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61651. Upcoming Classes

1. So cool…I’ve been made part of the faculty over at the Animal Spirit Healing Education Network. Upcoming is one teleclass April 12th evening, Vanishing Psychic Drains for the Sensitive. Info here.

And in May, Fairy Healing for Women Teleclass series that is taped if you miss the call. Link is here.

2. Spring Fairy Online School is now in session. The next classes start up the end of May and sign-ups have started. Now is the time to save up for the one you want and take the class when the sun is shining and the flowers are blooming. Summer sessions will be shorter with twice a week lessons.

3. Spring mentorships and Summer mentorships have started and still room for you! Let’s have fun for six weeks exploring together.

4. I am probably not teaching at Yavapai College this Spring. I was going to at the Verde campus but they are in such upheaval over budget cuts, the organizer is quite flaky right now and things are not organized at all.

Will keep everyone updated here of any new classes developing.

Fairy blessings,

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61652. Trees

The last chapter of SLeepwalkers involves a forest. With scary trees.
Amali is Thinking Hard.
For some reason I'm extremely pleased with this panel.
Probably because everyone looks confused in synch.

Researching on Hampstead Heath. I had to shrink myself down to squirrel size for this picture. It was worth it.

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61653. Desert Creatures

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61654. Holly Hibbert: Duet

Link: Holly's blog and site

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61655. Spring has Sprung

Once again trying to catch up on the blog. It's been so busy lately, with another move planned, and lots of art to do. I just wanted to at least show up here and send a greeting to anyone who reads Cachibachis. May you all have a wonderful day!

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61656. to our librarians!!!!

it says it all…..from Priscilla Burris and ALL the CAT ARTISTS!!!!    THANK YOU !!!!

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61657. Copper Etching Class

I finished a copper etching class last week at SNAP. The traditional method of printmaking is very intense involving many steps and despite my resolve to create a nice, clean print, I managed to create something quite sloppy (the technicians call this foul-biting). I'm afraid I do not have the patience to take up etching on a more serious basis as I'm sure that only the rare and amazing god-like artists of my generation have the patience to do anything as dedicated as by-hand copper-etching style printmaking these days. A big shout-out to my instructor, Jill Ho-You, whose work is delicate, elegant and as near to perfection as this student can bare to look at.

Here's my attempt:
& The press:

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61658. Let's Golf Book

Wow, it's been so long since I wrote! Freelance has been super busy, and with a new baby on top of it all....well, not much time for blogging. Two big projects that I have been working on since January (namely, the "Let's Golf" book project from Nicole Weller and finally getting a real night's sleep) are both happily complete! I really had fun illustrating this book, and learned a bunch about golf in the process. What really made my day was hearing back from the client after she saw the final art. She was really really happy! I was so glad to get the news! Before I sign off, I'd like to share a few of my favorite images with you. Enjoy!

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61659. BOOK EXCERPT: “Directing Animation”

Directing Animation

New York animation director and ASIFA-East president David Levy has written a trio of helpful books aimed at young artists entering the industry. First, there was the general overview Your Career in Animation: How to Survive and Thrive followed by Animation Development: From Pitch to Production . Most recently, he authored Directing Animation. All three books offer the kind of nuts-and-bolts advice that is often hard to come by for inexperienced artists.

In this exclusive excerpt from Directing Animation, Dave describes a particularly bad experience working with a director, and the importance of maintaining open lines of communication between the director and the crew.

The Closed-Door Director
by David Levy

David LevyAccording to Nickelodeon’s Making Fiends creator and director Amy Winfrey, one advantage to having in-house animators is that the director can talk directly to the animator. “It is much easier to get exactly what you want from a shot if you are able to communicate directly with the animators,” she says. That may seem like common sense, but there are plenty of stories of animation directors squandering the opportunity to collaborate with an in-house crew. In contrast, Winfrey works closely with her entire staff, encouraging the storyboard artists and animatic editors to suggest changes and gags, which can make the finished episode much stronger. The animation director of an in-house production has the chance to bring the whole crew together. On Making Fiends, Winfrey says, “We always showed the first pass of the animatic to the whole crew. It was wonderful to see the work of the writers, storyboard artists, and voice actors come together. It’s always satisfying to hear people laugh!”

If Winfrey provides a best-case scenario, a recent job animating on a pilot provided my worst experience to date. And in the same way that it’s useful to examine what makes good direction so effective and inspiring, analyzing the opposite extreme can help bring into focus the pitfalls of directing and how they can be avoided.

In all fairness, sometimes great facility as an artist or animator can be why a person gained the opportunity to direct. But talent in one area does not automatically translate to another. Having the skills to manage, lead, inspire, and direct others is quite different. The average animation artist wears many hats over a typical career, and for those who direct, it’s helpful to have been directed. This will give important insight into the process of how work is assigned/revi

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61660. Walk, Robot, Walk

Walk, Robot, Walk
Story and pictures by Mercer Mayer
Ginn and Company, 1974

Today's vintage children's book is Walk, Robot, Walk. This wordless story shows a young boy making a robot from miscellaneous found items. When the robot becomes 'alive' it creates havoc until the little boy comes up with a solution to stop it. Excellent drawings by Mayer. I think Mayer's books have a nice mix of humor, sweetness and understanding of the human nature of children. Check out Mercer Mayer's website, especially if you have children, it is interactive. Mayer also has  a Gallery, where you can purchase some outstanding prints of his artwork.

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61661. New Book! View at the Zoo

My newest book, A View at the Zoo, written by Katheen Long Bostrom and illustrated by me, is now officially available! Keep an eye out for it.

Here are a few paintings from the inside to tease you with. Hope you all enjoy it!

Click here to order your own.

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61663. Why Being Empathic Can Suck & Not Suck

Here is my top 10 lists why being Empathic can suck and not suck.

The 10 Reasons Why Being Empathic Can Really Suck:

  1. You can feel deeply when loved-ones are in pain. Sometimes, you can confuse what they feel with what you feel.
  2. The world can overwhelm you. Bad things happen like the tsunami in Japan, and you feel deep pain, sadness, ennui, and helplessness.
  3. You can feel deeply intimate and close to others when it may be hard for them to return the favor.
  4. You can have lots of astral and mediumship visits, hear your animals, and there are tons of voices or feelings and information coming towards you.
  5. The planets moving around and the moon cycles affect you where others walk around mindless and untouched.
  6. You have access to deep information which others don’t have and therefore, you feel the need to jump in all the time.
  7. You feel deep responsibility.
  8. Your feelings are easily hurt and wonder why others can be so cruel with their words.
  9. You care about other people. A LOT.
  10. And number 10, folks can look at you a little crazy because you can see the Fairy light in the bush, you hear your animals’ thoughts and you know someone is upset even when they insist they are just fine.

Empath, before you go jump off the bridge, I offer the 10 things that don’t suck about being an empath.

  1. Because you feel deeply, you really experience life and all its pieces. You’re really living your life richly and thoroughly.
  2. Yes, the world can be overwhelming, but you have healing and psychic abilities that others may not have and can make a big difference in healing the world.
  3. Yes, you can feel closer to others, but you teach them how to really love and love themselves. What a gift that is and what a teacher you are. Plus, you can feel love from many places to fill up with.
  4. Being psychic, your world is not limited. It’s expansive and filled with mystery. You don’t have to accept that a loved one is gone or that there is a separation between you. You know and feel there isn’t.
  5. You are in-tuned with the earth and can better heal you and itself.
  6. That deep information helps you understand other people and have compassion for them so you don’t need to judge or fall for surface stories.
  7. That deep responsibility makes you a honorable and trustworthy person.
  8. Your feelings get hurt easily, but this allows you to teach others that have no sensitivity at all. You have what they miss and need.
  9. There’s nothing wrong with caring about other people. It’s why we are here–to help ourselves and each other along the road. How cool is that?
  10. If crazy is being open to all the magic in the world, why would you want to be closed off from that?

So, you see dear empath, you are gift to the earth and what looks like something wrong is something very right.

Fairy blessings,



Want more tools? Sign up for the Care of the Sensitive class, or buy the 50 Tools for the Sensitive e-book. Or empath, sign up for an empathic/Guide reading with Ronni.

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61664. Monster Monday

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61665. doodling at the cwig conference

On Saturday I was the tea lady and ran around buying biscuits for the one-day conference of CWIG, the children's book division of the Society of Authors. I'm sure lots of the writers will give amazing descriptions of the talks, which were excellent, but I got a bit obsessed with the capitals on the columns down the nave at the venue, a church called St James the Less. I also rather like the name, it's kind of funny to think about a lesser James walking around, slightly shame-faced. This capital was different than all the rest and had a leaf design that also looked a bit like crouching panthers.

I also did some doodles of the speakers. Here are The Two Steves, Steves Barlow and Skidmore, who have been running around the country for years doing events and had lots of helpful tips, such as how not to get on the bad side of the school dinner ladies.

Tony Bradman, Steve Barlow, Steve Skidmore

Here's a quick poster I made for the front door:

Photo nicked off Karen Ball's blog

We had an inspiring and very funny talk by Frank Cottrell Boyce:

Here's Eleanor Updale, who chaired the first panel:

Eleanor Updale, Helena Pielichaty

Here's Helena Pielichaty and me, she's also a newbie on the CWIG committee.

I forgot to take a photo of the noticeboard I drew, but I just nicked it off Karen Ball's blog entry about the day. (Do read it if you'd like a more writerly impression of the day.)

Karen Ball stood up to say that if you're interested in writing for children and want to join the Society of Children's Book Writers & Illustrators, you can submit work to the third Undiscovered Voices anthology>. I remember that several people in the first two had some good success following their inclusion, including getting good agents and book deals. Details here.

There was some good SCBWI representation, including Sue Eves, Miriam Halahmy and Anne-Marie Perks.

Sue Eves & Mi

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61666. This PENCIL Must Be the Answer!

Jack Kirby drawing

A Jack Kirby panel custom-drawn for traditional animators. Read more about the panel HERE.

(via Super Punch)

Cartoon Brew: Leading the Animation Conversation | Permalink | One comment | Post tags:

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61667. Wim Crouwel: A Graphic Odyssey

wim crouwel

If you’re unable to visit the Wim Crouwel retrospective at London’s Design Museum, you can still pick up the exhibition catalog. Designed and published by Unit Editions the catalog contains Crouwel’s posters, documents, manuals - even his stamps and personal photographs -  presented in the raw, bare-concrete setting of the Crouwel archive. Also included is an interview with Wim conducted by Tony Brook, the exhibition’s curator and the book’s co-editor.

Available now at Unit Editions.

wim crouwel

wim crouwel

152 x 230mm
144 pages
Paperback (3 different covers)
ISBN 978-0-9562071-3-5
Editors: Tony Brook & Adrian Shaughnessy

(Via Aisle One)

Also worth viewing:
Total Design and its pioneering role in graphic design
Wim Crouwel Archive
6th Biennale of Graphic Design

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61668. The "B" stands for... Gigantic

So many things to do!

At the moment, I am working on my Surtex prep as well as files for my debut fabric collection with Northcott Fabrics. I've got a lot on my plate, but I couldn't be happier. This is all work I have been dreaming putting into action for so long, and I am doing it all! What could be better than that?

I have been taking note of some technical issues here in the studio... Files are slow to open, slow to save. This is because many of the files I am currently working on are absolutely gigantic. So gigantic that my working files have been .psb files, instead of .psd files. PSB is the file extension for extra large photoshop working files. I believe it is used for files above 2GB. Since my Surtex most of my banners are 3 feet wide by 7 feet high, I'm working in .PSB format. (I can only guess that the B stands for BIG.) Anyway, I am trying to figure out easier and quicker routes to finish the banners. I have many other tasks to complete, so time is of the essence. I have decided my next computer will be a MacPro.

Wish me luck!

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61669. Spring has Sprung

Once again trying to catch up on the blog. It's been so busy lately, with another move planned, and lots of art to do. I just wanted to at least show up here and send a greeting to anyone who reads Cachibachis. May you all have a wonderful day!

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61670. Wow. My friends and international rock stars of the rock poster...

Wow. My friends and international rock stars of the rock poster scene (not to mention the all the packaging design, identity design, and graphic design in general) have achieved a major milestone. Aesthetic Apparatus has published 500 posters in their twelve years of existence. An amazing accomplishment worthy of hoisting a few celebratory beverages from afar: Here’s to 500 more, Michael and Dan!


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61671. Inbox (12)

Announcing the launch of Inbox (12), a new publication where you receive 12 postcards drawn and written by 12 illustrators about their favourite city spots.

Inbox (12) is a sample of the work of amazing illustrators from major cities all around the world as well as a guide to the special spots that a friend who knows the place would recommend to you… and they’re not always in the usual travel guides!.

Inbox (12) is a fanzine for those who enjoy having a beautiful object in their hands.

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61672. Haylee Francis: Breakfast

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61673. Painting Demo

It's an unofficial tradition at the University of the Arts in Philly to give sophomore illustration majors an "Old Masters" assignment, asking students to reinterpret a great work of art from antiquity, and to render it as close to the size of the original as possible.

Some highlights from my class this semester involved recasting Caravaggio's version of the "Judith beheading Holofernes" as a mural sized involuntary beard shaving, and Goya's "the Third of May, 1808" as a wet t-shirt contest. For my demonstration, I completely cheated, as is my prerogative as an instructor, and chose a small piece by Vermeer involving only one figure, "The Milkmaid." In my defense, though, it's a Vermeer, and no cheap impersonation or homage is ever as good as a Vermeer. Aside from the comparison it begs to its untouchable Dutch predecessor, I also think I lost a little of my young lady's quirkiness, present in the sketch, as I rushed through the oil painting. Character can be such a delicate issue; a few dabs of the right color wrong places, and the species and gender remain, but, nope, not the character.

But anyway, here's she is. The whole thing was handled in what I like to think of as the Julia Child method, where one starts a preliminary step, proceeds halfway through, then pulls out a earlier version to complete. In this case, there was a subdued "local color" underpainting in place, and the demo proceeding in two steps, the first of which was to lay down a thin glaze of sap green and burnt sienna over the whole thing, unifying the temperature throughout. The second step that proceeded involved about an hour of scumbling and building up lit surfaces in the composition, exploring chromatic changes that occur with the varying of paint's opacity when applied in successive layers.

Sounds pretty highfalutin, if you ask me.

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61675. Hey, Rabbit! goes to college

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