Our Family Plot in my Book!

 

My new book Skeleton For Dinner by Margery Cuyler takes place in a graveyard. So I put tomb stones on most of the pages of art...and then an obvious problem hit me. There were no names on the head stones. So I placed a call to my editor - Nick Temersma at Albert Whitman and said, "ummmm...what should we put on the grave markers?"......."hello".....Then Nick said, "I don't know - what do you think?" Having been around this business for a while I've learned that it's better to have a solution that works for you when you call with a problem. So I suggested, "What if we put our family names on all the tombstones - I could put yours, mine, Margery's..." Eventually the answer came back, "Sure, sounds good". 

I had enough markers to put names from both sides of my family, my mom, my editors, and authors family names, and all the dogs I've had over the years - including pooch who is still very much alive but hey - never hurts to think ahead.

What better way to start October than with a cheesy pitch from Will Terry and a copy of Skeleton For Dinner? Click here for Amazon

Here's a review from Kirkus

And from Publisher's Weekly

What Teaching Has Given Me!

I've been teaching on and off now for the past 20 plus years. At first I was petrified. In fact I really feel sorry for the first students I had back in the early 90's at BYU - I wasn't very good at my craft which caused my teaching to suffer. I hadn't put in enough time to formulate my opinions about image creation.

Fast forward to today - boy am I glad I didn't quit after those first few teaching experiences! I strongly believe in exposure therapy. Afraid to skydive? Go skydiving a bunch of times. I really believe that if you're committed to helping your students learn it will improve your understanding of the subject 10 fold - especially in a subjective subject like art.

The process: You do something that's working in your painting. You have to explain it to someone else. You have to formulate words to describe your process. You hear your own words like you've never heard them before. You make a stronger connection. You make other connections to other principles. You now have to live by those principles for accountability to your students. Your art making improves. Rinse & repeat.

But is doesn't stop there. Because as you help someone else attain the satisfaction you have gained you are rewarded emotionally as well. The connections are so much a part of the teaching. Feeling like you can make a difference in the lives of others is priceless. I have made many friends over the years from some of my former students- and can you have too many friends?

And it doesn't stop there either because it has helped me heal. I've talked about my horrible public school experience as a child here on my blog in the past so I won't go into it again - but finding what you're good at and feeling valuable doing it has been very therapeutic.

I can't begin to tell you how rewarding it has been to teach at UVU and be able to start Folio Academy with Wayne Andreason and now SVS with Jake Parker. To be able to dream up a class and offer it online is such an amazing turn for me. When we get together the ideas just start flowing and we think of all kinds of classes. Early next year we plan to offer a  "Luminous Color & Light" class. You can check out our Digital Painting class here.

My suggestion to artists: Start by mentoring another artists or volunteer at a community art program. Donate your time at various art events and offer pointers. You'll be amazed at how it will inspire you to want to create more...and you might find yourself teaching at an institution or online sometime down the road. The world is getting connected and if you embrace it - it will embrace you.

The image above was created for both my UVU Children's book class & my SVS critique class. I gave both groups the same assignment and I decided to solve it as well - too much fun!

How To Make A Story App - Step 5

 Adding color using Photoshop!

Making progress! I have the opening screen finished! I'm now adding color to all the pages. This step is going to take me a while so don't think that I've quit if you don't see step 6 for a few weeks. I had to make sure that every screen/page was working with the story and that the animations made sense. The last thing I want to do is start my finish work before the framework is in place. It's much easier to alter a sketch than a painting and if I were doing this 10 years ago (even though there was no such thing as an iPad) I would have most likely started on the color before I was ready.

So the way it will work is that the user will be prompted to touch Gary at which point he disappears into his hole and hopefully entices the user (kiddy) to want to know where he went and what it looks like down there.

If you're new to my blog you can scroll down to see my first steps on this journey - and I haven't forgotten that I plan to share all my stats with you when I put this baby in the app store. I'm always so curious to know how other peoples apps are doing - but nobody shares that info - like it's classified or something...think of me as your own personal Eric Snowden - I'm going to leak all the intel on my app - good or bad - we'll all see how it does.

I'll be making my app with Kwik - the DIY Photoshop plugin that allows a non-programer to create their own code behind the scenes of this wysiwyg. Our Kwik class starts tonight - can't wait!

Check out my first steps:

Step 1
Step 2
Step 3
Step 4
Step 5
Step 5.5
Step 6
Step 7
Steps 8 & 9

SVS - Painting in Photoshop POWER DAY!

 

I'm so excited to announce our

Painting in Photoshop Power Day!

On Saturday, October 26, 2013 we will be offering an all day online live class taught by 4 different illustrators/animators. In addition the class can be picked up for half price in video recording version for those who couldn't get into the Complete class. We think this will be a really great way to get lots of ideas of how to use the tools in Photoshop since each artist will have a different approach.


 
I'll be teaching first and then co-teaching with the other 3 artists in their sessions. Then the following week I'll have a follow up one on one session with each person in the Complete class. We can use this time to paint on one of your paintings or drawings, critique, or talk shop - it's your time to decide how to use it.

For those who are brand new to photoshop the Complete class comes with my "Beginning Painting in Photoshop" video tutorial series at folioacademy.com so you won't feel lost in the class.

Since there is NO assignment in the class you do not need to currently own photoshop to attend. Each artist will be presenting their methods of working as they demo in Photoshop. While they work I'll be fielding questions and working them into the conversation as we did in our "Illustration for Storytellers" class.

In all I chose each artist for their unique style and career success. Zac and Brooke are brand new in the children's book world and both are having great success in a short period of time. To me this is a huge benefit to be able to learn just how they did it! I often get asked for advice on breaking into this business but I'm an old guy - these guys have done it in today's ecomomy!

Zac Retz- was born in New York, in 1991. Zac works mostly digitally. Completed his BFA in illustration from Rochester Institute of Technology in 2012. Since then Zac has illustrated a best selling children's book, Too Much Glue. He now works full time at Workinman Interactive making Disney and Nickelodeon games. He continues to work on many concept art freelance projects,  illustrate children's books, and his own projects. 

Brooke Boynton Hughes- has a BFA in printmaking from Colorado State University and an MFA in figurative art from the New York Academy of Art.  She currently lives in Fort Collins, CO where she illustrates children's books, goes hiking with her husband, and wrangles two bouncy dogs and a chatty grey kitty.  Brooke's first book, Cupcake Cousins by Kate Hannigan (published by Disney/Hyperion), will come out in the fall of 2014.  She also has two picture books coming out in 2015 (Baby Love by Angela DiTerlizzi, published by Beach Lane Books and MORE! by Linda Ashman, published by Random House).  Visit Brooke online at www.BrookeBoyntonHughes.com

Kevin Keele- has always enjoyed creating artwork in many forms: drawing, oil painting, digital painting, sculpture, even stained glass and pumpkin carving. His work has been featured in numerous picture books, magazines, board games, video games, and novel covers.
Kevin is currently an artist for Disney Interactive. He lives in Utah with his wife and two sons. They’re the caretakers of one cat, three chickens, and thousands of Italian honeybees.

To learn more about the class click here!

If you would like to be placed on our "advance notice" list for future classes please send me an email at will@willterry.com  

How To Make A Story App - Step 4

Step 4 - Work on character sketches, Interior sketches, and animations.

If you're new to my blog you might want to scroll down to see my first steps...and keep in mind that I'm making this up as I go - I really don't know what I'm doing but I'm going about this as systematically as possible. I'm using my experience from illustrating children's books to guide my process but apps are a whole new beast so we'll see if this works out. Right now I have the entire app sketched out and am now checking all of my animations to make sure they work and communicate.

The hard part was figuring out what to animate but more importantly what NOT to animate. I really want this app to be able to do more than a book but I don't want to get into full blown animation. I like the idea of page breaks to let the reader fill in the missing visuals with their mind - so not getting caught up in time consuming non-important animation is key to making my self imposed deadline and keeping my sanity.

PLUS! I'm NO animator - This is the first time I'm taking a serious crack at it so I don't want to bite off more than I can chew. The little guy above is my main character and I'll be able to re-use this animation over and over in my story. Of course I still have to paint him so my work isn't finished but you can see that even an old illustrator can learn new tricks - I made a video tutorial on how to prepare this kind of artwork for a story app here.

Alex Sousa is going to show us how to make these kinds of animations work in Kwik in our upcoming class that begins in a few weeks. We still have a handful of slots left for the live class but many are opting for the LITE video recordings of our class.

Check out my first 3 steps:

Step 1
Step 2
Step 3
Step 4
Step 5
Step 5.5
Step 6
Step 7
Steps 8 & 9

The Biggest Mistake Illustrators and Animators Make!

So what is the big mistake? You think I'm that easy? You have to watch the video! :)

How To Make A Story App - Step 3

Decide what you can put into your story app that will be unique to set yourself apart from the competition.

Are you a follower or a leader? When I look at many of the story apps available in the app store I notice that many creators seem to be playing follow the leader - and some aren't even following the leaders. It's hard enough to actually make the app but to put something out that is predictable and average is a waste of time. It's already hard enough to get noticed so don't make your app forgettable by doing what the other guys are doing.

If they are all putting coloring book activities in their story apps don't add a coloring activity - unless you can do it better or different. If the other guys are making every object wiggle with a silly sound when you touch it - yeah you get the picture. We're at the front of a new technology so don't assume the other guy is doing it right. This is your app. What do you want to do? Yeah? than do it and don't look back!

Afraid that you'll do something other people will scoff or laugh at? Perfect! It's not art if there's no risk! Better to fail big and learn than to copy and be forgettable. Be remarkable.

So how can you be original? I think it's by having one or more unique aspects in your app. Suggestions:

Great story
Great artwork
Animation that is unique to your story
Great voice acting
Integrated music
Unique navigation
Teaches niche moral or principle
Appeals to a niche market
Insert other unique aspect here.

So what am I planning for my app?

1. I think Rick Walton wrote a unique story for us - but the market will decide that.
2. I'm going to work hard on the artwork so I'm hoping to impress in that category.
3. I'm working on animation that helps further the story.
4. I will hire voice actors to enhance the experience.
5. Instead of page turns my app will navigate up, down, back, and forward.
6. The story has a sustainable living theme running throughout.

Like I've written before - none of this is a guarantee of commercial success but all I can do is put out the best I'm capable of in a reasonable amount of time and then begin work on the next app.

I'm really looking forward to beginning the Kwik class in a few weeks! Learning how to program my own app without any programing experience is going to enable me to take control of my app creating bug! More info on the class here. 

Check out steps 1 and 2:

Step 1
Step 2
Step 3
Step 4
Step 5
Step 5.5
Step 6
Step 7
Steps 8 & 9

How To Make A Story App - Step 2

Consume as many Great story apps as you can (or whatever type of app you plan on making)

Often I see artists embark on a journey without knowing how people made the same trip before them. The pioneers before you encountered the same problems you're going to encounter and looking at their solutions will make your project much easier. The more you consume the more you will develop your own opinions about what works and doesn't work. In addition, when you look at great art it inspires you to be great and the ideas begin to flow.

Where can I find great story apps? I'm so glad you asked! You need to check yourself into Digital Storytime! Here's a screen shot from their site. I like to click on "Quality" and then "Overall Rating" to see what they think are the best story apps. I devour these being aware of  the commonalities of each one. Do they all have read to me files? Do they have static text or highlighted text? Do they offer them as options or are you stuck with the read to me file and highlighted text?

Next, you need to tune in to #Storyappchat every Sunday night at 9:00PM Eastern 6:00PM West Coast. This is a twitter chat where anyone is invited and there's a new topic about story apps each night. The information being shared is pure gold if you're looking to produce your own apps.

I'll be back soon with step 3 and don't forget to check out our Kwik class that begins in October 2013 - and you can always sign up for the video only version - the recorded live classes.

Step 1
Step 2
Step 3
Step 4
Step 5
Step 5.5
Step 6
Step 7
Steps 8 & 9

How To Make A Story App - Step 1

I'm going to be blogging about the progress on my new story app "Gary's Place" from now until it's for sale in the app stores - and beyond - even updates on my sales figures. This is really scary because I'm promising to do something that I haven't done yet. In fact there's a voice yelling inside right now begging me to delete this and stop writing. But - here we go...

Step 1 - Start with a GREAT story!

I came up with an idea for a story about a gopher who isn't content with his home. It had a good beginning, middle, and end but I couldn't write a good manuscript because I don't have enough writing experience.  So - I approached Rick Walton, a well known children's book author and friend (over 90 published books - google screen shot above) and asked him to read my story and write it if he liked the idea. In a ridiculously short time he turned it into gold. Yes I will cut him in for a large percentage and yes it took him no time but I believe it will be worth every penny. He's been writing for over 25 years and his experience shows.

The story is THE most important part of a story app. Illustrations, music, character voices, animation, games, coloring activities, things that wiggle and jiggle won't make it a great app!

Often we don't hold ourselves to the same quality standards we expect from the goods and services we consume. We want to see movies with a great story and cinematography asking friends and family for recommendations before dropping money at the box office. But do we provide the same when writing for a book, app, or ebook? If you don't have the writing skills are you working hard to develop them? Have you considered partnering with a professional author?

I get emails, messages, and phone calls every week from authors looking for illustrators to partner with. Professional authors often have a huge back list of manuscripts that have never been published - usually much larger than their printed books. I guess a good question is will having a great story sell enough apps to offset the percentage or payment you'll have to give up to an author? I think so. I believe that a smaller percentage of a GREAT project is worth much more than a larger percentage of a Mediocre project.

Did you know there are thousands of movies produced each year? How many can you name from 2013? My point is that if you aren't producing the best who will care?

But Will, you're a professional illustrator so it's easy for you to work with professional authors. Sure - it's probably easier for me to strike up a conversation but from the sheer numbers of authors I've been approached by I know there's a huge need out there and it's only going to grow. If you're passionate and committed I doubt you will have trouble talking an author into letting you take a crack at bringing one of their stories to life.

So check back to see Step 2 as I share my progress reports!

And as a reminder - if you're worried about the programming side of making a story app we are having a class that starts in about a month to learn Kwik - the DIY photoshop plugin software that lets you create your own story app. More info.

Step 1
Step 2
Step 3
Step 4
Step 5
Step 5.5
Step 6
Step 7
Steps 8 & 9

New SVS Class - Learn Kwik!

I'm so excited to announce our new SVS class: Learn kwiksher. What is Kwik? It's a WYSIWYG -(what you see is what you get) plugin that works inside photoshop. It allows the user to create their own story app, digital comic, graphic novel, game, etc... The coolest thing is that you don't need to have any coding experience to use it - however - it is a bit complicated - which makes it very powerful! I have invited Alex to teach this class via our SVS classes to make it easier to get your feet wet. If you're like me you will enjoy being led through this software step by step.

Click here to check out the class

click here to check out kwik

Why am I typing? I laid it all out in this video:

Finished!

I just finished my new book!- "There Once Was A Cowpoke Who Swallowed An Ant" by Helen ketteman - A.W. ...that's it - just on a high right now and thought I'd share...

What should Be In My Illustration Portfolio?

In this video I give a list of items I feel every children's book illustrator should have in their portfolio. Art Directors and Editors are afraid to hire the wrong artist so make sure you're covering all the most important items. If you can think like an editor you'll be much more equipped to show them what they want to see.

Good Reviews for "Skeleton For Dinner!"

Just got a few good reviews from Kirkus and Publisher's Weekly!...it's always tense waiting to see if they'll like it or trash it. This book is due to hit the stores in September - can't wait!

Kirkus:
Mother and daughter witch want to have skeleton for dinner. Is he on the menu or intended to be a guest?

Big Witch and Little Witch are proud of their yummy stew full of delightfully disgusting ingredients, such as “shark fins and snake skins, spider silk and centaur’s milk, catfish whiskers and banshee blisters.” Little Witch makes a list of the friends she wants to invite for dinner. She writes “Dinner” at the top, with Ghost, Ghoul and Skeleton below it and tacks it to a tree. When Skeleton reads it, he flies into a panic. Veteran Cuyler keeps the text flowing and sets a just-right pace for reading aloud. Poor Skeleton “rat-a-bat-tat[s] down the hill… / and jingle-jangle[s]” off to warn first Ghost and then Ghoul about what he fears the witches are planning. Terry chooses deep blue-greens and dark craggy trees to create the nightscape. Skeleton’s cool white and Ghost’s translucent wash of white makes them glow on the page, whereas the warmer tones used for Ghoul and the bright green of Little Witch provide refreshing contrast. When Little Witch fails to find her friends to tell them about the dinner party, her despair sends Crow flying to the rescue.

A poison-ivy bouquet, full bowls of stew and happy friends bring the story to a satisfying close. Make sure to tuck in to this delicious tale. (Picture book. 3-6)

Publisher's Weekly:
Bathed in a spooky graveyard glow, Big Witch and Little Witch brew a stew and prepare a list of the guests to invite for dinner. What follows is a kind of Halloween version of Chicken Little, as timid Skeleton misunderstands, believing he’s an ingredient, not a guest. He dashes off to warn two friends—Ghost, a wispy girl, and Ghoul, who resembles Quasimodo. It’s a familiar joke, but Terry’s illustrations give the cast of characters distinctive looks and personalities (they almost resemble rubbery toys). Despite the threat of death by cauldron, neither contributor lets things get too frightening as the story works its way to a happy ending for all. Ages 3–5. Author’s agent: Tracey Adams, Adams Literary. (Oct.)
Reviewed on 07/19/2013 | Details & Permalink <http://www.publishersweekly.com/978-0-8075-7398-3>

Don't Let Them Define Your Success!

Too often I hear up and coming illustrators, animators, and comic book artists say, "Hopefully I can make it someday and get freelance work." This is a self defeating way of thinking...if you never get hired does that mean you didn't make it? Is there a such thing as all or nothing as an artist? Is this easy for me to say because I make a living with my art?

I don't think so because I remember those very discouraging times when I wasn't getting work. But more importantly I would be creating art even if I wasn't getting hired to complete freelance assignments. I don't create for my clients - I create for myself. My publishers get to publish my work. I own it and stand behind it and even though I work closely with them they don't own it - I do. I take responsibility for the quality of my work and place a higher standard for myself than my clients demand - therefore - it's mine.

The problem with thinking that assignments equal success is that you let forces outside of your control define your value. It's a dangerous game to play because at what point to you throw in the towel and say, "well, time to quit - nobody hired me." Success can be defined in many ways and I understand the need to generate income with your craft. I think it's important to remember that some artists start earning a decent income within a year after school. Some might take 1-5 years. Some much longer.

I once had a student who stated, "I need to start earning money with illustration right after graduation." I didn't know quite how to answer that and I failed to give a good answer at the time. What I would say today is this: "So, what if you don't? does that mean the past four years was a waste of time? What if you could see the future and you are able to generate more money than you could imagine but it takes you 10 years to get to that point - is that worth it? Do you have the commitment to make it through the 10 years of below expected income levels? What if your experience was like my friend who struggled for 4-5 years after school and then was asked to illustrate: "A Series of Unfortunate Events"? Would that be worth it?

The tendency is to want the rewards with little sacrifice. If you really truly want it you will have to dedicate your life to it - this is good news for most because you're in control of it! You have many years ahead of you of hard work! Embrace it. Fall in love with it. Cherish the time you have with your craft.

If being successful means being chosen to work for someone else - you might be disappointed if your work is easily good enough but you aren't being seen by the right clients.

If being successful means earning enough money to pay your bills - you might be judging your potential before your work is marketable.

If being successful means winning awards - you might be creating art that is unappreciated by the trend police.

If being successful means selling a certain quantity - you might be disappointed if the right audience never sees your product.

The previous is inspired by Seth Godin who says we're now living in a time where you can't afford to wait for someone to pick you - rather you must pick yourself.

Nobody hired me to make ebooks but I picked myself and published them.

Nobody hired me to make video tutorials and online classes but I picked myself and created them.

Nobody hired me to run my youtube channel but I picked myself and publish videos every month.

Nobody hired me to write this blog but I picked myself and now I have a place to share my ideas.

If you set attainable goals you can be successful every day, month, and year. It starts with a commitment to excellence and improvement. It ends when you die. I can promise you that I will be creating art until that day. I don't work -I create. I live and breathe knowing that I have much more to give. I am successful because what I create makes me happy.

How Many Sketches Should You Send In?

Back in my editorial days I was always coached to send in multiple sketches and ideas for the art director to choose from. Now that I'm a children's book illustrator I've come to realize that sending in multiple sketches for one page is not often the best policy. The reason: I always like one better than the other(s) and often the editor or art director will pick the one I like the least. Then it's a let down having to paint an image I'm not as happy with.

I just created the image above for a new book I'm working on "There Once Was a Cowpoke who swallowed an ant" by Helen Ketteman (Albert Whitman). My working process is to send in rough sketches for the direction I'm thinking of. Then I get feedback from the art director and editor. My goal is to make myself happy and then see if the team likes it. If they do then I move to a final drawing refining details and making any alterations asked for by the team.

 Sometimes they don't like the direction at all and ask for a new idea -offering their suggestions. I love working this way. I've taken the time to explore many thumbnail sketches and ideas and I don't want to share my rejected ideas just to offer more choice. Sometimes more choice just offers more confusion. Ever tried to order at restaurant with 100 menu items? You feel overwhelmed and start to think you're going to miss something really good - so you spend more time reading the menu rather than visiting with the people you went to have a meal with.

I'm a big believer in working hard to develop a sketch you can't wait to paint and then working with it until you and your team come to a consensus. I've taken the time to do a lot of editing in my development process and I choose NOT to share that with the creative team at the publisher.

Do I Need A Rep To Sell My Work?

I was asked a series of very thought provoking questions from a fellow illustrator about reps and selling work online. I realize I start to ramble a bit but I hope I answered your questions in a way that helps. Tune in while you work and it might help you too...

Advice For illustrators

I went through all the great questions that were posted about a week ago (a few posts back) and in this video I answer as best I can. Thank you for your great questions.

Updates On Our SVS Classes

Just a few updates on our classes:

1) Illustration for Storytellers will only be available for a few more days. Wednesday July 10th will be the last day you can purchase the LITE version of the class. After that you will have to wait until we run it again. We hope to offer this class again in the fall - hopefully in October be we haven't finalized the date yet. Here are all of the details on this class.

2) The Critique Class (companion to illustration for storytellers) is LIVE right now. The class is about half full already. This class was designed for the people who couldn't get into the COMPLETE live class. The requirement however is that you first take the LITE version of illustration for storytellers. This is so that we can work from a common language and understanding when we are critiquing your illustrations in class. Here are the details for this class.

3) We are planning to announce a comics class by Jake Parker and a one day photoshop workshop - probably 6 hours of intensive ramp up to getting you working digitally taught by me.

See what people are saying about our class!

What Questions do you have?

Sometimes abundance is working against you...but I like the challenge!

I'm getting ready to make another Youtube video for my channel and would love to answer any questions you might have. When I was going to school we didn't have the internet so this wasn't possible and we had to wait for working professionals to visit our school to ask. Youtube has made it possible for me to reach people all over the world to give advice when I think I might be able to help. So if you leave a question in the comments I'll try to address everyone in my next Youtube video. Thank you! (oh - you might want to check out my channel to see what topics I've already covered...)

Critique Class - (discussion)

I learned long ago that trying to get someone to like you doesn't work - eventually you have to let go of the tail and then you understand real quick...or something like that.

anyway...

I'm not going to try to get people to like the idea of a critique class. I'm just going to offer it and if it fills up I'll know.

Here's my proposal:

It will only be available to those who have taken the Complete or Lite SVS Illustration for Storytellers class.

These people will get an email when the class is up and running on our site.

It will only be available to the first 20 people to sign up.

It will cost $150.00

It will be held over 5 weeks meeting once/week for 2 hours each session = 10 hours of class time.

I'm thinking of beginning this class in early September.

It will be taught by Will Terry (me) and I'll have an assistant helping me.

An assignment will be given a month before the first class begins.

We will critique the assignment in class.

10 people will have their assignments critiqued the first night - the other 10 the following week.

I will do composition and rendering demos on the third week.

The 4th and 5th week will be spent critiquing the revisions.

Each class will be recorded and provided to attendees for study and in case they couldn't make the class.

Every attendee will get 20 min 1 on 1 time after the class is over on GoToMeeting follow up. This is their time to use how they see fit.

The benefit in a class like this is to see lots of work critiqued so that you can apply the principles from other students to your own projects both now and in the future.

I'm thinking of holding it on Saturdays from 7:00PM - 9:00PM MST - (9 :00PM NYC - 6:00PM Cali) and this will help some of our students in other parts of the world so that it doesn't fall at a time when they're at work.

I hope to have this live on our SVS site in as short as a week - 2 weeks.

Again the only requirement to attend this class is that you have to have taken the Complete or Lite version of our Illustration for Storytellers found here - no exceptions please. This is so I can move faster in class without having to back up each thing with a mini lesson but more importantly so we don't bore the rest of the class.

Here's what I need you to weigh in on:

1. Do you think it's worth it?
2. Does this time work for you and if not when would?
3. Do you like this format?

What People Are Saying About Our Class

Some updates and announcements first.

Jake Parker and I are teaching an online children's book class. It's not too late to buy the "LITE" version.

We are probably going to run a critique only class but will only open it up to people who have taken our LITE or FULL class. The reason for this is so everyone is up to speed on the material we went over in class.  The critique only class will allow attendees the opportunity to get critiques and draw overs on their existing work or work from our class or work they haven't done yet.

The LITE class will only be available for a few more weeks - it will be gone on July 11th.

Here's the link to the class

We also have a facebook page for SVS here

These are some of the comments I pulled off of our facebook page:

Thank you Jake & Will, tonight was worth the price of admission. Awesome info.

Hello! I am one of the LITE students and I just finished listening to the first lesson. Thank you so much, Will and Jake, for sharing your experiences and insights. Can't wait till the next class!

Couldn't be more excited to be part of this class! After just the first lesson I have two pages full of useful info and a ton of inspiration.

Fantastic first class...love the personal sharing approach and tips on what you do to stay creative!

It really is a great and fresh approach to learning, you guys definitely have found a great format to share and keep it interesting.

No complaints on my end. Video & audio was coming through fine. And the content was fantastic. Super cool to have an opportunity for learning like that online.

wanted to thank you both (I couldn't even say Jake's environment rocked), So COOL, good to see the two of you riffing off each other

Thanks Will Terry and Jake! Great lesson... perspective is no longer a headache. I think watching it get manipulated was THE most helpful thing I've seen to date! Going to go practice!

Jake pushes beyond those normal perspective lessons. For him to say to not be exact because it makes you stiff. AND especially him showing the lines on his work was JUST INCREDIBLE

Just wanted to let you know I am loving the class! It's been super helpful and it is a great way for me to learn because I haven't been able to find any illustration classes where I live.

Re: tonight's class - I don't think I've ever learned so much in 2 hours before!

I'm loving it!!! THIS IS SUCH AN AMAZING CLASS! I wish it didn't have to end July 10th! (consider doing a part two class someday... *cough... cough, hint... hint*)
I really wish I coud have gotten into the full version class though, only because the anticipation of waiting for the classes to be uploaded is overbearing (I feel like a kid again waiting for Christmas day to open my presents!). But Im getting every pennies worth with the LITE version and Im VERY HAPPY! Thank you so much for this!!

I give this class an A++++ and I have been putting the lessons to good use in my illustrations. I am definitely interested in a critique class. Would it be possible to provide a list of resources and optional homework assignments? Not suggesting we turn the homework in...these activities would help reinforce the concepts presented in the each class session. Thank you both for making this class available!

I can't say enough about how much I have enjoyed this class! There is so much that have learned. My favorite classes to date have been Will's lecture on design and Jake's class on Character design. Both Will and Jake are incredible teachers! They are doing a great job putting a lot of information in such a short amount of time (Its my favorite part of the week so it goes extra fast for me). My cup is overflowing with tons of new ideas and concepts. Thank you Jake and Will for seeing the need for this class and putting your time and talent in providing such a great opportunity for all of us.

I think you guys are doing great! I'm learning loads of stuff in ever class and I think you two have a nice balance - asking each other questions, adding comments to the other's presentation, keeping an eye on time and questions on the chat board... Yeah, I'm pretty much having a blast absorbing everything I can from the two of you and every one else. Yay!

 

I Draw - How Can I Make Money With It?

In this video I answer a question from David - a Southwest Airlines employee who has 3 days off/week and loves to draw comics during his down time. He asked me what steps he should take next to getting his work published. I thought that other artists might be in his situation and might benefit from my answers. Listen to it while you work and if you have anything to add I love hearing your thoughts.

Christmas in June!

Finished! Working on Santa Pups for Scholastic was a blast! This was such a fun book written by Jerry Pallotta! Can you see my little Pooch in there? Here are some photos of her below that I used for reference. I also got the authors son's dog in there - the terrier looking black and white mutt in the middle. I put the editors dog in on a different spread. Anyway - another one in the books. (pun intended!)

Our Meeting Was A Success!

We had a great meeting tonight using Go To Meeting - we're sorry if you couldn't get in - we filled up pretty quickly. If you did get in thank you so much for helping us test out the software! Above is the flesh tone demo I did in Photoshop.

We look forward to our first SVS online class beginning Monday the 10th at 7:00PM MST. If you're in the FULL class we will be having a meet & greet this Sunday night at the same time 7:00PM MST. This will be an opportunity to test out your microphone and get familiar with the software if you weren't able to attend our test class today.

Test Class Hang Out

Jake Parker and I are going to be testing out the GoToMeeting software this Thursday at 8:00 PM MST (10:00PM east coast and 7:00PM west coast). Anyone can join us! This is in preparation for our SVS online class starting next week on June 10th.

This meeting will last for an hour or more and we will be drawing, painting, and answering any questions you might have about anything. Basically hanging out and talking shop. I'll be painting that fellow up above - a sketch from my next book - "I know an old Cowpoke who swallowed an Ant."

There will only be space for the first 25 people who log in to the online meeting. First come first serve. Here's how it will work:

10 minutes before the meeting I will post a link to join in the comments section below - I'll also post it on facebook on our SVS page and also on my personal page. If you would like to send me a friend request I'll friend you. If you would like to join on your cellphone or iPad just go to the app store and download the free GoToMeeting app - I have it on my iPad and it works really well.

For PC or Mac you do NOT need to download anything to join the meeting - the link will take you there - it's really easy and works really well.

Looking forward to sharing some time with you this Thursday!

"Will You Critique My Art?"

I get asked many times each week if I can take a look at someone's portfolio, project, drawings, or paintings and give them a critique. I love teaching. I love giving critiques because it's a way I can help others and feel connected. I love being able to share what I've learned because I get such a high from working on a piece that's working. Probably the best thing about helping someone else with their art is watching them make new discoveries and epiphanies.

The problem is that I just don't have time to help everyone who asks. The internet has blessed me with more connections than I can possibly handle. I have my regular freelance workload and I often don't blog about them due to confidentiality agreements. I am usually working on a picture book - two right now and then there's my personal story writing/illustrating that I try to find time for and of course Folioacademy.com. I'm also teaching both online and at the University and then there's blogging and my family who often get left out. I've been blessed with a wife who supports my daily sanity hikes (pictured above) to get away and clear my head but that leaves little extra time to help those of you who have reached out and asked for help.

So I have to say no to everyone to be fair. Please know that it's not because I don't want to - I love talking shop and sharing my thoughts on your work but most nights I don't go to bed until 1:00-2:00 am as it is. I have set aside time to help people through my new online SVS class because I wanted to be able to present material in a logical way and then work through a project.

Some have said, "Well I just need a few pointers so it won't take long." I've known people to make life altering decisions based on a few remarks. I take each critique seriously and realize that a few careless words could have a long lasting impact - so giving critiques when I'm pressed for time is a recipe for disaster.  I want to feel really good about what I think are the two or three things that will really make a difference in the artist's portfolio - which comes with careful contemplation. 

I also get asked to give paid critiques. Again, I don't have time but beyond that I really like the idea of presenting material through a class because many of the questions are answered through the material and then the critiques are better received and have more meaning.

I hope I have not offended anyone with this message and please know that I love getting your emails, letters, and comments! There just isn't enough time in the day for me to do everything I want to do.

Santa Pups Progress

I've been having such a great time working on my next book - Santa Pups by Jerry Pallatta - Scholastic. It's a very simple but funny story where Santa decides to try different breeds of dogs to pull his sled one year. These are the Mutts and they want to go in every direction! This has been such a fun story to work on! I even got to work in my dog Pooch! How did they know I'm such a dog guy? It's like the dog gods were smiling down on me when I got this assignment! I even got to work in the author and editor's dogs into a few of the illustrations! Working as an illustrator is so much fun because you never know what kinds of projects you'll get to work on from month to month.

I'm out of here - going for a walk with Pooch - later.

Climbing Out Of The Public School Dumpster

Imagine an alternate universe. A place where kids that are good at computation and reading skills are cute but are good for "elective classes" taking a back seat to the required art, drama, and music classes. Imagine getting in trouble for bringing home failing grades in drawing 1 and Choir but pointing out that you did well in math as a consolation. Imagine not getting into the college of your choice because your SAT or ACT scores were low in art. Imagine the disappointment on your teacher's face when you turned in bad drawings. How would you feel if you were told that your future earnings depended on how well you did in art classes? That your value to society was based on how well you could paint a portrait?

Isn't this what we're doing in public school? We only count the grades on a few subjects like English, math, and science and focus on the same skills for standardized tests. Being good at visual skills like painting but not being rewarded for it in school made me feel alienated from auditory learners. Of course I didn't know the difference between auditory, visual, and kenesthetic learners back then but I remember the feelings of knowing I didn't have the right stuff: unwanted, unworthy, inadequate, dumb, stupid, valueless, low, under achiever, disabled, incapable, and invisible.

I've worked for numerous fortune 500 companies, Illustrated 2 games for Hasbro, big publishers like Random House & Simon Schuster, hundreds of consumer magazines, been included in the Society of Illustrators, taught high school art, teach at two Universities, published ebooks and apps, started my own online video tutorial company, an online live class, and become an avid blogger. So my question is this: How can someone who regularly received below 2.0 GPA's in Jr high and high school achieve as much as I have in the past 20 years? According to my schools I was a failure - even though I was regularly cranking out artwork and excelling at playing the Cello.

I've been told by some that the reason I did so poorly in public school is that I was lazy. I can assure you I have never been lazy. Uninspired? -guilty. Bored? -guilty. -but never lazy.

I write about this on my blog because I feel that this is an issue we must come to terms with if we are ever going to truly support artists. I write about this to continue my healing process and to hopefully help those who find themselves in the same situation I was in - unwanted. Our current system selects for a few skills (reading & math) while discarding everyone else.

Everything we aspire to buy or experience like cars, phones, and movies has a creative component yet we do not teach creativity in school. The Washington Post reports that 54% of young people want to start a business yet we teach no entrepreneurial skills in public school. To become a master at anything we must fail over and over to improve yet our public schools do not embrace a failing forward approach - rewarding those who memorize the right answers.

I think of the poor souls like me who might have turned to substances or other means of coping with the feelings of their perceived inadequacies. I'm one of the lucky ones because I had parents who supported my desires to pursue illustration. I'm lucky because they had the means to send me to school. I'm lucky because I happened to attend a university with a great illustration program. I'm lucky because I married a woman who supported my crazy dream to become an illustrator. I'm lucky because every one of the 2,000 plus commissions I've received over the years has been a pat on the back.

I write this for my son Aaron - who's self portrait was graded with a BIG red "F" by his 4th grade teacher 9 years ago - all because he drew extra personality traits into his picture...because he didn't want his art to look like everyone Else's - apparently he understood art much better than his teacher.

Some have questioned my sanity in criticizing the very system that employs teachers and librarians who make up a large portion of my children's book audience. That I might be black listed for school visits - a substantial boost to author/illustrator incomes and book promotion.  (Isn't it ironic that the very people I feared in school have become a large portion of my audience?) Am I really going to bite the hand that feeds me? If you abuse a dog and it bites you back should you get mad at the dog or realize your mistake and change?

I could sit back and keep my mouth shut in hopes of earning extra income provided by the very system that ignored me -OR- I could do what I feel is right and speak up for the innocent children we feed to that machine every year. I've met parents with kids just like me who ask, "what should I do with my child who just wants to draw?" Should I turn my back on them in hopes of booking more school visits? I tell them to celebrate those passions that their children exhibit! Help nurture those skills and understand that the world may one day value their contributions much higher than the school system is allowed to for the moment.

I love presenting in schools because I feel that I might actually be able to make a difference in some of the budding artists in the crowd. My feelings towards the broken system do not prevent me from working within it's framework - just like many of the committed teachers who get up every day trying to make a difference in spite of having to teach in handcuffs. I hope anyone reading this will understand that I'm passionate about illustrating children's books, teaching, and helping people realize their potential in unlocking their talents and inspiring them to work hard to achieve their dreams.

If you don't have any idea what I'm talking about there are many great discussions online: Check out Ken Robinson and what Seth Godin has to say about this topic.