Podcasts about Illustration

Why does fostering community matter? Jake Parker, Sam Cotterill, and Lee White share the benefits of a solid creative network (with a bonus discussion about what makes a best-seller!). 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Disgust is a strong emotion, one designed by evolution to protect us from danger and diseases. But disgust also spills into other areas of our lives, influencing our morals, our intuitions about right and wrong, even our politics. We talk with psychologist David Pizarro about how disgust is used to persuade and divide us, and why it remains such a potent force in public life today. Then, in our latest installment of “Your Questions Answered,” Huggy Rao returns to respond to listeners' thoughts and questions about why big ideas fail. There's still time to join Shankar at one of our upcoming stops on Hidden Brain's live tour! Join us in Philadelphia on March 21 or New York City on March 25. And stay tuned for more tour dates to be announced soon!  Illustration by Alvaro Montoro for Unsplash Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

How do planetary systems form? If you wanted to observe them, where would you look and what would you look for? To find out, Dr. Charles Liu and co-host Allen Liu welcome Luke Keller, professor of Astronomy and Physics at Ithaca College, who together with his team has identified 9 of these early solar systems. As always, though, we start off with the day's joyfully cool cosmic thing: a recently published paper that determined that at any given time, it is likely that a couple of extrasolar objects like 3I/ATLAS and Oumuamua would be present in our solar system. The real issue is detecting them. For context, Luke, whose science has focused over the years on finding debris from solar systems, explains how protoplanetary discs can eject matter that ends up orbiting that star. He's especially fond of cosmic dust, “the catalyst for the formation of planets and asteroids and comets…” Then it's time for a question for Luke from the audience, from Elisa: “I heard that the James Webb Space Telescope sees infrared light. How does that work? Does that mean it couldn't see the Sun?” Luke breaks down the various wavelengths of light and our Sun. He also explains how the JWST works and why it never looks at the sun. It turns out that Luke has built a variety of astronomical instruments including imaging and spectroscopic tools with for large observatories. He's also used information from instruments like JWST in his studies of the formation of stars and solar systems. Luke explains how his teams search for preplanetary solar systems, what they're looking for, and where they're currently looking: associations of stars in the direction of the constellations Taurus, Scorpius and Chamaeleon. All told so far Luke and his team have identified 9 of these early solar systems. He then breaks down the current thinking on how planetary systems form from clouds of dust. He explains some of the processes that involves, along with the types of planets that may form. For our next audience question, Joan asks, “What do you think is the most interesting constellation?” Luke picks two: first, Ursa Major, aka “The Big Dipper,” because he grew up in Alaska and saw it all the time – along with “auroras all the time.” The second constellation he picks is Orion, aka “The Hunter,” because it contains some of the closest star forming regions of our galaxy. Luke unpacks the difference between “watching the sky” and “observing the sky” – and why he encourages the latter to both his students and the general public. And before the episode is over, we get to hear about Luke's live show, Spacetime, where he collaborates with poet David Gonzalez and guitarist Álvaro Domene in a stage performance that's equal parts astrophysics, poetry, and music. If you'd like to know more about Luke's show, Spacetime, check it out at https://spacetimeshow.org/. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: Image of a young sun-like star encircled by its planet-forming disk of gas and dust. – Credit: NASA/JPL-Caltech edited by Invader Xan. Artist's impression of the interstellar interloper 1I/ʻOumuamua making a visit to our solar system. – Credit: NASA, ESA, and J. Olmsted and F. Summers (STScI). Spectral distribution of sunlight. – Credit: Creative Commons / Rhwentworth. The Taurus-Auriga association, also known as the Taurus-Auriga molecular clouds, is a stellar association located around 140 parsecs (420 ly) from Earth in the constellation of Taurus. It is the nearest large star formation region to Earth. – Credit: ESA/Herschel/NASA/JPL-Caltech; acknowledgement: R. Hurt (JPL-Caltech) The constellation Taurus as seen by the naked eye. The constellation lines have been added for clarity. – Credit: Creative Commons/ Till Credner - Own work, A Visual Guide to the Constellations. Artist's impression of a young star surrounded by a protoplanetary disk in which planets are forming. – Credit: European Southern Observatory. Illustration comparing the sizes of various exoplanets with Earth, Mercury and the Moon. – Credit: NASA's Goddard Space Flight Center. The constellation Ursa Major as it can be seen by the unaided eye.– Credit: Creative Commons / Till Credner - Own work: AlltheSky.com. Composite image comparing infrared and visible views of the famous Orion nebula and its surrounding cloud, an industrious star-making region located near the hunter constellation's sword. The picture at left was taken with the Infrared Array Camera on board NASA's Spitzer Space Telescope, and the picture at right is from the National Optical Astronomy Observatory, headquartered in Tucson, Ariz. – Credit: NASA/JPL-Caltech/Univ. of Toledo/NOAO. Image showing Betelgeuse (top left) and the dense nebulae of the Orion molecular cloud complex. – Credit: Creative Commons / Rogelio Bernal Andreo

durée : 00:04:33 - Le Reportage de la rédaction - Les épisodes de fortes chaleurs se multiplient tous les ans dans la Drôme, si bien que la question de l'adaptation des établissements recevant du public, et en premier lieu les écoles, est devenue prioritaire pour toutes les municipalités du département. Illustration à Valence.

THE MAGAZINE OF THE MONTH CLUB — One of the things I've learned while hosting this podcast is that there are a lot of magazines out there. More than I imagined. Meaning there was never a “death of the magazine,” simply a realignment of dollars and attention. If anything, there are more magazines being published than ever.  But, and it's a big but, they are harder and harder to find. There are fewer magazine stores. There are almost no newsstands, at least in North America. And bookstores, well, ok, go to your local bookstore and good luck. Which brings us to Steve Watson. He worked in the industry and he lived what was happening to it. And so he created Stack which is, essentially, a discovery system. Or a club. Call it The Magazine of the Month Club. Join it and you receive random independent magazines from around the world, chosen by Steve—or curated, let's use the word—curated by Steve, and if you like the magazine, great, go out and subscribe to it, and you've just expanded your world.  I asked Steve about the changes in the industry, how he builds community and what the future of magazines might be. He's an optimist. And that makes me feel good about things. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

What's the difference between a concept and a conceit — and why does confusing the two quietly sabotage so many comics? In this episode, Brad and Dave break down one of the most important (and misunderstood) distinctions in storytelling. A concept is the engine that drives your story forward. A conceit is a clever wrapper that might look great… but doesn't go anywhere. If you've ever launched a comic that felt strong at first but ran out of momentum, this conversation will hit home. We talk about: Why constraints actually fuel creativity How to test whether your idea has real staying power The danger of building a comic around a gimmick And how to strengthen your story before you spend months drawing it Today's show: A comic without recurring characters UPDATE: ComicLab accent challenge UPDATE: Amazon Advantage UPDATE: DoubleDogBook.com How to do a sarcastic word balloon Takeaways Character design plays a crucial role in storytelling. Comics can thrive without a central protagonist. Idea-driven comics have historical precedence. Naming a comic can be a challenging but essential task. Feedback is vital in the creative process. Constraints can enhance creativity and focus. Monosyllabic titles are often more memorable. A good title can significantly impact a comic's success. The creative journey involves trial and error. Sharing ideas at smaller levels can reveal what resonates. Avoiding sunk cost fallacy is crucial in decision-making. Amazon Advantage can lead to unexpected losses. Understanding the costs of shipping is essential for profitability. Sarcasm in comics requires careful visual and textual cues. Bold lettering can enhance the impact of sarcasm. Walt Kelly's techniques in lettering were innovative but sometimes excessive. Comic creators should consider the visual presentation of dialogue. A well-crafted word balloon can convey emotion effectively. The legacy of past cartoonists informs current practices. You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Faut-il vraiment s'inquiéter de la dark romance ? Pourquoi ce genre plaît autant ?Mina et Jade sont accompagnées d'Amandine et Julie du podcast Romantrique ! L'occasion de parler enfin de Dark Romance, le genre littéraire qui cartonne en librairie autant qu'il fait scandale. Pour ce faire, on a lu le premier tome de Cruels Garçons perdus, une saga de Dark Romance au pays imaginaire avec Peter Pan où se mêlent syndrome de Stockholm, situation de domination et harem inversé.Pour plus de contenu exclusif et chaud comme la braise, viens suivre le N'importe cul sur InstagramSi tu es curieuse·x...Attention ! Certaines de ces pages internet hébergent des contenus non adaptés à un public de -18 ansLa saga Cruels garçons perdus par Nikki St. CroweÉcouter le podcast Romantrique et retrouvez-les sur instagramCréditsCréé et animé par Mina et Jade. Produit par Mauvaises Ondes. Générique par Maxence Moogin. Musique de Stefano Mastronardi. Illustration d'Amandine Jonniaux. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode of The David Watson Podcast, I'm joined by Trisha Gardella, a children's author with 30 published books and the creator of a beloved picture-book series featuring Mouse, a tiny character with a big message: never give up. Trisha shares how her passion for America's national parks became the heart of her stories, why kids' books must be fun first (with deeper lessons quietly woven in), and how creativity often comes from “listening” to the characters that show up in your imagination. We also talk about resilience, adapting when life changes direction, and her calm, grounded outlook on mortality after being diagnosed with hypertrophic cardiomyopathy (HCM) at 33. If you love writing, creativity, children's books, national parks, or conversations that leave you feeling lighter and more hopeful, you'll enjoy this one. Guest and links Trisha's website: https://triciagardella.com/ Topics we cover Writing picture books that children actually want to read How Mouse became a 12+ book national parks series   Protecting national parks and helping kids care about nature Creativity, ideas, and “letting the story lead” Resilience, detours, and finding joy in each phase of life HCM, mortality, and a surprisingly peaceful mindset Illustration, collaboration, and how Trisha finds artists

Award-winning illustrator Raissa Figeuroa joins Sam Cotterill and Lee White to share her path from making art part-time to becoming the illustrator of over 25 books in 5 years.  3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

How can ADHDers thrive at work? Navigating the workplace with ADHD presents unique challenges, but it also offers a distinct set of strengths and perspectives. Unlocking our best work can require a tailored approach: “gamifying” mundane tasks, offloading cognitive weight to digital tools, and finding unconventional ways to manage energy, focus, and time. When combined with foundational self-care, these strategies can transform perceived limitations into powerful creative assets. The strategies themselves often become valuable contributions to the wider team. For instance, visual storytelling can help an ADHD mind retain complex information and, at an organizational scale, that same approach becomes a pillar of an inclusive, high-impact communication strategy. On this episode of Just One Q, Dominique chats with guest Scott Mooney, an award-winning educational illustrator with over 30 years of experience. Scott shares candidly about his late diagnosis of ADHD, his specific strategies for self-management and productivity, and how visual storytelling can bridge communication gaps in the workplace. Keep Up with Scott: https://www.moon-man.com/ Try Learning Snippets: https://dialectic.solutions/signup Contact Us to Be a Guest on Just One Q: https://dialectic.solutions/podcast-guest  

Pre-order Drawing is Important — http://tomfroese.com/bookIn this episode, I take on the "myth of artistic looseness." We often envy the "spontaneous" energy of artists like Quentin Blake, but the truth is that looking effortless requires a tone of effort. I dive into why your final illustrations feel "stiff" compared to your sketches and how to bridge that gap through what I call supervised spontaneity and confidence from competence. IN THIS EPISODE • Three observations about artistic looseness • How to build "chaos" into a repeatable process.  • The Take-Two-ness of Glenn Gould: Why the best work happens in the studio, not live.  • Why even pros like Sir Quentin Blake struggle with achieving looseness. • The Exercise: A three-stage drawing challenge to help you unlock creative freedom in your drawings.EPISODE LINKS • Quentin Blake shares about his artistic neurosis in "How I draw" — https://quentinblake.com/about-drawing/how-i-draw • Glenn Gould Poster (Tom Froese, for Polaris Prize) — https://www.tomfroese.com/work/polaris-music-prize-glenn-gould • Glenn Gould's "Take-Two-Ness" — https://en.wikipedia.org/wiki/BachTheGoldberg_Variations_(Glenn_Gould_album)HOW TO SUPPORTYou can support Thoughts on Illustration by: • Sharing this episode with a friend • Leaving a comment • Leaving a rating or review on Apple Podcasts • Following the show / subscribing to this channel • Becoming a paid supporter here or on Patreon — ⁠https://patreon.com/tomfroese⁠FIND ME ELSEWHERE • Website — https://www.tomfroese.com • Instagram — https://www.instagram.com/mrtomfroese • Daily Drawings — https://www.instagram.com/drawingisimportantCREDITSMusic and cues by Mark Allan Falk — https://linktr.ee/semiathleticDRAWING IS IMPORTANT — NOW AVAILABLE FOR PRE-ORDERMy new book, Drawing Is Important, is your guide to making drawing a meaningful daily habit. Through stories, insights, and exercises, it helps you draw more often—with less pressure and more joy. Available 7 April 2026 — Pre-order now! The first 500 orders get a free hand-signed book plate! Look for "get pre-order prizes" after clicking the link.Pre-order Drawing is Important — http://tomfroese.com/book

I. Welcome and Mission of Victory Church Podcast welcome and explanation: messages from pastoral staff and guest speakers from Sunday worship services. Statement of Victory's mission: reaching the lost, restoring the broken, and reviving believers. Brief personal remark from the speaker about still feeling new when coming up to preach. II. Introduction to Psalm 27 and Context Request for Psalm 27 to be put on the screen; announcement that this will be the main text. Expression of gratitude to volunteers who cleared snow in the parking lot and reminder about tight parking conditions. Mood set: “We're here to worship the Lord” despite inconveniences with snow and parking. Personal memory of an elderly woman at the former Admiral Street location who would quote Psalm 27:1 with conviction. Pivot from original planned message to God's redirection toward Psalm 27 and the theme of light. III. Theme Stated: The Light of the World Working sermon title given: “The Light of the World,” referring to Jesus. Explanation that light in the Bible symbolizes God, His holiness, and the only true light for the world. Connection of light and salvation as inseparable in Psalm 27:1. Reference to Jesus' “I Am” statements in John, especially “I am the light of the world” (John 8:12), and other Johannine references to Jesus as light. Reference to Matthew 4:16: those who sat in darkness have seen a great light. IV. Exposition of Psalm 27:1–3 – My Light and My Salvation Reading Psalm 27:1–3 and identifying it as a psalm of David. Explanation: David expresses jubilant confidence and courageous trust in the Lord despite many enemies and constant threats. Clarification that courage is not human toughness but trust in God's strength in our weakness. Application: believers also face struggles, conflicts, curveballs, and unexpected changes in life. Definitions: Light dispels darkness, brings understanding, joy, and life. Salvation moves us from a bad place to a good place, is a stronghold—a fortified place where harm cannot ultimately penetrate. Rhetorical question: If God provides light and salvation as a stronghold, whom shall we fear? Encouragement not to be moved by what we see, hear, or feel, but to rest in the Lord as our light and salvation. V. We Are Also Called Light Jesus is the light of the world, but believers are also called the light of the world. Exhortation not to hide our light “under a bushel,” alluding to the children's song “This Little Light of Mine.” Emphasis that this is not only about outward evangelism but about the inner personal light Christ places within each believer. Warning against living in a semi-dead or dim spiritual state; God wants His light to permeate and shine through our lives. VI. Example of persevering faith: The Elderly Woman Return to the story of the elderly woman who quoted Psalm 27:1 every week with conviction. She did not allow age, aches, or pains to diminish her confidence that the Lord was her light and salvation. Personal connection: the preacher knew her family's challenges, including a wayward grandson he once chased as a police officer. Point: her declaration flowed from real experience of God's faithfulness, and she repeated it to impress the same mindset on others. Application: adopt that same resolute mindset when life throws curveballs and when darkness tries to extinguish our light. VII. Light Versus Darkness in Everyday Life Illustration: physical darkness in a room and how even a small light (like an alarm clock display) helps navigate. Spiritual point: darkness cannot snuff out light; light forces darkness to flee when switched on. Observation that sinful and harmful acts often take place under cover of darkness, but God's light exposes and displaces them. Encouragement that if a believer's light feels dim, turning to Scripture (God's Word as lamp and light) brightens the path. VIII. God's Presence in Our Circumstances – He Never Leaves Us (Psalm 27:8–10) Reading Psalm 27:8–10: call to seek God's face and plea that God not hide His face or forsake His servant. Explanation: David felt circumstances getting the best of him—delays, disappointment, and possible abandonment even by parents. Emphasis that God never leaves or forsakes His people even when others do or when we are imperfect. Illustration: the “hound of heaven” image for the Holy Spirit persistently pursuing believers. Personal story: driving past the soccer coach's broken-down car and joking that he did not make the team—contrast with God never passing us by on the roadside. Teaching that God is already present in our troubles before we arrive there; He walks on the storms and invites us, like Peter, to trust Him. IX. Seeking God's Perspective and Fullness David's turning point: he inquired of the Lord and let God's presence enter his doubts and struggles. Call to put God's will first rather than our own, as Jesus prayed “not my will but yours.” Encouragement to seek God's fullness—fullness of faith, joy, and strength—rather than settling for half measures. Analogy: we often try to clean ourselves up before coming to God, but that is why we got into a mess; God wants us to come as we are. X. God's Faithfulness Across Scripture and Time Affirmation that God's promise to never leave or forsake His people runs from Deuteronomy through the New Testament. Reference to Jesus' promise in Matthew 28: He will be with His disciples to the very end. Explanation of “forever and ever”: God doubles the language to emphasize that His faithfulness truly does not end. Reminder that creation itself groans and anticipates His coming, and that we are made in God's image and likeness. XI. Do Not Lose Heart – Waiting with Faith (Psalm 27:13–14) Reading Psalm 27:13–14: “I would have lost heart unless I had believed that I would see the goodness of the Lord in the land of the living.” Description of the human heart as fickle and deceitful, prone to discouragement and self-pity (“I'm the only one”). Encouragement to “let God arise” so that fears and doubts are scattered, echoing older worship songs. Clarification that God's goodness is not just future but is seen “in the land of the living,” in our present lives and situations. Exhortation to wait on the Lord—not passively, but in faith, expectation, and confidence that God will strengthen our hearts and align our desires and will with His. XII. From Psalm 27 to Psalm 28 – From Pleading to Praise Brief look ahead to Psalm 28 as a psalm of rejoicing for answered prayer. Reading Psalm 28:6–7 to show David's transition from trouble to praise: the Lord heard his supplications, became his strength and shield, and filled his heart with rejoicing and song. Application: as we trust God as light and salvation, He turns prayers into testimonies and darkness into worship. XIII. Corporate Communion and Response Instruction for the congregation to come out of their seats, fill the aisles, and gather together for communion as an act of koinonia (fellowship). Emphasis that believers are building relationships with those they will be with in eternity; encouragement to love one another now. Communion teaching: The bread represents Christ's body broken so ours need not be ultimately broken by sin's effects; He provides wholeness of mind, body, and spirit. The cup represents Christ's blood shed for forgiveness of sins so we can spend eternity with Him rather than separated. Note that no one is “worthy” in themselves; Jesus did this for us while we were ungodly. Congregational declaration: “The Lord is my light and my salvation; of whom shall I be afraid? The Lord is the strength of my life; whom shall I fear?” XIV. Final Blessing and Dismissal Pastoral prayer: asking God to bless and keep the people, cause His face to shine on them, give peace, strength, and joy of salvation. Reminder that the Lord is their light, strength, and provider today, tomorrow, and for eternity. Practical closing: caution to be careful in the parking lot and invitation to midweek service. Closing thanks to listeners of the sermon and mention of Victory's location at 321 Veazie Street.

« Viens, on va dans un café, on s'installe à une table et on ne prononce aucun mot. On se dévisage, on s'exprime avec nos gestes, nos regards, nos sourires... Et ce n'est qu'au bout d'un certain temps, si on le veut, bien sûr, que l'on s'adresse la première parole. Ou que l'on se quitte, sans connaître la voix de l'autre. » Suite à plusieurs déceptions amoureuses, Roméo, un jeune homme d'une vingtaine d'années, propose à des femmes et des hommes de se rencontrer, en silence.  Originaire d'Ukraine, Ruslan Hordiienko arrive en France en 2015, à l'âge de dix-sept ans, pour étudier l'art dramatique à Strasbourg, Colmar puis Lyon. Aujourd'hui, il mêle théâtre, mouvement, performance et écriture dans sa pratique artistique, il écrit en français et Enfin silence est son premier roman. Extrait : Je suis tombé amoureux d'une fille. Un jour, je lui déclare mon amour, mais cet amour n'est pas réciproque. Nous devenons tout de même amis. Nous nous voyons fréquemment, jouons aux échecs et nous enivrons ensemble. L'amour m'apparaît à nouveau concevable, son refus à elle, précipité, ses yeux avides. Je commence à traduire tous ses gestes comme une invitation, tous ses regards comme une déclaration. Toutes mes pensées lui sont destinées, mon temps lui est dévolu, mes rêves lui sont dédiés. Je vois mon amour affamé, et bien que je m'efforce toujours de le lui cacher, je sens qu'elle le devine. Un soir, après une projection de film chez elle, je reste seul une vingtaine de minutes dans le hall de l'immeuble, à m'infliger le reste de la bouteille de vin qu'on avait entamée ensemble. Sûr de vouloir lui dire je t'aime. Certain de cette réciprocité. Impatient d'y céder. Je remonte, frappe à sa porte, gêné par ces mots que je suis sur le point de lui livrer, convaincu pourtant qu'elle les attend. Je lui confie 'je t'aime', je compte sur un 'moi aussi'. Non. Elle déclare n'éprouver aucune attirance pour moi, aucune passion, aucun amour. Rien. Nous nous quittons en nous prenant dans les bras, et j'associe désormais cette étreinte à un espoir mourant. Puisqu'alors je vivais dans un déni que seuls les mots ont su briser, je cherche à mieux saisir ce qui se dit sans eux, la manière dont je perçois le silence et dont je l'interprète. Me vient l'idée de m'imposer le silence comme une contrainte : si je ne l'apprivoise pas, il continuera d'inventer ses propres histoires. Je décide de rencontrer des gens sans échanger un mot, pour comprendre et réussir à ne parler qu'avec le corps. Pour tenter de lire dans un regard, un geste, un pli du visage : aveu, désir, proposition, rejet, indécision. De sorte à ne plus jamais être blessé. Comme c'est dans l'attirance et la séduction que naît mon tourment, j'en fais le point de départ. Je télécharge des applications de rencontre, sous un faux nom, par anticipation, car les mots et les prénoms n'auront pas leur place, et j'écris en description : « Viens, on va dans un café, on s'installe à une table et on ne prononce aucun mot. On se dévisage, on s'exprime avec nos gestes, nos regards, nos sourires… Et ce n'est qu'au bout d'un certain temps, si on le veut, bien sûr, que l'on s'adresse la première parole. Ou que l'on se quitte, sans connaître la voix de l'autre. » (Les éditions les Pérégrines) Illustration musicale : « La tendresse », de Marie Laforêt.

Cornelia Funke bietet jungen Künstlern und Künstlerinnen die Möglichkeit, eine Weile bei ihr in der Toskana zu leben und zu arbeiten. Auch die Illustratorin Pauline Pete aus Fulda war bei der berühmten Autorin zu Gast und hat gerade gemeinsam mit ihr ein Buch veröffentlicht. Es geht um den Krieg und wie die Kunst die Hoffnung hochhalten kann. Ein Gespräch über die Zeit in der Toskana und welche Voraussetzungen es braucht für gute Illustrationen. Illustration: Pauline Pete Cornelia Funke bietet jungen Künstlern und Künstlerinnen die Möglichkeit, eine Weile bei ihr in der Toskana zu leben und zu arbeiten. Auch die Illustratorin Pauline Pete aus Fulda war bei der berühmten Autorin zu Gast und hat gerade gemeinsam mit ihr ein Buch veröffentlicht. Es geht um den Krieg und wie die Kunst die Hoffnung hochhalten kann. Ein Gespräch über die Zeit in der Toskana und welche Voraussetzungen es braucht für gute Illustrationen. Illustration: Pauline Pete

This week, we welcome the brilliant Dylan Meconis, creator of Queen of the Sea and Bite Me. Here's what we cover: How most colorists actually break in (hint: it's not by “murdering another colorist in single combat” — though that was discussed) What “flatting” is — and why it's often your first step into paid coloring work Why networking is really just “being friends with cartoonists” Portfolio strategy: Why saying “I do everything” is less effective than saying “I do this brilliantly” Analog coloring techniques — watercolor paper, oil-based pencils, and why certain materials go extinct at the worst possible moment The realities of scanning physical art (and why scanners are basically cameras on an arm) How to handle black plates, rich black, and avoiding fuzzy type in print If you've ever wondered whether coloring could be an income stream for you — or how to level up your current process — this episode is a masterclass. Products and Programs mentioned on the show Note: Some of the links are affiliate links WildCraft Studio is in Portland, Oregon.  PITT monochrome oil pencils by Faber-Castell Watercolor paints, Daniel Smith brand Watercolor paper (cold press) by Arches White watercolor paper, Dick Blick house brand Epson scanner, Perfection series Epson scanner, Workforce series Colored pencils, Caran d'Ache Summary In this engaging conversation, the hosts welcome cartoonist Dylan Meconis to explore various topics including coloring techniques, the integration of digital and traditional media, and the importance of choosing the right materials for comic creation. Dylan shares insights into her unique artistic process, the challenges of color printing, and the significance of lettering in comics. The discussion also highlights the value of collaboration and the joy of discovering new art supplies. Takeaways Dylan Meconis emphasizes the importance of using various mediums in art. The process of creating 'Queen of the Sea' involved unique coloring techniques. Dylan's artistic process includes both traditional and digital methods. Choosing the right materials can significantly impact the final artwork. Scanners play a crucial role in capturing traditional art for digital use. Lettering is an essential aspect of comic creation that requires careful consideration. Collaboration with other artists can enhance the creative process. Experimenting with different art supplies can lead to unexpected discoveries. Understanding color printing challenges is vital for comic artists. Dylan's approach to art is influenced by her background and experiences.     You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

I'm thrilled to have Lauren Fleshman on the pod today (wooo!) Lauren Fleshman is one of the most highly decorated professional runners in the US. She is also an award winning author. Her book, Good For A Girl, was a life changer for me. I had the supreme joy of joining one of her WILDER retreats this fall in the French Alps (!) where she led us as we ran, wrote and surpassed ourselves every day. Today we talk about running, women in sports and the multitude of pressures that come with athletics. I learned so much just in this convo! I hope you do too. Please remember to like, comment, share and subscribe wherever you get your pods - it actually really makes an impact on getting this pod to new listeners! You can buy Lauren's book HERE Connect with her HERE See more of her work and retreats HERE We also referenced Christine Yu, her book Up To Speed, and my conversation with Christine on THIS EPISODE . It's a great conversation on the inequality of sports equipment with a notable story nude cycling in order to best understand saddle needs! Busy Body is now on PATREON! Please join us there if you are a regular listener. New sign ups get a pack of stickers hand sent by me AND new tiers including 'unfiltered' conversations. I hope you'll join me there! You can also find my writing on these subjects and much more at After Class on Substack  Please take a moment to like, share, comment or rate and review this podcast wherever you are listening to it! Doing any of those things help more people to find this pod! Music by Rob Byrne, performed by the Wild Yaks. Podcast produced by Brad Parsons at Trains Sound Studio. Illustration by Azul Trejo.

Au programme de l'émission du 25 février : avec Marie Caudry, illustratrice et réalisatrice ; et avec Carole Chaix, illustratriceCINÉMA D'ANIMATION  - interview de Marie Caudry - c'est à 06 min✅L'Ourse et l'Oiseau est le titre du programme de quatre courts-métrage d'animation sorti en salles la semaine dernière pour les enfants dès 3 ans (distribué par Little KMBO). Parmi eux, le film (26 min) qui donne le titre à ce programme a été réalisé par l'illustratrice Marie Caudry (produit par Miyu productions). Il est adapté de l'album Les lettres de l'ourse, conçu avec Gauthier David à l'écriture et paru chez feu les éditions Autrement jeunesse en 2012, et disponible aujourd'hui chez Casterman.Synopsis : Au cours de l'été, une ourse et un oiseau sont devenu·es inséparables. Quand l'automne arrive, il faut se rendre à l'évidence : bientôt l'ourse devra hiberner et l'oiseau devra migrer – l'une rêvera tandis que l'autre voyagera. L'heure des adieux approche… Mais on souffle alors à l'ourse une idée extraordinaire qui va changer son hiver.

Should you choose a niche and settle in, or follow the winds of inspiration? Jake Parker, Sam Cotterill, and Lee White teach how to pick the path that aligns with your values in this live-recorded Q&A.  3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Guiding Question What does it mean to "die to self," and why is it essential for experiencing the power of Christ in the Christian life? Summary This message centers on the theology of the cross—particularly the believer's need to die to self in order to experience the resurrection life and power of Christ. Drawing from Paul's letters to the Romans and Corinthians, the sermon emphasizes that surrender, not self-effort or religious performance, is the path to spiritual vitality. Through biblical exposition and a vivid personal story, Dr. Lewis argues that true Christian transformation occurs when we lay down our lives and live by the resurrection power of Jesus Christ. Outline I. The Theological Foundation (Romans 6:5–13) Believers are united with Christ in both His death and resurrection. “Consider yourselves dead to sin, but alive to God” (v. 11). Do not let sin reign in your mortal body; live free through Christ. II. Paul's Strategy in Corinth (1 Corinthians 2:1–5) Paul chose not to use clever speech or worldly philosophy. He focused solely on preaching “Christ and Him crucified.” Corinthian culture mirrors modern American culture—immoral, materialistic, prideful, yet spiritually empty. III. The Cost of Discipleship (Mark 8:34–35) “If anyone would come after me, let him deny himself and take up his cross.” Resurrection life is not possible without first dying to self. Many desire God's blessings, but not at the expense of personal surrender. IV. Illustration from Personal Experience A difficult trip to Israel revealed the limits of human strength and leadership. When the speaker finally surrendered to God amid exhaustion, he experienced supernatural peace and strength. The turning point came only after fully dying to self. V. Paul's Personal Struggle (2 Corinthians 4:7–12) Paul ministered in physical weakness, fear, and trembling. Despite suffering and persecution, he continued by dying daily to himself. His weakness became a vessel for Christ's power and life to shine through. VI. The Real Source of Power (1 Corinthians 2:5) Faith must rest not in human wisdom, but in the power of God. Christianity is not merely intellectual or theoretical—it is transformational. Key Takeaways You must die to self to live in Christ. There is no spiritual power without surrendering your will. Christian mediocrity often stems from self-centeredness. We desire spiritual benefits without laying down our lives. Resurrection power follows crucifixion. We cannot know the power of Christ's life without embracing His death. Paul modeled this principle in weakness and suffering. His effectiveness came from his daily crucifixion of self. God's power is made perfect in our weakness. The end of self is the beginning of God's strength (cf. 2 Corinthians 12:9). Scriptural References Romans 6:5–13 – United with Christ in death and life; dead to sin, alive to God. Galatians 2:20 – “I have been crucified with Christ…” Mark 8:34–35 – Take up your cross and follow Jesus. 1 Corinthians 2:1–5 – Paul's preaching: not in wisdom, but in the power of God. 1 Corinthians 3:3 – “You are still fleshly…” 2 Corinthians 4:7–12 – Dying to self so Christ's life may be revealed. Galatians 4:13 – Paul preached due to illness, revealing physical weakness. Recorded 6/21/81

Pour sa transition énergétique, le monde a besoin de minerais présents en masse dans les sols riches du continent africain. Cette course aux minerais stratégiques s'accélère, notamment avec le rapprochement États-Unis-RDC. Mais comment le continent peut-il vraiment tirer profit de la demande mondiale ? Illustration avec deux initiatives : mieux connaître ses sous-sols et réussir à négocier des contrats équitables. Avec notre envoyé spécial au Cap,  On dit souvent que l'Afrique détient 30 % des minerais stratégiques. Mais pour le professeur Glen Nwaila, directeur du Centre africain de recherche sur les systèmes de minerai à l'université de Wits, l'exploration est encore trop peu financée sur le continent pour vraiment avancer des données précises. « Le plan pour l'avenir, afin de mettre à jour ces ressources, consiste donc en premier lieu à consolider les données africaines, souligne-t-il. Si vous recherchez des cartes géologiques et des gisements minéraux en Afrique, vous ne trouverez jamais de carte unique et unifiée. » Pour le chercheur, cette unification est essentielle, « car une fois que l'on dispose de plusieurs couches de preuves géologiques de gisements minéraux, on peut alors utiliser l'intelligence artificielle pour affiner la zone de prospection, puis des algorithmes pour définir les cibles dans différents pays. » D'autant plus qu'un état des lieux plus précis rassure les investisseurs internationaux, rappelle le professeur Nwaila. « Cela leur donne l'assurance que leur achat ou leur investissement générera les rendements escomptés. Et vous, ça vous permet donc de négocier un accord plus avantageux », estime-t-il. À lire aussiMinerais critiques en Afrique: «L'objectif est de devenir un continent où il y a des mines et des raffineries» Mieux négocier les contrats Les négociations représentent une étape cruciale pour que les gouvernements tirent vraiment profit de cette demande presque exponentielle en minéraux stratégiques, estime Olivier Pognon, directeur de l'ALSF – la Facilité africaine de soutien juridique, une organisation hébergée par la Banque africaine de développement et qui conseille les gouvernements du continent. « Ce sont des contrats extrêmement complexes et il y a un principe qui est admis, c'est que la raison pour laquelle un certain nombre de contrats n'ont pas profité aux pays africains, c'est parce que ces contrats étaient déséquilibrés », explique l'avocat.  Ainsi, il tente de former les équipes sur le terrain, « de manière à pouvoir gérer les problématiques contractuelles qui se posent à eux. » Mais Olivier Pognon reste pragmatique : la route est encore longue face à des multinationales très expérimentées. Certains accusent par exemple la RDC de brader son potentiel minier aux États-Unis, ce que le pays réfute. « Ce sont des initiatives qui, à l'échelle d'un continent, prennent du temps. La satisfaction qu'on tire de ce que nous faisons, nous, ALSF, c'est que l'organisation a beaucoup gagné en crédibilité, indique l'avocat. Je pense que c'est un indicateur que la question de la bonne gouvernance dans les contrats, de la transparence, est une considération de plus en plus importante pour nos gouvernements. Il y a encore du chemin à faire. » L'organisation se félicite d'avoir permis aux gouvernements africains d'économiser plusieurs milliards de dollars ces dernières années, grâce à des contrats mieux négociés. À lire aussiRDC: La société civile souhaite une nouvelle liste de minerais stratégiques

Ce samedi, une émission contrastée, urbaine et rurale, sud-américaine et française. Nous voici en France, côté campagne. Parmi les défis à relever pour les agriculteurs, le changement climatique, le manque d'eau... Nous nous sommes rendus dans le Roussillon, où se pose la question du partage de l'eau. On y invente de gros tuyaux pour détourner partiellement une rivière afin d'irriguer les vergers. En seconde partie d'émission, ça va swinguer avec la samba et le lâcher prise du carnaval de Rio.  Agriculture : dans le sud de la France, le grand défi du partage de l'eau À l'heure du Salon international de l'agriculture à Paris, la colère paysane gronde toujours en France. Normes contraignantes, concurrence exacerbée par l'accord UE / Mercosur, gestion de l'épidémie bovine… et il faut ajouter à cela la sécheresse. À cause du réchauffement climatique, de plus en plus d'agriculteurs manquent d'eau et la question du partage de la ressource est devenue épineuse. Illustration dans le sud de la France, dans la région de Perpignan. L'été dernier (2025) : fleuves à sec, cultures desséchées… squelettes d'abricotiers et de vignes arrachés. En perspective pour résoudre le problème : un tuyau de 10 km pour dériver une partie d'un cours d'eau afin de sécuriser l'irrigation. Mais ce projet ne fait pas l'unanimité, y compris chez les agriculteurs… Un Grand reportage de Laura Salabert qui s'entretient avec Jacques Allix. Le carnaval de Rio : résister par la fête C'est l'une des plus grandes fêtes du monde. Importé par les colons portugais, le carnaval de Rio mélange aujourd'hui influences africaines et européennes. Un moment de l'année où les hiérarchies s'inversent, les corps se montrent et les classes se croisent. Que ce soit dans les fanfares de rues ou dans le sambodrome, le rendez-vous est hautement politique. Un Grand reportage de Sarah Cozzolino qui s'entretient avec Jacques Allix. 

John 1:1-12You might like to get some copies of The Lightning-Fast Field Guide to the Bible for yourself and for others - here's a link that gets TMBH a little kickback: https://amzn.to/4pEYSS9Thanks to everyone who supports TMBH at patreon.com/thetmbhpodcastYou're the reason we can all do this together!Discuss the episode hereMusic by Jeff Foote

We all have them: Those kids' books we were gifted or we picked up on a whim because the title was intriguing or the characters were familiar. But then we crack them open, and BAM— total schlock. With the sheer amount of content for children out there, it's increasingly difficult to find the good stuff; the content that inspires wonder. The types of shows, movies, and books WE remember loving as kids. In this rewind episode from October 2020, Jon Klassen, father of two and celebrated author and illustrator, joins us to talk about his thoughts on creating books that kids AND parents love. Stick around for the end, where Marc, Adam, and their kids fire off some personal book endorsements and condemnations. In an age where the amount of content seems to grow exponentially, it becomes equally difficult to parse through it all to find the really good stuff. The hidden gems seem to be few and far between. Sometimes it's the tried and true movies or books that stand the test of time and still fill our kids with excitement and wonder, but frequently the best recommendations come to us through people we trust. The guys philosophize a bit as they discuss a couple of their kids' current favorites, before they introduce Jon Klassen into the conversation. Jon is a father of two sons, and an artist and author who gained worldwide notoriety in 2011 with his picture book “I Want My Hat Back,” the success of which spawned two more books in what would become the “Hat Trilogy.” Jon continues to write and illustrate children's books in addition to frequent collaborations with authors such as Mac Barnett, Sara Pennypacker, and Lemony Snicket. The guys discuss Jon's inspirations, his thought process and artistic process for creating books that can be enjoyed by kids of any age, and how his approach to his work has changed since he became a father. Other conversation topics include: •  Creating work that sticks out in the age of self-publishing •  How his work in animation influences his art •  Finding your inner third-grader •   The value of simplicity and minimalism •   Reading alone vs. being read to •   “Quintessential” children's books •   The importance of independent bookstores Before closing out the episode, Adam and Marc take turns swapping some rapid-fire book recommendations and… unrecommendations? LINKSJon Klassen (Substack)Jon Klassen (X)Jon Klassen (Instagram)Go! Go! Cory CarsonChrri & ChirraSylvester and the Magic Pebble by William SteigFrog and ToadHere We Are: Notes for Living on Planet Earth, by Oliver JeffersOne Morning in Maine by Robert McCloskeyToot by Leslie PatricelliA Sick Day for Amos McGee by Philip and Erin SteadBob the Artist by Marion DeucharsKaty Hudson, Too Many CarrotsPowell's Books, Portland, ORRiverRun Books, Portsmouth, NHWater Street Books, Exeter, NHLongfellow Books, Portland, ME26 Independent BookstoresRed Vault AudioSpencer AlbeeCaspar BabypantsModern Dadhood (website)AdamFlaherty.tvStuffed Animal (Marc's kids' music)MD (Instagram)MD (Facebook)MD (YouTube)MD (TikTok) #moderndadhood #fatherhood #parenthood #parenting #parentingpodcast #dadding #dadpodcast #moderndadhood #fatherhood #parenthood #parenting #parentingpodcast #dadding #dadpodcast

NO RESERVATIONS — Welcome to a new season of The Full Bleed. This year, we're going to be talking to makers and creators, of course, but also more about the business of magazines. Because, let's face it, making a magazine is not easy. It never has been. But we're seeing more and more magazines—in print—out in the world and there's a reason for that. At a time where the digital world is a messy place, and that's being polite, magazines are perfectly positioned as a part of an “analog” wave that is going to become more and more important in the media and in marketing.  We open the season with Nathan Thornburgh from Roads & Kingdoms, a media brand that started out as a media brand—stay with me here—with the support of Anthony Bourdain, yes, that one, and then pivoted to becoming a kind of gastronomic tour company with loads of content on their website, and has now published their first magazine. And it won't be their last. Travel, especially these days, is pure analog, a completely human experience. It touches the senses in a way not many things can. Think about Anthony Bourdain's work and you think of how immersed he was everywhere he went. Whether he was writing about the reality of a kitchen or filming a meal of noodles at a roadside stand in Thailand, he was all in. His was a very human-centered media, full of sights and smells and sounds and people. And that's what Roads & Kingdoms will try and replicate. On the page. On every page. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Nach der Sommerfrische, dem Prinzen Heinrich und der Rheinsberger Kultur, geht es heute literarisch zu, auf den Spuren von Kurt Tucholsky im Bilderbuch für Verliebte. “Das ganze Glück ihrer großen Liebe” (Kurt Tucholsky) Der subjektive Einstieg Manchmal wird man von Büchern eingeholt und wirft einen voll aus der Realität des Lebens. Ein kleines Büchlein von Kurt Tucholsky hatte das vor etwa zwei Jahren geschafft, als ich die Geschichte mal wieder in die Hand nahm. Ein wenig glücksschwebend angesichts des Wiederlesens mit Claire und Wölfchen beschloss ich. Da wo die glücklich waren, da will auch ich mal hin. Philosophie auch in der Musikkunst Rheinsberg – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Gefühl, Freiheit, Liebe – das alles soll Rheinsberg sein? Besuche ich etwa einen Glücksort und schwelge in Leichtigkeit? Gedacht und getan: Im letzten Herbst. Dass daraus im November ein Spätsommer werden würde, war noch nicht klar. Das Wetter jedenfalls tat sein Bestes, um Städtchen und Literatur ins beste Licht zu setzen. Der Literat Kurt Tucholsky betrat 1912 mit Rheinsberg nicht nur die literarische Bühne, er veröffentlichte damit auch seinen ersten Bestseller. Die reale Geschichte? – Else Weil, auf einer Infotafel am Ratskeller in Rheinsberg – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Ein Jahr davor (oder war es schon 1910?) verbrachte er mit seiner damaligen Verlobten Else Weil ein ähnliches Wochenende – in Rheinsberg. Oder war es genau dieses Wochenende von Wölfchen alias Kurt und Else alias Claire? Else Weil jedenfalls wurde Kurt Tucholskys erste Frau. Die Story Romantik a la Rheinsberg: Obelisk, Postsäule am Triangelplatz – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Die Figuren verschwimmen mit der Realität. Kurt Tucholsky und Else Weil waren um 1910 da. Ihre Alter-Egos Wolfgang und Claire traten erst mit der Veröffentlichung des Buchs im Jahr 1912 auf den Plan. Diese Vermischung hört man des Öfteren auch in den Originaltönen aus Rheinsberg. Die Charaktere geraten immer öfter durcheinander. Aber ohne Kurt kein Wölfchen und Clairchen und ohne Else auch keine Reise mit Kurt. Die beiden Geschichten könnten identisch sein und spiegeln großes Glück. Glück des Moments. Glück des Lebens? Der touristische Influencer? Das wollte ich auch herausfinden. Einige Facts deuten darauf hin. Die Sommerfrische hatte um die Wende zum 20. Jahrhundert dazu geführt, dass immer mehr Berliner begannen das Umland zu entdecken. Tucholsky Porträt im Museum – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Er hatte es zwar nicht beabsichtigt, aber das Büchlein sorgte im Jahr nach dem Erscheinen für einen regelrechten Rheinsberg-Boom. Es soll Sonderzüge gegeben haben, die bis zu 6.000 Menschen an einem Wochenende nach Rheinsberg und an die brandenburgischen Seen brachten. Das schafft heute allenfalls „Lonely Planet“. War Rheinsberg der „Overtourism-Sündenfall“? Wenn ja, hat es das damals 2.000 Einwohner zählende Städtchen wohl verkraftet. Merkpunkt: Die Bahn konnte und könnte sehr viel bewirken in Sachen Tourismus. Damals wurden auch kleine Orte an die Schiene angeschlossen, Mobilität ermöglicht. Das ist heute weitgehend Historie. Glücklicherweise gibt es den Bahnhof Rheinsberg und Verbindungen nach Berlin bis heute. Nur: Wie gehen Touristen heute mit Rheinsberg, Tucholsky und der kleinen wie großen Geschichte um? Den Kernsatz dazu hört Ihr im Podcast von Stadtführerin Jeanette Lehmann. Das Museum Kurt Tucholsky Museum: Dauerausstellung – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Kurt Tucholsky: Den Journalisten, Satiriker, Autoren und Menschen besser kennenlernen. Wer das möchte ist hier an der richtigen Stelle. Es ist ein kleines, aber sehr feines Museum, das sich zudem (auch im Tucholsky Sinne) um schreibende und bildende Künstler:innen mit diversen Veranstaltungen kümmert. Ich bin mit Peter Graf, dem literaturwissenschaftlich-künstlerischen Projektmanager des Museums, durch die Dauerausstellung gegangen, habe das kleine Büchlein, die Erstausgabe von „Rheinsberg“ gesehen, Tucholskys Schaffen kennengelernt und bin dem Menschen Kurt T. und seinem Schicksal begegnet. Das rührt an. Die Erstausgabe: Rheinsberg – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Es ist sicher kein „Claire und Wölfchen Museum“; so wie Tucholsky auch nicht auf den Autoren des Bilderbuchs für Verliebte zu reduzieren ist. Wer nach Rheinsberg kommt, sollte das Kurt Tucholsky Museum im Schloss aber zur Pflichtstation machen. Es lohnt sich. Es gibt ein Kombiticket. Damit kann man die Schlossführung mitmachen und danach auch das Museum besuchen. Machen! Das Schild    Die öffentliche Liebeserklärung an das „Bilderbuch für Verliebte“ findet man in der Straße und Anlage „Am Markt“, gleich gegenüber von Ratskeller und Triangelplatz. Liebeserklärung an eine Stadt – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Tucholsky hat den Text nicht verfasst. Niemand weiß so genau, wie das erste Schild dort hingekommen ist, sagen die Rheinsberger. Fest steht aber, dass das restaurierte Schild vor einigen Jahren vom Verein Stadtgeschichte angebracht wurde. Inzwischen war klar, dass es sich hervorragend als „Insta-Location“ eignet. Ich schließe mich da gerne an: Ist toll für ein verliebtes Selfie. Ach ja, ich war ja alleine dort. Das Café Claire Café Claire – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Da darf man auch alleine hin. Es gibt wundervolle Kuchen, leckere Kaffee- und Teespezialitäten und mittags auch kleine Snacks. Über den Birnen-Schmand-Kuchen hab ich im letzten Podcast schon geschwärmt. In der ersten Novemberwoche 2025 bei 15 Grad draußen in der Sonne zu sitzen, machte mein Glück perfekt. Die Kurt Tucholsky Buchhandlung Kurt Tucholsky Buchhandlung in Rheinsberg – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Er befindet sich in unmittelbarer Nähe des Café Claire in der Schlossstraße. Hier kann man alte Buchkultur schnuppern, moderne Kinderliteratur erleben und natürlich den einen oder anderen Tucholsky-Band mitnehmen. Geht auch als Geschenk. Ich finde der Laden gehört einfach zum Rheinsberg-Erlebnis dazu und das schon seit Jahrzehnten. Die Filme Es gibt zwei „Rheinsberg“ – Verfilmungen. Rheinsberg 1 Der erste stammt aus dem Jahr 1967. Kurt Hoffmann hat ihn in der BRD gedreht. Da ist von der guten alten Zeit die Rede. Eine werbende und wertende Aussage, die Kurt Tucholsky sicher verneint hätte. Trotzdem ist es – so man ein wenig Feingefühl für Romantik hat – eine tolle Verfilmung, deren Tonausschnitte ich zur Illustration der Podcast-Akteure benutzt habe. Ein Manko gibt es trotzdem. Der Film konnte damals nicht direkt in Rheinsberg gedreht werden. ES gab zwar eine Anfrage. Die zuständige DEFA lehnte das Ansinnen ab, weil sich die Örtlichkeit nicht in einem filmenswerten Zustand befände. Damit hatte sie sicher recht. Man musste ausweichen, zum Beispiel nach Gut und Schloss Panker in Schleswig-Holstein, das sich in diesem Film als Rheinsberg präsentieren musste. Und gerade auch deshalb wollte ich hin – nach Rheinsberg, um zu sehen, wie es da tatsächlich ausschaut. Ganz unter uns: Schöner als im Film. – Das war mir ganz schnell klar. Da genügte schon ein kleiner Rundgang durch den Schlosspark und auch durchs Städtchen. Heute wäre die Schlossanlage und das Schlosstheater auch wieder in „filmenswertem Zustand“. Der Restaurierung ab 1992 sei Dank. Rheinsberg 2 Hier handelt es sich um eine DEFA DDR-Produktion aus dem Jahr 1987. Zwanzig Jahre später setzt man Schloss und Umgebung geschickt in Szene. Dass die Inhalte sehr viel freizügiger „rüberkommen“ ist sicher auch der Zeit geschuldet. Man kann ihn kostenfrei bei YouTube streamen. Meine Einschätzung: Kann man auch so machen. Was fehlt ist, das auch von Tucholsky angedeutete, Berliner Idiom. Die 1967er Claire (Cornelia Froboess) bleibt hier unübertroffen. Deshalb musste ihre Stimme auch zwingend in den Podcast. Specht oder Schleiereule “Ab ins Schilf”: Grienericksee / Rheinsberg – Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Da gibt es in Buch wie Film 1 einen Disput zwischen Wölfchen und Claire. Er behauptet am See einen Specht zu hören. Sie besteht darauf, es sei eine Schleiereule. Aber die Beiden streiten ja auch darüber, ob der Baum, auf den sie blicken eine Akazie oder “ne Magnolie is”. Auf der Suche nach Claires Schleiereule laufe ich zum See. Setze mich auf eine Bank, schau direkt in den Schilfgürtel und stelle fest, dass auch ich ein wenig verliebt bin. In Rheinsberg, in Claire, in Tucholsky, ins Lesen und Träumen, in die Sehnsucht und in die Natur, in die ich gerade schaue. Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD Mehr zum Thema im Reiseradio Rheinsberger Sommerfrische Rheinsberg – Von Preußen, Prinzen und Paradiesen Information & Links Kurt Tucholsky – Museum Rheinsberg Stadtgeschichte Rheinsberg Kurt Tucholsky Buchhandlung, Rheinsberg Tourismus Information Rheinsberg Brandenburgische Seenplatte Ruppiner Seenland Reiseland Brandenburg Hinweise Die Recherche für diesen Podcast wurde unterstützt von Reiseland Brandenburg und seinen Partnern vor Ort. Meine Meinung wurde nicht beeinflusst! Foto: Rüdiger Edelmann / ttb-media TON-TEXT-BILD The post D-RR307 Rheinsberg & das Bilderbuch für Verliebte first appeared on Deutsches Reiseradio (German Travelradio).

A listener writes in after a breakup, worried they've lost their creative spark for good. Brad and Dave unpack the emotional toll of heartbreak, why creative paralysis is normal, and how time, grief, and self-reflection can ultimately deepen your storytelling. Also: Dave is quitting Amazon Advantage, and he shares why he made that startling decision.Today's ShowComics Will Break Your Heart (and so will dating)Dave Kellett's "Double Dog Dare" bookAmazon AdvantageImposter Syndrome and mental healthTakeawaysIt's normal to feel creatively blocked after a heartbreak.Finding joy in solitude can help with creativity.Time is essential for healing after a breakup.Navigating international shipping can be complex and frustrating.Mental health is crucial for creative individuals.Imposter syndrome can hinder the creative process.Seeking professional help is important for mental health issues.Weather can significantly affect mood and creativity.Sharing experiences can help others feel less alone.Listener feedback can provide valuable insights for improvement. You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

À l'heure du Salon international de l'agriculture à Paris, la colère paysane gronde toujours en France. Normes contraignantes, concurrence exacerbée par l'accord UE / Mercosur, gestion de l'épidémie bovine… et il faut ajouter à cela la sécheresse. À cause du réchauffement climatique, de plus en plus d'agriculteurs manquent d'eau et la question du partage de la ressource est devenue épineuse. Illustration dans le sud de la France, dans la région de Perpignan. L'été dernier (2025) : fleuves à sec, cultures desséchées… squelettes d'abricotiers et de vignes arrachés. En perspective pour résoudre le problème : un tuyau de 10 km pour dériver une partie d'un cours d'eau afin de sécuriser l'irrigation. Mais ce projet ne fait pas l'unanimité, y compris chez les agriculteurs… « Agriculture : dans le sud de la France, le grand défi du partage de l'eau », un Grand reportage de Laura Salabert.

Joseph Karg is an animation professional and an Associate Professor of Illustration at Kennesaw State University. Like many other creatives, Karg had become frustrated with the general state of the world we’re living in so he decided to take his talent and do something with it. He created I Feel Doomed (currently funding on Kickstarter), […]

When streamer Clavicular bashes his face with a hammer or does meth to stay skinny, it's not just himself he's hurting. This episode was produced by Dustin DeSoto, edited by Amina Al-Sadi, fact-checked by Andrea Lopez-Cruzado, engineered by David Tatasciore and Patrick Boyd, and hosted by Noel King. Illustration photo of a male TikTok influencer hammering his cheekbone. Photo by CHRIS DELMAS/AFP via Getty Images. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. New Vox members get $20 off their membership right now. Transcript at ⁠vox.com/today-explained-podcast.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Are you marketing your art all wrong? Jake Parker, Lee White, and Anthony Wheeler discuss how to turn followers into customers (without cheap gimmicks). 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

My guest this week is Don Leon Schuuring- owner and illustrator behind Dedonleon Designs, a creative studio based in the Netherlands.  The main focus of his studio is Illustration and Graphic Design. From t-shirt design to full brand identity and even some minimal animation.  I met Don on Instagram and have worked with him on a bunch of Deli Fresh Threads T-shirt designs the past few years.  He is a talented artist who I enjoy seeing his creations and various mascot characters.  Thought it would be a great opportunity to see each other for the first time and have him share his story on how he started and how it's grown.  Lunch with Biggie is a podcast about small business and creatives sharing their stories and inspiring you to pursue your passion, with some sandwich talk on the side. Created, edited, and produced in Orlando, FL by Biggie- the owner of the sandwich-themed clothing brand- ⁠⁠Deli Fresh Threads⁠⁠. Dedoneleon Designs Social:Instagram: https://www.instagram.com/dedonleon/Website: https://www.dedonleon.comBiggie's Social: ⁠⁠Deli Fresh Thread's Instagram⁠⁠- ⁠⁠https://www.instagram.com/delifreshthreads/Podcast's Instagram⁠⁠- ⁠⁠https://www.instagram.com/lunchwithbiggiePodcast's Facebook Group⁠⁠- ⁠⁠https://www.facebook.com/groups/lunchwithbiggie⁠⁠ ⁠⁠Podcast's Twitter-⁠⁠ ⁠⁠https://twitter.com/LunchwithBiggie⁠⁠ ⁠⁠Deli Fresh Threads⁠⁠- ⁠⁠ ⁠https://DeliFreshThreads.com

The moment we realized “liquidity” isn't a theory Thirteen years ago, Lucas and I thought we were being responsible by storing a lot of our capital in gold and silver. It felt safe. It felt timeless. It felt like the kind of move people make when they're thinking long-term. And then we needed cash. https://www.youtube.com/watch?v=M3go-H641ZU Not someday. Not “in retirement.” We needed liquidity for real life—building a business, making decisions, moving when opportunities showed up. And in that moment, we learned something the hard way: an asset can be valuable and still be a terrible place to store accessible capital. The spot price was down. We had to sell at the wrong time, and that's when the question got painfully simple: Where do you store capital so you can access it when you want it—without losing control, without begging permission, and without being at the mercy of timing? That question is what led us to build what we now call our family banking system—and in this Part 6 case study, we're pulling back the curtain again. In this Marshall Family Banking System Case Study: In-Force vs Original Illustration (Part 6), Bruce Wehner and I walk you through the real mechanics: premium paid, cash value, loan availability, in-force illustrations, original projections, and what actually changed over time. The moment we realized “liquidity” isn't a theoryWhat you'll learn from this Marshall Family Banking System case studyWhat is a family banking system?Why we started: liquidity, then legacyFamily banking system case study: our “13-year” system with a reset (1035 exchange)Premium paid vs cash value: the real numbers (round terms)Cash value vs loan value in a family banking system“Do you still earn dividends with a policy loan?”How a family banking system works year-to-year: the numbers keep risingIn-force illustration vs original illustration: why our numbers changedWhy illustrations change (dividends change)The compounding effect: what changed by age 75Break-even in a family banking system: what it means and what it doesn'tWhat's inside an annual statement: dividends, PUAs, and how death benefit risesPaid-up additions rider (PUA) and compoundingDirect vs non-direct recognition: what to knowAnnual premium payment and “premium refund”: a detail most people missThe core mindset shift: this is about control of capitalWhat this Part 6 case study provesListen to the full episodeFAQWhat is a family banking system?Is a family banking system the same as Infinite Banking?Why pay whole life premiums annually in a family banking system?When does a family banking system using whole life insurance break even?What is a whole life insurance policy in-force illustration?Why does a whole life insurance policy's in-force illustration differ from the original illustration? What you'll learn from this Marshall Family Banking System case study If you've ever looked at a whole life insurance illustration and wondered, “Can I trust these numbers?” you're not alone. And if you've ever asked: “What happens to cash value when you take a policy loan?” “Do you still earn dividends with a policy loan?” “How do I compare an in-force illustration vs original illustration?” “When does a family banking system break even?” …then this article is for you. This is Part 6 in our series, and it's designed to help you understand how a family banking system works using real policy performance—not theory, not hype, and not marketing claims. Here's what you'll gain by reading: A clear picture of family banking system with whole life insurance and why we use it What our numbers look like (in round terms) after years of funding The difference between cash value vs loan value (and why that matters) Why in-force results can differ from the original illustration How dividends changing over time can materially impact long-range projections Why we're still committed—and why this is about control, not “rate of return” What is a family banking system? A family banking system is a capital control system—built to give your family a dependable place to store cash, grow it steadily, and access it on demand. Bruce and I both see this with families every day: the biggest stress isn't usually “investment performance.” It's capital access. It's the ability to make a decision when life happens—without panic, without selling assets at the wrong time, and without losing future opportunity because you couldn't move quickly. For us, our family bank is built on whole life insurance cash value from a mutual company, structured intentionally for: Liquidity and access Predictable growth (guarantees + non-guaranteed dividends) A growing death benefit for multi-generational wealth The ability to borrow against the policy while the cash value continues to compound And I want to say this plainly: this is not an investment.This is savings. This is capitalization. This is a financial foundation from which you can invest with confidence. That distinction matters. Why we started: liquidity, then legacy We started this journey because we needed liquidity. Later, we realized something deeper: a family banking system is not just about “having cash.” It's about building a structure that can last. After my near-death experience, our perspective on money and estate planning shifted permanently. We began asking a different question: What would it look like to leave our children more than money—while also leaving them a financial system that works? That's where the multi-generational aspect of this became central. Lucas said it simply in the episode: it's for now and for the future. Family banking system case study: our “13-year” system with a reset (1035 exchange) One important clarification: when we say “13-year update,” it's because the concept has been in our family for 13+ years. But the specific policies we're showing in this case study are newer because we did a 1035 exchange—moving cash value from one policy to new policies. That move effectively hit a reset button in terms of what you'll see on the current policy timeline. So while the family banking system is 13+ years in, these particular contracts are five policy years into the current structure. That matters, because a lot of people look at year 1–5 and get discouraged. In early years, policies have costs, and break-even in whole life insurance doesn't happen immediately. But “break-even” isn't the only goal—and really it's not even the most important measurement. Premium paid vs cash value: the real numbers (round terms) Let's make this tangible. At the time we pulled these figures (Watch the YouTube video to see all the numbers): We had paid a little over $300,000 in total premium into the two policies Our total cash value (if we paid off the outstanding loan) was roughly $282,000 The amount we could access as a loan (if we paid off the outstanding loan) was roughly $260,000 We currently had a policy loan of about $48,000 With that loan in place: Cash value showed lower (because of mechanics like premium refund timing and reporting) The available loan value was lower (because part of the cash value is collateralized by the loan) Here's the key takeaway for your own family banking system with whole life insurance: Cash value vs loan value in a family banking system Cash value is the pool. Loan value is how much the company will allow you to borrow against that pool. When you take a policy loan, you are not “withdrawing” your cash value. You're using the insurance company's money and collateralizing your cash value. That means: Your cash value can keep compounding You can repay the loan and free up borrowing capacity again You are not interrupting the internal growth the same way you would if you pulled money out of a bank account Bruce made this point clearly: banks stop paying you interest on money you remove. With policy loans, the system behaves differently because you're borrowing against the reserve, not pulling your capital out. “Do you still earn dividends with a policy loan?” In our case, yes—because our company is non-direct recognition. That means the company does not reduce the dividend crediting due to the presence of a loan. (Some companies do recognize the loan and adjust dividends; those are direct recognition companies.) Bruce's point was balanced, and I agree: it's not that one is “good” and the other is “bad.” There are tradeoffs. There are no solutions—only compromises. But you need to understand which kind you have, because it affects how policy loans show up in performance over time. How a family banking system works year-to-year: the numbers keep rising One of the most encouraging things we've seen is simple: The amount we can borrow has continued to increase year after year. A family banking system is not built for bragging rights. It's built for usability. The question isn't “What's the highest theoretical projection?”The question is “How much capital can I access when I need it—without breaking my plan?” When you consistently fund a system, you build a growing reservoir of capital that you control. This is why we call it an “emergency/opportunity fund.” It's there for emergencies and opportunities. In-force illustration vs original illustration: why our numbers changed Now let's get to the core of this Part 6 case study: Marshall Family Banking System Case Study: In-Force vs Original Illustration (Part 6) is about comparing the illustration you get when you start… versus the illustration you get after real years of performance. Here's what we showed: The original illustration used the dividend crediting rate at the time the policy was issued and projected it out to age 121.

Dans un article à paraître dans Planetary Science Journal, une équipe de chercheurs montrent grâce à des simulations que Hypérion serait le résultat d'une collision spectaculaire entre Titan et une lune ancienne suite à une déstabilisation orbitale. Cette découverte contribue à expliquer l'origine du système d'anneaux de Saturne. Source Origin of Hyperion and Saturn's Rings in A Two-Stage Saturnian System InstabilityMatjia Cuk et al.à paraître dans The Planetary Science Journalhttps://www.arxiv.org/abs/2602.09281 Illustrations Hyperion imagé par la sonde Cassini le 26 septembre 2005 à une distance d'environ 34 000 km (NASA / JPL-Caltech / Space Science Institute). Illustration de la séquence d'événements du modèle proposé (Matija Ćuk et al.) Matija Ćuk

Today I want to talk about how we are going to handle the coming persecution against Christians. Someone close to me encountered persecution last week and I have been hearing hints of it in other places. This is not something to put off, but to prepare for so you will be able to stand strong. A discussion of persecuted ones who went before us. What I believe the Word shows us happens to martyrs, the ultimate persecution, and a discussion of grief and sorrow and how the Lord will carry that for you - there will be much grief and much loss and sorrow in what is coming. Are you ready? Illustration by RJPP on Pixabay, used with permission.

The Mel Brooks documentary, "The 99-Year-Old Man!" holds a lot of wisdom for cartoonists. Speaking of wisdom, it doesn't take much to avoid these common Kickstarter scams.Today's ShowWhat can cartoonists learn from Mel Brooks?KickstarterSummaryIn this episode of ComicLab, cartoonists Brad Guigar and Dave Kellett discuss the challenges and joys of creativity, drawing inspiration from Mel Brooks' documentary. They explore themes of fear, kindness, and the importance of perseverance in artistic careers. The conversation also touches on the realities of navigating Kickstarter campaigns, including the rise of scams targeting creators. Throughout, the hosts emphasize the power of laughter and the need for support in the creative community.TakeawaysFear is a recurring theme in creativity.The fear of not trying is greater than the fear of failure.Kindness can have a profound impact on artists.Perseverance doesn't mean sticking to what's not working.You can reinvent yourself as an artist at any stage.Kickstarter scams are on the rise; be cautious.Laughter is a powerful tool for change.Support from friends is crucial in creative journeys.It's important to recognize the struggles behind success.Creativity often requires stepping out of comfort zones.   You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

This episode highlights our top moments discussing productivity for illustrators. Tune in for advice about designing your daily routine, deep work, accountability, and more. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Of all the topics in the Bible, none receive more attention than the Tabernacle/Temple. Why is this so vitally important? It is because every single concept in the Bible is illustrated in its plan and details. Think of the Tabernacle as the "Illustration" portion of the Bible. Join us as we explore the many lessons and spiritual marvels encoded into this amazing structure. For more teachings by Grant Luton (and to print the notes), visit our website: https://www.TorahTodayMinistries.org And when you visit, be sure to subscribe to our bi-weekly newsletter, which will keep you up to date with news, photos, and upcoming events at Torah Today Ministries.

Il y a des secteurs où l'Afrique a une influence considérable et brille dans le monde entier, c'est le cas de la musique, nous allons y venir… Et d'autres où elle n'est pas ou peu présente… C'est le cas des Jeux olympiques d'hiver qui se déroulent en ce moment en Italie. Le Monde Afrique se penche sur la question, avec ce titre : « L'Afrique, anneau invisible des JO d'hiver. » Certes, pointe le journal, « aride, tropical, équatorial, exceptionnellement tempéré… Le climat, en Afrique, n'est pas vraiment propice aux sports d'hiver. Le continent manque de neige, de glace, mais aussi d'infrastructures et, donc, d'athlètes à envoyer à la grande fête hivernale qui se tient tous les quatre ans depuis 1924. Aux Jeux olympiques de Milan-Cortina d'Ampezzo, ils sont quinze à représenter l'Afrique, sur les quelque 2 900 en lice. Soit à peine 0,5%. Avec huit nations engagées – dont l'Afrique du Sud, le Maroc, le Bénin, l'Érythrée ou le Nigeria. À lire aussiL'Afrique, un continent représenté aux JO d'hiver depuis 1960 Quel universalisme ? « Si cette absence s'explique aisément, elle pose néanmoins, pointe Le Monde Afrique, la question des limites de l'universalisme promu par le CIO, le Comité international olympique. "Le mouvement olympique met en avant son pouvoir d'unir le monde. Or, les JO d'hiver ne sont pas des Jeux équitablement accessibles, ils sont réservés à une petite partie de l'Occident enneigée et à une élite sociale", souligne Michaël Attali, historien du sport à l'université Rennes-II. Une réalité que Lamine Guèye dénonce depuis des décennies, relève encore Le Monde Afrique. Le président de la Fédération sénégalaise de ski (…) se déclare "en guerre contre le CIO". Lamine Guèye, premier skieur "noir", comme il dit, aux Jeux de Sarajevo en 1984, explique que les critères de qualification sont devenus si exigeants que seuls les meilleurs mondiaux sont concernés. Conséquence, poursuit-il : "Le CIO a invisibilisé l'Afrique et les autres petites nations en réduisant le nombre de participants dans chaque épreuve pour proposer un spectacle de classe mondiale. Moi, je plaide pour revoir ces critères et permettre à l'Afrique d'être plus présente, cela n'altérerait en rien le spectacle, au contraire". » À lire aussiL'Afrique du Sud veut organiser les JO de 2036 ou 2040 L'Afrique, mère musicale… A contrario, donc, s'il y a un domaine où l'Afrique est de plus en plus présente et influente, c'est la musique… Et le phénomène est particulièrement palpable en France. Illustration avec cette couverture du magazine musical américain Bilboard, où l'on voit la chanteuse d'origine congolaise Théodora, avec un bébé dans chaque bras et ce titre : « Théodora, mère du nouveau son français. » En effet, « depuis plus de deux décennies, relève Afrik.com, l'Afrique irrigue en profondeur la création musicale en France. Mais jamais cette influence n'a été aussi visible, assumée et reconnue. Et on le verra lors des Victoires de la Musique 2026 dont la 41e cérémonie se déroulera vendredi soir. Derrière la diversité des genres – pop, rap, électro, R&B ou musiques hybrides – se dessine une réalité claire, pointe encore le site panafricain : la musique française contemporaine se construit largement à partir de trajectoires africaines ou diasporiques. De la pop, au rap en passant par l'électro… L'exemple le plus emblématique reste Aya Nakamura. Née à Bamako, devenue l'artiste francophone la plus écoutée au monde, elle incarne une rupture profonde, affirme Afrik.com : une pop mondialisée, nourrie de références africaines, affranchie des codes traditionnels de la chanson française, mais pleinement intégrée à son industrie. Autre signal fort : la reconnaissance massive (donc) de Theodora, artiste franco-congolaise multi-nommée. (…) Cette dynamique traverse aussi le rap français, avec des artistes comme Disiz, (de père sénégalais) dont le parcours témoigne d'une maturation artistique où l'identité, la mémoire et la transmission deviennent des moteurs créatifs majeurs. Même constat dans l'électro, avec la star franco-algérienne DJ Snake. » Enfin, toujours dans le domaine musical, Le Point Afrique note la sortie en salles en France hier du film Amadou et Mariam, sons du Mali : « Un film tourné entre 2021 et 2023 par le Canadien Ryan Marley et qui retrace le parcours singulier, intime et politique, où les voix, les rythmes et les silences du duo mythique disent le Mali autant qu'ils racontent un couple. (…) Ce film sortira également dans une quinzaine de pays d'Afrique francophone, notamment au Sénégal, au Mali, en Côte d'Ivoire et au Cameroun. »

In this episode, Caldecott Honor winning artist Elisha Cooper takes us behind the scenes of his latest picture book, THE RARE BIRD.

Cartoonists Brad Guigar and Dave Kellett dig into the many ways we react to humor — from full-on belly laughs to the silent internal “that was good” response. After that the way, they tackle some big (and surprisingly relatable) topics:Are they actually going to use Patreon Quips?Dave's Bad 2025 — what went wrong, what he learned, and why it mattersWhy you never stop building an audience, even when things feel “established”And yes… being scared of Reddit comments is universal!SummaryIn this episode of Comic Lab, hosts Dave Kellett and Brad Guigar dive into the nature of humor in comics, prompted by a listener's question about whether funny comics truly elicit laughter or if they are simply enjoyable. Brad and Dave explore the subjective nature of humor, sharing their own experiences with laughter and recognition of craft in comedy. Next, they delve into the ongoing journey of building and maintaining an audience in the ever-evolving landscape of comics. They emphasize that there is no such thing as a 'built audience.' Audience engagement is a continuous process that requires constant effort and adaptation. Drawing on the metaphor of the Ship of Theseus, they discuss how creators must regularly replace and update their strategies to keep their audience engaged, acknowledging that audience members may leave for various reasons, including life changes or simply forgetting about the content.The conversation also touches on the emotional toll of negative feedback, particularly on platforms like Reddit, where creators often face harsh criticism. Brad and Dave share personal anecdotes about dealing with trolls and the importance of focusing on the positive aspects of audience engagement. They conclude by reinforcing the idea that the creative journey is ongoing, and that every creator must continually learn and adapt to thrive in the industry.Takeaways"Not every year is going to be gangbusters."There's no such thing as a built audience; you're always in building mode.Audience engagement is like the Ship of Theseus; it's constantly changing.You should aim to gain 2-6% new audience every month to replace those who leave.Negative comments often come from unhappy individuals; don't take them personally.Every creator must continually learn and adapt to thrive in the industry. You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Back from the SCBWI conference in New York, Sam Cotterill and Lee White recap the trip, from funny stories to biggest takeaways (plus tips on how to make the most of conferences like these).  3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Elder Greg Harrell shares an illustration to help us understand God's heavenly (multi-dimensional) reality with our limited understanding; as it relates to our three dimensional perspective.

In this drawing class we're drawing with Raymond Bonilla, Cassandra Kim, and John English. Thumbnail art by Rae-lynnJoin our Discord Server:https://discord.gg/tbwUPZydHEView Visual Arts Passage Courses:https://www.visualartspassage.com/Follow Visual Arts Passage:https://www.instagram.com/visualartspassage/https://www.facebook.com/visualartspassageSubscribe to our Youtube:https://www.youtube.com/visualartspassage?sub_confirmation=1----------------------------------------------------------Visual Arts Passage offers online mentorship courses in Illustration and Fine Arts, led by industry professionals to help you develop real-world skills and build a career doing what you love.Want more art tips & industry insights? Subscribe & turn on notifications!#illustrationclasses #onlineartclasses #drawingclass #artschool #learntodraw

An online publisher has become the center of some genuinely alarming stories. Brad and Dave break down five hard lessons comic creators can learn when a publisher shows signs of instability, mismanagement, or collapse.Today's ShowFive Lessons from a Publisher in CrisisSubmitting your work for awardsSummaryCartoonists Brad Guigar and Dave Kellett explore the importance of owning and controlling one's career in the comic industry. They discuss the need for business acumen among cartoonists and the risks of signing contracts. The conversation emphasizes the value of learning from mistakes in self-publishing, the power of transparency among creators, and the benefits of submitting work for awards. Ultimately, they stress that the goal is not independence at all costs, but informed consent in business relationships.TakeawaysThere is a percentage of humans who can close their nostrils underwater.Cartoonists must be prepared to be business people.Your best defense is often not signing a contract.Mistakes in self-publishing are manageable and teach valuable lessons.Transparency among creators is crucial for success.Experience changes the power dynamic in negotiations.Submitting for awards can provide valuable insights into your work.Reviewing your work helps improve your editorial and aesthetic eye.Self-publishing allows for greater control over your career.Imposter syndrome should not prevent you from submitting your work.  You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Jake Parker and Samantha Cotterill interview Claudia Rueda, a Colombian author and illustrator whose Smushkin characters connect with young readers in unexpected ways. Learn about Claudia's path to illustration, the role of luck in an illustrator's journey, how to appreciate the small child's world, and more. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

A listener asks: "Should you judge a book by its cover?" Cartoonists Dave Kellett and Brad Guigar say... YES! Next, a cartoonist who is too embarrassed to promote his own work gets some encouragement and words of advice from the veteran comic creators.TODAY'S SHOWShould you judge a book by its cover?Too embarrassed to promoteTakeawaysA book's cover plays a significant role in its marketability.It's important to design a cover that reflects the content of the comic.Promoting comics can be challenging, especially in unexpected social situations.Introverts can find it difficult to promote their work in person.Having a decoy website can help ease the promotion process.It's okay to feel uncomfortable discussing your work with strangers.Using humor can help deflect awkward conversations about your work.Online promotion can be more effective than in-person promotion.  You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Jake, Sam, and Lee discuss Lee's untimely death, Jake's rules for 2026, and how to find work when you're in between jobs. Reflect, laugh, and gain inspiration for the new year with us. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Galatians 2:1-5

In this first episode of our Overcoming series, Dave and Bethlie discuss the topic of Anger.   Overcoming Anger Quote:  We are a society addicted to outrage. Martin Wickens In the social media world, outrage generates more "clicks" and ad revenue than anything else What does the Bible say about anger? Various words are used Anger Angry Wrath Be ye angry and sin not, let not the sun go down on your wrath Let all bitterness, wrath, anger, clamour and evil speaking be put away from you with all malice A soft answer turns away wrath Fathers provoke not your children to anger   What does anger look like? an outward explosion a simmering resentment harsh words Rage An angry person is churlish, mean, unkind Illustration of Nabal churlish - difficult, fierce, intense Evil - bad, disagreeable, giving pain, unhappiness, or misery) An angry person is difficult to get along with Anger leads to bitterness and poisons an individual as well as everyone close to them - especially one's spouse and kids    What do we know about anger?  Some things to understand: If you are single, know this:  an anger issue always gets worse after marriage. "with a furious man you shall not go . . ." It is impossible to live with an angry man without making him angry Same is true for an angry woman The target of anger is not the cause You are not to carry the responsibility for a spouses anger or a parents anger  It is not your fault if your spouse is angry It is not your fault if your parents are angry Regarding men: anger is fueled by testosterone and is different than a woman's anger Anger is physical often before it is processed (think of punching a wall) Crying is a woman's response to feeling unloved; anger is a man's response to feeling disrespected Talking things out will not make things better A man has to process his anger before he can talk Talking about it in the moment will only increase his anger  give him time to golf, piddle in the garage, or whatever  This is how he processes his emotions Very few men process their emotions by talking Regarding women:   Anger is fueled by emotions and wounds Anger is often a result of unresolved conflicts  Anger is sometimes the result of unmet expectations