοιάζει απόλυτα φυσιολογική η άρρηκτη σχέση skating-painting. Δρώντας κάπως αιρετικά, επιχειρώ να συνδυάσω τη μεγάλη, κλασική ζωγραφική με μία γερή δόση χιούμορ, αλλά και περίσκεψης, επαναπροσδιορίζοντας τη σχέση μου με τα κλασικά έργα μέσα από μία φρέσκια, σύγχρονη ματιά, προσαρμοσμένη στη σημερινή πραγματικότητα τόσο του skate όσο και της κοινωνίας μέσα στην οποία αυτό εντάσσεται. Συνεργάζομαι με την S.O.S Skateboards που ιδρύθηκε πριν από 3 χρόνια.

Σε 10 χρόνια από τώρα? Να έχουμε υγεία και ακεραιότητα, τα υπόλοιπα έρχονται.

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astridfieuws · 1 year

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📇 15/04 + 15/05 print your personalized note book by @astridfieuws : step by step astrid will show you 5 different printing techniques. the idea is to inspire you and to share the passion and the possibilities in the (print)atelier. after following this workshop, you can come back to realise your own (print)projects with(out) my assistance. 🚪 a variation for the youngsters: a personalized poster for your room ! 🎨 09/04 + 14/05 a trio of frames by @astridfieuws : in this workshop we will create a composition with abstract forms, @astridfieuws will tell you more about (mixed) collors and we will print different postc.arts : in the end, we will frame the best cards in the handmade #universalpostcardframes. this workshop is a bit more playful (less technical) - it is a surprising and exciting at the same time! 📚 16/04 bookbinding by @lariviereseche : workshop #1 : Tatuya tells you more about the direction of paper, how to “prepare” a pages and the thread before binding them togheter, ect. workshop #2 : we start doing the first steps of processing a cover. also the binding technique is a little more decorative and difficult. these simple bindings has endless variations and are easy to do at home without special binding materials. you can personalize your notebooks or apply them to your creative book projects. ✒ 24/06 + 25/06 calligrapy by@enchantee___ : workshop #1 : Caroline will tell you a little more about the history of handwriting. then together we will dip our pen in the ink and learn the first steps of calligraphy, or better, the art of writing. workshop #2 : after the introduction we go a step further, bit by bit we will be able to write the whole alphabet. 📈 19/04 + 27/05 handlettering by @lettrages_ camillevinck : Camille has designed a font. by working with a structure, she will teach you to draw different letters that we will present in a graphic poster. the combinations are endless and very inspiring! . info & registration / inschrijven / incription : www.astridfieuws.com /workshop or dm (bij astridfieuws) https://www.instagram.com/p/CqnekjptISg/?igshid=NGJjMDIxMWI=

#universalpostcardframes #1 #2

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kittycayenne · 7 years

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✪ Commission status: OPEN ✪

➼ Queue:

OPEN

➼ About my Product:

I am a professional graphic designer living and working in Grand Rapids, Michigan. I am employed by a large company who contracts my services out to newspapers and companies all over the US to build and create ads and branding elements (logos / social media stuff / ect.) as well as advertising campaigns. I love to design, but my real passion is illustration. I went to Kendall College of Art and Design to specialize in it, and I have been drawing anthros and furries since I was little.

What I offer to my customers is a unique blend of graphic design and illustration. I can draw and sketch, as well as make a composition work from a designer’s perspective.

I draw SFW and NSFW, anthro and non-anthro. I will try to draw just about anything, and don’t have any set limits on what I can attempt.

➼ Contact:

The best way to contact me for a prompt response is via email at [email protected]

I am also on Twitter (@kittencayenne) and Instagram (@kittycayenne), but as far as social media goes I’m most active here on Tumblr.

When contacting me for a commission, please refer to my price guide so that you have an idea of what you might want. Please also have reference sheets or character descriptions on hand.

➼ Pricing:

I have a really handy price guide on my Commission Sheet, but here is a more detailed breakdown of my services and prices. Please check my Art Tag for examples

1. Composition (Base Prices. Includes Cleaned Lines):

Headshot: Above the neck $10 (sketch lines: $5)

Bust: Groin up $15 (sketch lines: $10)

Full Body: $25 (sketch lines: $15)

2. Shading:

Flats: Flat color, unshaded. Comes standard at no additional cost

Shaded: +$20. This fee is for my standard shading style, which is nice but admittedly not that complex. If you would like a more realistically rendered piece, please send me a message and we can discuss.

3. Background:

Simple BG: A cute, usually 2 color maximum, shape or gradient that compliments your piece. Comes standard at no additional cost.

Complex BG: +$25. This fee is for a more detailed, complex background that conveys a mood and adds to the composition. No crazy cityscapes or world building, however, it can be negotiated for an additional cost.

Other things I can do (please ask for prices):

Avatars & Icons: Drawn and optimized for whatever social media you plan on using them for.

Character Design: My specialty and absolute favorite thing to draw. Can design based on a concept that you give to me, or can come up with something completely unique.

Badges: Can be mounted, laminated and sent to you for free upon request.

Telegram Stickers: I offer discounts when they are bought in packs!

Reference Sheets: For existing characters, fursuit concepts, or anything else.

Graphic Design: I can offer my more professional expertise as well as my furry illustration expertise. I can design you a logo, a commission sheet, social media advertisements-- You name it!

Additional info:

Complex features (tattoos, heavy armor, mechanical parts, feathered wings…) may result in additional fees.

You are given one (1) minor edit upon receiving the finished product. Additional edits are $5 each.

Commissions must be paid for with PayPal invoices.

➼ Terms :

When you pay me for a commission, you will be agreeing to these terms:

Client must be 18 years of age or older when paying for a commission with adult themes.

Client must have payment ready once sketch is approved. I will not go further with the commission until I receive payment.

Iterations: Client may request a maximum of 2 major iteration or 1 complete do-over at the sketch stage. Client may not request any major iterations after the sketch stage, only error fixes and smaller adjustments. Fees apply beyond these limits.

Rights: Artist retains the right to all commissioned artwork and may use it for personal promotions and donation incentives on sites like Patreon. Client may re-upload the web-size versions of art featuring their own character(s) to their blogs or galleries, but may not use commissioned art for commercial purposes.

Time frame: Client acknowledges that Artist does not guarantee the artwork with be finished within any particular time frame without explicit prior agreement, and that unexpected delays may occur.

Refunds: Artist will not grant refunds once the sketch has been approved by Client. Before this, full refunds may be given on request. Client may request a full or partial refund if Artist has shown no progress for 60 days after sketch was approved. A full refund will be given by Artist if work on the artwork has to be cancelled (by Artist) before completion.

Client risks being put on a personal blacklist if they request refunds more than once without good reason, or are unpleasant or difficult to work with.

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