Copyright issues: The London Skyline – an IP view Leighton Cassidy, 18 May 2016
distinctive quirky illustrations: oil paint, watercolour, lithographs. Pencil on oil. Or pencil and watercolour.
I paint Paris how I want it to look. A Paris drawn from films, books, poems. Fewer cars, less noise and stress, better clothes, nicer notice boards – or that’s what I like to imagine. I use selective vision.
flat and skewed perspective. A lot of neutral pastel colours.
somewhat randomly inserted. Different sizes. Captions give title, medium and size – as if they are to be sold???
somewhat random text. In chapters, but without clear narrative. Little vignettes with illustration.
how I see paris
Interview with Tessa Newcomb
The key distinguishing characteristic of self-publishing is that the author has decided to publish his or her work independent of a publishing house. In 2008, for the first time in history, more books were self-published than those published traditionally. In 2009, 76% of all books released were self-published, while publishing houses reduced the number of books they produced. According to Robert Kroese, “the average return of the self-published book is £500”.
The emergence of digital print and print on demand, with its small print runs, has arguably given creative designers much more control over the design and publishing process. Similar to the rise of fanzines in the 1970s punk era, independent book publication in the twenty- first century serves as a countercultural response to the aesthetics and associations of mass commercial book production.
The term ‘vanity publishing’ originated at a time when the only way for an author to get a book published was to sign a contract with a publishing company. Reputable publishing companies generally paid authors a percentage of sales, so it was in the company’s interest to sign only authors whose books would sell well. It was extremely difficult for the typical unknown author to get a publishing contract under these circumstances, and many ‘vanity publishers’ sprang up to give these authors an alternative: essentially, they would publish any book in exchange for payment up front from the author. The term “vanity publishing” arose from the common perception that the authors who paid for such services were motivated by an exaggerated sense of their own talent.
Vanity publishing differs from self-publishing in that the author does not own the print run of finished books and is not in primary control of their distribution.
The line between vanity publishing and traditional publishing has, however, become increasingly blurred in the past few years. Currently there are several companies that offer digital and/or print publication with no up front cost. However, most of these companies also offer add-on services such as editing, marketing and cover design. Self-publishing companies that fit this model include CreateSpace (owned by Amazon.com), iUniverse, and Lulu. An author who simply hands his or her book over to one of these companies, expecting the company to make it a bestseller, would meet the previously established definition of vanity publishing, but it’s unclear how many authors fit this description. Further blurring the distinction between self-publishing and traditional publishing was Penguin’s purchase in 2012 of Author Solutions.
Increasingly, then, vanity publishing is being defined as a behavior rather than a set characteristic of certain companies or individuals, although there remain a handful of companies that clearly qualify as vanity publishers. These are companies that offer the cachet of being published and make the majority of their income on fees for intangible services paid for by the author, rather than sales revenue. These companies are also known as joint venture or subsidy presses.
Print on Demand
Wikipedia article: Print-On-Demand
Print-On-Demand (POD) publishing refers to the ability to print high-quality books as needed. Online retailing, wherein dominant players like Amazon.com have enticed readers away from bookstores into an online environment. Print-On-Demand (POD) technology which can produce a quality product equal to those produced by traditional publishers – in the past, you could easily identify a self-published title because of its quality.
For self-published books, this is often a more economical option than conducting a print run of hundreds or thousands of books. Many companies, such as Createspace (owned by Amazon.com), Lulu and iUniverse allow printing single books at per-book costs not much higher than those paid by publishing companies for large print runs. Most POD companies also offer distribution through Amazon.com and other online and brick-and-mortar retailers, most often as “special order” or “web-only” as retail outlets are usually unwilling to stock physical books that cannot be returned if they do not sell.
Electronic (E-book) Publishing
Technological advances with e-book readers and tablet computers that enhance readability and allow readers to “carry” numerous books in a concise, portable product.
There are a variety of E-book formats and tools that can be used to create them. The most popular formats are epub, .mobi, PDF, HTML, and Amazon’s .azw format. Amazon.com, Barnes and Noble, Kobo, and Smashwords all offer online tools for creating and converting files from other formats to formats that can be sold on their websites. Because it is possible to create E-books with no up-front or per-book costs, E-book publishing is an extremely popular option for self-publishers. Some recent bestsellers, such as Hugh Howey’s Wool series, began as digital-only books.
Copyrights and risk
Self-publishing and vanity publishing are not necessarily the same business model. A self-published author employs a printer (publishing) to operate a press, but retains ownership of copyrights, ISBN’s, the finished books and their distribution. A vanity press or subsidy publisher retains some of the rights,usually including ownership of the print run and control over distribution, while the author bears much or all of the financial risk.
Both models share a common characteristic of shifting risk and primary editorial control to the author; both encounter the same issues of lax editorial control. This differs from the conventional model (royalty publishing) in which a publisher pays an author an advance to create content, then assumes full control of the project and any commercial risk if a tome sells poorly. Also excluded is sponsored publishing, where a company pays an author to write a book on its behalf (for instance, a food manufacturer marketing a cookbook written by outsiders or a hobby materials supplier publishing a book of blueprints).
Unless a book is to be sold directly from the author to the public, an ISBN number is required to uniquely identify the title. ISBN is a global standard used for all titles worldwide. Most self-publishing companies either provide their own ISBN to a title or can provide direction; it may be in the best interest of the self-published author to retain ownership of ISBN and copyright instead of using a number owned by a vanity press.
List of self-publishing companies
The following is a Wikipedia list of some of the notable companies that provide assistance in self-publishing books, provide print on demand services as publishers or operate as vanity presses.
Books LLC controversial American publisher and a book sales club based in Memphis, Tennessee. Books LLC publishes print on demand paperback and downloadable compilations of English texts and documents from open knowledge sources such as Wikipedia. Books LLC’s copies of the English Wikipedia are republished by Google Books. Titles are also published in French and German respectively under the names “Livres Groupe” and “Bücher Gruppe“. Books’ publications do not include the images from the original Web documents but, in their place, URLs pointing to the Web images.
Tate Publishing & Enterprises
Publishers Weekly (4 April 2010). “Self-Published Titles Topped 764,000 in 2009 as Traditional Output Dipped”. Retrieved 31 October 2011.
Robert Kroese. Self-Publish Your Novel: Lessons from an Indie Publishing Success Story.
RICH, MOTOKO (28 February 2010). “Math of Publishing Meets the E-Book”. New York Times. Retrieved 9 May 2013.
Rosenthal, Morris. “Print on Demand Publishing”. Retrieved 9 May 2013.
Neuburger, Jeffrey D. (10 September 2008). “Court Rules Print-on-Demand Service Not Liable for Defamation”. Retrieved 31 October 2011.
Greenfield, Jeremy (19 July 2012). “Penguin Buys Self-Publishing Platform Author Solutions for $116 Million”.
Christina Patterson (18 August 2012). “How the great writers published themselves”. The Independent (London). Retrieved 17 August 2012.
Paull, John (2011). “The making of an agricultural classic: Farmers of Forty Centuries or Permanent Agriculture in China, Korea and Japan, 1911–2011”. Agricultural Sciences 2 (3): 175–180. doi:10.4236/as.2011.23024.
“How To Self-Publish A Bestseller: Publishing 3.0”.
The Guardian (27 March 2012). “Pottermore conjures Harry Potter ebooks”. London. Retrieved 9 August 2012.
Brown, Helen (2010-01-08). “Unleash your inner novelist”. The Daily Telegraph (London). Retrieved September 16, 2011. “Polly Courtney […] made money self-publishing her novel, Golden Handcuffs, in 2006. […] Courtney now has a three-book deal with HarperCollins […]”
Saichek, Wiley (September 2003). “Christopher Paolini interview”. Teenreads.com. Retrieved 2009-01-31.
Lane, Frederick S. (2006). The Decency Wars: The Campaign to Cleanse American Culture. Amherst, New York: Prometheus Books. p. 99. ISBN 1-59102-427-7.
Rich, Motoko (2008-06-24). “Christian Novel Is Surprise Best Seller”. The New York Times. Retrieved 2008-06-24.
Self-publishing at DMOZ
Wikiversity has learning materials about Collaborative_play_writing
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List of self-publishing companies
Watch this page
American Biographical Institute
Mark Levine. The Fine Print of Self-Publishing. Retrieved 2014-07-13.
April Hamilton. The Indie Author Guide: Self-Publishing Strategies Anyone Can Use. Retrieved 2014-07-13.
Irina Webster, William Webster. How to Become a Successful Author:: 34 Steps to Self-Publishing. Australian Self-publishing Group. Retrieved 2014-07-13.
Dan Poynter, Danny O. Snow. U-Publish.com 4.0: A ‘Living Book’ to Help You Compete With the Giants. Unlimited Publishing LLC, Dan Poynter, Danny O. Snow. Retrieved 2014-07-13.
Marilyn M. Moore (2012-06-17). The Self-Published Cook: How to Write, Publish, and Sell Your Own Cookbook. Retrieved 2014-07-13.
“Self-Published Titles Topped 764,000 in 2009 as Traditional Output Dipped”. Publishersweekly.com. 2010-04-14. Retrieved 2012-04-23.
Sterlicchi, John (2008-02-20). “Self-publish boom challenging old order”. The Guardian (London).
“The 101 most useful websites”. London: Telegraph. 2009-11-12.
Rosen, Mike (2009-03-02). “MediaShift . 5 Great Services for Self-Publishing Your Book”. PBS. Retrieved 2012-04-23.
“Greyden Press”. Dayton, OH. 2014-10-06.
Biswas, Venkata Sausmita (2012-02-12). “Publishing for dummies”. The New Indian Express (Chennai).
Torpey, Jodi (2007-07-15). “Outskirts Press brings unpublished writers into the mainstream”.
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Digital print on demand, although perhaps limited in terms of production values when compared to traditional lithographic printing, can be cost-effective when working with small batches or ‘one-off’ books and this process can be exploited by small independent publishers. In addition, artists and designers are rediscovering the craft and skills inherent in traditional printing processes such as letterpress and returning to a more physical relationship and contact with print, using materials and processes of the pre-digital age, such as photocopying and hand- binding. In the twenty-first century a new generation of designers can ‘take back the power’, once the preserve of the large publishing companies, and enjoy a creative independence in the design and printing of books. This approach recalls the era of early English small presses, where the author/artist expressed their vision through the craftsmanship inherent in book design, and enjoyed ownership of the design and production process as a whole.
It is now quite some time since I received or sent postcards – most things these days are done by Facebook posts. I looked for postcards in East Anglia seaside towns like Aldeburgh but most were art postcards, no photographs. Even in Cambridge it is difficult to get ‘straight’ postcards. Most are tinted or artist drawings. I feel the traditional postcard is probably going out of fashion with technological change. On the Internet search for ‘postcards’ shows many sites where you can send off your own photos and get them produced as cards – this seems to be the growing trend. The other trend of for vintage postcards and art postcards.
Reportage illustration as a distinct discipline is a form of visual reporting that covers everything from exotic locations to war zones, enclosed courtroom proceedings to public events. It shares many of the concerns of written journalism and documentary photography, but reportage illustration offers something additional to both of these practices. It provides a different way to understand a place or event; it is visual but it’s often more than just a snapshot.The nature and style of reportage illustration has evolved alongside journalism and the technical development of printing.
Truth in drawing is about trying to capture the essence of the situation, whether it’s an emotional truth, a descriptive truth, or trying to capture a particular dynamic or tension. Getting to the truth of a story might, for example, mean emphasising certain aspects that you want a viewer to focus on.
(Course Guide p45 my emphasis added – illustration is inevitably a subjective interpretation. The key issue is to be aware of that subjectivity and its implications.
History of reportage illustration
Reportage illustration has a very long history – going back to stone friezes depicting rules and wars of ancient civilizations, tapestries like Bayeux Tapestries and medieval illuminated manuscripts. 17th century woodcuts were used to illustrate cheap publications called broadsides and later chapbooks or rags (named after the recycled fabric they were made from). These focused on murders, robberies and executions and provided grizzly depictions of victims and consequences.
By the nineteenth century news reporting had widened its scope and, with it, the breadth of material illustrated. As the market for newspapers increased the quality of the illustrations improved with the use of more expensive wood engravings and etchings. It took a while for photography to become integrated into newspaper publishing as a form of journalism, mainly because of the technical issues of printing photographs.
In Fine Art painters at the end of the nineteenth century painted social topics, for example:
- Degas Absinthe Drinkers
- Sickert Camden Town Murders
- Cezanne Card Players
- Francisco Goya’s Disasters of War.
- L.S.Lowry’s urban portraits
Contemporary reportage illustration
Reportage illustration is still practised as a way of providing a viewpoint on hard to document events, from courtrooms where cameras are banned, to personal experiences such as travel that are difficult to sum up in one image. And to convey mood of a piece. Particular sources of contemporary inspiration for my work include:
L S Lowry urban landscapes for their perspective and stylisation
and stylistic possibilities of:
Graham Dean watercolour
Franziska Neubert simple linocuts and woodcuts
Jake and Dinos Chapman: reinterpretation and reworking of Goya and other contentious issues.
Sally Pring for the flat colours
Olivia Lomenech Gill for her very diverse style with gouache, pencil, printmaking, collage
- How to draw something that might only be in place for a few moments? It takes practice to analyse a scene and commit the essential elements of fleeting impressions to visual memory, then make those impressions into an image.
- Initially at least the aim is not to make a finished picture, but to capture information. Focus on the key elements – a person’s face and hands, how they’re standing, the dynamic of a group of people huddled together. You might also have to draw a lot quicker. You’ll need to do a number of drawings. Movements are often cyclical even for people. Decide when to do the background and when to do the people.
- Interactions with the subjects – how to stop people being embarrassed or self-conscious See some of the hints in Urban Sketching
- Many reportage illustrators include written notes with their illustrations, reflecting on their perceptions, describing dialogue, thoughts or events. This adds to the personal perspective and gives the drawings a sense of personal identity.
- Final image: Mood, Media, Cropping, Colour etc
My rough notes using One Note and photo diary.
Day 1 Sunday Hambling. Wave, turbulence. Sunset. Fenced off beach.
Day 2 Monday. Kovats. Many tales. Ink. Gloomy darkness with yellow sea poppies. Twisted nets, ensnaring.
Day 3 Tuesday Stories in textures hilary mantell. Filling in the gaps. Museum. Ancient times. The Magpie. Viking. Armada.
Day 4 Wed where does all the time go. Med houses. Marsh. Nostalgia.
Day 5 Thur william kentridge erasure/ black and white charcoal
Dat 6 Fri coetzee open studios beach dog dance. New ideas, opening up.
Day 7 Sat new dawn. Watercolour.
Sunday 11th June
Sun and cloud. 18/19c Windy. 18/19.
Smell of mown grass.
Cuckoos in the morning.
Walk into town. See Hambling Edge (is there gold on there?) and Walls of Water. Do iPad for Hambling, oil painting. Different textures. Do video and photos of sea.
Band on beach. Acoustic guitar. But not many people. Town feels quite empty.
Look at Lemenech Gill gouache. Multilayered and paint on top with white gouache, erasing. Pencil sketching. But good drawing. Use of muted colours.
Elizabeth Newcombe oils Paris. Cut out and exaggeration of shapes. Use complementary colours in overpainting. ‘Paris as I want it to be, Paris of memory, not as it is….’
Wind dies down at sunset. Fans in the sky. Then cloud again.
Walk along the beach to Thorpeness. Areas of beach fenced off to protect the plants.
Backdrop discussions on election fall out. Uncertainty.
“I am the shifting shingle, you approach with stealth, then the dark rooms of your curves, I am tossed, lost, displaced, with greedy lovers’ tongues and lips, you suck in and in again. we rise together, we rise together, then float safe on liquid breasts until the dance begins again and you thrust deep and my resistance is low, dissolve, dissolve. no defence against your relentless advance. I am but a ghost of the shore, disappeared in you.” (Maggi Hambling 2009 You Are the Sea text)
Subsequent research on Sizewell
In the 30s, the first tests in the development of radar were done there. The site was focused on bomb ballistics during the second world war and, afterwards, the first nuclear weapons. Now it’s a deserted haven for wild birds but littered with clues to its past.
Walking around the site I found the mysterious buildings of the Atomic Weapons Research Establishment (AWRE): bunker architecture covered in huge mounds of shingle. Peering through locked gates, I saw light pouring in through roofs open to the sky, the rusting metal framework creating dramatic shadows across walls tinted green with algae. I tried to piece together what they may have contained – deep pits to house the bombs for environmental testing, rusting remains of control boxes on the walls, huge ventilation shafts, quiet now save for the alarm call of gulls.
One of the most extraordinary things about the Ness is that at points you can see nothing except shingle and the occasional military building; the horizon remains the same through 360 degrees. It is quite otherworldly.
Wikipedia: Crag Pit, Aldeburgh is a 0.2 hectare geological Site of Special Scientific Interest in Aldeburgh in Suffolk.It is a Geological Conservation Review site,and within the Suffolk Coast and Heaths Area of Outstanding Natural Beauty.
Crag Pit, Aldeburgh
This is the most northern site which exposes the Pliocene Coralline Crag Formationaround five million years ago. It has rich and diverse fossils, including many bryozoans, and other fauna include serpulids and several boring forms.
This site, which has been filled in, is on private land with no public access.
Monday 12th June
Cloudy, and wind. Light at 3.30 am.
Rabbit hops along. Bottom of new hedges protected.
Woke up really late and long breakfast to lunch.
Take more video of sea, gets over my shoes. Shingle between the toes.
Read Kovats drawing water.
Drawing as a mechanism for exploration. Drawing as lines of discovery.
3D under the oceans
Preface quote from Salman Rushdie on Haroun and the Sea of Stories.
He looked into the water and saw that it was made up of a thousand thousand thousand and one different currents, each one a different colour, weaving in and out of each other like a liquid tapestry of breathtaking complexity; and Iff explained that these were the Streams of Story, that each coloured strand represented and contained a single tale.
Different parts of the Ocean contained different sorts of stories, and as all the stories that had ever been told and many others that were still in the process of being invented could be found here, the Ocean of the Streams of Story was in fact the biggest library in the universe. And because the stories were held here in fluid form, they retained the ability to change, to become new versions of themselves, to join up with other stories and so become yet other stories; so that unlike a library of books, the Ocean of the Streams of Story was much more like a storeroom of yarns. It was not dead but alive.
Salman Rushdie, Haroun and the Sea of Stories, 1990.p55.
Me ideas: slowing down time. Time looking back. Not frenetic.
Van is shell sheltering from the storm.
Profile Arlene Foster DUP. Troubles and death. Uncertainty on election.
Tuesday 13th June
Cloudy and windy 20C
Reith lectures. The day is for the living Hillary Mantell. About history and fiction. Lots of imperfect perspective fragments and filling in the gaps.
Read Ronald Blythe and look through history photos. Storms and Slaughden.
Afternoon go to museum. Old Anglo saxon, and Roman dig.
Back through churchyard with Benjamin Britten and Peter Pears. and along leafy tunnel lane.
Worked on gouache, pastel and ink bleed brushes.
Went back through carnival sketches.
Feeling despondent – not enough time and too much to learn. About technique and about drawing.
Wed 14th June
Soul Music Radio 4
Sandy Denny Who Knows Where the Time Goes. Wrote from nowhere when she was 17. Confident on stage, very unconfident off stage. Depression, drinking etc with duffucult marriage. Seems like she committed suicide through falling down stairs.
Across the evening sky, all the birds are leaving
But how can they know it’s time for them to go?
Before the winter fire, I will still be dreaming
I have no thought of time
For who knows where the time goes?
Who knows where the time goes?
Sad, deserted shore, your fickle friends are leaving
Ah, but then you know it’s time for them to go
But I will still be here, I have no thought of leaving
I do not count the time
For who knows where the time goes?
Who knows where the time goes?
And I am not alone while my love is near me
I know it will be so until it’s time to go
So come the storms of winter and then the birds in spring again
I have no fear of time
For who knows how my love grows?
And who knows where the time goes?
Interview with young songwriter ren harvieu who had been out with friends. In dark they were jumping over hedges. One did not see her and jumped on top and broke her back. As she was pain relieved suddenly started singing the song. Nina simone rendering also.
Sketching on bench. Got a bit cold.
Hot midday. Mediterranean streets. By lookout tower. Band midday.
Practised acrylic styles. Old brush.
Went to the marsh. Footpath right across is closed.
Day of Kensington fire.
Thursday 15th June
Still discussing Kensington fire.
Hot morning so stayed in. Feeling tired. Then cloudy and windy. Starts to be sunny again about 3pm.
William Kentridge. That which is not drawn.
- Provisionality. Virtues of bastardy. Receiving the world. Reversing the world.
To reveal that which is hidden. Excess of making.
Making 3 things at once, the cat and the coffee pot. Chaos.
Unwinding, unfurling, contradiction.
Changing, shifting. Erasing.
To make a huge fiction.
- Sighs and traces. Always longing for meaning. Mystery associated with the trace.
- Drawer and viewer. Filling in the gaps.
- Wanting to hold, needing to let go.
- Slow drawing. Meditative.
- Man is a walking clock. Gathering seconds, gleaning frames.
- P6 “the migration of images, which is connected with what I am calling the virtues of bastardy and the question of provisionality. That is linked to questions of imperfect translation and construction. I am thinking here of a bridge or a plank over the gap of what you don’t hear or don’t understand, or of what’s not in the narrative and requires the activity of the viewer. I think it’s all part of one topic, but we have to try and find out in what ways they are related. Another concerns that which is hidden….excavating dreams and constructing their sense. And erasure as construction.”
- P71″I suppose I’m interested in the traces of what prompts a reconstruction, not just the trace nor the unreconstructed state. What prods an imaginative leap? I am making a drawing for which you see a foundation or a ground. And the interest for me is not not only the foundation or the ground but also what it suggests. From all the different possible things that could come out of it, I am interested in the end, in arriving at one, even if it’s an incorrect one. So it’s not a matter if saying, ‘Here’s a phrase, which is unclear, because there are words missing, that I haven’t heard.’ That suggests many things; it’s the leap into that suggestion, which is, in away, a leap out of indeterminacy. So indeterminacy is there at the base, but for me the interest lies in the movement into a drawing, into a sequence of movement. Indeterminacy suggests paralysis if you stay there.”
- Photographs have only one focal point. But when we look we rapidly flip between the two.
Friday 16th June
Sun and cloud
Went out. Bought cards.
Old Man of Orford
Orford Castle is associated with the legend of the Wild Man of Orford. According to the chronicler Ralph of Coggeshall, a naked wild man, covered in hair, was caught in the nets of local fishermen around 1167. The man was brought back to the castle where he was held for six months, being questioned or tortured; he said nothing, and behaved in a feral fashion throughout. The wild man finally escaped from the castle. Later accounts described the captive as a merman, and the incident appears to have encouraged the growth in “wild men” carvings on local baptismal fonts – around twenty such fonts from the later medieval period exist in coastal areas of Suffolk and Norfolk, near Orford.
Saturday 17th June
Dawn and dusk
Brian Coetzee and seagulls
Crag Path and dancing dog
Sunday 18th June
Home via Snape
To be developed using my notes and books from ‘Gerald Scarfe: Stage and Screen. House of Illustration exhibition February 2018.
Gerald Anthony Scarfe (b.1936) English caricaturist, illustrator for The New Yorker and editorial cartoonist for The Sunday Times. A former friend of the caricaturist Ralph Steadman, Scarfe was an early contributor to the scurrilous magazine Private Eye during the 1960s and 1970s, and also created illustrations for The Daily Sketch, The Evening Standard and Punch magazine. Later he produced caricatures for the credits of the famous satirical TV shows Yes Minister and Yes, Prime Minister, as well as a series of drawings expressing the heroic and heinous characteristics of famous Britons, including: Henry VIII, Queen Elizabeth I, Winston Churchill, Agatha Christie, The Beatles and Diana, Princess of Wales.
What Shall We do Next
Fine Art America and printful
See book on participatory art and link to VisCom4Dev
and presentation links: