Category: Blog Posts

March 2015 – Monthly Update plus HUGE News!

Hey guys! I’ve decided to write this month’s update instead of broadcast it because I’m feeling a bit under the weather (food poisoning, urgh!).  So rather than subject you all to my sick mug, I thought I’d write March’s update instead!

How’s My Month Been?

It’s been great!  I’ve been whirling between my studies with Painting Drama and Proko’s Figure Drawing Fundamentals. Here are some of the studies I’ve been working on!

I’m slowly, but surely working my way up to 25 abstractions for my assignment. They take quite awhile so it has been a slow going process, but I’m learning so much about how compositions are arranged!  The 3D object assignment is building me up for drawing volumetric mannequins, which I’m very much looking forward to.

I’ve also been working on finishing the Rapunzel comic since it’s going to be published in an anthology later this year (more on that later as publication draws closer).  Now with more detail than ever before since I have a longer time to focus on them!

 

HUGE News!

And finally, saving the BIGGEST announcement for last.  I’ve put a downpayment on entering a mentorship with Dan Luvisi (of Last Man Standing fame) and Anthony Jones (of Robotpencil.org and Blizzard Entertainment fame) in May and June!  This mentorship is going to focus on IP development and I’ll be using my own novel as the IP I intend to develop for this mentorship!

You can read the syllabus here (starts on page 15).

It’s no small investment, but I’m using the pennies we’ve been pinching for SmartSchool to give it a shot.  I was a little torn, but the fact is, I’ve always felt like more of a writer-artist than purely an artist and this mentorship allows me to give both of those passions the attention they deserve. Plus, there is always next year for SmartSchool, if my pinched pennies can regenerate by then.

By the end of this mentorship, I hope to have the first two chapters written, illustrations of characters and key scenes, a perfected pitch and SO much more!  We’ll be able to talk to knowledgeable parties about their experiences in this field and receive guided instruction.

The instructors are even hoping to bring student work to San Diego Comic Con to pitch what they can to any interested parties.  They obviously can’t guarantee success, but the slim chance to be seen by the right people when I’m at that point definitely can’t hurt!

This could be HUGE, guys!

I am so excited (and a little intimidated) by what this could mean for my future!  And of course, I’ll be sharing some of my exclusive ‘behind the scenes’ work related to my novel during this intense project with my fine Patrons over at my Patreon because you guys have been amazing.  Thanks for your constant support and encouragement!

I did have a question I wanted to answer about study sources for this month’s update, but it really deserves it’s own blog post.  So, for now, I’m going to go sleep.  I have too much to do for a stomach bug to defeat me now!

See you next month where we’ll hopefully be back to a broadcast format!

Sketch Diary – Nariko of Heavenly Sword – Part 2

Now that Nariko’s design is figured out, it’s on to coloring!  I decided to try a new coloring technique called the Ambient Occlusion method.  This technique is a way to bring a structural quality to your images relatively quickly.  I used Alex Negrea’s tutorial and also this helpful process post from David Lojaya.

Here’s a breakdown of the main layers in my painting.

  1. Sketch – I produced a clean line art using the hard brush. This Sketch layer hovers above all of the other layers for the figure.  Notice I didn’t sketch in pure black, but a very dark brown so as to keep my image from looking too stark. I wanted subtle warmth and for the line art to look natural. The same goes for the AO layer, which is not pure black, but a dark brown. You can tweak this coloration later to suit the mood of your piece.
  2. Sketch+Ambient Occlusion – The Ambient Occlusion layer sits below the Sketch and Flat Color layers and above the Shadow layer and represents places that are hard for light to enter, the deepest, darkest shadows where light is ‘occluded’.  It is set to the blending option Multiply.
  3. Sketch+AO+Flat Colors – The Flat Colors are actually a group of layers, as I kept each color on its own layer just in case I wanted to change them later.  The entire group is set to the blending option Multiply so they show the AO layer beneath them.
  4. Sketch+AO+Flat Colors+Shadow – The Shadow layer was clipped to a standalone layer that masked out the entire figure to keep my shadows from going outside of the lines.  The Shadow layer is located below the Flat Colors group and above the AO layer.
  5. Final – In the final image notice I’ve actually masked out some of the Sketch layer so that the hard lines don’t look so unnatural (particularly in the area of the neck where lines are too harsh for the soft transitions there).  Lighting effects have also been applied here.

 

NOTE: My Patreon Patrons at the $5+ reward tier have exclusive access to my .psd file, so be sure to pitch in there if you’d like to peruse my layer structure!

 

Tools Used:

Deharme’s Brush set for Photoshop CC

Finally, here’s an animated GIF of my process (roughly 8 mb).

If you’d like to download wallpapers of the final image, I’ve provided the 1920×1080 size for free.

Also be sure to check out the article this image is featured in, What Women Want…In Women Characters for an interesting discussion of female character designs and representation.

The 1920×1080 wallpaper of this image. Download here.

Other sizes plus the .psd are available exclusively for my Patreon Patrons.

PRINTS AND PRODUCTS – Contact me privately if interested.

Back to Part 1

 

Sketch Diary – Nariko of Heavenly Sword – Part 1

I was challenged by an online art group I’m in to redesign a female character. This idea really appealed to me as a gamer and comic book fan, considering the amount of times as a female fan I’ve seen a character and found myself highly disappointed by the bland or over-sexualized design that detracted from the amazing female character at the core.  Some of my candidates were my heroines growing up, from She-Ra to Psylocke!

Eventually, I decided on Nariko of Heavenly Sword.  Here was a tough, driven woman who chose to sacrifice herself to an ancient sword in order to defend her people, the same people who had viewed her as a cursed outcast.

But that outfit!  I could barely take her seriously doing all of the amazing brutal fighting she does in such impractical gear, even given this was a fantasy setting.

Nariko of Heavenly Sword

And so my redesign began first with studying the designs of the other characters in the game.  A fusion of European and Asian aesthetic pervades the armor designs of Heavenly Sword.   I kept a massive private Pinterest board for this purpose.

A screenshot of part of my mood board for this painting.

 

I used a pre-printed fashion croquis sketchbook to knock out some quick costumes in ink and Copic marker for Nariko’s re-design.  My thought process was to simply dress Nariko more closely in the fashion of her father, who was dressed in a kimono style top and pants covered with armor in key places.  This look seemed appropriate considering the fact it was snowing and everyone else but Nariko was dressed appropriately for the climate and for the ensuing large scale battle.

I also found it baffling that while Nariko was trained to fight that she wasn’t at least wearing basic armor, even if she were not to be on the front lines or was intended to be more of a Gladiator type of fighter.

Nariko Redesign Fashion Plates
Fashion plates for Nariko’s re-design.

 

I chose the design on the right because I liked the way that it was both protective, channels the Gladiator-esque look of her original design with the tooled leather, and maintains the archetypal colors and shapes we’re used to for Nariko.  The one on the left had too much crimson in it, which was too closely associated with her father and also doesn’t allow her hair to be the most red and striking part of her design, as I feel it was meant to be.

Next, I did quick gesture sketches in an attempt to capture a pose that felt heroic, but would also show off this new armor design. It was a tough decision, but I eventually settled on pose 3.

Nariko gesture sketches.
Nariko gesture sketches.

And yet, still 3 was not enough!  I needed to push the heroic nature of the pose.  She was still too straight on and seemingly staring off into the distance without much interest.  Moving the camera level downwards so that we’re looking up at Nariko gives her so much more presence!  The pose also feels more dynamic.

Nariko Gesture Sketches

I have my hero.  She has her armor.  Now, it’s time to paint!

On to Part 2

Proko’s Figure Drawing Fundamentals – Lesson 2 Homework

figure-drawing-fundamentals-blog-template

You can watch the free version of this lesson here!
However, the premium version is longer and more resources and examples are provided.

Beans, beans, BEANS!  I’m continuing my lessons with Proko’s Figure Drawing Fundamentals class with the lesson on simplifying the motion of the torso.  When I first saw this exercise, I kind of laughed to myself.  What could a bean tell us about the torso?  Wasn’t this too simple?

I wasn’t saying that later when I was about 70 beans in and I realized that there was so much more information being transmitted in this exercise than I realized.  When a torso bends and twists, creases and tension are expressed in various ways.  This is such a subtle lesson in physics that can really bring volume to your figure drawings!  Here’s an example with a current work-in-progress of mine.

nariko-redesign-wip-3

The first pose is very straight forward and also very stiff, while the second pose pushes the dynamism a bit more, but still seems so stiff.  I employed the ‘bean’ method in the 3rd pose to try and capture the subtle twist and lean of the torso combined with the foreshortening of the lower camera angle.  Already, the pose is looking much better and has more weight to it than the others, which didn’t quite pay respect to the physics of the torso.

And now the beans! Here’s a sketch dump of all of the ones I sketched for this lesson.  I’ve been doing the recommended 100 sketches before moving on from a lesson.

The biggest challenge for me was figuring out how the creases turn when a torso is twisting.  I have no advice on this issue except to practice and observe!  Foreshortening, torsion, and eye level play a big part in what overlaps what and I am only scratching the surface of this concept, even after drawing this many beans.

I also believe that learning something so subtle as this requires practicing and drawing, rather than reading advice about doing it.  It just kind of clicks in your brain when practicing, which is why I think in this case drawing numerous sketches like Proko recommends to be very useful (and essential)!

I’m definitely excited to move on to the Robo Bean, which is the next step up in complexity from this base form in a later lesson.

Of course, I couldn’t help having a little fun by the end of this assignment illustrating random bean puns.  A cookie for you if you can guess which ones they are!

Previous Lesson:  Gesture
Next Lesson: Structure Basics (coming Soon!)

Proko’s Figure Drawing Fundamentals – Lesson 1 Homework

pinterest-blog-preview-template

I’m taking a small break from my book club posts for Artist As Brand to share something different instead, as the next part of the AAB blog series involves some intense homework that’s taking me longer than usual.  In the meantime, enjoy a look at the gesture sketches I’ve been doing for Stan Prokopenko’s Figure Drawing Fundamentals course over the past few months! (If you missed my first impression post about this course, read on here to get an overview of what the class is about!)

The first lesson covers the topic of gesture drawing, a topic which most artists usually dismiss as quick, simple practice drawings.  I’ve realized even after taking several life drawing classes in college that my art was missing something.  I’m fairly well practiced drawing the human figure, but the people in my paintings were lacking something.  The muscles were all generally in the correct place, but my figures were stiff and lacking expressiveness.  Having observed the first lesson in Proko’s curriculum, I’m certain now that the stiffness of my figures is mainly a result of not understanding the importance of gesture.

As Proko suggested, I did 100+ sketches until I felt like I understood the difference between copying what I see and capturing the energy and flow of a pose (aka. the gesture).  This montage collects most of the sketches I did starting with the oldest ones at the top and the newest ones at the bottom. Be sure to check out slot games uk to have great time with the new high quality slot games. 

Click to enlarge the image.

 

What I’ve Learned

Copying a pose is not gesture.  I realize that in my previous life drawing lessons, I thought that I was supposed to copy the volume of a pose and nothing more.  Having a timer while drawing also had the opposite effect it was meant to have.  It was meant to force me to simplify, but mostly I just reacted to a timer by rushing through.  I became more concerned with replicating what I saw when I should have been focusing on the expressive line of the form, the flow of the pose, and the potential for exaggeration.  This meant that my result was an approximation of my model, which may or may not result in a good sense of flow in my drawn pose.  Being aware of gesture will also help me when utilizing reference photos for my pieces.  Copying directly from what I’ve seen in photos can also result in a stiff, soulless pose.  Being more familiar with gesture means I can know where to push and pull the pose from a reference photo.

Contour is not gesture.  I can tell from my early poses in this montage I was very concerned with the container shape and contour details of the body.  Gesture should focus on the flow and expressive potential of the figure, even if it doesn’t follow the laws of physics at all times.  Adding the proper details later on is what will tie all the parts together.   I think of comic book art as a perfect example of this principle of gesture at work.  Figures are usually pushed past what is photorealistic gesture because that brings a sense of emotion and excitement to the characters.

Scribbled gestures are not helpful.  Proko actually posted a very helpful video about why sloppy lines are a bad habit.  I am definitely guilty of this!  I notice by the end of this montage, my lines became cleaner.  When I allowed myself to be sloppy previously, I was attempting to ‘feel out’ the gesture by making lots of lines till I discovered the right one.  This made me lazy and less observant of the form and pose I was trying to replicate.  By simplifying my mark-making, I force myself to actually really look and learn from what I see, rather than diving in and rushing to finish.

I already feel like this first lesson has helped me tremendously when drawing characters and pushing the dynamism in my poses.  Even still, there’s a lot to learn, considering I’m only at the beginning!  I also understand that I’m never going to stop learning when it comes to this skill, which is at the heart of drawing good anatomy, but also in composing interesting compositions.

Stay tuned because I plan to keep track of my progress in this class in later entries!

Next Lesson: The Bean

December 2014 Artist Q&A

Hey, everybody! It’s Christmas Eve and I’m making rum cake and looking forward to a day full of friends and good food tomorrow. In the meanwhile, here are some answers to the great questions you guys dropped for me this month!

Q.  Marion Z asks: What do you feel about the importance of studying the human figure, both clothed and nude as a fundamental education for your work?

A.  It’s inevitable. Whenever we look at a work of art, we’re always searching for the recognizable pattern of a human reflected back at us.  Even if you’re focused on drawing creatures, it’s important to know how you can create a narrative around that creature and add expression that humans can relate to so that they find it interesting.  We’re vain creatures and we love to form narrative from anything we find familiar.

Short answer, learning the human form is extremely important, especially if you’re going into a field that requires convincing characters.  Failure to express emotion, even when one is technically skilled, can be the difference between a well made work of art with no soul and a somewhat capable work of art that still manages to capture the viewer.

Q. Marion Z asks: How important to you, and what do you do for the sake of it, to include archival qualities in your work?

A.  If you want your art to last for future generations to enjoy displaying in their homes, archival quality is important.  The internet and digital capture allows us to share images like never before without degradation, but the tactile quality of an archival print or original is still the standard in home and museum display.

Q.  Marion Z asks: Given the resources available, what suggestions do you have for studio lighting, to improve, develop and understand the color and detail work that is so important in your work?

A.  I’m a huge fan of Ottlite brand lights.  They are pure daylight bulbs that help when mixing colors on your palette during traditional painting, which is so important if you’re working with pieces that require a delicate color balance to really vibe well on paper (which is like every watercolor piece I do, ever).

It’s super easy for things to come out too yellow if you paint under incandescent bulbs.  If you can’t afford fancy daylight bulbs, always try to paint by sunlight.  Sidenote, sunlight/daylight is also the best for showing the best color quality for photographing originals.

Q.  Marion Z asks: For any given media, what would you suggest for the student artist to gather for a foray into that medium?

A.  I personally don’t feel tied to any media. For me, it’s all about whatever tool gets the job done!  However, you still need to learn how a medium behaves before you can know what potential it has for your tool set as an artist.  For this, I recommend just buying a cheap set of the media you’re wanting to learn and having a play with it.  Don’t concern yourself with being a master, just have some good old fashioned fun!  Not spending a lot of money on new media lets you be able to play with it in a more guilt free way.

I also recommend picking up a good source book or two to help you be more familiar with the materials you’re trying to learn about.  For instance, I’ve been considering trying out oil painting, but there are some very particular things you need to worry out when using this media (ie. toxicity, good ventilation, proper waste disposal, etc.).  I picked up The Complete Oil Painter: The Essential Reference for Beginners to Professionals so I can take the plunge into oil painting with full knowledge of what the studio setup and other challenges of the media will be.

Q.  And final question, C. L. McCollum asks: Which is the next painting you plan to start in 2015? And why that one?

A.  I’ve been brewing on a new painting for my fantasy book cover portfolio for a long time now, but other obligations popped up keeping me from finishing it this year like I had wanted.  I’m super excited to get started on a new painting starring Melakim, one of my original characters from an original world I’ve been toying about with for years.

Melakim Wardrobe concepts

It’s going to feature all the things I love, a badass Hunter lady, lots of corvids, and a possible mix of traditional and digital a la Wylie Beckert’s graphite method that I’ve been dying to experiment with.

Needless to say, I am excited about this next piece!  I can’t wait for 2015!  Till then, have some thumbnails for this upcoming piece to tide you all over:

Melakim Cover sneak peek.
Tattoos? Corvids? Badass Ladies? Oh my!

Have a great holiday, everyone!  See you in 2015!

Sketch Diary: Christmas Angel Part 3

Progress continued on this painting with color testing in Photoshop.  This one was a no brainer!  I knew I wanted a more subtle color scheme that wasn’t so IN YOUR FACE CHRISTMAS!  That meant keeping colors like the strong red to a minimum and relying a nice cool green, as opposed to the more yellow green you see for Christmas motifs.

I always recommend doing a color test so you don’t end up having to start all over again because a color ruined your entire piece.  Traditional media is unforgiving like that.

christmas-angel-wip13
Digital color testing done in Photoshop CC.

The only element I was torn on were the candles.  Should they be red or white?  I ended up going with white just to keep with the theme of subtle Christmas hues.

Next, I transferred the image to the illustration board by printing out the line art, rubbing the back of the print out with a soft (6b) graphite stick, then tracing the designs with a fine point pen.  The line art is printed in blue on the print out so that when I trace the lines with a pen, I can tell where I’ve already traced.  The pressure from the tracing transfers the drawing to the board.  Be sure to wipe the excess dust off before you trace just so you don’t get speckles like I did in mine!

10301221_10152612032558458_7030449813707511526_n

I ended up going with red ribbons by the end, since her hair would have been too monotone with the green ribbons.

christmas-angel-animation
Here’s a quick gif of the process from digital sketching to paint layers.  I’ll be doing a compilation video at some point in the future, so keep an eye on my YouTube channel!

 

Without further ado, the finished painting!

 

"Christmas Angel" Watercolor and inks on 8.5x14 inch illustration board. Cards and Art Gifts - http://www.deviantart.com/print/37246289/ Original for Sale Direct From Artist: - Unmatted - $650 - Matted and Framed - $750 * Shipping to be determined based on your location. E-mail me if interested.
“Christmas Angel” Watercolor and inks on 8.5×14 inch illustration board.
Cards and Art Gifts – http://www.deviantart.com/print/37246289/
Original for Sale Direct From Artist:
– Unmatted – $650
– Matted and Framed – $750
* Shipping to be determined based on your location.
E-mail me if interested.

Materials Used:

 Back to Part 1

Upcoming December Artist Q&A

i-approve-of-this-tree-christmas-cat-memeHey, everyone! I usually do a 30 minute live broadcast for my Q&A sessions, but since the holidays are busy and I’m not sure I’ll be able to broadcast from wherever we might end up, I’m doing another blog-hosted event instead!

A Couple of Changes

– The Patreon giveaway portion of the monthly sessions is now going to be held quarterly (during January, April, July, and October’s monthly broadcasts).  While my giveaways are happening less, the prize is now going to be my Patron’s choice of a custom sketch or a 50% off coupon for my shop, which is even cooler than a random thing, in my opinion!

– The Q&A sessions will still be held once a month even if I won’t be giving away something each session.  That gives us more time for mini demos and questions!

How This Month’s Session Will Work

– Leave me questions in comments here.  Ask me anything about art, life, and beyond!

– I’ll answer them in a blog post at this journal here on the 24th!

Have a great holiday season, everyone!

Sketch Diary: Christmas Angel Part 2

Before I get sucked into character details, I have to first design the frame, which I quickly do by drawing shapes in Photoshop.  I set the layer with the grey shapes that form the frame to the Blending Option, Stroke, which creates an outline around the shapes that I don’t have to manually draw myself.

I used similar partitions for the division of the frame to Mucha’s piece (why change a working formula?).  The corner knotwork, holly border, and candles were all designs I created once, then replicated multiple times and repeated across the piece.  Working digitally makes this preliminary work a lot faster

frame

A quick sketch helps me establish how I want the figure to flow through the frame and also aids with refining the rather wonky anatomy of the original thumbnail sketch:

sketchFurther reference gathering helps me collect images of candles, velvet dresses, wings, and poses that will help me make this pose look less fudged.  I lean on Pinterest very heavily for this purpose and am constantly gathering inspiration on a daily basis for my projects.

christmasangelrefboard

This is a VERY important step!  There’s nothing that can ruin a painting faster than a completely fudged pose that just looks ‘off’, unless you are very, very experienced and have done so many studies you can draw things from memory.  This is rare even for the best of artists, mind!

Gathering reference can also help you save time revising later because you didn’t get that hand quite right or didn’t get the drapery quite right.  The trick is uniting your references and reinterpreting them in such a way that you still have something unique and you don’t lose the energy of your rough sketches.

I eventually arrived at something like this for the base sketch.  At this point, everything is still on its own layer in Photoshop to allow me to re-position any element I please:

base-sketch

 

Now, designing the window!  The window knotwork begins with a freehand sketch that fills up 1/4th of the circle.  This 4th is then copied, pasted, and flipped horizonatally so the design is symmetrical.  I use the layer’s Blending Option set to Stroke again to create an outline automatically while I draw.

Admittedly, I’m not very structured with my circular knotwork. I sketch until it looks right, rather than drawing guidelines and graphs.

window-knots-sketch

I wanted the design to emulate a snowflake with the radial spires, so I made sure the main junctures had points in the most important places (the center lines of the shape).  I also wanted a thicker strands in this design to help fill up the space, since a design with too many thin strands would start to make the background window too busy and distract from the main character.  I used two total strands for this design, a thin strand and a thick strand.

Next, I lock the transparency on the layer and draw all the intersections of the knots.  The locked transparency keeps me from drawing outside of the shape.  The reason I draw the knots as if they were invisible is to help me clean up the angles of the strands and intersections, which were a bit sloppy before.  You can see towards the bottom of the circle where the knots are still sloppy.

window-knots-sketch2

Next, I meticulously defined the underlap/overlap pattern of the knots.  Traditionally, knotwork always has a pattern of any one strand going over and under.  I broke this pattern somewhat so the radial spires stand out, bringing emphasis to the snowflake shape.

window-knots-sketch3

 

Phew!  That was a lot of tedious detail (and I loved every second of it!).  A few cups of coffee later, here’s the finished line art!  I’ve changed the line work to blue so as to make it easier to tell which areas I’ve transferred when I’m transferring this to illustration board.  This line art is still a little rough as well, since I’ll be cleaning those lines up once she’s been transferred to the board.

christmas-angel-wip12

Next up: The finished painting!

Back to Part 1

 

Book Club: Artist As Brand Part 8 – My Website

My reading of Greg Spalenka’s Artist As Brand continues with section VIII. What Makes a Great Website/Blog.

I found the book for a great deal on the Nook.
Or you can buy it via my Amazon referral link
and give me a little kickback!
You can also buy direct from the author!
 

Blog vs Website

Section VIII talks about what makes an interesting website and blog.  I love the allusion to a website as your studio while your blog is a conversation and is more interactive.  That immediately puts into perspective how a website should reflect your style while a blog can be more conversational and more casual.

For those who don’t have much experience designing a website, this section has great tips on suggested sections (ie. About, Contact, Press, Newsletter sign up, etc.) and exactly why you’d need them.

Newsletter Strategies

Spalenka also presents great suggestions for writing newsletters. I always have a hard time figuring out what’s relevant and have had a problem having enough art to show (since my attentions/products were so split up).  My newsletter has gone quiet while I build up enough of a buffer of a new consistent body of work to talk about.

Example of Online Brand (from My Own Experience):

Shadowscapes – The Art of Stephanie Pui-Mun Law

Stephanie Pui-Mun Law immediately sprang to mind for me while I was reading.  She has a fantastic online brand identity and social media/website presentation. She must be have partnered with conversion rate optimization services to get more attention from people. Most impressively, she built most of this herself from the ground up, having been a computer science wiz before she became an artist.

Stephanie has a centralized shop on her site and I can always tell I’m on Stephanie’s sites when I see her dreamlike Celtic knotwork, watercolor textures, and soft color palette.  Her newsletter also has a similar feel and updates her fans on upcoming events, new art, new tutorials, and a monthly giveaway which all feels relevant and cohesive to her brand identity.

My Homework

These sections definitely got me thinking about how I want my Angelic Shades and The Fantasy Art of Angela R. Sasser sites to be different.

Angelic Shades Studio – Should be a vintage inspired theme with Art Nouveau flow and flourish.  Soft pale colors (blue, purple, light grey, and white).

Store should serve fine art buyers and my target audience (ie. fancy mats and framed art, postcards, greeting cards, etc.).

The Fantasy Art of Angela of Sasser – Should be elegant and sleek with just enough flourish to not make it too stark.  Black, white, or neutral with accent colors.  Words and images blended together to reflect my love of characters, stories, and narrative images.

Store should serve book lovers, gamers, and character fans. (ie. journals, bookmarks, playmats, dice bags, themed sketchbooks/storybooks, graphic novels, etc.).

Re-designing these sites with more of a specific identity in mind is definitely high up on my to-do list!

I’ve left out SO much concerning all the various resources Spalenka mentioned, so definitely go support Spalenka’s book/workshop if you are finding this blog series helpful!

Next Up: High Touch Venues – Conventions to Galleries