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Annie is also co-founder of Hi-Fructose art magazine. Born in Alabama and raised between the Philippines and San Francisco she studied film production before a divergent path came to rest in publishing and art. Annie lives in Richmond, California with her partner-in-crime-husband, Attaboy.

 

Some of Annies insparation comes from Edward Gorey

, Charles Addams

Tim Burton animations.

you can clearly see the influence on her work, that dark and creepy look for waht seem an everyday life scene,  The houses, inspired by black and stifling colonial houses in Salem.

one more Artist who is using Polymer clay  to create her characters and her mini scene for three dimensional illustrations.

You can get Polymer Clay in many colours including different skin tones, colours from rainbow to metal,pearl,gold, stone, and many more.
After finishing the sculpture it need to be baked, i was reading in many website it is better not to use your oven for this as this substance is posioness. it is also says on the packages it cause birth defects – aaa that is worrying..

There are many websites who got great tutorials of how to use this Polymer clay,even how to make realistic eyes! but there is a need of other metirials, such as tools, resin, pasta maker machine and many more.

a small pack is about £2, but on e-bay you can get it cheaper although it might not be from a fresh batch.

here is her talking about her technique (from her website):

Aren’t this amazing! this is the art of simplicity and imagination in its best! way didn’t i think about it,genies!

CARLO GIOVANI

The artist is Carlo Giovani. and he calls himself visual artist. must see his site, his paper art is great.

This is his vegi animals why didn’t I think about it??!!

And this cute fruit animal i found on Facebook, just thought it belongs to this post –

IRMA GRUENHOLZ

I absolutely love her work. this is something i would like to try myself, i love the style, and i was examine her work very closely, cause i love it!!

Irma is from Spain and work in clay plasticine and polymer clay, i could not find any information about size wise of this project but i am guessing she is working on small scale miniature installations. looks like she is using other materials other then clay which she combine in a lovey why.

Very colourful, bright and cheerful. appropriate lighting which makes the right atmosphere.

after all that there is a need to take high resolution photographs of the mini scene, i can just imagine her studio, wait a minute i might be able to find it on google : No. isn’t that a shame ):

It is one of my favorites, so imaginative and innocent.

This guide is from the AOI website, reading through is very helpful for the client and the illustrator – great article!

Guide to Commissioning

In response to the many requests from the Association of Illustrators member artists and the clients who commission them, this document has been drawn up to act as an aid/checklist to the commissioning process. Although it is understood that the art-buying practice may vary from business to business it is hoped that the outlining of the major issues will be of benefit to both commissioner and illustrator.

Good communication between the illustrator and client is encouraged at all times.

Contacting the Illustrator

  • Availability. How busy is the illustrator – are they free to take on a new commission? Even if busy, illustrators can sometimes re-arrange their schedule to accommodate your job if sufficiently interested.
  • Outline your timescale together with a few details of the job. Depending on the nature of the commission the illustrator will probably want to discuss uses and fees before making a commitment.
  • Is there a particular reason for contacting this illustrator? If your call is based on seeing a particular promotion let the illustrator know what you’ve seen as it will give them a better understanding of exactly what it is you’re looking for.

Describing the illustration required

  • Mechanical information such as the likely printed size, whether in colour/mono, space for typography etc. will all be required by the illustrator.
  • If relevant, be specific about the means of execution if an illustrator works in a variety of styles.
  • In terms of content, is a specific visual image required? If so this should be communicated as accurately as possible to the illustrator so there can little or no room for mis-interpretation. Any visual material you can supply to this end will also help.
  • Is the brief open to the illustrator’s interpretation? Many illustrators prefer an open brief as it enables them to work more creatively; however frustration can set in if proposed sketches are repeatedly rejected. Be sure to outline any and all restrictions at the outset. If a sketch is rejected ensure you communicate to the illustrator the reasons for the rejection together with any suggestions for a remedy. The illustrator may reasonably expect additional payment if extra rounds of sketches are requested above and beyond what was originally briefed.
  • State the deadline for finished artwork and delivery of roughs. Also provide an indication of the time needed for sketch approval. Days spent waiting for approval on a drawing can seriously eat into the time set aside for execution of finished artwork.

Requesting a Portfolio

  • Consider how necessary a physical portfolio request is to your particular job. Generally speaking a greater selection of an illustrators work can be viewed online, with samples available via email than can be seen in the traditional portfolio. Equally many artists are happy to send hi-res files for print outs and presentation purposes. Re-arranging portfolios and getting them delivered can often be a time consuming and expensive procedure. Although illustrators will usually be happy to oblige, it helps considerably to understand how important this may be to any particular job.
  • Give an outline of the job which has generated the portfolio request. The illustrator may well want to ‘slant’ their portfolio contents to suit the job concerned.
  • Let the illustrator know if their portfolio is being called in as part of a pitch or as an individual request. Again, this may affect the structure of their portfolio.
  • Be prepared to return the portfolio. It is reasonable to expect that the client bears the cost and responsibility of returning the portfolio to the artist.

Requesting a Meeting

  • Consider the purpose of any proposed meeting with an illustrator and bear in mind that it could easily take a day out of the artist’s working week. Briefs, portfolio samples and visual material can usually be more efficiently communicated via electronic transmission.
  • In arranging a meeting between artist and client ensure the illustrator is briefed as to what will be expected of their presence i.e. presenting portfolio, talking about ideas etc.
  • A client should inform the illustrator of a cancelled meeting in good time.
  • If more than one meeting is a requirement of the job then these times may reasonably be charged by the illustrator as added expenses.

Asking for a Quote

  • As illustration is costed out according to it’s usage the illustrator will need details of how and where the finished piece is to be used, and over what period of time that work is to be used, in order to arrive at a price. These uses can vary considerably depending on which area of the market the work is commissioned for. This can be quite straightforward for, say, an editorial job where a typical use could be described as ‘a quarter page magazine illustration, one-time editorial use, UK only.’
    Things may well be more involved in other areas, particularly in advertising and design group work where multiple uses are envisioned, and perhaps spanning different territories. In these cases the illustrator will need to know the following:
    a list of anticipated uses – i.e. mailer, press ad., point-of-sale etc.
    area of use – i.e. Asia, USA, world or list of single countries.
    period of use – typically 1-2 years for ad/design work.
  • If you have a specified budget it saves a lot of time and energy if this communicated upfront. For editorial and publishing jobs this is usually a given. The illustrator can then respond as to whether or not they can work for the specified fee. Please do not offer the illustrator less than your budget allows. The very real deterioration in fees is making illustration an increasingly difficult profession to sustain. (An indication of how far fees have fallen can be seen in the editorial market. When you consider that £200 was a common fee for a quarter page magazine illustration in the late ‘80’s, and taking into account the rate of inflation, the same illustration today should be priced at £420 – all too often this is far from the case).
  • Do not expect an immediate quote from an illustrator for a proposed job. Commissions can often be quite complex and the artist needs some time to consider the various aspects. The AOI advises it’s members to avoid giving ‘ballpark’ figures over the telephone.
    Expenses. It is reasonable to expect the illustrator to quote extra for any necessary expenses above and beyond the norm i.e. travel to a specified location. Similarly a ‘premium’ or ‘rush fee’ may be quoted for work which is required in an unusually short time frame e.g. a job which requires working through the night.
  • Everything is negotiable. If a quote exceeds your budget get back in touch with the chosen illustrator and see what flexibility exists in the licencing arrangements. For example, if a quote for blanket all-rights has been requested, a more specific licence, tailored to the exact usage requirements of the client, may actually be far more cost effective.

Documentation

  • It is in the interests of both client and illustrator that proper documentation exists for commissioned works. The AOI advises its members to use an Acceptance of Commission form (or licence) which is sent to the client outlining all the agreed terms. Equally you may have your own contract to send to the illustrator.
  • Copyright is a very valuable commodity. It affords the owner the exclusive right to reproduce an image (or allow others to reproduce it) in any way throughout the world for the period of copyright i.e. 70 years. Clearly a client commissioning, say, a brochure cover does not require such wide-ranging rights and would almost certainly not want to pay the appropriate usage fee.
  • Please avoid asking illustrators to sign a contract which assigns copyright or ‘all rights’ to the client without first agreeing a price for such uses.
  • In the great majority of cases a licence is the most appropriate way for the illustrator to give the client the rights it needs. The illustrator keeps the copyright and grants the client a licence appropriate to the commission. The licence would state the use, territory and time period and be exclusive to the client for the specified time.
  • The AOI publishes an Acceptance of Commission form with standard Terms and Conditions, a copy of which can be seen here.

The Job is Rejected/Cancelled

  • Any envisaged problems over the style or content of artwork should be aired as soon as possible.
  • If you are unhappy with the quality of artwork (i.e. it falls far short of the quality seen in samples by the artists) and have to reject it, the following rejection fees are broadly accepted as industry standard.
    25% of the agreed fee if the work is rejected at rough stage.
    50% of the agreed fee if the artwork is rejected on delivery.
  • If a commission is cancelled through no fault of the illustrator, the following cancellation fees are broadly accepted as industry standard.
    25% of the agreed fee if the commission is cancelled before delivery of roughs.
    33% of the agreed fee if the commission is cancelled at rough stage. In the case of more detailed preparatory work such as coloured presentation visuals, a cancellation fee of 50% may be more appropriate. This should be negotiated with the artist.
    100% of the agreed fee if the commission is cancelled on the delivery of artwork.

The Finished Artwork

  • These days finished artwork can de delivered in a myriad of ways. Be sure to pass on your preferred method of delivery to the illustrator and confirm receipt with a simple email/phone call.
  • If alterations are required the illustrator may charge a reasonable fee for significant changes which were not in the original brief, however, the illustrator may not charge extra fees for alterations which are the fault of the artist, nor for trivial alterations.
  • Unless otherwise agreed the original artwork belongs to the artist. Not relevant for digital piecess, but if this is a traditional painted artwork, please ensure you return it safely.

I have taken this test, but before i will tell which number i chose, i will tell you that i have been reading through this sections and there is more then one that i thought describes my personality. We are complicated human beings, i don’t believe you can describe a person with 5 sentience. was fun test though, there is one thing i know, The reason i chose a specific illustration, and why i didn’t like the rest of them.

Introduction

Choose a picture which you feel close to you and memorize its number. Below is a group of nine graphic pictures. The one you choose is the closer to your heart which will accordingly describe your feelings and personality.

Pic No. 1:

  Enthusiastic and dynamic. You’re ready to take risks to get a good job position or a good gain. On the other hand, routine exasperates and thwart you. What you’re really seeking is to have an effective role in everything.

Pic No. 2:

  Independent, untraditional and liberal. You prefer a liberal life away from chains. You possess an artistic and sensitive side in your work. Sometimes, seeking liberty or freedom entails opposite goals to what you were wishing for. Your living style is so eccentric and unique. You stand aside from mimicking or imitating others and always try to live your own way and use your own ideas even if you have to swim against the current.

Pic No. 3:

 Transparent, sensitive and influential. Usually, you’re strict with yourself more than being strict with other people. You hate superficiality and prefer to sit alone rather than to argue. On the other hand, your relationship with your friends is very influential which gives you satisfaction. It’s ok with you to stay alone even for a long time because you rarely feel bored.

Pic No. 4:

 Pacifist, calm and dislike violence. You’re easy to handle and you can befriend others effortlessly. You enjoy your privacy and independence and you always seek to be alone once in a while to meditate the meaning of life. You are a peace lover and appreciate the gift of life.

Pic No. 5:

 Self-confident, very practical and professional. You are responsible and the maker of your own life and decisions. You don’t believe in luck and depend on your interpretations and actions. You tend to solve your problems easily and reasonably. People around you trust you and depend on you because you trust yourself and believe in yourself. You don’t rest until you reach your goals even if you have to fight for them.

Pic No. 6:

Practical, realistic and balanced. You love natural life and hate all kinds of complications. People love you because you are steadfast and dependable, sometimes strict but you are the unfaltering type. You spread hope and security to people around you because you’re honest and trustworthy. You’re not a fashion lover and you like clothes to be practical rather than trendy and stylish but it doesn’t mean you are not tasteful and elegant.

Pic No. 7:

 Confident, neat and trustworthy. You are very sensitive and you always surround yourself with flashy people who at the end turn out to be fake. Education and learning seem to affect your life immensely. You try to shape your own approaches to life with attention to your appearance but away from ostentation. It’s true that some people get affected by you but you are prone to be affected by others likewise.

Pic No. 8:

 Romantic, dreamy and emotional. You’re a very sensitive person who refuses to judge things or incidents from logical point of view but you like to share your emotions because your sentiments are important to you. You alienate yourself from those who ignore romance and from people who tend to be racists. You don’t allow anyone to disturb your serenity.

Pic No. 9:

 Joyful, simple, open and always on the run. You like the unsophisticated lifestyle away from complexities and you want to enjoy it till the last moment. You always look for everything new and aspire for change. Nothing bothers you more than feeling that you’re pinned down or chained. You can adapt quickly and people get familiar with you and your surprises.

http://worldgrandeur.hubpages.com/hub/Psychological-Test-With-Illustration-Know-Yourself-Better

” building a book and make available for sale on amazon.com is almost as easy as writing a blog post”.. Jonni Good (from JonniBGood?? ) from :How to Self-Publish an Art Book, Part 1

 

is it?

Ho.. you need to buy this software which cost about 100$ then invest the time to learn how to use it.

But that will be printing and be immediately available on the web.

In part 2 she will show you all about the software and where,how and how much.

part 3 i think is all about publishing.

So Only if you got the money and the time for purchasing this software go on to part 2-3.

One more website : self-publishing-a-book-25-things-you-need-to-know

CNET’s David Carnoy discusses the ins and outs of what it’s all about.

i liked Number 11:

11. Buy your own ISBN — and create your own publishing house.

If you have market aspirations for your book, buy your own ISBN (International Standard Book Number) and create your own publishing company.

(Credit: http://www.isbn-us.com)

Even if you go with one of the subsidy presses for convenience’s sake, there’s no reason to have Lulu, CreateSpace, iUniverse, Xlibris, Author House, Outskirts, or whomever listed as your publisher. For around $100 (what a single ISBN costs) and a little added paperwork, you can go toe-to-toe with any small publisher. Lulu.com sells ISBNs, other self-publishing companies don’t. The complete list of sellers is here.

Note: Most self-publishing operations will provide you with a free ISBN for both your print book and e-book but whatever operation provides you with the ISBN will be listed as the publisher.