Podcast appearances and mentions of gina lee

Gina Lee, Vice President of the Coal River Valley Tasmania Tourism Association (CRVTTA), and Will Eddington, Owner of Richmond Park Estate, join Kaz and Tubes live in the studio to preview the second annual Crave Harvest Festival this weekend.See omnystudio.com/listener for privacy information.

Join us for an inspiring episode of Cervivor featuring Gina Lee Gossett, a cervical cancer survivor whose story epitomizes strength and perseverance. From being diagnosed during pregnancy to navigating loss, motherhood through surrogacy, and facing a reoccurrence, Gina's journey is a testament to resilience. Amidst her battle, she advocates passionately for greater diversity in clinical trials, particularly as we observe AAPI month. Tune in for a poignant reminder of the power of advocacy and the unwavering spirit of survivors. Did you connect with this episode? Share your thoughts with us on social media using #CervivorPodcast or by ⁠⁠⁠⁠⁠⁠emailing us.⁠⁠⁠⁠⁠⁠   For more Cervivor-related content, check out: ⁠⁠⁠⁠⁠⁠Cervivor.org⁠⁠⁠⁠⁠⁠. Follow Cervivor on all social media platforms. If you would like to be interviewed as a potential guest for an upcoming episode or would like to request a speaker or topic for a future podcast episode, email us at info@cervivor.org. --- Support this podcast: https://podcasters.spotify.com/pod/show/cervivor/support

Ever wish you could just hit the reset button on life? My guest on this podcast episode did exactly that! Meet Gina Lee, a paramedical tattoo artist and seriously inspiring woman. She went through a divorce, felt lost, and then totally reinvented herself in this incredible field.Gina's so honest about those tough times, but it's her passion for helping others with paramedical tattooing that really shines through. We geek out on tattoo techniques, colors, the whole deal –– but also talk about the deeper impact. Getting trained properly, having the right mindset...things a lot of us struggle with.Whether you're a total newbie in the industry or a seasoned artist, Gina's got some seriously valuable insights to share about covering dark scars, titanium dioxide, and more! If you want a healthy dose of inspiration with practical knowledge, this episode is for you!A bit more about Gina:Gina Lee, founder of Elevate You Studios, has been revolutionizing the medical tattooing industry with her unique blend of compassion and skill for 6 years. Transitioning from a people-focused career in retail to becoming a master in medical tattooing, Gina has dedicated herself to transforming lives. Her studio offers a sanctuary for individuals seeking to reclaim confidence through expertly camouflaged scars and stretch marks. Beyond her exceptional services, Gina is committed to inspiring people to get through life challenges with resilience and positive thinking based on her life experience as a single mom, as well as raising industry standards through robust training programs, recently celebrated for garnering high praise from her students. For Gina, these aspiring artists are not just students but the future torchbearers of sincerity and artistry in medical tattooing.Connect with Gina:Instagram: @elevateyoustudio_medicaltattoo Web: www.elevateyoustudio.comTraining site: https://www.elevateyoustudio.com/training-with-meTiktok: elevateyoustudioHave a question for me? Someone you want to recommend on our show?Leave me a voice note here:Jayd Hernandez is a Camouflage Tattoo Artist, Educator of Studio Conceal and the Host of the Beauty Expanded podcast, where she shares her insights and expertise on mindset shifts for beauty professionals. Through her podcast, she hopes to challenge limiting beliefs and norms of "hustle culture" so that you can pursue dreams and goals in a healthier, more meaningful way.For more info, please check out Studio Conceal Hosted on Acast. See acast.com/privacy for more information.

Gina Lee from the Coal River Valley Tasmania Tourism Association (CRVTTA) previews the CRAVE Harvest Festival happening this weekend. Tubes gets a splinter, which results in some interesting suggestions from listeners, but not much work getting done. And, Kaz shares why she's looking forward to the end of daylight savings.See omnystudio.com/listener for privacy information.

Conversamos con Ely y Gina del nuevo rol de la comunicación en un mundo cada día más digital. Por qué es vital tener una congruencia entre el propósito de la organización y la comunicación. Gina & Ely son Aesthetic!

"The battle is lost once someone stops trying." Marriage is often said to be for a lifetime, yet one might wonder if resolving conflicts again and again is worth the effort. If we desire to stay committed to our partner, how do we prevent conflicts from slowly tearing our marriage apart? In this episode, our host Delia Ng chats with Nelson and Gina Lee on how to differentiate healthy and destructive conflicts, deal with different conflict management styles and fight well as a team. Nelson and Gina have been married for 13 years and have three children. Marriage can feel overwhelming when you've tried your hardest and nothing seems to work. If you are struggling in specific areas, our team at Focus on the Family Singapore is available to listen and journey with you. For more details on Counselling, visit https://www.family.org.sg/counselling (www.family.org.sg/counselling). --- If you have enjoyed this episode, please leave us a rating and review on https://podcasts.apple.com/us/podcast/id1498022898 (Apple Podcast) or https://www.podchaser.com/podcasts/parented-1010477 (Podchaser). It'll be very helpful for others to find our podcast. You can also help us by copying this link https://www.family.org.sg/parentedpodcast (www.family.org.sg/parentedpodcast) to share with your friends. You can also support us by https://www.family.org.sg/givenow (giving monthly). We appreciate your generous giving as every dollar helps to sustain our efforts in strengthening families. Do note that if you are based in Singapore, one-time gifts above SGD$50 or monthly donations above SGD$10 are eligible for 250% tax-deductible benefits. Support this podcast

Enjoy a "best of" episode with sculptor Gina Lee Robbins. Her sculptural work, using clay and found or repurposed materials, incorporate her personal experiences as a mother and draw from both the feminine divine and abstraction. .Beyond the Paint is thrilled to partner with Women of Culture/NYC in an art talk and tour, "Alice Neel: People Come First," at the Metropolitan Museum of Art on Sunday, July 11 at 12 p.m.If you would like to join me, please email me at bernadine@beyondthepaint.netLink to the event: https://www.womenofculture.org/experiences/aliceneel.Image Credit: Gina Lee Robbins (https://www.ginaleerobbins.com)

Are you a teenager or a parent of a teenager wondering what it takes to get into your dream college? Come join us in our discussion with Gina Lee as she shares her insights on the holistic approach of preparing for your college application. Gina is an independent college counselor with expertise as a former Director of College Counseling and a mother of two boys who attended Harvard College, an Ivy League research university. Support the show (https://www.buymeacoffee.com/1stMentorStreet)

Join Dakota on The Underbrush, where he interviews Gina Lee and John Deruki from Derucki Construction Company, LLC. Founder, John, comes from a life of construction and has a unique story of how he became a business leader that is chock-full of lessons we could all learn from. Gina, Director of Business Development, finds herself in her own unique position of being a woman in a predominantly male-occupied business.   Tune in as Dakota explores the lives of these two leaders and how marketing is making their business different.  

"I live for makeup and I like wine. These are my truths."  - Drew Barrymore Gina Lee had an idea at her day job that she wanted to start a blog. Gina didn’t know exactly how, but she figured it out because it is a passion of hers! I love this story!   Gins’s Blog 'Collectivelee' focuses on affordable & easy style for you, your family, and your home. You have got to check out Gina; she shares so many tips regarding wine, make up, fashion, and so much more. BUT she does it so absolutely real and fun! You can find Gina on IG: @collectivelee https://collectivelee.com https://campsite.bio/collectivelee FB: Collectivelee   Connect with me on Instagram! @nextstopcrazytown Learn more at: https://nextstopcrazytown.com

Contemporary artist and sculptor "creates organic and abstract objects using clay and found or repurposed materials." She incorporates personal experiences, her wonderful process of sketching forms, employing her intuition and then with clay in hand, mold bodies that are both abstract and figural, that draw from the feminine divine and abstraction. This episode includes a conversation with the artist. .Visit my website at www.beyondthepaint.net to see all the works discussed.Gina Lee Robbins website: www.ginaleerobbins.com and please follow her on Instagram @ginaleerobbins Image Credit: Gina Lee Robbins

Gina Lee Lyons had a perfectly normal childhood until her Dad left her Mum when she was 12. That started a chain of events including the family losing their home, and her brother spending time in a category A prison. When she was 17, Gina's older brother was killed suddenly in a car accident. We talk about how Gina's mum gradually became an alcoholic, and how Gina herself "got through" those years, without really dealing with her own despair, or processing any of the ordeals she'd suffered at such a young age. I was struck by how strong Gina was as a teenager, and actually, how strong all of us are capable of being when faced with terrible situations that just need to be dealt with. But it was clear, as Gina details in this episode, that pushing problems aside doesn't stop them hurting us - it just means we end up addressing them later in life. Gina is now a mum of two young children, but when I talked to her she was in the middle of penning a comedy screenplay about her life, as part of her job in TV production and comedy scriptwriting. We talked about how a dark sense of humour helped all her family to get through some very difficult moments, but that all of them had to deal with their emotions on a deeper level eventually. Useful Links Information on intellectual CBTHelp and advice for families of prisonersBereavement support servicesAl-Anon - Support for people living with an alcoholic Where to find Gina Gina Lyons professional pageTwitterInstagram More teen mental health resources There are lots more episodes of the Teenage Kicks podcast – do have a browse and see if I’ve covered anything else you might find useful. And if you have a suggestion of something you’d like to see talked about on the podcast please do email me on teenagekickspodcast@gmail.com I have loads more fabulous guests coming up to help families navigate some of the most complicated – but wonderful – teenage parenting years. I’ve also got some posts on the blog that might help parents with other teenage parenting dilemmas, so do pop over to Actually Mummy if you fancy a read. Thank you so much for listening! Subscribe now to the Teenage Kicks podcast to hear all my new episodes. I'll be talking to some fabulous guests about difficult things that happened to them as teenagers - including losing a parent, becoming a young carer, and being hospitalised with mental health problems - and how they overcame things to move on with their lives. I'd love it if you'd rate and review the podcast on iTunes too - it would really help other people to find it. You can also find more from me on parenting teenagers on my blog Actually Mummy, and on Instagram and Twitter @iamhelenwills. For information on your data privacy please visit Podcast.co. Please note that I am not a medical expert, and nothing in this blog or in the podcast should be taken as medical advice.

Join Xavier as he chats with Gina Lee, our Associate Director of Admissions and Events Coordinator. She covers the following states: California (Los Angeles and San Diego Areas), Colorado, and all international & U.S. students living abroad. Check out this episode and see why she loves taking care of her unique populations and managing our amazing and frequent events!See Gina's profile with territory information: https://www.pacificu.edu/admissions/undergraduate-admissions/contact-us/gina-lee Contact our Admissions Office: admissions@pacificu.edu

Gina Lee, founder of Upcyclers Network, tells Tabitha Jayne at Sustainable: The Podcast how recycling and reusing materials can save not only money but also the planet. Avoiding extracting virgin resources cuts the environmental impact on the planet. Upcycling creates manufacturing jobs. Emphasising the positive benefits of recycling will make it a more attractive method of production. Reusing and recycling can create a sustainable economy. And highlighting the businesses and organisations that already successfully transform waste into value-added materials will encourage others to take up this circular production model.

“It takes 706 gallons of water to make 1 cotton t-shirt. That's enough water for humans to drink for 2 ½ years.” Gina Lee  (6:39 - 6:47)   Gina Lee is the Founder of The UPcyclers Network and is a passionate advocate for businesses that are creating value from “waste.”    Gina has over 15 years of experience working in the areas of corporate social responsibility and social impact in the United States, China and Germany with organizations including the Aspen Institute, the American Sustainable Business Council and Mercy Corps.    Gina believes that social entrepreneurs will change the world, and she founded The UPcyclers Network to challenge our reliance on natural resource extraction and build a sustainable economy where waste is simply a resource out of place. Building a sustainable economy is imperative for all industries, especially agriculture. This vision lays the foundation for the circular production model of the future.  What is a Circular Economy?   A circular economy is presented as a system of resource utilization where the elements of reduction, reuse and recycle prevail. The goal is to minimize production to a bare minimum, and when it's necessary to use a resource, to go for the maximum reuse of the elements that can't be reused and recycled.    Gina recognizes that there is no solution for our world's ever-increasing consumption of consumer goods. With the World Resource Institute and Brookings Institute predicting consumer spending to increase three-fold, action from consumers and producers is needed now. It starts with reduction, but we also need to figure out a more sustainable consumption system.    “As consumers/retailers we need to advocate to have more recycled content in our stuff...not just say-is this material recyclable? Because otherwise, this stuff is all just recyclable, but no one's buying that recycled material back. It doesn't work.” Gina Lee (9:29-9:47)   Waste as a resource   How do we create value from waste that we currently send to the landfill? There are numerous ways. For example, recycling aluminum saves 95% of energy and recycling glass saves 34%. When you take a car to a junkyard and they scrap metal, that can reduce greenhouse emissions by a thousand pounds which is equivalent to 400 gallons of gasoline.     Being able to reuse recyclable materials has a huge environmental footprint. When we buy products; furniture, household goods, clothing, it creates a large stress on our planet because you need a ton of resources to consume “stuff.” Landfills are filling up so fast and we need to develop an industry that will reduce the need for landfills and make sustainable products from waste. “While environmental problems are growing, we do each have the power individually and through sharing with our families and loved ones about more sustainable ways to live...” Gina Lee (9:29-9:47) Call to Action   As Gina explained, the earth recently reached a point where our resource consumption exceeds the earth's capacity to regenerate resources.  It all comes back to reduction.    Recycle what you know can be recycled but also lower your personal environmental footprint by purchasing items that are re-used or second hand. If consumers are demanding it, then corporations will follow.    How to get involved Join The Produce Moms Group on Facebook and continue the discussion every week!  Reach out to us - we'd love to hear more about where you are in life and business! Find out more here.  Learn more about Upcyclers Network.   If you liked this episode, be sure to subscribe and leave a quick review on iTunes. It would mean the world to hear your feedback and we'd love for you to help us spread the word!

Dr. Michelle interviews author, Gina Lee Rivera, about her inspirational self-help book, "A Mirror And A Prayer." Hear the fascinating story of why Gina was the recipient of Entrepreneur Magazine's top ranking, largest and fastest growing franchise in the country, and what made her so successful. As the Founder and CEO of "Phenix Salon Suites, Gina offers advice and self-help guidance on how to focus on our passions and find fierce determination to become successful in whatever we want to pursue. Get Gina Rivera's book, and find out more about her, at phenixsalonsuites.com and www.bygina.com.

3PP 29 Curating Your Portfolio New class that launches this month! Gina Lee’s Art Licensing Class: Part 2. She has artwork that she is still making money from, thousands of dollars, that she made in college, that is getting printed on bags, shower curtains, etc. If you want to learn how to do that, check that out at SVSLearn.com! Because Will has his Youtube Channel, does this podcast, and teaches for SVS Learn, he often gets asked a lot to give people portfolio reviews. Handout: A list of 100+ things to include in your children’s book portfolio, at the bottom of the show notes. Portfolio Reviews The main thing that Will will ask people when giving them a portfolio review is: “What type of work do you want to get?” And he will normally get one of two responses: I don’t know, I just want to work as an artist in some illustration market. More specific: I want to do [comics, children’s books, graphic novels, or animation.] Advice for people who don’t know: if you don’t know what market you want to go into, then there is no way you can make a portfolio that will please an art director and make them want to hire you. Art directors are pretty literal. If you think that you are good at rendering, then you may think that you could draw anything well, and that the art director will recognize that because you showed your rendering prowess. That is not the case, you have to show it! It really is so specific. Whatever you show, literally, that’s the thing you will be asked to do. If you have a couple of illustrations with chickens in them, then you may become known as the chicken guy! You as an artist know that if you can draw a human figure well, then you can draw just about anything. But that’s not how art directors see it. Art director’s have to protect their reputation. This is their career and they want to be well known and respected, and someday become creative directors. They don’t want a curveball. They will usually go for the sure bet. You Need a Business Plan Lee often asks the same question as Will: “What type of work do you want to get?” That question says: How are you going to be in business? It drives the image and everything else: who the market is? how the market pays? how you get paid? how many illustrations you have to do in a month? how images are licensed? how the pay structure works? do you know how the business works and which direction you want to go in this business? Etc. This is important stuff to research and know ahead of time. So essentially, when asking, “What type of work do you want to get?” We are asking, “What’s your business plan?” This is a business and you need to have a business plan. If you are at the point where you are trying to get work, it is vital that you understand this. For example: You need to be able to say, “I’m going to work in editorial illustration, focused on these markets..., I want to work with these magazines…., and this is the type of work that they are doing.. Here’s my work and how it fits in there...” And then as a critiquer, we could tell you, “I would recommend, you take these 4 images and make them into post card mailers and send them out, and then alternate them monthly with this email marketing plan…” The more focused and specific you are, the better advice and critique you will be able to receive. A business plan is an evaluation of the current market and your particular direction. Who’s getting work right now? Where is the majority of the work being hired? Are the rates going up or down? Who are your main competitors? What do you have that they don’t have? What’s your competitive advantage? What will help you get hired instead of them? You need to be able to answer those questions. This is a very smart, logical way to approach your work. To the person who says,“I don’t know what I want to do, I just want to work somewhere.”: You can always change it, but you will be treading water if you don’t have a plan. You need to have a definite plan. So let’s get rid of the art side of this for a minute. Let’s say you have a $100,000 and your friend has a business plan that they want to pitch you. So you go and meet them at a cafe and say, “Okay, pitch me your idea.” They say, “I want to open a pizza place.” You say, “I’ve got $100,000 that I could invest in your place. Okay, where’s it going to be? How are you going to compete? What’s your secret?” “Oh, I don’t know.” “How much is it going to cost?” “Oh, I don’t know.” “What materials are you going to need? What’s your advertising plan?”? “Oh, I don’t know, I don’t have an advertising plan.” Would you give that person $100,000? With what we are talking about it’s even worse: “I want to open a restaurant.” “Okay, what kind?” “I don’t know.” We have got to be smarter than that. Artists do that, here is most artist’s 3 Step Business Plan: 1. Make an image, 2. Post image, 3. Sit back and pray that something happens and that they get hired. We’re only half joking. Any other business would die with that model. They have to know their product and their customer. We do have a product. With art, sometimes we get too attached to it, and it is really personal. People can get so personally attached to their work. However, ultimately if you want to make an income from it, it is a product and you have to look at it as such, as a product. That’s what it is and you need to think about, “how much it’s worth, where it’s bought and sold, etc.” There’s nothing wrong with making art but you aren’t going to make a living at it. If you just want to make art for the sake of making art, or just for fun, that’s totally fine and good, but you aren’t going to make a living with it. To The Person Who Wants to Do Everything Sometimes Will still gets the comment, “You keep telling me I need to pick a market to work in, but I just want to work in all of them. I’m just excited, I love comics, I love illustration, I love licensing, I love animation, I just want to get hired anywhere, I don’t care.” Pick one as your main, and then dabble in the other ones. Then if you see success in one of those other areas then maybe you can start to lean there more. Pick the one that you know you can actually make some money at and can support yourself in. Nothing else will exist if you can’t support yourself. You need to have some sort of financial engine to support yourself. It’s like a Venn Diagram, one circle: the thing I’m good at, and the other circle, where there are opportunities. You want those to overlap as much as possible. For example with concept art, The technical side of it is so difficult, but interest is high, but usually a person’s ability to do it is low, and it is also very, very competitive. How many musicians are good at all types of music, how many restaurants are good at serving all types of food, how many karate studios teach all types of martial arts? If you don’t know where you want to go, and you’d be happy anywhere, and art directors won’t hire you based off of your work, then do a focused project to help build your portfolio. For example, let’s say your subject matter is all over the place, you don’t have any sequential art in your portfolio. However, comics, children’s books, and graphic novels are all based off of sequential art. So you create a project, i.e. write and illustrate a graphic novel, it could be a section or part of a graphic novel or a children’s book. It could be as few as 3-5 pieces of sequential art. Do that 3-4 times with a particular market. And then you have a portfolio that could attract an art director. You can focus on classics like your spin on Little Red Riding Hood, something that’s in the public domain, that the art director will recognize and have an emotional connection pre established with that story. Make new images for portfolios, no matter where you are in your career. Do research: i.e. List 5 people or companies that buy this type of work, look at how much these jobs pay, who are the art directors that work at these companies that do this type of job? I.e. Concept board book, go to Chronicle in San Francisco, would start to look at what they had done in the past and art directors that worked on those projects. You are in a sense, preempting what you want to do. You are doing research beforehand to tailor what you want to do. A lot of people do scary stuff but it doesn’t really work for children’s books. Editor, wants to see if you can carry a character from one page to the next, can you draw kids that are cute and appealing, can you draw different ethnicities and genders, can you demonstrate that you can use a variety of compositions, etc? So if you show up with a Friday the 13th Portfolio, it won’t be a good fit for children’s books. Phases of Your Art Career It takes a long time to develop a portfolio. Phases of your art career: Phase 1, “Wow, I can make something look realistic!” Being able to make something look like it is jumping off the page. Phase 2, “Wow, I’m better than my friends and family, I might be able to do this as a career” Phase 3, “Wow, I’m even better than some of my art friends.” Phase 4, “I’m not getting work yet, I need to get some critique.” That’s the stage where a lot of students that come to Will are at. Phase 5, “Man, I have so much work to do to develop a great portfolio” Start to become humbled because they realize where they are weak and where they need to improve. Phase 6, “I need to start publishing my own work, to get seen.” At this stage, a lot of people are really good and have great portfolio’s but aren’t getting noticed yet. In publishing in the last 12-15 years there has been a pretty dramatic change, this has allowed people to skip the line. Before there were basically 2 lines, the authors, and the illustrators. But now a 3rd line has emerged: the author/illustrators. I.e. Mo Willems, Dan Santat. It seems that the other two lines have slowed. While the 3rd line has sped up. It’s cheaper to work with a writer/illustrator. When Lee graduated he had a hodgepodge portfolio. Lee did a set of paintings his senior year of 10 people who set weird world records. But no one really asked him, what market they were for. Lee went to New York with some stuff that was children’s books, his world records paintings”, some landscape paintings, also a series of the Grimm Fairy Tales (darker stuff) that were all done in a children’s style. Basically it was hodgepodge of images that he liked. He is glad that the people he showed work to could see potential in him, and he got some work and found his agent there. Batman Syndrome Batman Syndrome: some people want to be all Batman and no Bruce Wayne. They want to spend all their time having fun, fighting crime, and driving a cool car. But Batman doesn’t exist without Bruce Wayne. Bruce Wayne, spends time in the real world, he foots the bills, and does research, networking, protects Wayne enterprises. All of that needs to happen for Batman to be able to go out and have fun fighting crime. That’s how Jake was at the beginning of his career, he just wanted to have fun doing illustrations, graphic novels, working in animation, dabbling with 3D. But in order to really succeed you need to learn to embrace both the fun art side (Batman) and the less fun business side (Bruce Wayne). That’s what we are asking of you. The fully actualized version of you is the person who can kick butt at art, and also kick butt at business. There is only one Batman, there is only one version of you as a fully developed “Batman”. You may not be there yet, there is no one who can compete with you because you have your own unique style, once you’ve arrived there. To go with the Pizza thing, if you are trying to compete with all of the restaurants in the world, then that is hard to compete. There is this Pizza chain in the South called, Mellow Mushroom, it’s got this giant mushroom everywhere, it’s a very psychedelic feel, the servers wear tie dye, it’s still pizza, but they stand out with their presentation and branding, they attract a younger more hip crowd. As an artist you have a better chance of separating yourself because you have your own unique voice. It takes a while to come up with your business plan, and it takes a while to build your style and the quality of your work up to where you can beat someone out. If you put your head down and work then it’s only a matter of time. It takes a lifetime commitment to being an artist and if you work hard you can do it. Some people come out of school and a few years later they have already bumped people out of line. For others it can take a decade or 2. Recommendation: stop drawing for a little while, not a month or anything like that. Sometimes artists are constantly moving the pencil, and feel a need to keep creating images and posting to Instagram. That’s great to always draw. But back up and ask, why am I drawing? Back up, look at the whole picture, why am I creating art. Do research and try to step back and be a little more informed. Trap with social media, “You need to feed the beast”, ultimately at the end of the day. Sometimes we spend so much time worrying about social media that we miss out on other things. Jake used to struggle with this, and we probably all do in one way or another. What have I created or not created because I spent so much time focused on my Instagram account? Take a step back, take a break from social media, do a dive on business and seeing how business works in illustration Go and see how business works, how it works with illustration. You’re art is going to grow but this business stuff is just as important. Where do you want to be in 5 years, 10 years? Be Deliberate A good example of pencil mileage and working smart is, Piper Thibodeau. She has worked for Dreamworks, Scholastic, and other publishers, it is all because of her daily paintings. But it wasn’t random. It was apart of her business plan and she was very deliberate and did her research. She has been doing this for years now. Pencil mileage is a real thing but being business-oriented is also vital. Sometimes people just create so much and don’t take time to think about and pilot their career. Take Work That Aligns With You and The Work You Want to Do Eventually you will be hired. But sometimes it’s not what you want. How do you decide what work you will take? Will turned down a dream job yesterday, for a board game, they wanted 10 character designs, and they had a small budget, but the deadline was just too tight. He told them if they gave him more of a heads up he would love to work with them another time. Lee has turned down more work than he has accepted. Will has a specific direction right now, SVS. This job would have pulled him away from that. We’re redesigning and reshooting our children’s book class, and expanding the sections, it will have better design, better filming ,better audio, better lessons, Jake and Lee will be teaching a lot more of it. We are going to be rolling this out starting in September dropping one course a month for a year. We will really parse what goes into it. We would like to think of it as the most comprehensive children’s book class in the world for illustrators. Anna Daviscourt, who Lee is working with as her mentor, she’s starting to get work and offers and Lee is helping her parse through everything and it’s easy to decide if it’s worth doing or not by seeing if it fits her artistic goals and style. Making Your Children’s Book Portfolio “Your work is a little too commercial for the children’s book market.” If you get that comment it’s probably because they don’t feel like your work will fit in with the styles that fit with the market. It’s probably a little too slick or cartoony compared to what you might see in children’s books. Want to do children’s books? Spend a lot of time at the library. What are your favorite 10 children’s books? Consume children’s books. Can you imagine a college basketball player who wants to play in the NBA but can’t name any of their favorite players? Go to the library or the book store, make lists of what the best books have in common? What do they not have? You really need to be familiar with the different styles. Will’s best advice, create an amalgam of your top 5 children’s book styles. Animation has a very specific look to it that isn’t a very great crossover, it wouldn’t work as well. There are people who are in this no man’s land, between animation and illustration, they are not really desirable by either industry. Not enough structure for animation, and not enough playfulness or approachableness for children’s books. Mixture of not understanding illustration vs. animation. Usually a student sketchbook, 95% of the sketchbook: faces and heads or bodies. Need character in an environment. And Characters interacting in an environment. Action and emotion that’s probably at the top of Will’s list for all pieces. Especially if you are wanting to focus on narrative illustration. Recently, Will had a portfolio where it was obvious that the first piece was the best piece and there were a lot of awesome things about it that were missing in the rest of the work, it’s time to bring the rest of the work up to par. Will knew a guy, Carry Henry, who redid his whole portfolio in 2 weeks. He went to New York, and the art director, told him that his work looked student and showed him what they were looking for. Carry spent 2 weeks in New York working on a portfolio, in a crappy Motel. He didn’t sleep for 2 weeks and was really serious about getting a job. Have you ever had a time when art was the only thing that you care about for a certain period of time, and you put aside everything for your art career. Have you ever tried that? Go to children’s book publishers websites, they show you what a successful children’s book illustrator portfolio looks like. When you are new, your whole portfolio should cycle every 6 months. Portfolio Perfection 100+ Things you need to include in your children’s book portfolio. Formats and sizes: spot illustrations, vignettes, full page, spreads, room for text, covers Color schemes: full color, black and white, monochrome Ages: adults, teens, children, baby Gender: girls, boys, men, women Race: asian, Indian, Hispanic, Caucasian, African Groups Activities: families, friends, classmates, co-workers Character Consistency: animals, humans, creatures Animals: anthropomorphised: amphibians, mammals, fish, reptiles, insects, birds Creatures: robots, dragons, monsters, aliens, ghosts Vehicles: cars, trucks, busses, boats, planes, construction equipment, submarines, space ships Props: household items, garage, kitchen, farm, office, food, bathroom, attic, school, games, toys Environments: interiors, exteriors, modern, vintage, ancient, houses, apartments, land, sea, earth, outer space, dessert, forest, tropical, arctic Seasons and weather: winter, spring, summer, fall, rain, lightning, wind, snow, fog, cold, hot Lighting: morning, noon, evening, night, spotlight, fire, ambient, on camera, on camera hidden, off camera Surfaces: shiny, matte, textured, furry, translucent, rough Action: falling, breaking, sliding, moving fast, running, jumping, flying, rolling, skidding Emotion: anger, excitement, happiness, sadness, fear, confidence, curiosity, love, sleeping, pain Scale: huge objects, tiny objects Camera Angles: establishing, close ups, medium, distant, high angle, low angle, profile, dynamic, POV. Complex Images: multiple figures, multiple objects 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.

What if you could make money off of artwork you did years ago? That’s what Gina Lee does. She has a class on SVS where you can learn about how you can take artwork that you have already done or how to create new artwork that can be used for licensing (i.e. paper plates, decorations, etc.) You can check out that class here. This next week we will be releasing a Part 2, which will cover: Trend forecasting, developing your personal style so it’s more desirable to licensers, and how to create vision boards to help direct your work for what you want to do for licensing. Jake is reading, Keep Going” by Austin Kleon. One section is all about “Create For the Sake of Creating” and Austin talks about how you can sometimes just create something and then toss it, shred it or burn it. Create just for the sake of creating. It makes the creation all focused on the joy that comes from creating, not the end product. Sometimes we get so focused on the end product, whether or not we can scan it, share it, etc, that we lose sight of the joy of creation. Oftentimes kids only care about the experience of creating, they aren’t so focused on making something perfect. Sometimes it’s nice to not be so focused on the end product. Our topic today is: How to Convey a Message or Story With Your Art The Kick in the Creatives podcast covered this topic and they are tagging other podcasts to cover the same topic; we were tagged by them to go over this topic and they are wanting us to tag another podcast to then talk about this. Out tag is:(“One Fantastic Week”)(https://podcasts.apple.com/us/podcast/one-fantastic-week/id949599706). Storytelling As illustrators here, we are going to focus on how to convey a story with your art. Jake overheard this experience, when Will was teaching a class with Brian Ahjar about creating great backgrounds. Brian is really good at telling good stories with his art. Will and Brian were critiquing students work in their interactive class and the problem many of the students were having was that they were telling story fragments. Brian’s critique on a lot of the pieces was: “I don’t know what the story is.” Oft times the illustration can confuse the viewer more than it communicates something clearly. Just because you’re drawing a picture doesn’t mean that you are saying anything. That’s a problem you see a lot of times with amateur illustration work they just draw a character or an environment with no story in mind and oftentimes people don’t know what’s going on or have any deeper questions that they want to know more about after seeing the illustration. That’s what we want to go over: how to tell a story and why that’s so important as illustrators. Longevity, if something is going to be interesting for a long period of time, then it needs a story. On the other hand, sometimes people run into the problem where they tell too much story and it doesn’t give the viewer any work to do or allow the viewer to participate at all; there is a good middle ground where people can come back to it again and again, and depending on where they are in life, they can maybe read the image in a different way. Sometimes people paint a barn that has really no story to it, and unless it’s just amazing if it’s not telling a story then it’s not going to be as interesting. If you aren’t telling a specific story, often what you draw asks questions rather than answers questions. Sometimes you are asking more questions and making things more confusing than you are answering. I.e. Will saw this student’s illustration where there was this happy woman in the foreground looking over her shoulder and a happy dog trailing behind her, and then in the background there is a girl that is upset, but there are not cues as to why the child is upset. You might imply that this woman is the child’s mom and that she was happy from just disciplining her daughter. It seems that she almost has glee that her kid is upset, which probably wasn’t the illustrator’s intent. That’s an example of asking more questions than you are answering. You are asking more questions than you are answering, that is starting to move away from illustration and more towards fine art. Which can oftentimes be a lot more abstract and wanting the viewer to ask questions and think more. David Dibble does these amazing barn paintings, with terrific color, light and shadow, but when doing that these are more of a gallery piece, a decoration for someone with a lot of money to hang on their wall. They are a decoration. The piece’s purpose isn’t so much to communicate a specific story. Your job as an illustrator is to tell a story. Every image spurs a question in your viewer. Every image should elicit some sort of emotional response from the viewer It should make them laugh, or make them interested in the story or in the character, make them want to turn the page to see what is going to happen next, make them angry, inspire them, give them awe, etc. Really cool concept art: creates a feeling of really wanting to see the movie and make the viewer want to see those characters in the movie. Sometimes it is an action that is not resolved until the next page and it makes you want to flip the page to see what happens next. For illustrators, generally the response you want to evoke should be the same for a broad audience. I.e. a scary illustration for a scary book, you want everyone to feel the same way, there is some intent behind it. While for fine art they desired response may be more open and it may be a lot more open to interpretation. Always include a character or some sort of evidence of a character. Don’t make your images merely decorative. Will was giving a portfolio review and the very first image was really nice but it wasn’t telling a story. Sometimes as an artist you will make these “pinnacle pieces” that are better than anything else you’ve done. If you are trying to build a portfolio to do children’s book work, you don’t want to lead with a piece that isn’t telling a story. What are you saying to a potential client? Why the need for a character? Even if it’s a landscape it could be a castle in the distance, or a rusty car in the corner. It is almost like we are programmed to look for people and stories. If there is no character or evidence of a character it is hard to connect with the image, it just seems like a travel photograph. When there is a “character” like a rusty car it gets us to be involved in the story and it helps the viewer start to become involved with the story. An image of a snowscape is one type of scene vs. a snowscape with footprints in the snow. Use small details to add more depth to your images. Use small details to add more storytelling depth to your images. If Jake is drawing a character he will try and give a character a quirky addition to their outfit, or they are riding something interesting, or if they are riding a horse they are carrying something behind them, etc. Why do little details help to tell a story? They add character depth. Those little details tell a lot about the character and become very character building. All details are an extension of the character. If you look at a brand new neighborhood most of the houses look about the same and have very little character. They look like Monopoly pieces. However, if you look at that same neighborhood 50 years later you will have a very different experience. Fast forward 50 years, the houses will have all sorts of details that tell a story about the people who live there, the houses and all of their details have become extensions of the characters that live there. All of the details point to the character and tell a lot about them. Beginners often are resistant to using reference. It is an acquired skill to spend more time preparing for an illustration. Doing research before diving in and cranking out an illustration. Will used to have that disease and would just sit down and bust out an illustration in a couple of hours. I.e. Will saw a student’s illustration where there was this street corner, with a more contemporary car by a bus stop but it had a bench that was totally made up out of the student’s head. It didn’t look like any bench Will had seen before. It totally took Will out of the image and became a distraction. If you are draw a bench in a park, you could look at different periods of time or places and draw a bench that would feel accurate with the story that you want to tell. Lack of details can distract from the story. You don’t have to be a slave to your reference and copy it exactly. But let it inform your work. If you are trying to develop your own style, then make sure that all of the parts of your image match and feel like they are in the same world. You don’t want everything to feel informed and then have this wonky bench that doesn’t seem to fit in. You can’t make up an entire universe that has no reference point for the viewer. Lee illustrated this book called, Arctic White and the whole book is in a more rural setting with animal pelts, dogs, and bobsleds etc. and it’s about this girl who gets sick of the greys of her world and wants to see more color. Lee feels like when he introduced the new colors in the story he used the wrong color pallette and it felt like it was from WalMart and the colors were too bright and saturated, he wishes he had used colors that felt a little more natural, like ground up pigments, and that would fit in that world better. Look at the details in your piece and see if any of the details are detracting from the image or enhancing the image. Avoid the climax. You never want to show the actual climax. Your illustration should be something happening right before the climax or something that is happening right afterwards. I.e. a kid running down the sidewalk and he falls and trips on a stick. Do you show the kid tripping and his knee scraping on the ground? Or the kid running about to hit the stick and you can imply what will happen? Or show a broken stick and the kid on the ground crying? Which has the most storytelling power? Our April Art Contest is focused on that: “The moment before” The sequel to a book Will illustrated, Bonaparte Falls Apart, is Bonaparte Plays Ball, and in this story there is a part where he hits a homerun. Do you want to show the ball hitting the bat or the ball having already been hit? It’s actually boring to see the ball hitting the bat. You want to show the before or after, “Is he going to hit a homerun?” Or “Oh! He hit a homerun!” In terms of playing with the moment, Lee likes to think of the different sounds or level of activity that come with it. Whether something is quiet or loud. When you are thinking of pacing or if you are leading up to an action you can think of the different levels of “sound” that your images have. You can think about if you want your image to be loud or more quiet. Right before an action there is a heightened sense of potential energy, but it is still more quiet. i.e. someone lighting a fuse of dynamite. The actual explosion of the dynamite, is a loud moment. The aftermath, it’s more quiet again. You can think of the story and it’s pacing and what each moment need. You want to have moments of quiet balanced with the louder moments. You want to have the reader fill in the gaps. What to leave out is just as important as what you leave in. i.e. The Road Runner cartoons: a lot of action is just implied and not shown. So much of animation is anticipation. So much of what the Coyote does is just planning and scheming and building up the anticipation. You can build up anticipation and make the viewer start to wonder what is going to happening? You want to leave some things to imagination. Use composition and point of view. Think about worm’s eye view or bird’s eye view, they both have different emphasis, one makes things look large, the other makes things look small. The worst point of view to use is the mushy middle. Not at eye level, not at birds eye view, etc. When we are floating 12 feet above the ground looking down on something and it doesn’t feel intentional. You are the director, you get to decide where the camera is facing. David Hohn and Lee give a teacup and teapot assignment where students have to create 50 different images all playing with the camera and point of view. After the first 20 the students have to start becoming creative and that’s when the best stuff comes out. POV: Point of View. Compositionally, you can create an image where there is a visual hierarchy. Maybe there is an image with an initial focal point but then after seeing that there is a second or third layer of the composition that you then can notice. I.e. Illustration of a deserted island with volcano erupting (first read), and then after further looking at the image you see villagers escaping to boats, and all of these other details, building a wall to help slow down lava, etc. Give your viewer something to explore. Add details that your viewer will find the more they look at and explore the illustration. Add details or sometimes hidden things, where as they look at the image they want to explore it more. In Bonaparte Falls Apart, the main character is a skeleton, and there are lots of other scary characters like Blacky Widow. When they introduce Blacky Widow (she’s a black widow) Will tried to add spiderweb motifs to the furniture. And it gives the viewer something to look like other than the action. Where’s Waldo: it’s completely designed for exploration. Don’t be afraid to add those types of details to your illustration. Lee read this book, based off of A Christmas Carol but it’s all mice and everything is made out of things that mice would use, he read this to his son a few times, and it wasn’t until he had read it a few times that he noticed that the human version of the story was taking place in the background at the same time. Sometimes the detail is just fun stuff, sometimes it’s essential stuff. One time details weren’t clear in the text so Lee had to try and add details in the illustration to help make the story more clear. Little Critters books: there’s like a spider or some sort of bug in every illustration. Richard Scarry does it too, it’s the gold bug. Use Lighting to tell the story. How can you use lighting to tell the story? Just by changing the time of day that totally changes the illustration. If someone is running through the forest during the middle of the day, it’s one thing but if you change it to them running through the forest during the middle of the night, it’s completely different. Lee does a lot with time of day and seasonal cues but not so much with lighting or distinct light and shadow now. Will did this illustration of an attic. But then he lit it as if there was a little beam of light coming through the window and just by adding a beam of light it hit 5 different objects and it told a different story because of the objects it was emphasizing. The place with the highest contrast usually becomes the focal point, unless you have a spot of super saturated color that might stand out more. The highest contrast point becomes the focal point. Show something impossible that couldn’t happen becoming a reality. MC Escher’s crazy drawings. Lee likes to do illogical solutions for logical problems. Guy Billout: does something unexpected in each piece. Always ask self, Why am I drawing this piece? How can I make this interesting? If it’s not interesting draw more thumbnails until it is. There needs to be interest to it or some sort of storytelling. Lee tries to do something that is unexpected in each piece. There has to be some sort of hook to it, whether it is in the environment, etc. In Summary How to tell a story with your art: Every image spurs a question in your viewer. Every image should elicit an emotional response in the viewer. Always include a character or some evidence of a character. Use small details to add more depth to your images. Don’t show the climax, focus on the before or the after. Use composition and point of view Give the viewer something to explore Tell the story using lighting. Show something impossible becoming a reality. 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.

It's possible, we swear. Tune in to hear: Samantha Brown, host of PBS's Places to Love and mom to five-year-old twins Ellis and Elizabeth; Alex Postman, Condé Nast Traveler's features director and mom to Nell (12), Charlie (17), and Sam (19); Gina Lee, senior director of product at Priceline and mom to Sebastian (4) and Colette (5 months); Brian Sumers, senior aviation business editor at Skift and dad to Taylor (19 months); and host Laura Redman, Condé Nast Traveler's deputy digital director and mom to Hailey (18 months). See the full show notes at https://www.cntraveler.com/story/how-to-survive-holiday-travel-with-the-kids-travelogue-podcast.

Did you go to school for one thing only to end up doing something entirely different?  Most often these types of career pivots happen to us once we discover that we need to create. If you yearn to create art full-time but are in a job you know isn’t meant for you, Gina’s story will resonate with you. Gina shares what moved her to create art, how she got published in magazines and how it all lead to a book deal. Gina shares practical tips on how to keep inspired and how to work through obstacles. IN THIS EPISODE YOU’LL LEARN: How Gina used art therapy with her patients Why it's important to allow yourself to be a sponge for inspiration When Gina does her best work Why Gina loves watercolor paint and the secret benefits of painting with watercolor paints What gave Gina the bravery to pursue her artwork submissions Why it is important to carve out creative time How clutter can effect your creativity How Gina curates her studio space so that she is ready to create How organizing your supplies can re-acquaint you their purpose Why there is power in series work LISTEN TO THE SHOW Subscribe to Art Made Easy and receive new episodes directly on your phone via your podcast App.  Note: If you have an iPhone, subscribe in iTunes. If you have an Android phone, subscribe in Stitcher.   LINKS: Lisa Congdon & Kamala Chambers Thriving Launch podcast Cloth, Paper, Scissors magazine Hidden Brain from NPR Abby Glassenberg’s While She Naps podcast How I Built This from NPR Brains On! from NPR Planet Money from NPR How To Be Amazing with Michael Ann Black Before Gina became a nurse, she took her first watercolor class at a local community college while working at a corporate job. She continued her watercolor obsession and taught children, youth and adult watercolor workshops as a volunteer for the Audubon Society. She continued to teach as a nursing student. Gina is currently working on a watercolor and mixed-media book which will be out February 2018 (NorthLight Publishing). Create with Gina! Join us at the Deep Space Sparkle Workshop. Connect with Gina Gina's website Gina on Instagram Gina's Twitter Account

February 3, 2017, @ 8pm ET, Belle and Gina return! Belle and I have decided to return to the air waves!. Our new show, Live with Belle and Gina, airs every Friday @ 8pm. WE ARE BACK!  Yes, its true!  The vintage "Meta-duo" are back!  Live with Belle and Gina are returning to educate you on all things metaphysical. We will have guests who are top in their field.  We will take calls from you with an open topic night once a month, this allows you to ask questions, talk with the ladies, and maybe have a laugh or two!.  Audience interaction is encouraged, so join us in the chatroom to comment and ask questions. We want to interact with you to have the best experience possible! xoxoxBelle and Gina

dirtyswift.com facebook.com/dirtyswift twitter.com/dirtyswift soundcloud.com/dirtyswift youtube.com/djdirtyswift 1. The Champ is here Intro 2. Wiz Khalifa - Work Hard Play Hard 3. Dorrough Music - Chug 4. Memphis Bleek - All I Do Is This (featuring Gina Lee) 5. Driicky Graham - Snap Backs & Tatoo's 6. Caspa Narkz - 8 Clouds Of Yum (Feat. Troy Ave) 7. Big Sean & Meek Mill - Burn 8. Future - Parachute (Ft. R. Kelly) 9. Timbaland - Break Ya Back (Feat. Dev) 10. Too Short - Shut Up Nancy (Feat. Kokane) 11. El-P - The Full Retard 12. Fabolous - Got That Work 13. Meek Mill - Flexin On Em 14. Kanye West, Chief Keef, Pusha T, Big Sean, Jadakiss - I Don't Like 15. French Montana - Everythings a Go 16. Future - Magic (Feat. T.I.) 17. Gucci Mane - Plain Jane (Ft . Rocko, T.I.) 18. 2 Chainz - No Lie (Feat. Drake)  19. Drake - HYFR (Hell Ya Fucking Right) [feat. Lil Wayne] 20. Meek Mill - Amen (Ft Drake & Jeremih)

In this episode, we discuss the preliminary investigation of the administration building at Central State Mental Hospital in Indianapolis, IN. We are also happy to announce the addition of our newest co-host, Gina Lee.