Podcasts about book artist

Isobelle Ouzman alters books to create an alternate reality for what goes on between the front and back covers. She creates detailed three-dimensional scenes that unexpectedly but instantly capture your imagination. She uses multiple techniques including paper carving, drawing and colorizing the pages. To create the 3D aspect, she has to think about the many layers of paper within the book and how she can sculpt them to reveal the scene she knows lies within. That might be an enchanted garden, or an owl tucked into a hollow in a tree. They are magical.On this episode, host Angela de Burger chats with Isobelle about how she developed her considerable skills, the stories she tells through her altered book designs, her creative process when making a new piece, and why she loves being an artist.Say hi to Isobelle:  Website - isobelleouzman.com  Instagram - @isobelle.ouzman  YouTube - IsobelleOuzman  YouTube - Why I Love Being an Artist----Creative Pulse Podcast socials:  Instagram: creativepulsepodcast  Twitter: @CreativePulseTWMusic credit: https://www.purple-planet.com

Ready for a dose of creativity, inspiration, and a dash of upcycling magic? But wait, what's upcycling, you ask? It's all about taking ordinary, everyday materials and transforming them into exquisite handmade books and art. Our special guest, Bel Mills, is a remarkable book artist and an inspiring teacher who has crafted an incredible online class centered on the art of upcycling books. Bel's passion for creating bespoke, one-of-a-kind books from salvaged paper is truly inspiring. We'll also dive into the power of getting out of your own way and focusing on what truly matters: your audience and the value you can bring to their lives. “When it's time to go and sell, when it's time to go and share our work and share our message, we have to reflect on the sacred aspects of our soul.”- Miriam Schulman In this podcast, you'll discover… Not to underestimate the creative potential of everyday objects; upcycling can breathe new life into them. When creating and sharing your art or knowledge, focus on how it can positively impact your audience rather than dwelling on your insecurities. You can overcome obstacles and find support in your creative journey by seeking guidance, connecting with like-minded individuals, and collaborating to grow as an artist or educator. “Remember that it isn't about you. And if you can, kind of get out of your own way, get the help that you need, and focus on the folks out there who stand to gain so much from your work and what you have to offer.”- Bel Mills For full show notes, go to schulmanart.com/277. ++++++++++++++++++++ 

Hi Everyone! My guest today is Jerushia Graham, printmaker and book artist. Here is more about Jerushia: Jerushia Graham is an Atlanta-based artist who exhibits both nationally and internationally. She earned an MFA in Book Arts/Printmaking from the University of the Arts in Philadelphia, and has taught for the Atlanta Printmakers Studio, Art Institute of Atlanta-Decatur, The Jacqueline Casey Hudgens Center for the Arts, Kennesaw State, University of West Georgia, Spelman Museum, and various Arts Centers in the Atlanta area. Additional resources from Jerushia: Also, Steph Rue was the instructor that Anna will be taking classes with at Penland. She is also a member of the Book/Print Artist/Scholar of Color Collective. She will be teaching paper bojagi using hanji. https://penland.org/workshops/summer-session-1/ Jerushia's Website Jerushia's Instagram Charleston Gallery with Jerushia's Work Below you will find the links to the resources mentioned in the interview: https://paper.gatech.edu/https://www.paperbookintensive.org/https://www.northamericanhandpapermakers.org/https://www.handpapermaking.org/https://www.colophonbookarts.com/https://hookpotterypaper.com/https://www.collegebookart.org/https://movablebooksociety.org/ Other great resources worth mentioning: Helen Hiebert - https://helenhiebertstudio.com/ May Babcock - https://www.paperslurry.com/Book Arts Programs:https://nbss.edu/https://www.uarts.edu/academics/graduate/book-arts-printmaking-mfahttps://slis.ua.edu/mfa-in-book-arts/https://uicb.uiowa.edu/programsArts and Craft Schools that offer papermaking and/or book arts classes:https://penland.org/https://www.arrowmont.org/https://www.ox-bow.org/https://www.folkschool.org/**Some but not all Center for the Book locations teach book arts workshops - https://www.loc.gov/programs/center-for-the-book/about-this-program/** Names Mentioned in the interview: Miriam & Jerry Graham, my parents Virginia Howell, Robert C. Williams Museum of Papermaking DirectorAnna Doll, RCW Museum of Papermaking Education CuratorNasreen Khan, RCW Museum of Papermaking Postdoctoral FellowRobert Putnam, Former Jonesboro High Art TeacherLonnie Graham & Christina Roberts - Mentors from the Fabric Workshop and MuseumGlen Kaufman - Former Fiber Arts Professor (deceased) Richard Johnson - UGA Professor Emeritus of Art, 1st Papermaking/Book Arts Professor  Thank you for listening!

#323. Get free daily Anti-Drift Texts Click Here  (once you click the link, press “send” to text the keyword to me to get the daily texts) (These texts will also notify you of upcoming Masterclasses) Follow Dominick on Instagram: @DominickQ Join the Facebook Group for Men: https://www.facebook.com/groups/TheGreatManWithin __________________________ Madelyn Moon's Book: Artist of Love Madelyn's First Episode on The Great Man Within Podcast: 5 Ways Men Lose Credibility with Women Follow Madelyn on Instagram: @MadelynMoon Art is the practice of taking the mundane happenings of life and turning it into theater. Seinfeld and Curb Your Enthusiasm are two great examples of this – two shows famously about nothing (the trivialities of life), yet turned into art that makes us laugh and relate. In long term relationships, there are no shortage of mundane moments…infuriating moments…and all the other moments in between that can be dismissed as forgettable or necessary evils you have to endure. Our guest today, Madelyn Moon, encourages us to take these relationship moments and make art out of them – just like Larry David would – to bring more life, play and heat into your relationship. Fellas, this might be a good episode to invite your ladies to listen along with you.  Who is Madelyn Moon?  Madelyn is a guide for women seeking to discover, claim and own all of her inherently wild and artistic sides so that she can express her true self in all areas of life, especially her love life Madelyn is the author of Artist of Love, The Modern Woman's Guidebook to Unleashing Her Creativity, Deepening Her Relationships and Becoming the Leading Actor in Her Own Life Madelyn has been on the show before with one of our most popular episodes of all time, 5 Ways Men Lose Credibility with Women In this Episode: What it means to “create art” out of the mundane and frustrating moments in relationships How a man who knows how to create art out of these moments becomes a more trustworthy man How an artful physical touch can calm your woman's nervous system in a heated moment How lack of defining a shared purpose for your relationship…leads to a relationship who's default purpose is merely “staying together”  4 ways to create art in your relationship 

Books are not just literary and historical artifacts; they can also be visual artworks. In this episode of The Rosenbach Podcast, renowned Philadelphia-based pop-up book artist Colette Fu introduces us to her art form and explains what inspires her to explore cross-cultural interactions by means of the pop-up book.

The Open Call Podcast, hosted by Anne Stagg and Laura Tanner, features conversations with contemporary artists about their work.This week, The Open Call Podcast has the pleasure of sharing with you part of our conversation with Buzz Spector. When we spoke, Buzz had recently moved from St Louis to his new home in the Hudson Valley, His studio was in the final phase of construction. Buzz is an internationally recognized conceptual artist who is perhaps best known for his work with books, but his vast body of work also includes drawings, photographs, collages, and more. He says of his practice, all of the techniques he uses “are techniques of intimacy in action, but our position to recognize them is retrospective - it comes after the fact. So the play of memory he talks about is one) of projecting your own experience and secondarily, of assessing the limited terms that our language gives us to describe what we witness.”Buzz often uses language as a stand in for something that is missing. He considers all of his work through the lens of drawing and he talks about how “the distance between reader and page, between artist's eye and artist's pencil on paper, is an intimate space of noticing, empathizing, and of accepting that makes the experience shift from a reading of structural terms to an epiphany of identification.”Buzz is also widely recognized for his critical writings about art. He describes his role as not simply providing an opinion, but instead as finding a way of faithfully describing what he has seen that will preserve something of that effect in the imagination of the reader. When he writes he chooses from a huge field of properties to describe one, then another, then another and that description doesn't lead to a total picture of the artwork, but instead to a premise of the success or failure of the artwork. The structure of his writing is intended to clarify where he is coming from as the person on the other side of that written text.We enjoyed a rich conversation that meandered through a variety of topics including his practice, critical writing and pedagogy. We hope you enjoy our conversation and please check out our Instagram -- @the_open_call_podcast -- where we share images of Buzz's artwork. We produce three seasons a year during which we release new episodes every 2 weeks. Special thanks to Susan Cooper for voicing our Outro, Scott Stagg for composing our music, Judah Bachmann for creating a new version of our podcast music and for sound engineering, and to our wonderful research assistants:  Ally Price,  Nikki Cohen, and Erin Miller  who provide production support, web, and social media design.

This time we invited Richard Minsky to our podcast, a bookbinder, book artist, teacher, and many things more. In the end, the episode became a three-parter, as we recorded with Richard for more than 3 hours. The first part is mostly dedicated to beginnings: printing in childhood, first experiences in bookbinding, shifting to art as a social commentary, and the origins of the Center for Book Arts in New York. In the other two parts, Richard talks and shows more of his bindings, digital world, politics, history, and takes us for a tour of his studio. Stay tuned, they will be published in the upcoming weeks! You can watch the video version of this podcast on our YouTube channel: https://www.youtube.com/watch?v=6Cvo1iNOGC0 Brought to you by iBookBinding. Bookbinding resources and tutorials: http://www.iBookBinding.com Become a patron (and get more content): https://www.patreon.com/ibookbinding You can ask our future guests questions on: Instagram — https://www.instagram.com/ibookbinding/ Discord — https://discord.gg/TJY5FeS Facebook — https://www.facebook.com/iBookBinding/ Find out more about Richard Minsky: - https://minsky.com/ - https://en.wikipedia.org/wiki/Richard_Minsky - https://centerforbookarts.org/people/richard-minsky - https://web.library.yale.edu/arts/special-collections/interviews-with-richard-minsky 00:00 – Beginning 00:55 – Richard's childhood: graphic art shop class, starting a first printing business at the age of 13 with a platen press 04:58 – Making a photo of Lyndon B. Johnson with handmade “Working press” shield 06:45 – How a printing press helped to attract 300 students to a Junior Astronomy Club's lecture 07:48 – Promoting events and printing art through the years 09:11 – Twists of life: Path from printing to bookbinding through astrophysics, car crash, economics, violin, and chorus 16:41 – Richard's firsts: full leather and tooled bindings made as a student of Daniel G. Knowlton in 1969 17:54 – “The Georgics” of Virgil with the French method of onlay: Learning on your own mistakes to make your bookbinding and design better 21:52 – “Garbage or archive”: The importance of documenting the process and the results of errors 25:43 – The shift from making “just” books to making book art that is a social commentary 34:28 – Origins of the Center for Book Arts in New York City 41:44 – Disconnect between the communities: design, art, and bookbinding. Possibility of collaborations 50:00 – Theoretical critical apparatus for discussion of bookbinding and book art. The “Material meets metaphor” methodology introduced by Richard Minsky 55:31 – Should an artist be versed in all the theories or can it be an intuitive art? Differences between art and craft 57:28 – Importance of being able to talk about your art 58:07 – Continuation of the story of the origin of the Center for Book Arts in New York City

This week, Wes and Todd talk with Altered Book Artist, Valerie Savarie. Valerie talks about how she got started sculpting books, working parameters, making art for yourself, process, inspiration, old books, commissions, public art, Edward Gorey, collaboration, pricing, Valkarie Gallery, and advice to aspiring Artists. Check out Valerie's beautiful work at her website: www.valeriesavarie.comSee Valerie's work in person:“Once Upon A Time” at Valkarie Gallery, 445 S. Saulsbury Street, Lakewood, CO 80226September 22 – October 17, 2021Opening Reception – Saturday, September 25, 2021, 5pm-8:30pmFollow Valerie on social media:On Instagram - www.instagram.com/valeriesavarie/@valeriesavarieOn Facebook - www.facebook.com/valeriesavarieartYou can check out Valkarie Gallery online at: www.valkariefineart.comFollow Valkarie Gallery on social media:On Instagram - www.instagram.com/valkariegallery/@valkariegalleryOn Facebook - www.facebook.com/valkariegallery

Episode 09: Sas Colby is a respected mixed media artist with a history of creating  and sending mail art. She has been making, exhibiting and teaching art  for more than fifty years, and is well known for her nontraditional  artists books. Her artiststamps created through the 80’s and into the 90’s are considered some of the best and earliest examples of the genre. Sas has exhibited widely across the US and Europe, her work is included in archives such as The National Museum of Women in the Arts, the Jean Brown Archive at the Getty Research Institute, and the Oakland Museum of California. ________________________________________________________________________________________ SHOW NOTES:  Follow Sas's adventures on Instagram: @sasu.san and via the web: https://www.sascolby.com Bay Area Women's Legacy Project Judith Hoffberg's Umbrella (online archive of the magazine ____________________________________________________________________________ --> The Senders Receive intro/outro music is titled "Successful"; the musical artist is Keetsa. This track is used as per the artists Creative Commons usage statement, which can be found here: https://creativecommons.org/licenses/by-nc-nd/4.0/  --> For updates and upcoming interviews, follow Senders Receive on Instagram:  @sendersreceivepodcast

In this episode, Karen chats with Damien Lopez, a self-published author and culinary aficionado who is creating inclusive learning for LGBTQIA+ children. They discuss the impacts of inclusive representation and stories for kids, support from his father during his transition, and how he managed to publish his book, I Am A Prince. www.iamaprince.com IG: @iamaprincebook @aneimad__ Book Artist: @multiaramutiara.arum.7 Cinco Estrellas: Corrupted by Jared Dixon Follow us on social @teamDAYDA

Liz Constable is a book artist from Auckland, New Zealand. Liz creates under the name Book Art Studios, in a studio near her home. She is self-taught, but she makes beautiful hand-stitched books that she fills with words and stories. She sometimes even dyes the paper that she uses, and she teaches that technique and others through her Zoom classes and in person camps. She’s published four books, most recently Re: Create, which she self-published with her sister and a photographer. Show notes for all of these episodes can be found on my website at https://suzanneredmond.com/my-podcast/list-of-artists/

We talk with book artist Barry McCallion and replay part of a 2009 interview with Matthew Rose about A Book About Death. The post Barry McCallion, Book Artist of The Oarsman & Matthew Rose, A Book About Death appeared first on Writer's Voice.

Hello collectors! Tune into this weeks podcast for news in the market concerning all things comics, gaming, coins and Sports! This weeks guests are Sketch Card, Comic, and Book Artist, Jason Montoya and author and writer Christopher Salas! Very happy and thankful to have them on the show! We also mention our new give away! This round we will be giving away a WHOLE BOOSTER BOX Of Pokemon Unified minds! All you need to do is leave us a comment or review on any format you listen to this podcast. Thanks for listening! Be sure to tune in for Smile high radio segments uploaded every Wednesday and New All C's collectors edition podcasts every Monday Morning!

Elizabeth Zunon, who grew up on the Ivory Coast in Africa and spent her teenage years in Guilderland, just published a book she wrote and illustrated, “Grandpa Cacao: A Tale of Chocolate From Farm to Family.” She is the little girl pictured on the cover of the book with the grandfather she knew through family stories but never met. Her book, dedicated to “all the Grandmas and Grandpas who broke their backs working in the fields so we wouldn’t have to,” is rooted in a particular family — hers — but has universal themes. In this week’s podcast, Zunon talks about her life as an artist and now, after years of illustrating others’ books, as an author. See acast.com/privacy for privacy and opt-out information.

How to Become A Better Children’s Book Artist We want to go over some questions that Will has been emailed about that all revolve around the general topic of: How to become a better children’s book artist. As a children’s book artist, do you have to speak and if so to what capacity? Will got this email from a student who got a literary agent last summer and who was wondering if publishers require illustrators to do school visits and publishing conferences. Essentially they are afraid of speaking and were wondering: As an illustrator, do you have to speak? Will used to be petrified of speaking, it probably doesn’t seem like that now because he has a Youtube channel, and speaks at conferences, and now it’s no big deal to him. However, before his heart would pound like crazy just thinking of an upcoming speaking engagement, if he had to speak or teach at church or in school. Maybe some of you also feel that way. Do you really have to speak and if so to what capacity? Jake has done 15 or so books through publishers and he has done school visits for 1 book in particular and it was completely optional. They asked if he would be willing to do it. He went to 6 different schools and didn’t know how much it actually helped his book sales? Ultimately, he doesn’t know how effective it is. You shouldn’t worry about it or let it hinder you from pursuing a career in children’s books. Maybe if it’s apart of your business plan and you are visiting 50 schools a year and you have a line of books to offer for sale, then it might be much more effective. There are some people who do this and they make a lot of money from it. If you go out of state and visit 5 or 6 schools and line them all up and coordinate it so it works out then you can stack a bunch of schools next to each other. Some people will finish a book and then spend the whole next year doing school visits. Once they were trying to get an illustrator to come and do a video with SVS, and he said no and the reason he said no was really really smart, and Lee thinks about this all of the time now. The reason he said no was “because he would come film a 2 to 3 hour video, but it would take a month or two to get ready for it, with rehearsing it, practicing it, writing the course, it takes so much time to prep it and he has learned that he doesn’t have the capacity to do that sort of stuff. Now Lee tends to fall along that line now when he is asked to speak at a SCBWI Conference etc. it’s exhausting and it zaps all of his creative energy out of him. So for Lee, it’s a mixed bag for him. If you take 2 months to prepare a presentation and you can give that same presentation 50 or 100 times then it really pays off and is worth it. But if it’s for a one time or two time presentation it may not be worth it. David Biedrzycki and Jerry Palada do school visits all of the time. So maybe we’re not directly answering the question but these are all different ways to consider speaking and the benefits of it. Average payment for a day is about $1500 and so if you do a few days in a row it can really add up pretty quickly. For David, his wife does all of his booking, hotels, and airfare. And he is now going back to some schools that he went to a few years ago. Publishers like it and want to work with someone like that. It takes away almost all of the risk because if they are doing so many trips, the publisher should be able to at least sell the amount to break even. These guys make a lot of money. How about speaking at bookstores? You have to decide who you are. Some people love to travel and know how to work while they are out and they can keep their routine. It seems like a really lopsided investment and you don’t get much out of it. Lee, works on a book and then it comes out six months later and he is already on to the next thing and he doesn’t want to stop all of that. The thing is book stores typically don’t pay, but schools do. So you’re paying to go and sign books and it’s not very profitable. It’s really hard to make them worth the time. You might sell 10 books in 2 hours and with your royalty of 50 or 75 cents a book, you might make $7. Book signings work for the famous but not so much for the up and coming person. Why You Should Learn To Speak Publically If you do this job and you start to get work, at some point you will be asked to speak publically. So should you? Yes you should, at least learn to be comfortable speaking. Take classes or do a workshop to learn to speak publically. You will be asked to speak publically, or you’ll be asked to teach, or you’ll be asked to present, we get those offers all the time. How to get good at it? Start saying yes to every opportunity where you can. Will used to be that guy that hated it. Will could barely speak when he was chosen as illustrator of the year for the California Teachers Association, and he had to go around giving speeches and he gave a speech in front of 1000 people in a ballroom and that was 10 years ago and he was so nervous beforehand but now today he has spoken so much since then that it doesn’t even phase him anymore. One nice thing about this profession is you can use visuals and you don’t have to worry so much about people staring at you while you are talking. The best advice is the advice that makes you a better person in the end, it’s what makes you more experienced and more capable. So if public speaking is not your strong point, then do whatever you need to do to learn how to feel comfortable with it. Believe in your work and take jobs that there is a passion there for. You see these people who are terrified of speaking but they are passionate about the work they do and so they push themselves to share that with others. Maybe you aren’t passionate about puppy dogs and you did a book about puppy dogs, but maybe you are passionate about creativity and how a kid could grow up to become a creative artist. A lot of kids have roadblocks of parents or teachers saying that art isn’t a real job, and you speaking to them can become a driving force to help you overcome those fears. Being a creative person, being someone who can draw for a living is such a rare privilege and is unlike any other job. You Create and You Share Part of that is to promote yourself and promote your work, your style, and your stories. Somebody needs to hear your message. Nobody is gonna hear it if you don’t start sharing yourself. There is a person in you who is good at public speaking. You need to have faith in yourself. Really good book: Perennial Seller: The Art of Making Work That Lasts 1st half of the book: How to make a book that stands the test of time, that isn’t dated in 10 years, how to create something that is interesting now and in 30 years. 2nd half is about how to market the book and get it into the hands of the people who want to read it. Jake read the book last year and marked it all up, and flipping through it right now there are a lot of great things.The book applies to anyone who creates work, it’s not focused on children’s books but there is so much that still applies. If you get invited to speak, have some sort of takeaway that you want the audience to leave with. Lee had a graduate school program and they had tons of artists come and speak but it doesn’t mean it was all effective.Some would just show art and have pretty meaningless commentary to go with it. Have a specific topic or point you want to make and then have a series of images to show that topic and teach about it. Tell stories about yourself, as humans we are interested in learning more about each other and we love hearing personal stories. Will’s best talk he ever gave was speaking to almost 300 librarians, and he was told 9 months in advance about the presentation, and he kept a Google doc and he didn’t panic or anything but instead anytime an idea came to his head he would jump on his phone and jot it down on the Google doc. This helped him get all of his ideas down leading up to the speaking engagement. His speech was all about “I was that kid”, he showed how he wasn’t the best student and how we shouldn’t write off these kids that are problems, because some of them are really creative and some of them are being forced into the school system. He spoke for an hour. Will sold a ton of books. Don’t be afraid of speaking, if you do it a lot, you’ll get good at it. Anything you do a lot you can get good at it. How to Draw Women Respectfully Another email Will got was in response to a “3rd Thursday” a while back which was the precursor to this podcast. In it, Shannon shared how she was thinking about the issue that you they brought up that men struggle to draw females because they don’t want to sexualize them and they don’t want to over emphasize typical female features. There is a big problem with the way that women are depicted. There are so many people doing “sexy” versions of classic characters. And the thing is those people get famous from it. There was this artist who draws really sexualized characters and got chewed out online for it. There is this endless appetite for it from consumers and artists and we can’t stand it. Jake’s approach: he has a mom, sisters, a wife, and daughters, He doesn’t want to ever disrespect them. His test is, if I would be okay with any of these people wearing the outfit that I’m drawing then I’m okay to draw it. Don’t shy away from the female figure, there isn’t just one female figure there are 100 different female figures. He will approach it from, “Who is this character?” What does she need to accomplish? What about her image will backup and support her personality and her role in the story? He will start with the personality and then will work from the inside out. How do you draw a female character and make her look feminine without making her look sexualized? For drawing children it’s super easy, he just beefs up the eyelashes a little more and then he draws her wearing clothes that look female, when he drops off his children at school he looks at what kids are wearing and thinks of what outfits look feminine and more masculine and then he will dress his characters accordingly. If it’s an older women she will have hips, and a chest, not as broad of shoulders, any genetic thing that shows that this is a female and not a male he will try and put that into his designs. Lee had a great figure drawing class where they would have both a male and a female model take the same pose and instead of focusing on the obvious differences in anatomy, they focused on the more nuanced differences in their gestures. The more subtle things. I.e. A man in a neutral pose, arms will typically round to the outside. A women standing in that same position, typically her elbows will go in and her lower arms will go out. It is a distinctly different silhouette just based on what their arms were doing. In every pose there was always a subtle difference or separation in how males or females carry weight and balance and all of that stuff. So if you can lean on those other things then it helps it become a lot more believable. Before puberty we all have pretty similar body types. There are some tricks that you can use to add to either the femininity or masculinity of your children characters. Will adds thicker lashes when drawing his female characters. He also sometimes uses a little bit more round or soft shapes for his female characters and uses some more boxy or square shapes for his male characters. This is a political topic. As illustrators we are faced with drawing all sorts of characters. Male characters, female characters, young and old characters, animals etc. When you are going down the street you notice what makes someone look more feminine or masculine. If it’s a female character then you need to make her look like a female character. If you’re drawing a male character you need to make him look like a male character. There is a lot of crossover, there are some female characters that have some features that would traditionally be considered more masculine, and vise versa. You really need to be really respectful of that particular character and portraying that character the very best you can. Jake did this ABC book about apples and there was a lot of grey area in the story. He wanted to avoid the whole issue of making sure that there was enough girls and boys, and that there was the right level of diversity among characters and he just made all of the characters animals. It took away a lot of stress and helped him develop the story and push his designs more and he was able to get some great portfolio pieces from it. One of the through lines was that the pig got to eat whatever he wanted and the bear was on a diet. It was a lot more fun, interesting, playful, and kid friendly. It is a proven technique, drawing animals can help you not have to worry so much about some of those other sensitive topics. How to Create Emotional Images The third question we’d like to address came from another message Will got which was about, “What makes an image emotional?” Sometimes we over focus on rendering and miss the emotion. Will just finished a class with Brian Aijar, and one of the things that struck him was that the students did great work but one of the things that they were weak on was coming up with a strong story for their piece. Instead sometimes it was a story fragment. They might say,” The idea for this one is that the person is looking off to the side… that’s the story.” But, why? Another issue was that sometimes they would have things in the illustration that were confusing or distracted from the story. We would be giving critiques but didn’t know what the illustrator was trying to say. Have a Complete Story Idea The way to start to convey emotion in your piece is to have a complete story idea. Sometimes you can still overdo that and try to tell too much story with your image. It needs to be a clear illustration. Here’s an example of a good story: Someone’s walking down the stairs and they are holding a huge birthday cake and you see at the bottom of the stairs child’s blocks, roller skates, or a ball, something they are about to step on. That is a complete story idea. You could show that story at beginning or middle or end. You could show them about to step on the ball, you could show them slipping and the cake going up in the air, or you could show the aftermath with the skate next to them and looking at it you could completely figure out what the illustration is is all about. So in order to convey a human emotion or make your piece feel emotional and have someone to relate to it, you have to tell a story that everyone has experienced. But we have a hard time relating to a story fragment, like someone looking over their shoulder. With a story fragment you are asking more questions than you are answering. Intent David Hohn and Lee are teaching an illustration class right now. One of the big things they push is that students include keywords with their sketches. They want to know the intent of the piece. Too often, if students haven’t trained this way or just draw without thinking then there is no intent. We frame it all on if they are hitting those keywords/their intent, or not. I.e. You say you want this to be scary, but it doesn’t look scary and now let’s go over why, and we will go over the design of the piece, the gestures, the characters, etc. But without knowing that intent then there is no driving force. Learn How to Tell a Joke Learn how to tell a joke. Not just creating jokes out of thin air, but go find jokes and learn how to tell them. Learn the setup, learn the meat of the joke, learn the payoff. So much is going on there, jokes are just mini stories. The more you do that the more it translates over into your work and you aren’t satisfied drawing a character just looking to the left, but you want to know what drives that character. The main thing is, a joke teaches you to establish a character, establish a problem, establish a situation, establish an environment that that character is in, and then how that problem is solved in a clever or funny way. All of the elements are there in a short joke that apply to illustrating, comic books, even public speaking, all of that applies. The reason for illustration, what separates it from just art or just drawings: illustration tells stories, everything you draw should be one of these parts of the story: it should be the setup, the meat, or the payoff. You want to leave the person looking at it asking, “What next?” or “What just happened?” Will also has his students write a sentence or two to describe their intent for their illustrations. Here’s an example that he had from one of his classes: “Two girls gossiping about another girl.” This is a great start! And the story was working well in the drawing. It’s hard to put a definition on how far you need to take something. However we wanted to know why they were gossiping about the other girl and as soon as we added a piece of toilet paper stuck to the bottom of the girl’s shoe, it became a much clearer idea and story. Basically, we just helped Will answer his emails. LINKS Svslearn.com Jake Parker: mrjakeparker.com Instagram: @jakeparker, Youtube: JakeParker44 Will Terry: willterry.com. Instagram: @willterryart, Youtube: WillTerryArt Lee White: leewhiteillustration.comInstagram: @leewhiteillo Alex Sugg: alexsugg.com Tanner Garlick: tannergarlickart.com. Instagram: @tannergarlick If you like this episode, please share it, subscribe, and we’d love it if you left a review! These podcasts live and die on reviews. If you want to join in on this discussion log onto forum.svslearn.com, there is a forum for this episode you can comment on.

CSP: Arnovitz - People of the Book/Artist's Books                

Stefanie Colarusso, Director of Programs & Events; Francesca Saldan, Curator; Peg McDade, Fiber Artist & Teacher; Melanie Rosato, Curatorial Assistant & Book Artist, speaking about the Everhart Museum and its Maker's and Master's series getting underway on Saturday, February 16 and running through the Spring. The Everhart Museum is located at 1901 Mulberry Street, Nay Aug Park, in Scranton. www.everhart-museum.org

Mark Pryor 01:50 Mark Pryor, novelist Amber Elby, YA novelist Dylan Powell, mystery writer George Vance McGee, author Daniel Peña, novelist Leza Cantoral, author and panda Cat with book Phuc with dog Mark Pryor is the author of ten novels, including The Hollow Man, which introduced everyone’s favorite misanthrope*, Dominic. His latest, The Book Artist, a Hugo Marston novel, launches February 2019. He has also published the true-crime book As She Lay Sleeping. A native of Hertfordshire, England, he is an assistant district attorney in Austin, Texas, where he lives with his wife and three children.Laura Elvebak 12:03Born in North Dakota, but raised in Los Angeles and San Francisco, Laura draws from her nomad kind of existence in various cities to craft her mysteries with a touch of noir. Laura’s writing career follows a winding career path through oil and gas companies, law firms, a stint as a go-go dancer in the sixties. Amber Elby 18:45Amber Elby was born in Grand Ledge, Michigan but spent much of her childhood in the United Kingdom. She began writing when she was three years old and created miniature books by asking her family how to spell every, single, word. She studied creative writing at Michigan State University’s Honors College before earning her Master of Fine Arts degree in Screenwriting at the University of Texas at Austin. She currently resides in Texas with her husband and two daughters and spends her time teaching, traveling, and getting lost in imaginary worlds. Dylan Powell 25:22Dylan Powell is an award-winning author who writes crime stories, mystery fiction and books about Texas. Powell's work has been featured in Ellery Queen's Mystery Magazine, Alfred Hitchcock's Mystery Magazine, the Best American Mysteries 2018 and a host of fine truck stop bathroom walls across the Texas badlands. Kathryn Lane 33:07Kathryn Lane is the award-winning author of Coyote Zone, the second book in the Nikki Garcia thriller series. A transplant to Houston, Lane draws inspiration for her work from her love of world travel. She is a member of the Mystery Writers of America, the Writers League of Texas, and she lives in the Woodlands, Texas with her husband, Bob.George Vance McGee 40:56Born in Austin, George Vance McGee is a liberal arts graduate from the University of Texas. He is the author of Attractive Tales from Grand Cities: A Social Memoir. He spent five years living and working in NYC before returning to his hometown of Austin, where he writes and works as a realtor. Daniel Garcí­a Ordaz 49:53Daniel Garcí­a Ordaz is the founder of the Rio Grande Valley International Poetry Festival and the author of You Know What Iâ’m Sayin’? (El Zarape Press, 2006) and Cenzontle/Mockingbird: Songs of Empowerment (FlowerSong Books, 2018). His writing centers on the creative power of language. Garcí­a has been a featured reader and guest at numerous literary events, including the Dallas International Book Fair, McAllen Book Festival, Texas Library Association, and Border Book Bash.Daniel Peña 57:45 Daniel Peña is a Pushcart Prize-winning writer and Assistant Professor in the Department of English at the University of Houston-Downtown. He was formerly based out of the UNAM in Mexico City where he worked as a Fulbright-Garcia Robles Scholar. A graduate of Cornell University and a former Picador Guest Professor in Leipzig, Germany, his writing has appeared in Ploughshares, The Rumpus, the Kenyon Review, NBC News, and Arcturus among other venues. He’s currently a regular contributor to the Guardian and the Ploughshares blog. His novel, Bang, is out now from Arte Público Press. He lives in beautiful Houston, Texas. David Bowles 01:07:49A Mexican-American author from deep South Texas, David Bowles is an assistant professor at the University of Texas Rio Grande Valley. Recipient of awards from the American Library Association, Texas Institute of Letters and Texas Associated Press, he has written a dozen or so books, including Flower, Song, Dance: Aztec and Mayan Poetry, the critically acclaimed Feathered Serpent, Dark Heart of Sky: Mexican Myths, and They Call Me Güero: A Border Kid’s Poems, which is a recent recipient of the Claudia Lewis Award. In 2019, Penguin will publish The Chupacabras of the Rio Grande, co-written with Adam Gidwitz, and Tu Books will release his steampunk graphic novel Clockwork Curandera. In April 2017, David was inducted into the Texas Institute of Letters for his literary work.Leza Cantoral 01:18:39Leza Cantoral is a Xicana writer & editor who lives on the internet. She is the Editor in Chief of CLASH Books & host of the Get Lit With Leza podcast where she talks to cool-ass writers. Tragedy Queens: Stories Inspired by Lana Del Rey & Sylvia Plath is a CLASH Books anthology of stories that she edited as a result of being a Lana Del Rey & Sylvia Plath megafan. You can find her on YouTube at Get Lit With Leza. She blogs at lezacantoral.com.A Texas-sized thank you to all of the authors who were generous enough to share their time at the festival with us. Please do click through to each of the authors’ sites and support these women and men of the word by buying more books & by reading more widely today.**misanthropy is a really fun word. I mean, so fun.

Hannah Lynn dropped by the dungeon for the 20th episode of Everyone Has a Story. Hannah was diagnosed with psoriatic arthritis as a teenager, became an emancipated adult at age 17, and lived for years without knowing how to drive. Hannah also shares with us how she took a life long hobby and turned it into a successful career.If you would like to learn more about Hannah's art and coloring books check out her website:www.hannahlynn.comSome music in this episode was used by permission from Teknoaxe.You can find his awesome music at www.teknoaxe.comThis podcast does not exist unless people like you are willing to share your story. If you are interested, you can contact me in the following ways:twitter: @knatradiofacebook: Everybody Has a Storyemail: knatradio@gmail.comSupport the show (https://t.co/hIGwCA29n1)

Rebecca Goodale is a book artist and Art Department faculty member at the University of Southern Maine. She's been creating art ever since she sold her first book, My Chicken, to her mother at age 5. Her work can be seen in museums and libraries across the United States. Kerry found Rebecca at her home in Freeport, and they talked about making a life from art, working on collaborations, and being a feminist.  For more about this interview, head to http://kerrygross.com/interview-rebecca-goodale/

From 2012: How to describe Minsky’s art? Maybe by example:• For a celebration of George Orwell’s Nineteen Eighty-four, he constructed a bookbinding with an LCD monitor built into the leather cover and a miniature video camera hidden within. • The Geography of Hunger is encased by what looks like human teeth. Message received, right?• A collection of works by poet Patti Smith, titled Babel, is held together with safety pins, the symbol of the early punk movement.

In this episode, we cover: 1:55- The way travel informs and changes your visual vocabulary 8:15- The value of keeping a journal, particularly while traveling 9:45- The materials Robyn uses when journaling and making her own journals 14:45- Robyn's journey to making art full time and how she has found ways to support herself 22:10- Visual artists often find themselves pigeonholed into one form of art, but with a common thematic thread you can diversify and create whatever kind of art you wish 23:30- The old gallery system intentionally controls artists in order to control their product. Recognizing this and realizing that you don't have to be confined by it can be very freeing for visual artists 25:25- Strategies for managing, creating, and selling art across different mediums 27:45- How Robyn got into the surface design industry and how it can be a very lucrative sales channel for artists 29:50- Robyn's work early in her career on the Middle Passage, how she came to create that work and its place in her career 33:55- Navigating the norms of the art industry and how modern technology allows more marginalized artists to take greater control of their own work and broadcast it the way they want to 36:00- You don't need formal training as an artist! View your art as a business and don't get mired in the lack of a BFA 36:56- How the Arizona Artisans Guild came into being and how it's helping artists and artisans share their work

Today's episode features an interview with the Book Artist and Creative Business Coach, Kiala Givehand, and the Chinese folktale, The Story of Tanabata. Kiala Givehand is a creativity and empowerment coach, poet/writer/editor, mixed media book artist, and workshop leader.  Givehand received an MFA in Creative Writing and Poetry from Mills College.  For more than 15 years she taught English and Language Arts at every level including college level Creative Writing, Humanites, and English Composition.  She now works with small groups of students, teachers, artists, writers, and creative entrepreneurs who want to identify their passions so they can embrace their gifts and talents through the empowered expression of their deepest desires.  She loves teaching and empowering others to live with intention.  Find out more at:  www.kialagivehand.com On the Alchemy of Art Podcast we interview artists from a wide variety of mediums about their creative process and art philosophy.  Each episode includes folktales and true stories about artists to inspire you and keep you going.  Hosted by Addie Hirschten, a contemporary impressionist painter, art teacher, author and public speaker.  Find out more at www.azhirfineart.com.  

May 7, 2015. Book artists share a ritualistic feeling for materials. From lead books to Mobius strips based on alchemical manuscripts, this talk will focus on book artist as poetic alchemist. Amy Nichols speaks about the conceptual underpinnings of certain materials and techniques, how and why they are chosen, and the physical properties, possible ideological and symbolic uses of such materials. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6789

"For example, we have a very round object here, there’s no text. And this actually folds up, collapses into a little piece that looks like candy."

Want to become a childrens book artist? Erin McGuire tells her story of how she got into the industry, what her days are like and how she's consistently getting work.

Claire Van Vliet is the owner of the Janus Press founded in 1955 located, since 1966, in Newark, Vermont. Janus Press has to date produced approximately 100 publications — books, pamphlets, and broadsides- , many of them designed, illustrated, type-set, printed (sometimes on paper made by the artist), and bound by Van Vliet herself  in a well-equipped studio, printshop, bindery of her own design. Born in Ottawa, Canada, she has lived in the United States since 1947. After graduating with an MFA degree from Claremont Graduate School (1954), Van Vliet traveled in Europe, apprenticing herself for a time as a hand typesetter. During these travels she taught herself etching while working as a craft instructor at the United States European Headquarters in Germany.  For the remainder of the '50s and early 1960s she taught printmaking, typography and drawing at the Philadelphia Museum School (now The University of the Arts) and worked as a type compositor for John Anderson, first at The Lanston Monotype Company in Philadelphia, and then at his own Pickering Press in New Jersey. In 1965 to ‘66 she was hired by the Art Department of the University of Wisconsin, Madison as a Visiting Lecturer in Printmaking. Primarily a publisher of first edition poetry (including the work of Seamus Heaney), Van Vliet pioneered the use of colored paper pulps for book illustration, and more recently has developed a variety of distinctive non-adhesive book structures. Museums that collect Van Vliet's  work include The National Gallery in Washington, DC; the Victoria and Albert Museum, The Library of Congress and the Smithsonian Institute. In addition to her many honors, in 1993 the University of the Arts in Philadelphia named Van Vliet an honorary Doctor of Fine Arts. We met in her studio to talk about artist books and a long, outstanding career.