Friday, November 30, 2007

Tom Cruise to Return as the Vampire Lestat?

Very unexpected news today for one of the most infamously troubled novel-to-film franchises ever. An anonymous spy has reported to Bloody-Disgusting that United Artists is in talks to land the rights to The Tale of the Body Thief, the fourth volume in Anne Rice's mostly superb Chronicles of the Vampires.
More than that, rumor has it that Tom Cruise, who played the lead role of Lestat in 1994's Interview with the Vampire, may be returning to the part. The book tells the story of the French bloodsucker's attempt to regain his humanity by switching bodies with a mortal.
Many fans of Rice's work were disappointed with the Cruise casting 13 years, so they can't be pleased this time around either. But then again, most also felt that the atrocious Queen of the Damned adaptation five years ago had driven a definitive stake through the heart of this series...

**Newly Added**
Find out just what kind of zombie you are! Check out the very clever quiz I've added near the bottom of the page, courtesy of Quizilla...

Modernist Art and Battleships

"Like most of us, The Allies only turned to modern art out of desperation. German U-boats were sinking enormous amounts of shipping and there was no really effective defense against them. It is axiomatic that if you can't stop the people who are shooting at you, you should make it very hard for them to find you. Thus, camouflage.

Most camouflage is based on the idea of concealment and blending in with its surroundings. However another school of thought has argued for making the item in question appear to be a mashup of unrelated components. Naval camoufleurs found this theory particularly appealing. Blending didn't work because ships operated in two different and constantly changing color environments – sea and sky. Any camo that concealed in one environment was usually spectacularly conspicuous in others.

Norman Wilkinson, a British naval officer and painter, suggested a scheme that came to be known as Dazzle or Razzle Dazzle painting. Wilkinson believed that breaking up a ship's silhouette with brightly contrasting geometric designs would make it harder for U-boat captains to determine the ship's course."

Whether or not this tactic of Razzle Dazzle really worked is hard to determine as at the same time, the convoy system was also implemented. I'm sure the ships looked confusing, but to be honest, I reckon some of the designs are pretty over the top conceptions. I would have thought fractals of greys and blues would have worked better. (I'm no naval engineer though)But it does allow the naval ships to claim the honour of being the largest painted canvases ever!

Original Post and Description [VIA]


Photo Sharing and Video Hosting at Photobucket
Texhnolyze is a cyber-punk anime; it was first released on Japanese TV in 2003 and ran for 22 episodes. The series was directed by Hirotsugu Hamazaki, Yoshitoshi ABe was the character artist and Chiaki Konaka was the writer. Texhnolyse is sometimes referred to as the staff of Serial Experiments Lain's 5-year reunion because most of the staff worked on both anime series. Texhnolyze takes place in the underground city of Lukuss where the people live in despair scraping a living in this crumbling city. Lukuss is run by three rival factions the Organo, the Union, and the Racans. The Organo and the Union are the top dogs in the city and have come to an agreement to stop fighting each other so there can be some peace (however small) in the city. The members of these factions live a very privileged life while the rest of the population is very poor.

Texhnolyze is a term used in the anime that describes the advance technology that replaces human limbs with cybernetic ones. And only the privileged have them with the exception of the members of the Union (as they are against anything texhnolyzed). The main character is Ichise he was a sort of kick boxer (but more violent) who pissed off some lower members of the Organo, and got a leg and an arm chopped off for this then was left to die. Because he is so hell bent on getting revenge he drags himself into town looking for the ones that cut his limbs off. Eventually he passes out and is found by Doc who takes a liking to him and texhnolyzes him. Ichise goes through a series of events which sees him get his revenge, join the Organo, and because of his choices’ places him in the middle of a whole heap of crap.

This is a very dark anime and it is very drawn out in places; for example in the first episode there is very little talking and in the first 13 minutes there is no talking. For the first half of the series thats about 12 episodes it is very slow as the scene is set and the main characters are introduced. But in the last 10 episodes it really picks up and turns out to be a really kick ass anime. Now I liked this anime but I’m not going to lie to you it took me 6 months to watch it. After watching 3 episodes I turned it off and thought what a waist of money and this went on until the episode 13 then I could not stop watching it. The last 3 episodes in the whole anime is so awesome that it more then makes up for the slow start. I would recommend this anime to anyone that liked boogiepop phantom and Paranoia agent if you did not then this is probably not for you. It is packed full of violence and things that will make you think; all you have to do to enjoy this anime is be patient and enjoy the anime for what it is.

Thursday, November 29, 2007

The Munsters..."In Living Color"!

Bloody-Disgusting today picked up on a very interesting tidbit that was rather quietly broken earlier this month. In an exclusive interview with, Shawn Wayans stated that he and his brothers Marlon and Keenen Ivory Wayans (the minds behind Scary Movie 1 & 2) are working on a big-screen adaptation of the popular 1960s television show The Munsters.
The height of '60s cheese TV, The Munsters sitcom chronicled the lives of a friendly monster family trying their best to fit into suburban America.
Wayans was quick to point out that he and his brothers are writing and producing the film, but will not be starring in it (*whew!* - The Honeymooners, anyone??). Rather, as Shawn says, they're "going to get some white people and paint them green."
The Wayans are "contemporizing" the show for its movie treatment. They also plan to write it for a PG-13 rating. I'm curious about that one, since I wouldn't imagine The Munsters to be anything harder than a G. Perhaps they're giving it a little more of an edge, a la The Addams Family movies? I wonder just what they mean by "contemporizing"...

Wednesday, November 28, 2007

Behind the Scenes of Will Smith's I Am Legend

It's the next big horror release, and it's only two weeks away. And while you'll forgive me if memories of Wild, Wild West and I, Robot cause me to be a tad skeptical on this one, I still thought I'd share this little sneak peek that was posted today on ETonline.

Coro 36

I spent over an hour on this guy's website just now. I was entranced. A huge library of work that justifiably needed poring over. Justin "Coro" Kaufman is a Fine Artist by love and a Concept Artist by trade. What I have selected for you is only from his illustrative and work with oil paint. There is so much more to look at like his amazing graphic design work and his 3d lighting projects for space-age metropolises.

Coro has contributed to over 70 AAA and next-gen video game titles and works as the Senior 2nd Art Director for Massive Black Inc. He is also one of the co-founders of ConceptArt.Org which is a good resource for talented artists coming up in the conceptual scene.

His work spans from the firm favourite of mine; Fantasy Mecha towards storyboarding for animations/video-games and aliens pestering bums trying to get a good hit of their crack pipes! Like I said, he covers everything!

Overall, an excellent blend of fantasy, realism, the macabre, technology and brilliance. He has just earned himself an avid fan from now on.......

Please visit his SITE, you won't be disappointed.
All images copyright of Justin Kaufman.

Ajee's SkullSkin Prototype

Saw this beauty of a 12" prototype on Plastic & Plush and really really dug it. It's made by Bonustoyz and French artist Ajee collaborating on the SkullSkin figure. Like P&P said, the angular aesthetic of the helmet, hair & armour makes the figure really stand out from your run-of-the-mill 12" figures.

Tuesday, November 27, 2007

Dead Funny

Today I bring you this rather clever series of vignettes from Ed Helms, best known for his five-year stint as a correspondent on The Daily Show, as well as a run last season on The Office. Although apparently made two years ago, Zombie-American popped up earlier this year on the website Funny or Die, which is where I came across it. Zombie comedy seems all the rage these days, doesn't it? And while this is basically a one-joke sketch, it's still pretty hysterical in parts. Check out all three chapters:

Inverted Pendulum

This video shows the outcome of a project in automatic control. It was carried out by Magnus Linderoth and Kristian Soltesz during the winter 2006-2007 at the dept. of automatic control, LTH, Lund, Sweden (

Monday, November 26, 2007

Dexter: Cable's Next Big Thing

OK, I admit it. I've never watched Dexter. Couldn't have even if I had wanted to--I got rid of Showtime after they cancelled Dead Like Me.
But after all the buzz this show has been getting, including glowing recommendations from everyone from the folks on the Bloody-Disgusting forums to my Dad (Hi Dad), I realize I need to rectify this. Thus, the entire first season is now placed high atop my Netflix queue.
Chronicling the misadventures of a strangely moral serial killer played by Michael C. Hall (who was on excellent on his last cable show, HBO's Six Feet Under), Dexter set a new record this week. According to The Hollywood Reporter, last Sunday's episode drew 1.23 million viewers, the highest ever for a Showtime series. Viewership also grew an impressive 40% from last week's ep. And with a third season recently confirmed, the word on this series is officially out. Make room for me on the bandwagon!

Everyday Objects Into Art

It's good to see people getting more creative with potential rubbish/junk lying about their houses. Here are a collection of some of the most original and bizarre ways to make use of the objects that you may have given up hope with.

To see way more images from more frog designs to robots go HERE.

Sunday, November 25, 2007

The Silent Dead: A History of Horror Movies, Part 1

For as long as humans have been sophisticated enough to desire entertainment, we've had an innate fascination with being horrified. Perhaps the last vestigal remants of the "fight or flight" instinct give us this visceral thrill, which we can enjoy freely with the knowledge that what we are seeing is not real.
As ingrained as the love of being scared is in the human psyche, it's suprising that horror took a while to establish itself as a major genre in the motion picture business. In the earliest days of the movies, they were not very common, particularly in America, where religious groups still held great sway over public opinion.
At the beginning of the industry, it was in Europe that horror films first took root. Pioneering French filmmaker Georges Melies (best known for 1902's A Trip to the Moon) is credited with creating the earliest examples with his two short films, The House of the Devil (1896) and The Cave of the Demons (1898).
At the start of the 20th century, the epicenter of the motion picture biz was in Germany, and horror pictures were no different. A wave of Expressionistic films emerged there in the '10s and '20s, the impact of which continues to be felt to this day. Chief among them were Paul Wegener's The Golem (1920), Robert Wiene's The Cabinet of Dr. Caligari (1920) and of course, F.W. Murnau's 1922 masterpiece, Nosferatu--the first of countless Dracula adaptations.
Meanwhile, in the States, it was actually Thomas Edison, who had invented motion picture technology in the first place, whose production company put out what may be America's first horror movie and the first in another long tradition, 1910's short film Frankenstein.
In Hollywood, the 1920s produced the first horror movie megastar, the one and only Lon Chaney. Known as "The Man of a Thousand Faces," Chaney achieved notoriety in large part due to his uncanny ability to transform himself through make-up. Chief among his notable roles are The Monster (1925), lost film London After Midnight (1927) and his iconic turn in The Phantom of the Opera (1925), which gave rise to Universal's classic monster movie series the following decade.
The end of the 1920s saw the rise of a revolution in filmmaking thanks to arguably the greatest innovation the industry has ever seen: sound. The effects would be profound, and horror movies would lead the way.
Other major releases:Soon to come: Part 2 - Gods and Monsters

Adam Parker-Smith

Priska C. Juschka Fine Art gallery is holding an unusual show. "Bold as Love" is Adam Parker Smith’s first solo exhibition in New York City. "Created as an illustrative tableau to disseminate Smith’s ongoing explorations involving consumerist addiction to violence and the infatuation with the high school crush, Bold as Love combines craftwork and portraiture in order to present the aftermath of an imagined scene inspired by Ernest Hemingway’s For Whom The Bell Tolls."

An extremely interesting take on the use of plush materials taken away from its usual link to cuteness and put to better use in my opinion.

Images & Text [VIA]
Original Post [VIA]

721 Claps a Minute

Kent French is a nutter who holds a Guinness Record. He can clap at a rate of 12-14 claps per second! How do you find out these kinds of skills?

Sat One

Sat One originally comes from Munich and has been painting since 1993. He was quoted as saying, "It's very important to keep repetition to the minimum, to make given forms abstract and to redefine them within a new frame." - Taken from the book Graffiti World.

I personally love his style as the blend between traditional graff forms and his version of a graphic design edge are very well done. He has a huge range of work, from the streets to canvases, this guy has such a clean style, it's untouchable.



(Montreal’s 20th Annual LGBT Film Festival)

A few years back, a short film I directed was screened at the Image+Nation film festival as part of the “Local Heroes” series. It was a fantastic honour and also incredibly surreal. I had been attending the festival for years at that point and I suddenly found myself changing roles from the spectator to the guy standing in front of the screen at the Parisian theatre, introducing the film that was about to run. I knew even then that being a part of this festival meant my film would be seen by a gracious and appreciative audience. Flash forward to a few years later; I have not even been to the festival since CANOEING (my film) screened. The following year, I was already heavily into establishing Black Sheep Reviews and I just couldn’t find time for the festival. So when I went back this year, I experienced a bizarre déjà vu like sensation. It was a Saturday night and I was alone – ordinarily not an exciting combination. It wasn’t long before my apprehension about being the only single guy in the room disappeared entirely though. It was impossible to feel alone when a nearly packed room full of men surrounded me. The best part about it – everyone there was gay (or at the very least, gay-friendly) and there to indulge their love of the cinema. With that strong a commonality filling the room, it no longer even mattered that the movie wasn’t any good.

A gay cinephile is subjected to straight imagery and storyline most of the time they sit down to a movie. So when nothing but gay-themed films are amassed to be screened in succession throughout a queer film festival, the need to see characters that breathe the same air we do is as high as Amy Winehouse in the morning. The danger one runs into in festivals such as these is that, with perhaps limited films to choose from during the selection process, the risk of rushing to a mediocre film is much greater. Only here, even mediocre is better than nothing at all. That said, sub-par is still just that. Enter THE PICTURE OF DORIAN GREY – the first of three films I caught at this year’s festival and certainly not an encouraging sign of what was to come. Oscar Wilde’s literary classic has been cinematically attempted before but this time it has been modernized as well. Orphan turned millionaire, Dorian (David Gallagher) is in the prime of his life. If it weren’t enough that he was rich, he’s also got a baby face that gets the attention of everyone who sees him. He could have anyone he wants but he makes it very clear that he could never sleep with another man - that is, until he does so later that evening. Gallagher is way out his league here as a classical contemplation on obsession with youth; ironically, he lacks maturity to make his actions believable. Meanwhile, director Duncan Roy also fails as he adapts the tale to expose the current climate within the global gay community where youth is equated with perfection and the unattainable. Relying on unnecessary split screen tricks and flashes of highlighted dialogue spread across the screen to prove his point (I particularly enjoyed the one where the word, “AIDS” was cut in to tell the audience that one character was suffering from the disease as if we couldn’t have known from the horrifically tacky makeup on his face), he lacks the confidence in his own direction to convince us that he believes the lesson he’s teaching. The whole thing spirals into a mess of horrible acting and predictability that begs for an end to come quickly. By the way, it doesn’t come quick enough.

From recontextualizing for modern times to actual progression comes BREAKFAST WITH SCOT (that isn’t a typo),the first gay-themed film to be fully endorsed by the National Hockey League. Director Laurie Lynd presents this Canadian film with as many American cinema conventions as possible. This is a bright, sitcom style picture in the same vein as TRICK or MAMBO ITALIANO. It can be very endearing and it can be very funny (thanks mostly to 12-year-old Noah Bennett as Scot) but it fails when it tries to be more than it is. Scot’s mother has just died and he finds himself placed with his mom’s ex-boyfriend’s brother, Sam (Ben Shenkman) and his lover, Ed (Tom Cavanagh). Ed is in sports news and lives a closeted life so when an effeminate child enters his life unwanted, he takes it upon himself to steer the child in a more masculine direction. I do agree that Scot needed a lesson or two about being aware of how his behavior could incite others to taunt, tease or even hurt him but Ed’s coaching taught the boy shame. As if shame weren’t enough for his future therapist to have to work on, Scot also has a horrible example of love between men to learn from. Ed and Sam are one of the most loveless gay couples I have ever seen in a gay film. They act more like roommates who barely like each other. They rarely look at each other and never consult each other on how to deal with Scot. Ed even goes so far as to call Scot Sam’s problem as it is his brother’s responsibility after all. This is clearly meant to define the relationship between Ed and Scot but it shows Ed as entirely disrespectful of his partner and just all around selfish and despicable. Ultimately, I learned that the only place flame(r)s have in hockey is in Calgary. (Get it? Flamers? Calgary Flames? C’mon … it’s a gay hockey joke!)

The centerpiece film of the festival was French director, André Téchiné’s LES TEMOINS (THE WITNESSES). As a centerpiece, it certainly embodied the space with its depth and honesty. It begins with the birth of many a new thing. A new novel is being written; a new baby is being born; and a new move to Paris is the beginning of the end for Manu (Johan Libéreau). At 20, Manu has come to Paris to start what he believes will be a long and exciting life. He makes friends almost as quickly as he drops his pants for strangers in a park. Amongst these friends are Adrien (Michel Blanc), an older gentleman who is instantly taken by his boyish grin, Sarah (Emmanuelle Béart), a writer and friend of Adrien’s who is always wearing a different shade of yellow, and Mehdi (Sami Bouajila), a police officer and Sarah’s husband. Along with Manu’s sister (Julie Depardieu), this group will play witness to the first reported cases of H.I.V and A.I.D.S. but not before they get to enjoy themselves and the simple pleasures life offers them. Téchiné splits his film into three acts. In the first, boat rides are taken, picnics are had and affairs inevitably happen. There are moments of joy and moments of drama, all of which become utterly meaningless by the time the second act commences and A.I.D.S becomes everything. Being new and frightening, the disease drives some into isolation and blurs the lines between fear and feeling, leaving some wanting to reach out, unsure of what might happen if they do. By presenting the onset of A.I.D.S. so directly, Téchiné not only tells the story of those who first witnessed the horrors of the disease but also forces the audience to witness these same horrors in a day when many feel the disease to be no longer a threat. And so he leaves us with an important message - we must turn back to witness again what is still ongoing.

Attending Image+Nation this year was eye opening. Not only was it inspiring to see such high attendance and an exciting schedule but at 20 years old, the festival is just the right age to understand its own identity while remaining open to new cultural movements. Organizers Charlie Boudreau and Katharine Setzer are still in line with what their audience loves after many years and they make sure to present diverse films that are both playful and pensive. (By the way, there are plenty of films for girls and those in between genders as well – I just didn’t catch any for this article.) On a more personal note, the Image+Nation reminded me of a community I once belonged to and showed me that I could go back at any time.

Saturday, November 24, 2007

Freddy: The Early Years?

File this one under "long -standing and incredibly stubborn rumors." This probably is far from news to anyone who closely follows the horror movie scuttlebutt on the internet, but the persistent talk of a Nightmare on Elm Street prequel is something that, much like Freddy Krueger himself, just won't die.
It's been whispered about ever since a March 2006 interview that Nightmare star Robert Englund gave to the Pit of Horror, in which he described a film tentatively titled A Nightmare on Elm Street: The First Kills (also rumored to have the far superior title Elm Street: The First Murders) The proposed flick would deal with Freddy's often-recounted backstory, in which he sliced up a bunch of schoolkids and was burned alive by revenge-minded parents after his acquittal.
New Line is said to still be eyeing the project, but there hasn't been any movement in months, despite great interest from the fanbase. It's expected that Englund would reprise his role as everyone's favorite bastard son of a thousand maniacs. Hey, if studios are willing to greenlight every half-assed remake that comes down the pike, surely they can give this a chance.

Friday, November 23, 2007

Diary of the Dead: A First Taste...

Maybe I've been out of the loop, but there's some very promising Diary of the Dead footage floating around which I would think would be making a bigger stir than it has. I recently came across it on the I See Dead messageboards, and it got me pretty pumped to see the fifth Romero Dead flick, especially after being slightly disappointed with Land of the Dead. This one's set at the beginning of the zombie outbreak--a la Night of the Living Dead--and looks like it will surpass the last installment. We'll have to wait till February 15 to see it in its entirety, so for now, this footage--shown during an interview with George Romero that aired on Spanish TV--will have to do.

Thanks to Loneranger Zombie of the I See Dead forums for bringing this to my attention!

Red Hot Chili Peppers - Can't Stop (LEGO-REMIX)

Great visual remix of the Mark Romanek's video "Can't Stop"(2003). I love stop motion animations!

Thursday, November 22, 2007

Wednesday, November 21, 2007

Go, Johnny, Go!

Johnny Depp, singer? In the upcoming horror musical Sweeney Todd, you better believe it. The Deppster has never sung before, but when eccentric filmmaker buddy Tim Burton enlisted him once again to play the starring role in his film adaptation of the Stephen Sondheim favorite, he decided to give it a go.
In this clip provided by Paramount Pictures to Bloody Disgusting today, Depp croons a bit of "Johanna", one of the songs written for the stage musical by Sondheim--also known for such musicals as Sunday in the Park with George, A Little Night Music, Into the Woods and West Side story (lyrics only) and for composing such standards as "Send in the Clowns", "Everything's Coming Up Roses", "Comedy Tonight" and "Let Me Entertain You."
What, I can't like horror movies and showtunes...?

Animal VS Buddy Rich Drum Battle

Watch Animal from the Muppets tear it up on the drums whilst battling Buddy Rich. This episode was aired in 1978. Still as good now as it was then!

Rubiks Cube 3X3 Solved Blindfolded

Chris Krueger solves the Rubik's Cube blindfolded in 1:15.60 at the Canadian Open 2007, setting the World Record.

The rules are to memorize a randomly scrambled cube and to solve it without the aid of vision, the time includes the memorization.

And then a 14 year old, Mátyás Kuti from Hungary achieves the World Record with a crazy time of 54secs!

Tuesday, November 20, 2007

A J.J. Abrams Monster We May Actually Get to See?!

Hot on the heels of the release of the full Cloverfield trailer on the web yesterday, the geniuses at /FILM have posted this little gem--a slow motion breakdown of a brief glimpse of the actual monster itself which appeared during that trailer, and which you might have missed if you blinked. This is the first look we've had at the mysterious creature. Hey, it's not much, but it sure beats a big cloud of black smoke, doesn't it?

Parkour X Skate Pt.2

Once again, William Spencer makes me go WTF when I see his videos. For those of you who missed the first post on him, please check out that video too. This guy is the future of progressive skating! I still cant get over the end of video trick.....

Thanks MysteriousAl for the heads up!

Monday, November 19, 2007

Cloverfield Trailer Goes Live

The official website for the hotly anticipated J.J. Abrams-produced monster movie Cloverfield went online today. So far it consists solely of a pretty impressive trailer, which you can check out here.
The picture, which hits on January 18, centers on an attack upon New York City by a gigantic beast (rumored to be a squidlike creature of some kind).
Gotta say, I just have a sense that, as impressive as this trailer may be, this one has the potential to be a colossal stinker. The last time Abrams gave us a giant monster, it was part of his TV show Lost, which began life as a ratings juggernaut, and has since been shedding viewers steadily due mainly to an almost pathological refusal to divulge any details as to exactly what the heck is going on. The creative minds behind the film are also strictly small-screen people: writer Drew Goddard was Abrams' collaborator on both Lost and Alias, while director Matt Reeves hasn't helmed a cinematic project since 1996's forgettable comedy The Pallbearer, finding work instead as a head writer for Felicity.
Not to mention the fact that I seem to vaguely recall the Japanese making a movie or two like this one a few years back...

Digital Vs. Organic Design Part 1

I have recently come across two very distinct, yet original ideas for battles/competitions that allow for freestyle flow but use two very different mediums for the artists to get their message across. In the red corner, we have the Digital Design Battle known as "Cut & Paste" from USA and in the blue corner, the Organic Design Battle known as "Secret Wars" from UK. I have to admit, when I first heard about graffiti artists/illustrators battling each other to see who could draw a better piece of work in a set time, I really wasn't a fan of the idea. I mean, how can you judge someone elses art as shitter than the other persons? Isn't art supposed to be subjective; beauty is in the eye of the beholder etc.? Even though this would be true in a utopian society, these two comps were borne from the gritty and dark streets of New York and London. Places where people's egos need to be satisfied, especially in the creative/media/design circles. I guess competitions like these were inevitable and therefore, should be looked at with an open mind. So morals aside, here's the scoop on the two events.


Cut&Paste was born in New York City back in November 2005. At the time 850 people came out to witness the first, live digital design tournament. Elbow to elbow, they packed a bar with designers winding wrists, judges taking their positions, a crowd swelling with drinks, gadgets warming up, and an immense energy that ran through speakers and skin.

Since then, Cut&Paste is finding new faces and homes, making moves to continue its modus operandi. They have done shows around the world, from La, to London, to Berlin, to Hong Kong.

All work must be completed in 15 minutes
Competitors are provided with themes for each round one week in advance
Competitors may bring in approved objects to capture with a digital camera
All approved objects are available for anyone to use during any round
No finished artwork, photographs, pre-made digital elements – all work must be constructed from scratch
Tools including digital cameras or the Wacom Cintiq are for the designers' benefit but not required to be used during competition

This video shows the Chicago leg of the comp in 2006

All pics are copyright of Cut & Paste and were taken from the Hong Kong leg of the tour where ESPV’s good friend Tat from Graphic Airlines won!

Jump to the next post which will showcase the Organic style of comp. by Secret Wars.

Digital Vs. Organic Design Part 2

This second post showcases the talents of the "organic" style of competition, using pens and paint.


Put simply, it's a war between artists. The ultimate question, however is who will remain supreme? The only weapon they have is a juicy Edding that they hold in their hands.

It started in London but has moved around to Birmingham, Southampton, Japan and a current European Tour.

You have one and a half hours to create your masterpiece.
There are two battles each date.
The colour palette is uniform black and white.
Only paint pens and acrylics can be used.
Judges decision is final.
You must stick to your side of the wall.

A look at the Semi-Finals and Finals of the UK 06/07 season.

All images are copyright of Monorex.