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Circus boy Band is a multidisciplinary design studio based in Seoul, South Korea. The collaborative studio takes on commissions in graphic design, illustration, product design, and also have their own label with stationery, bags, homewares, etc. This woodland design caught my eye along with lots of other interesting bits and pieces, As spotted online at Circus Boy Band.Add a Comment
Urban Sketchers Yorkshire, my sketchcrawling buddies, too. We spent the day at the National Emergency Vehicles Museum in Sheffield. It was right up my tree. Loved the subject matter. I could spend another day, or ten, there. And, maybe even a night; apparently there are many ghosts in this former police and fire station. If you believe in that sort of thing, of course. I don't but I'm willing to have my mind changed.
Scott Plumbe checking in again about his Kickstarter campaign to publish his illustrated novel, THE UNCLUKY FOX via digital installments. Really interesting stuff, I’m really enjoying seeing a glimpse from the other side of the crowd-funding curtain! Please check out his campaign if you’re interested. It promises to be a very cool project if the funding is successful.
My Kickstarter campaign has been equal doses exhausting and rewarding. So far The Unlucky Fox has nearly 100 backers. I am grateful for this solid base, but the campaign still has a long way to go to make the $30,000 goal. In fact, financially I’m only just over 10% of the way there. I’m now considering ways to tune up my campaign mid-stride.
Going on the assumption that my project isn’t completely undesirable, the first place to look is the rewards. Kickstarter allows you to edit and add new rewards once the campaign is underway. Some people have mentioned that they want the physical book as a reward. I understand that. I’m a bibliophile too. I’d love to be able to offer it, and it is tempting, but I’m not sure realistically how many people would be willing to pay up front and wait almost two years for a hard copy. That was one of the considerations for choosing the incremental release model. So I’ve decided to stick with my original offering, especially as so many people have already pledged on the current reward tier. It seems disrespectful to change that now.
Recently there have been articles surfacing from news sites like Gawker Media about how successful KS campaigns often have a hired ‘guru’ who is responsible for preparing and presenting the campaigns. I did find a few such individuals online during the pre-launch stage but confess I was skeptical. Essentially, they work as a PR company to position your project, devise rewards that will pique a backer’s interest, and spread the word through social media, blogs and various media outlets. Some such consultants even guarantee success! When I reviewed my rewards and calculated the time it would take me to fulfill what I’d promised, I didn’t see any room left for a consultant’s commission.
Some people have suggested I set my financial goal too high. Conversely, I have had people tell me I’m not ambitious enough with my project! They advise that I should aim for more and deliver my story in a variety of formats and through numerous channels. While I appreciate that kind of strategy and input, I don’t feel it squares with who I am. I want to guarantee that I fulfill my promises. I have a realistic understanding of what is achievable and can be delivered with quality and professionalism. I’m a firm believer in the practice of ‘bootstrapping’ for small businesses — and that is exactly how I think of The Unlucky Fox, as an emerging small business. Furthermore, doing it in steps allows it to happen on my terms. That may at first seem narcissistic, but what’s the point of following your passion if you’re not going to be true to yourself as a creator? I could have easily set a much lower goal in hopes it would be easier to reach. I have seen many projects on KS that have done so. But they’re not honoring their backers and are selling themselves and the crowdfunding platform short. Especially if they then struggle to fulfill their rewards in a timely manner — one of the #1 criticisms of crowdfunding.
So where does this leave me? I’m an independent creator who has spent countless hours getting this project underway and is now asking for an injection of support to bring it to fruition. So far, I’ve felt genuinely blessed to have so many backers that believe in my quirky project. The enthusiasm shown by absolute strangers is utterly humbling. More than ever, I feel a deep obligation to ensure The Unlucky Fox happens for those who have entrusted me with their hard-earned money!
Now that the campaign has launched, there is a limit to what I can do, yet I do still have a few avenues. Spread more press releases and woo various bloggers. Continue to engage on art and writing forums like DeviantArt, Wattpad and others. I’ll continue to post updates to my Kickstarter page and provide answers to the questions I receive daily. Social media, you ask. Yes — I can do that too, although not being ‘social’ by nature makes it particularly agonizing! Ironic, yes. As many other creators can understand, being less social is how I’ve found the time to hone my art! Now it’s time to flip the switch in the other direction.
In a few weeks time, I plan to submit my final report on my crowdfunding process. I look forward to reaching this to a conclusion.
Tyra von Zweigbergk is a designer and illustrator based in Stockholm, Sweden. Tyra studied at Beckmans College of Design graduating in 1999. She is represented by the Swedish Woo Agency and divides her time between commissioned work such as editorial illustration, pattern design, product etc, and self initiated projects such as posters and original artworks. Tyra's clients have included H&M.Add a Comment
The recent speech given by Iggy Pop for the John Peel lecture on BBC Radio 6, Free Music in a Capitalist Society (the transcript is available here) got me thinking of the parallels between popular music and the illustration business, especially the world of children's books.
|Iggy Pop at the John Peel lecture (image courtesy BBC)|
"We are now in the age of the schemer and the plan is always big, big, big, but it's the nature of the technology created in the service of the various schemes that the pond, while wide, is very shallow."This is not a criticism, I'm just making observations here. Nomatter what our creative expression, music, writing or illustration, it's the same basic business structure behind all. The fact is we all have to make a living in our chosen forms of expression, and, as Iggy points out, in order to make money we have to be commercially viable.
"when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail."I think there are a lot of parallels with publishing today and the music business at the end of the 1970's. I'm a child of the '70's, my memories are laced with the music I grew up with - it was an era that saw a succession of revolutionary movements and major changes in the music business. In with the new, out with the old! Glam to prog rock to punk. The '70's saw a major shake-up in the way music was made, produced, marketed and sold, from the explosion of indie labels to challenge the majors, the introduction of cassette tape recording allowing people to record music from the radio for free, and, in the first years of the '80's, the start of CD technology. There have been equally ground shifting changes in the publishing industry - ebooks, unregulated discounting.... none of them seem on the face of it good news for creatives. Publishing is booming, but less and less of it seems to be going to the writers and illustrators, as reported by The Bookseller. Stylistically there have also been repeated waves of fashion, "traditional" (ooh I hate that word) drawing to digital art, and back again, much like the waves of changing fashion in music.
"some guys are born and raised to be the captain of the football team and some guys are just gonna be James Dean in Rebel Without a Cause and that's the way it is. Not everybody is meant to be big. Not everybody big is any good."
I shouldn't push the analogy too far, these are times of change, technology and the market for books is moving in ways we don't yet fully understand. But we've seen with the music business how digitalisation led to overwhelming piracy, tumbling prices, revenue for musicians and so on. I worry that it's happening too with e-books, I desperately hold onto the value of the printed page. I'm also concerned that creative editors no longer have enough say in what gets published, when the marketing team determines what will or will not be printed, innovation and quality go out of the window. I worry that children's publishing in the UK today seems often to be more about Kajagoogoo than the Sex Pistols.
"I only ever wanted the money because it was symbolic of love and the best thing I ever did was to make a lifetime commitment to continue playing music no matter what, which is what I resolved to do at the age of 18. If who you are is who you are that is really hard to steal, and it can lead you in all sorts of useful directions when the road ahead of you is blocked and it will get blocked. Now I'm older and I need all the dough I can get. So I too am concerned about losing those lovely royalties, now that they've finally arrived, in the maze of the Internet. But I'm also diversifying my income, because a stream will dry up. I'm not here to complain about that, I'm here to survive it."
"It's good to remember that this is a dream job, whether you're performing or working in broadcasting, or writing or the biz. So dream. Dream. Be generous, don’t be stingy. Please. I can't help but note that it always seems to be the pursuit of the money that coincides with the great art, but not its arrival. It's just kind of a death agent. It kills everything that fails to reflect its own image, so your home turns into money, your friends turn into money, and your music turns into money. No fun, binary code – zero one, zero one - no risk, no nothing. What you gotta do you gotta do, life's a hurly-burly, so I would say try hard to diversify your skills and interests."Diversify skills and interests! that's a key point, whatever your creative expression. Thank you Iggy.
This is one of the projects I've been working on recently, for an art college class. Yes, birds and mail art. Wonderful. Loads of cutting, slicing, collaging, and then drawing and painting, was done. I ended up with a couple of options to work on, and liked them both but ended up picking this one below for the final review.
I went through a bit of exploration and research and managed to develop quite a fascination with ravens, sifting through poems such as Edgar Allan Poe's 'The Raven', folklore, fairy-tales, fables--almost picked Aesop's The Crow and the Pitcher--so it isn't too surprising that I went with this pair in the end ... In Norse mythology, Huginn (from Old Norse "thought") and Muninn (Old Norse "memory" or "mind") are a pair of ravens that fly all over the world of Midgard, and bring information and news back to the god Odin. Flying messengers. Perfect.
I've depicted them as a white and black raven, and addressed the envelope to them. Their names are written in ancient Nordic runes just above their respective beaks. Yes, there's a message inside as well, written on rice paper 'parchment'. Private, of course. Let's hope that the envelope will eventually be returned to sender (me!) with a postal mark to show that it's been in the system. Here's a glimpse of the bit of mess I made while researching and working on the project ...
Here's the back of the envelope with a depiction of the Nordic mythical Tree of Life, Yggdrasil ...
The ravens and the tree were paper cuttings (my sketch book suffered somewhat) that I painted (watercolour for the birds and some marker pen on the tree) and collaged onto the envelope. On the front I'd also glued crosswords (to symbolize thought, naturally) onto the original white envelope, and then placed a thin sheet of rice paper over the whole thing so that it looked like parchment, slightly aged. I quite like the result, what do you think?
The other attempt at mail art was slightly a different one: I made an envelope from black paper and then cut straight into it, collaging and shading only the white bird on the front. Then I placed white paper inside the envelope so that it showed through the snipped out leaves, flowers and insects.
Simple, but I think it's quite cute. The back is a more abstract representation of a (meaner) raven and its wings, can you see it?
I did like this black and white bit of mail art, but once I'd begun on the research for the winged messengers of Odin, I fell in love with them and that was pretty much that. I think I made the right choice picking them as my final piece, what do you think? There are infinite possibilities for both options though, and I may end up using them somehow on cards and other goodies, so keep an eye out for them up at the Floating Lemons shops in the near future ...
Meanwhile, I wish you a fantastic week. Cheers.
Linda Solovic has created a new series of collages for her Etsy shop. They came about through her love of going to estate sales. Linda likes to buy vintage greeting cards, envelopes, or "anything that is old and made of paper". One day while admiring a recent purchase of envelopes she saw that when the envelopes are open and lie flat, they resembled of houses. Linda then decided to do a seriesAdd a Comment
Micron Brush Pen Black
©2014 Loni Edwards Illustration. All Rights Reserved.
I can't believe that it's been less than two months since I moved to the UK ... so much has been squeezed into that small amount of time that I'm still in a bit of a daze. But the good news is, of course, that I'm finally back on the internet.
Have tons of catching up to do but it will have to fit into the cracks between my college artwork. And I haven't been completely idle creatively either, despite 'real life' competing for my attention lately. Here's a glimpse into what I've been doing - tons of research and a few sketches for an upcoming class project. First though, here's the art-space I've set up for myself in our new, temporary home:
And a glimpse into the pages of a new sketchbook:
Different mediums, styles, cutting, collaging - lots of lovely experimentation going on. Birds (I'm developing a particular fascination with ravens and crows) and mail art. I've also been pinning for inspiration so if you'd like to have a look, check out my Pinterest Boards, Art: Mail Art, Art: Crows & Ravens, and Art: Birds. Have fun.
Wishing you a week full of flights of fancy. Cheers.
Alexis Anne Mackenzie is a collage artist, who was born in Michigan and is now based in San-Francisco. Her work has appeared in many publications including: Zeit Magazin, Bloomberg Businessweek, and The New York Times. Alexis Anne Mackenzie’s work has been exhibited internationally including shows in L.A and Poland. I’m personally a big fan of collage artists/ illustrators and I think these images have a really original and quirky feel to them, which are very inspiring.
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Once upon a long time ago, I thought I wanted to be an author/illustrator. I took a lot of art classes in high school, alongside humanities and literature classes. But when it came time to declare a major in college, I opted for English. I don’t regret that decision. It has served me well.
If nothing else, my early art dabblings have given me an even deeper appreciation for the gorgeous work produced by professional illustrators. They are the reason I (and I suspect most of us) fell in love with children’s books in the first place.
Soon, Frog on a Dime will be hosting two tip-top talented illustrators. I know I usually talk about writing here, but these artists are the music to our lyrics. Please come back and enjoy. I find their journeys, and their creativity, inspiring. I bet you will too.
In the meantime, here’s some of my refrigerator art from once upon a long time ago–circa high school, 10th grade.
My life will be the best illustration of all my work. ~ Hans Christian Andersen
I wasn’t recently asked by talented illustrator Josh Cleland to participate in a blog tour sharing my work process and answering a few questions. As many of you know Josh is a rock star when it comes to working with Adobe Illustrator which is super cool because I love Illustrator too. Josh and I differ a bit when it comes to our style and how we use the program which is why I thought it would be fun to show a project I’m working on right now done almost exclusively in Illustrator. First however let me get to the questions that go along with blog tour
I am working on a host of different projects, unfortunately many of the contracts I have signed keep me from discussing them until they are published. That’s the tough part of working in this industry especially because sometimes it can take up to a year for each project to reach the market. I guess those are just the breaks. So instead of getting into projects that I can’t talk about I’ll mention a few that I can. For many of you who are familiar with what I do when I’m not illustrating you may recall I have another site, BobTeachesArt.com, where I teach artists how to use programs like Photoshop, Illustrator and InDesign. Right now I’m in the process of putting together a very special new class demonstrating advanced line art techniques using Adobe Illustrator. The great thing about this class is you don’t have to be a rock star Adobe Illustrator user to take the class. It starts right from the beginning with each tool I use. I show how it works and how to combine them to create amazing results.
It’s no big secret I’ve always loved cartoons. As a kid I learned to draw by tracing all my favorite comic strips over and over again. It kept my busy for hours. As I got older I knew one day I would find a way to draw cartoons for a living. It took me a few years to figure it out but eventually I found my way into children’s publishing and once I did I knew that was exactly where I belonged. Aside children’s books I also create custom one of a kind cartoon logos. If you asked me to pick one over the other I’d have to say you’re crazy. I love doing both. In fact just about anywhere I can find a market for my art is interesting to me …and that’s where you’ll always find me.
Every artist has their own style. Cartoonists also have their own special sense of humor that shines through in their art. It’s kind of like a finger print and it originates from a lot of different things… Life experiences, artistic training, what happened on the way home from the grocery store that day, what the cat vomited up (art isn’t always pretty). You name it, it finds its way into a cartoonist’s art and that’s what makes it unique. My style is constantly evolving (and hopefully improving) but at this point I think it’s become pretty recognizable. There are a few other artists out their who have similar styles but in my opinion we are all very unique.
This is kind of a tough question because I don’t always work the same way or in the same style but rather than give you a long detailed explanation of my process I’ve created a short video that shows an actual project starting from a rough sketch. This is pretty typical of many of the projects I work on using Adobe Illustrator. The first thing you’ll notice is I’ve compressed the time for the video and done a little bit of editing. The things I’ve left on the cutting room floor is all the trial and error experimenting I do with shapes and colors as I work through a project. I am a visual person but I don’t always trust my first instincts so I often try many different color combinations to see if I can find better options. Sometimes it can be a tedious process which is why I’ve trimmed it from this video. Other times things just flow and I get it right the first time. It all depends on which way things happen to be leaning that particular day.
Ok enough with the typing here’s the video. Enjoy
Next up on the blog tour I’m inviting two amazingly talented artists and good friends:
Fian Arroyo, with his creative mind and quick draw, has been creating award-winning illustrations and character designs for his clients, including Fortune-500 companies, in the advertising, editorial, toy & game and publishing markets for over 20 years.
Greg Newman has been a freelance artist and illustrator, designer and developer since 2001. Newman now specializes in portraiture, uncannily realistic caricatures and wildlife illustrations, as well as design and development for the intertubes.
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