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The melanie martinez 2022 wall calendar is a calendar item created by poster foundry it was available for purchase on october 2 nd 2021 contents 1 gallery 1 1 cover 1 2 months 1 3 behind the scenes 2 trivia gallery cover front cover unedited back cover months january february march april may june july august september october november december

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To obtain or renew a permanent body art facility permit you are required to submit a completed permanent body art facility application you can download the application forms below you can submit the application materials to us in one of three ways 1 scan and email to envhealth smcgov org read more body art expo practitioner information

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Calendar back to programs and services body art body art facilities must obtain a health permit and practitioners must register to provide body art services in sonoma county facility and practitioner requirements all business owners operators of fixed facilities mobile units and temporary events must obtain a health permit annually

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Individuals with a physical or cognitive disability that requires reasonable accommodation in order to allow the individual to complete necessary forms or applications to obtain licenses or permits or reasonable accommodations to participate in services or programs of the nmrld may contact heather sanchez martinez rld nm gov for assistance in reaching appropriate nmrld staff

Welcome to body art safety seminars after 15 years of training body artists in bloodborne pathogen prevention we are updating and including new and improved courses that exceed federal and state requirements course creator chrys young rn npc is a master tattoo artist piercer and a board certified nurse practitioner with over 30 yrs under

A body art practitioner practicing body art in violation of the safe body art act resulting in an imminent health hazard may have his her registration suspended or revoked the registrant has the right to request in writing a hearing to show cause why his her registration should not be suspended or revoked a failure to request a

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Visit online applications for renewal you can also use this link to check the status of your application if you are unsure of any required credits for renewal please contact oplc customer support at customersupport oplc nh gov please note paper applications are no longer accepted for body art renewals if you currently have a nh license

The board licenses and regulates the following license types tattoo artists permanent makeup professionals body piercing professionals apprentice sponsors apprentices guest licenses establishment licenses and special event permits

A kind of body art at a body art establishment under supervision of a fully licensed body art practitioner as defined in this regulation 2 4 applicant means any person who applies to the boston public health commission health for a body art establishment permit body art practitioner license guest practitioner

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A body art establishment but is not a body art practitioner permit approval of the board of health in writing to either operate a body art establishment or operate as a body art practitioner within a body art establishment said permit is exclusive of the establishment 39 s compliance with other federal state or local licensing or permitting

Body art if a practitioner performs at multiple locations each location must be identified registration fee body art practitioner annual registration fee is 54 00 make your check payable to los angeles county return this completed application along with proof of completion of a los angeles county approved

Personal requirements for a body artist maturity good interpersonal skills and an ability to put the customer at ease steady hand good personal hygiene responsible attitude to work to eliminate risk of transmitting blood borne diseases comfortable with needles self promotion skills artistic ability for a tattooist

Melati suryodarmo born 12 july 1969 is an indonesian durational performance artist her physically demanding performances make use of repetitive motions and often last for many hours sometimes reaching a level of factual absurdity suryodarmo has performed and exhibited throughout europe and asia as well as in north america

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The most common job after being a body painter is a painter there are approximately 8 249 job openings for body painters in the us job market currently the annual salary for body painters ranges from 32 000 to 46 000 per year about 42 of body painters have a high school diploma

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Mark For: BAA BODY ART ALLIANCE™ trademark registration is intended to cover the categories of organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing. [all]

Color is not claimed as a feature of the mark. The mark consists of a square, circle and triangle, respectively, within the stylized letters "baa" over the wording "BODY ART ALLIANCE".

A pending trademark application has been examined by the Office and has been published in a way that provides an opportunity for the public to oppose its registration.

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IC 035. US 100 101 102. G & S: Organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 041. US 100 101 107. G & S: Organizing exhibitions in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Arranging and conducting educational conferences in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring blogs and non-downloadable publications in the nature of articles in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Entertainment services, namely, providing an online interactive website of photos and videos in the fields of tattoos, body piercing, body modification, and permanent make up; Providing instructional information relating to applying tattoos, body piercing, body modification, and permanent make up; Education services, namely, providing non-downloadable webinars in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Providing a web site featuring non-downloadable instructional videos in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 044. US 100 101. G & S: Providing healthcare and skin maintenance information relating to tattoo and tattoo techniques; providing healthcare and skin maintenance information relating to permanent makeup and permanent makeup techniques; providing healthcare and skin maintenance information relating to body piercing techniques; providing healthcare and skin maintenance information relating to body modification techniques; providing health care and skin maintenance information relating to cosmetic tattooing techniques; Providing a website featuring healthcare and skin maintenance information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring skin care and medical information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

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Pop culture is a potent inspiration for artists, from Andy Warhol’s portraits of Liz Taylor Marilyn Monroe and Superman. Mickey Mouse and Donald Duck for Roy Lichtenstein (On a Dare from His Son, Roy Lichtenstein Unwittingly Invented Pop Art, Alina Cohen, Artsy, October 1, 2018) and Pinocchio and Mao Tse-tung for Jim Dine.

Artists whose work is shown by browngrotta arts are not immune to the attractions of these images. Ed Rossbach, is one such artist — he created a printed textile based on images from

Rossbach is best known for including Mickey Mouse in many examples of his work — woven in damask, painted on cedar baskets, illustrated in lace, featured in embroidered photographs. Rossbach’s

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basket features images of Mickey throughout. He reportedly co-opted the world’s famous rodent in response to snide remarks about his classes and occupation. The motif came to be included in some of his best-known works — including works in the Boston Museum of Fine Arts and the Cleveland Art Museum.

“If you’re doing knotless netting, you need an image, or I want an image, ” Rossbach explained in an oral history prepared by Harriet Nathan in 1983. “What image do you put in nowadays? Sometimes the images were there for you, certain religious images, and now in our culture, what images do you put in? So you put in Mickey Mouse, and it’s a statement about that, too, I think. I like Mickey Mouse. I think it’s partly because it’s a defensive attitude on my part, that what people think very much is Mickey Mouse. They refer to the classes that you teach as Mickey Mouse classes, and everything is just dismissed as, ‘It’s Mickey Mouse.'” Rossbach found that very damaging. “So I put a Mickey Mouse on baskets and the most elaborate textile; I wove Mickey Mouse in double damask, ” he said laughing. “I did him in ikats. I’ve done a lot of Mickey Mouses. And Mickey Mouses sell, ” he added wryly.

In our recent work with the estate of Glen Kaufman, we discovered pop culture themes interested him as well. In 1983, he created a series works that took the form of diminutive prayer rugs with McDonald’s arches replacing the traditional

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James Bassler, made of brown paper Trader Joe’s shopping bags, cut and twisted and with yellow and red waxed linen thread; 16” X 10” , 2009

James Bassler’s interest was in Trader Joe’s market — literally. He created a bag from their bags. He wanted to introduce his class to the technology of spinning. What materials do we have readily available, he asked. “I spotted a Trader Joe bag on a table, in which I had carried supplies to class, ” he says. “At that point, much to my surprise, I had established my lesson plan for the day. I told them that their first assignment was to cut and spin yam from a T.J. bag. I then demonstrated what it takes to do this … I proceeded to weave, using the resulting brown paper ‘yarn.’ As I wove, my concept crystallized to create a Trader Joe Bag. It took approximately eight bags, a lot of spinning and 2-3 intermittent years to complete.”

Popular products often serve as graphic inspiration. Andy Warhol’s Campbell’s Tomato Soup can prints and Brillo boxes are prime examples. For a commission, Helena Hernmack created a collage that incorporated a Juicy Fruit label, then wove the imagery into a tapestry.

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This is another installment in our series of information on materials used by artists who work with browngrotta arts including horsehair, agave and today, kibiso silk.

refers to silk drawn from the outer layer of the silk cocoon, considered “waste” in compared to the smooth filament that makes up the inner cocoon. This thick cocoon layer is also called

hand-weaving project. These women set up looms in their garages and kitchens for extra family income, and made woven bags out of the thick, stiff

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down to a thickness that allows automatic machine looming, resulting in a whole line of new fabrics, most of which have normal silk warps and

wefts. As part of an effort to revitalize Japan’s once-booming silk trade, NUNO’s head designer, Reiko Sudo, also works with the Tsuruoka Fabric Industry Cooperative on a variety of products under the “

yarn was originally produced in Yokohama, writes the Cooper-Hewitt, the center of silk exportation in Japan between the 1860s until the 1920s. This silk waste was considered a high-quality material, and produced good quantities with little waste. However, the industrial process to obtain this fiber was not considered cost-effective and it progressively lost its appeal until Reiko Sudi and NUNO addressed revival of kibiso yarn production.

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comes from about 2% of the silk cocoon, Slow Fiber Studio says. It contains an especially high amount of sericin protein, which means it takes dye very strongly and offers great opportunities to explore body and texture. It’s used in its original, more rigid state, to create sculptural forms, or degummed with soda ash to soften the fibers.

, Kiyomi Iwata, Ogara Choshi are gathered. The surface is embellished with gold leaf and French embroidery knots, 6.5″ x 8″ x 7.5″, 2018. Photo by Tom Grotta

Presents. Iwata was born in Kobe, Japan. She immigrated to the US in 1961. She studied at the Virginia Museum of Fine Arts in Richmond and the Penland School of Craft. In the 1970s, she and her family relocated to New York City, where she studied at the New School for Social Research and the Haystack Mountain School of Crafts. She returned to Richmond in 2010 and began working on a body of work using

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has a very different attraction for me, contrary to my usual silk organza, which is woven from fine silk thread, ” Iwata told Adams. The silkworms produce 3, 000 meters of thread during their lifetime, and

, ” the artist says, “I am using the silkworm’s whole life output, which is gratifying. I went back to the traditional manner of using thread to weave. Whatever the thread had from its previous life, such as the silkworm’s cocoon, I left it where it was and dyed the thread.”

and also grid-like tapestries which Adams described as apearing as fragments, … “there is an unfinished quality to them, ” she writes. “Some are large and freeform, while others are intimate and marked off by a frame.” According to Iwata, the “complex nuance of North versus South” has influenced her work since she re-crossed the Mason-Dixon line. It’s been in the last decade, I that she has transformed woven

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made into tapestry-like hangings. “They are either dyed or embellished with gold leaf, ” she explains, “and I enjoy the process as much as the results. The whole idea of working, using hands and mind, and letting the process lead me is an eternal moment of joy for me. Sometimes I use a frame to give the piece a limitation, and other times I let the wall space frame the piece. It really is a difference in how I like to present the piece.” In Iwata’s hands,

The human figure in art is the most direct means by which art can address the human condition, says The Roland Collection of films on art, architecture and authors. “In early societies its significance was supernatural, a rendering of gods or spirits in human form. Later, in the Renaissance, although Christianity provided the dominant social belief system, Western art’s obsession with the figure reflected an increasingly humanist outlook, with humankind at the center of the universe. The distortions of Modernist art, meanwhile, may be interpreted as reflecting human alienation, isolation and anguish.”

Among the artists represented in the browngrotta arts’ collection are several who recreate the human figure in three-dimensions with provocative results. Dawn MacNutt of Canada is known for her nearly life-size figures of willow and seagrass. The sculpture and architecture of ancient Greece has been a major influence on her vision. “I first experienced pre-classical Greek sculpture in the hallways of the Metropolitan Museum of Art in New York as a teenager in the 1950s.” she says. “When I visited Greece 40 years later, the marble human forms resonated even more strongly. The posture and attitude of ancient Greek sculpture reflects forms as fresh and iconic as today… sometimes formal … sometimes relaxed. Her works, like

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, reflect the marble human forms, columns, caryatids … sometimes truncated… found outdoors as well as in museums in Greece. They were inspired by two study and work trips to Greece just before and after the millennium, 1995 and 2000.

Figures created by Stéphanie Jacques of Belgium are clearly humanoid, but less literal. “For a long time I have been trying to create a figure that stands upright, ” Jacques explain. “…all of this is related to the questions I ask myself about femininity and sexual identity. My driving forces are the emotions, the wants and the impossibilities that are particular to me. Once all this comes out, I seek to make it resonate in others. My work is not a lament, but a place where I can transform things to go on.”

As Artsy has chronicled, drawn, painted, and sculpted images of human beings can

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At the forefront of the revolution in fiber art, Ferne Jacobs has been creating innovative work since the mid-60s. At her retrospective in 2022 in Los Angeles,

The Craft in America Center noted that Jacobs is recognized for her mastery of material and process. Reinventing and advancing traditional techniques used for basketry, including knotting, coiling, and twining, Jacobs has generated an entirely new language of sculptural art. Her acute sense of color melded with her poetic and intuitive approach set her work apart. You can order a copy of the catalog atbrowngrotta.com.

Ferne Jacobs began as a painter, exploring the possibilities of three-dimensional painting in the mid-1960s, before moving to weaving after workshops by such avant-garde fiber artists as Arline Fisch and Olga de Amaral. After the American Craft Museum (now Museum of Art and Design) exhibition

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(1972), Jacobs gained national attention for her work. Jacobs has taught and lectured on fiber arts and design since 1972. She received her M.F.A. from Claremont Graduate University in 1976 and has been featured in solo and group exhibitions throughout the United States and abroad. She is the recipient of the Flintridge Foundation Award for Visual Artists, and in 1995 she was named a Fellow of the College of Fellows by the American Craft Council.

As though we are one and the same.” She says that “[t]his has never happened so completely to me before. It has caused me to ask why, and to try to find a way to explain it to others. In the world I find myself today, feminine values are often desecrated. I am beginning to understand that there is no such thing as a ‘second class citizen’ — anywhere, anytime. There are aspects of world culture where weak people try to control others; because that is the only way they feel their own existence.”

Knows she exists, ” Jacobs notes. “She needs no one to tell her who she is or what she is. She knows her value, and I expect the world to respect this inner understanding. When it doesn’t, I think it moves toward a destructiveness that can be devastating.”

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Came from experiencing the piece as I was making it, ” Jacobs explains. “In my mind, it was the earth. The colors green, brown, blue, grey are the elements on our planet.

Came because there is no bottom or top. The piece is open, so can we see the earth as a globe/ball and open/unending.” The undulations in

Jacobs’s work is found in many public collections, including the Smithsonian American Art Museum, Washington D.C., the Metropolitan Museum of Art, New York, New York, the Museum of Arts and Design, New York, New York, the Museum of Fine Arts, Boston, Massachusetts, the de Young Museum, San Francisco, California and the Rhode Island School of Design, Providence, Rhode Island.

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This is another installment in our series of information on materials used by artists who work with browngrotta arts including horsehair, agave and today, kibiso silk.

refers to silk drawn from the outer layer of the silk cocoon, considered “waste” in compared to the smooth filament that makes up the inner cocoon. This thick cocoon layer is also called

hand-weaving project. These women set up looms in their garages and kitchens for extra family income, and made woven bags out of the thick, stiff

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down to a thickness that allows automatic machine looming, resulting in a whole line of new fabrics, most of which have normal silk warps and

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, Kiyomi Iwata, Ogara Choshi are gathered. The surface is embellished with gold leaf and French embroidery knots, 6.5″ x 8″ x 7.5″, 2018. Photo by Tom Grotta

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We often meet collectors who say “I love that piece, but I have no more room.” Our response — “What about your ceiling?” Work hung from above — in the center of the room, in front of a wall or window, or over a doorway can offer an exciting installation option.

“If you’ve been able to visit a museum or gallery safely recently (or even caught a digital exhibition), then you might have noticed that artwork is starting to move off of walls, ” wrote Danielle Blunder. “Framed pieces and canvases alike are being suspended straight from ceilings, and I have to say, it’s an ever-so-slight — but clever — alternative to the gallery wall that I’d consider trying in my home to create an unexpected focal point.” (“This Art Hanging Idea Will Make Your Favorite Pieces Look Even More Luxe, ” Danielle Blunder,

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August 14, 2021. https://www.apartmenttherapy.com/suspending-art-from-the-ceiling-36962165.) Blunder’s article gives several examples, including a designer who hung a framed photograph from the ceiling in front of a pair of heavy drapes — effectively creating a picture wall where there wasn’t one. Below are examples of works that could be ceiling-installed in front of a window.

The results of a ceiling installation can be dramatic. Federica Luzzi’s contemporary fiber works have hung in Renaissance spaces, creating intriguing juxtapositions. Jane Balsgaard’s boats have graced churches — inspiring transcendent experiences.

Contact us at art@browngrotta.com for ideas to create an aerial gallery in your space. Send us photos of the spot you have in mind and we can digitally install various options.

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, Anda Klancic, embroidered viscose, flax, cotton, polyester, metal filament, PVA fabric 31” x 23” x 9.25”, 2004. Photo by Tom Grotta

The nearly 50 artists in Allies for Art are from 21 different countries — 18 NATO members and 3 NATO applicants. Their work reflects diverse perspectives and experiences. The exhibition includes art created under occupation, in the ‘60s through the 80s, art by those who left repressive governments in Hungary, Romania and Spain, and art by other artists who left Russia in later years.

Also includes current works created by European artists including Gudrun Pagter of Denmark, Åse Ljones of Norway, Włodmierz Cygan of Poland, Ceca Georgieva of Bulgaria and, artists new to browngrotta arts, including Esmé Hofman of the Netherlands, Aby Mackie of Spain and Baiba Osite of Latvia.

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You can also learn more about the exhibition in the Allies for Art full-color catalog, which includes lush images and details shots and an essay by Kate Bonansinga, Director, School of Art, College of Design, Architecture, Art, and Planning at the University of Cincinnati, Ohio available on our website.

Baiba Osite is from Latvia. Since graduating from the Latvian Academy of Art Textile Department and finishing her Master’s degree, she has participated

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"Pay attention. This is Instructor Razuvious, Kel'Thuzad's appointed trainer of all death knights. It is said that his own technique is so potent, only a disciple of his could possibly withstand his might."

Instructor Razuvious is the first boss in the Military Quarter of Naxxramas. The most feared of the death knight trainers of the Scourge, Razuvious is accompanied by two (normal) or four (heroic) Death Knight Understudies, who are used by the raiding party to defeat him.

Instructor Razuvious hits hard; too hard for any tank that isn't substantially over-geared for the fight. His understudies have a Bone Barrier self-buff capable of absorbing most of the damage. In the 10-man version these understudies can be mind-controlled through the Orbs of Domination by the stairs; a 25-man raid will have to bring enough priests to mind-control them directly.

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Successful strategies for defeating Razuvious require the raid to rotate tanking duties between mind-controlled understudies so Razuvious is always attacking the understudy currently protected by Bone Barrier.

Four of these are pulled with Instructor Razuvious. They hit lightly and should be offtanked for most of the encounter. A priest will need to mind control one immediately and one should always be mind controlled through the encounter, unlike the 10-man version of the encounter there are no orbs to mindcontrol the understudies with. Healers will need to heal them through Instructor Razuvious' damage. After Instructor Razuvious dies these will take 1000% extra damage from players.

Note: Compared to the original 40-man version, there is no longer a Mind Exhaustion debuff on the Understudies after you stop MCing them. This means a priest can mind control the same Understudy over and over. However the standard diminishing returns on repeated MC still exists.

Kologarn, Healer Guide

Two of these are pulled with Instructor Razuvious. They hit lightly and should be mind controlled for most of the encounter. A player will need to use the orbs of domination to mind control one and at least one should always be mind controlled through the encounter. Healers will need to heal them through Instructor Razuvious' damage. After Instructor Razuvious dies these will take 1000% extra damage from players.

Before the fight begins, you must assign Mind Control Priests to specific Understudies. Two Priests are required for this fight, but three is safer, and four is if you do not want to bother tanking the extra fourth add. See Useful macros for priests for a convenient Mind Control macro.

When the pull begins, the Tank should walk about 3/4s of the way down the steps until the Understudies pull. The Tank will not do any actions, just serve as a Damage Soaker for the first three seconds of the fight. The Tank may use an AoE Aggro, as long as it does not hit the Instructor. Razuvious will watch for three to five seconds, then he will join the fight, attacking the person with the highest aggro. It is the Main Priest's job to Mind Control one of the adds and Bone Barrier (6) + Taunt (5) the Instructor before he gets to the tank. Priests generally can stand at the base of the stairs and tank the Instructor at the closest part of the Green Circle. This should give everyone enough space to work with (Mind Control distance break), and allow enough time for the Priests to Re-Mind Control before they get back to them.

Instructor Razuvious, Healer Guide

An alternative way of pulling is to have two paladins shield the two priests who go in first. This way they both have more than enough time to cast Mind Control and one of them to taunt the Instructor.

After the initial pull from the Understudies, the two Mind Controlling Priests will alternate the use of their 'Pets' to Bone Barrier and then Taunt. It is extremely important to Bone Barrier THEN Taunt as the Instructor will cause massive damage to the add which tax the Healers ability to keep the add up. The switch will need to happen every 10 seconds (9 seconds to be safe) since Taunt/Bone Barrier Cooldown is about 18 seconds, but the effect is 10 seconds. Note that if Taunt falls off, or Mind Control falls while an Understudy is tanking, it is extremely easy for any player to pull aggro, and the Instructor will begin killing players.

If the two mind controlling priests change which Understudy they control, dropping their control and getting the new Understudy after Razuvious has been taunted off of them, they can then change which Understudy is tanking sooner than the 18 second cooldown on the abilities. Stand behind Razuvious to taunt him. This allows the other priest to see that you have started tanking Razuvious by the direction he turns.

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If you are utilizing less than four Priests to Mind Control, the rest of the adds will need to be off tanked. They do not hit particularly hard. They may be needed if one of the Understudies die while tanking Instructor.

As for the DPS, once a MC Priest's add has control of the Instructor, all DPS may unload on the Instructor. Each Taunt lasts 10 seconds, and, as long as the Tanking Priest is spamming 'Blood Strike', and has 'Taunt' running it is impossible to pull Aggro from an Understudy, due to how the Understudies Effects work.

Healers will need to focus on Healing the Tanking Understudies. The most mana-efficient heals should be used (such as a Priest's Greater Heal) for Understudies, since Understudies take massive amounts of damage. The raid should generally be kept at least at 90%, as Instructor will throw a knife randomly at a raid member which will generally bring them down to at least half health (Cloth wearers could be killed outright). To make sure that the raid stays up, one healer should be dedicated to healing players that get the Jagged Knife Debuff, healing the adds Tank otherwise.

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Another strategy that has been brought to the raiding community is from the Dungeons and Raids forums on the main World of Warcraft Website. The title of the post is Razuvious Who Needs Priests? A guild on Azshara(US) came up with the strategy of using 3 hunters in a triangle and doing a distracting shot rotation to make up for the lack of priests. This strategy can be viewed in the video on the forum post or at the bottom of this page in the video section. It is an alternate strategy there for guilds who seem to have a shortage of priests for their raids. As well as a strategy of using 1 priest and have a hunter taunt then feign between mind controls: this article

There are 2 Death Knight Understudies and 2 controlling orbs in the 10-man version. The 2 orbs should be controlled by the tanks and the encounter is started by each tank selecting their own understudy, walking up to their orb and right-clicking it to control them. Razuvious will immediately aggro onto them and whichever tank is decided to tank first must immediately hit "6" on your new hotkey bar (pet bar) for Bone Barrier, then "5" to taunt. While tanking use the "4" key repeatedly to Blood Strike for holding aggro. Keep Razuvious tanked near the back of the circle where the understudies are located before the encounter starts, this way when you refresh your orb spell you will have plenty of time to re-control your understudy before he can run all the way to you. Bone Barrier lasts 20 secs so the 2nd tanking understudy must hit their Bone Barrier and taunt before the first tank's Bone Barrier runs out. There is a 30 second cooldown on the Bone Barrier. To help your healers and ensure the understudies always have Bone Barrier up, taunt closer to every 16 seconds, rather than 20. The tanks can see the Bone Barrier icon's 30 second cooldown timer on the pet bar. Once it goes past halfway, the tank should call out for a taunt. Calling out is helpful because when a tank has to dismiss and re-control an understudy, he can lose track of the timer. ALWAYS use the Bone Barrier ability BEFORE you taunt. This is all the fight is, the tanks trading taunts to ensure the tanking understudy has Bone Barrier up 100% of the time. Healers will need to help heal the understudies even with their Bone Barrier up to ensure both stay alive through the entire encounter.

When clicking an orb to control an understudy you will see that your character is channeling the spell and the channel lasts for 1 minute. To make sure the channel does not break while tanking Razuvious, each tank should refresh the channeling spell every 2 taunt cycles. In order to do this after you've been taunted off of the second time IMMEDIATELY right-click the understudy's pet frame and select "dismiss". NOTE: you cannot use the "leave vehicle" button that shows up in the "=" of your hotbar, it does nothing, you must dismiss manually. Another option is to use a class ability that interrupts the channeling of mind

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