In Process


Manipulate Black and White reference image in photoshop

can add coloured pencil or special scratchboard ink. White carbon paper. Very fine abd detailed portraits. 5 passes. Small stippling marks around the form. About 50 hours per piece. 6-7 hours a day. Put on CD and stop every hour.
In Process

4: Audience: Colours of Shingle

Rough ideas.

Inspiration: Stanley Donwood, Scarfolk, Richard Marrs, Tom Burns.

Painting, charcoal/pastel, printmaking, Photoshop compositing, Stop Motion, video, Premiere. sketchbooks. Photobook. Online gallery.

‘Edges Shifting’ is a personal and documentary project that develops a body of photography-based work about the Suffolk coast in the context of its social and environmental context that might have a range of potential audiences and markets.

The Suffolk Coast is a minimalist and haunting remote shingle landscape along the North Sea shaped by its role in World War 2 and currently a somewhat elite tourist hideaway. It has been the subject of work by other artists, photographers, poets and writers who have seen it in different ways. There are also a number of historical and environmental books by local people.

Developed over a six month period January 2020 to December 2021 through Brexit and the COVID crisis, I bring together work by local people available on-line as the basis for my own subjective work that I then share forvfeedback in my social networks.

4.1 Outsider on the Edge

A documentary photobook from photographs taken on my first visit to Shingle Street coloured by heightened emotions on a gloomy day before Brexit.

4.2 Inside Edges

A collage sketchbook of photos, conversations witg local people, available information on-line or in local publications, annotated with my own questions and thoughts.

4.3 Edgescapes

Photographs of the landscapes in and around Shingle Street digitally processed in different photographic styles for a tourist and/or fine art market in response to audience feedback.

4.4 Colours of Shingle

A second documentary photobook and on-line slideshow presentation reflecting insider and outsider views of Shingle Street.

Project Evolution

Part 4 asks me to undertake a self-directed project that aims to make the world a better place, focusing as much on process – particularly audience involvement – as outcomes.

I wanted to further develop my approach to landscape documentary photography, focusing on communities and environments along the Suffolk coast between Southwold and Felixstowe. Focusing particularly on the environmental challenges of this part of the coast and the social challenges and contradictions surrounding Brexit, compounding pre-existing issues of rural poverty, inequality and neglect.

I initially thought of doing some comparative work including Orford, Aldeburgh and Dunwich, looking at the multiple interactions between these locations and their distinctive ‘Southfolk’ identity. They are linked by history from prehistoric times and trade with Europe, particularly the Netherlands. The swallowing up of Dunwich by the sea and Orford silting led to the rise of Aldeburgh. The locations are all linked by the Suffolk Coast path and tourist development, the decline of fishing and the work of artists presenting at art and music festivals in Southwold, Aldeburgh and Snape. I intended to include work on fishing and tourism as a comparison to work I had done on Cornwall in Assignment 3. I started by reading books on the Suffolk coast including Sebald’s Rings of Saturn and sections on Suffolk in Daniel Defoe’s A tour thro’ the whole island of Great Britain (1724–1727) work by Robert MacFarlane and Stanley Donway on Orford and some You Tube surfing on different locations. I chose to start at Shingle Street because that was the only area of the coast I had not been before, and the most remote.

The first visit to Shingle Street was a moody cloud/sun day – 30th January 2020, the day before Brexit. In true flaneur fashion I wandered around taking photographs of things I noticed and thought indicated something significant or interesting about the place. Mostly grey and melancholy signs and seas/shinglescapes, reinforcing my feeling of alienation from ‘English’ surroundings where the majority of the population voted for Brexit, and also for Tory MP Theresa Coffey. As former Environment Minister and now Work and Pensions minister, she opposes gay rights, most environmental and social protection legislation, and welfare and housing benefits.

This series of photographs is the basis for 4.1 ‘Outsider on the Edge’ a largely textless photobook and slideshow personal project – audience and benefit to the world to be determined at the end with the benefit of hindsight and perspective of deeper investigation and local knowledge.

Despite the feeling of alienation, I found Shingle Street intriguing. After a week of intensive on-line investigation following Google and Facebook chains, and links from ‘The Shell Line’, I decided there wer more than enough interesting angles on this one location for the whole project – including other photographers, artists and writers as well as active Facebook page and website for the local magazine ‘Village Voices’. And that I would learn much more from following up on the different angles and potential audiences and purposes than covering too many locations in a more superficial way.

See Shingle Street Back Notes

I revisited Shingle Street a week later on February 5th, a sunnier day determined to have a break from Brexit issues. And to follow up on some names, addresses and locally available books about the area. This time we spent more time in the local pub in Hollesley, and Oxley Marshes as well as Shingle Street itself in order to get a better rounded picture of the area. People were extremely open and friendly, including many who were very knowledgeable about the area as well as photographers and birdwatchers from other places. The campsite proved very reasonably priced with a very helpful owner, to enable multiple visits and staying overnight. Thus confirming my decision to focus only on this one location and visit at regular intervals to develop local ‘audience engagement’ with people who could fill in gaps and provide feedback and potential market links with visiting tourists.

Making the World a Better Place

The project continues my interest in different subjective and objective ‘outsider’ approaches to documentary, focusing on environmental challenges, social challenges of marginalisation and rural poverty. and the changing and conflicting identities and interests that have underpinned debates around Brexit and future visions for our countryside and environment. But – further my response to First Things Next – I am aiming for different types of outputs that fulfil different purposes: direct messaging, for different audiences linked to a broad ethical commitment. Provoking questioning from the viewer rather than imposing one single message.

I look at how my creative process, particularly documentary work, can be significantly improved through working with other people to help me to develop alternative narrative threads and visual approaches, building on some of my professional qualitative research skills.

Audience engagement

My body of work will include different ways of engaging with audiences to improve my work in terms of:

  • refining the ‘messages’ by getting a range of local views and information on social and environmental issues through conversations and interviews and engagement with relevant local social networking sites.
  • feedback on the effectiveness of the ‘communication aesthetics’ from local, national and also international overseas audiences to improve my technical and visual communication skills through ZemniImages Facebook page crosspasted to other social networks.
  • finding different marketing, promotion and advocacy outlets for the different dimensions of the body of work. Including campaigning organisations like National Trust, RSPB and Rural England.

Creative process

Focusing on colour, I continue to explore the range of effects of digital processing in Lightroom, Photoshop and DxO FX filters on interpretations of images. I include consideration of individual images, collage and photomontage and approaches to text.

  • how do different media affect how people interprete messages
  • how do different media affect how we see and interprete things
  • How does mood affect what we see and how we use media
  • How do our expectations about audience perceptions affect what we communicate and how

In Process

iPad Explorations


The critical review is intended to demonstrate your awareness and understanding of how your own and other illustrators’ work and ideas relates to the wider cultural picture. It should demonstrate a critical and contextual understanding of how your work fits into a broader framework of practices and explore the ideas that underpin some of these. Your critical review is an opportunity to:

  • explore in greater depth a topic or theme that has informed your journey throughout this course, for example the work or ideas of a particular illustrator, an area of illustration practice, a body of work that demonstrates certain ways of working
  • demonstrate that you’ve developed academically as well as creatively.

Use your primary source material as your starting point (i.e. your own work and accompanying reflections on your practice and studies, etc.) and develop this into a 2,000 word critical review using your collection of secondary source material (your analytical notes, bibliographic references, annotated images, notes on illustration practices and history) gained through reading and researching into the subject.

iPad Explorations: a new way to do art?


The first iPad was released on April 3, 2010. The drawing experience significantly improved particularly with the introduction of the iPad Pro, first released in November 2015 and Second Generation 2017, together with the Apple Pencil and improved camera. A further significant advance was made in autumn 2017 with introduction of iOS11 when iPad software made a corresponding leap in terms of both image quality and range of styles that can be produced. The iPad is now widely used by artists and illustrators to produce high end art like that of David Hockney and/or as part of an image design and development workflow.  iPad portability and flexibility make it a very good tool for drafting and exploring alternative designs and ideas and travelling – potentially replacing both sketchbooks and pc digital work.

The iPad has been part of my own workflow since 2014  and has been a key feature of much of my work for this course. A key consideration in my workflow is a need to manage RSI and consequent constraints on how long I can spend at my pc with professional digital software like Photoshop, Illustrator and Corel Painter. This review  aimed to provide a focus for upgrading my iPad skills,  looking in detail at recent developments and widening my range of software and styles, placing what I had earlier achieved in Procreate in a wider context.

I aimed to draw some conclusions relevant for my own practice about:

  • What media can the iPad best produce, particularly since iOS11 upgrade? What are the range of different traditional media and effects that can be convincingly replicated? In which Aps?
  • What effects can be produced that are specific to the iPad, as an iPad illustrative style in its own right? In which Aps?
  • What are the inherent artistic limitations compared to other digital software on pc like Photoshop, Illustrator or Corel Painter?
  • What are the implications for my own practice? Both artistically and in terms of what I myself can do within the constraints of RSI? Which media and effects that I am aiming for are still best produced entirely in traditional media on different surfaces, or in pc digital software? Is there a role for iPad as a complement to these other media?

The review complements more technical discussion on specific software and projects in  iPad Aps compared, and hyperlinks and links in references below.

What media can the iPad produce?

It is clear that the iPad can produce a wide range of styles when used by experienced artists. There are many software Apps of varying sophistication and enabling different styles and media. Recent versions of the iPad Pro have progressively  increased processing speed to enable a bigger range of brushes and variation in stroke, reduced parallax (the distance between the drawing implement and the screen to increase drawing accuracy)  and increased resolution to enable large gallery-size paintings. The introduction of the Apple Pencil with the iPad Pro brought in a high degree of pressure sensitivity and tilt functions that are now incorporated into software like procreate. The camera has also significantly improved to enable easy inclusion of photography in digital images directly on the device.

Most early Aps focused on varying brush size and transparency to produce Acrylic, airbrush, gouache and oil-type styles. David Hockney produced many small early sketches using the Brushes Ap on his iPhone – delighting in the speed with which he could record the colours and shapes of his surroundings just using his finger. He also used further software to produce very large gallery pieces as part of the  ‘Bigger Picture’ exhibition at the Royal Academy in 2012. These resemble very large colourful gouache and oil paintings. Large pieces can also be tiled like his oil paintings to produce much bigger works. There are now a number of artists using the iPad to produce very large resolution paintings (eg Andy Maitland who paints using a tripod in the landscape) and hyperrealistic portraits (eg Kyle Lambert). Aps like ArtRage and Inspire pro  use different types of canvas texture and 3D brushes to produce similar to work in Corel Painter.

Procreate is one of the more versatile Aps commonly used for professional work by digital painters like James Julier and illustrators like Stefan de Groot, Danny Glasgow and Austin Batchelor.  The most beautiful and distinctive work I have found so far is by Ilya Tyljakov is a Russian concept artist who uses Procreate to create beautiful atmospheric work. He creates and sells his own ‘Pro Brushes’ on the ProCreate Community to produce very distinctive marks with a degree of randomness that make them very distinctive as a style.

iPads are often used for simple sketching and digital inking. Some Aps produce distinctive ink work. Some Aps have inbuilt ink brushes that make a distinctive mark –  Paper 53 produces a Quentin Blake-type style, Tayasui Sketches, SketchClub , Zen Brush have a range of Zen and quirky ink brushes that are beautful and fun to use. In Aps like Procreate it is possible to fully control design of ones own brushes, importing ones own shapes and grain images to create brushes that can then be infinitely adjusted for things like spacing, taper, jitter, opacity as one works. Procreate 4 brushes are in many ways more flexible for artistic effects than Photoshop – having blend modes to brushes as well as layers. But it takes quite some time to customise these for quick sketching and there is still some time lag that creates RSI issues.

Watercolour remains a challenge because watercolour bleeds require high processing power. A range of styles are possible in different Aps – see Digital Watercolour. ‘JunoVHS’ produces some beautiful delicate Watercolour art in Procreate using custom-shaped brushes and transparency overlays. Aps like Auryn Ink and Adobe Sketch do a very convincing simulation with potential to create beautiful atmospheric work. SketchClub can produce an anime gradient watercolour-style using a vector shape brush. This work views well on screen, but needs quite a lot more detailed work to print high resolution images on digital watercolour paper as the ink tends to blend.

Some artists and illustrators produce textured collage work. See for example: Michelle Brown:

But a lot of iPad painting found on sites like DeviantArt, Filckr, Tumblr and other social and illustration marketing networks  has a very similar style – smooth blend, soft focus landscape and fantasy style. From my own preliminary explorations it is clear that there is much more potential to be explored to take my own illustration and artistic expression further.

My own practice – key learnings

I myself have used the iPad as part of my workflow in many of the projects in this course. I have still only scratched the surface of possibilities. And have to go slowly because even the iPad causes RSI unless I am relaxed with good posture.

Sketching and painting on location

I tried sketching from life in Procreate and Paper 53, but found the  process too clumsy and lacking the dynamism of sketching on paper. It took a long time to set up brushes for an interesting style, and they were not so consistent when used quickly. The lag and inconsistency of mark aggravated my RSI when trying to sketch quickly from life. This situation is not noticeably better in any of the other Apps, though slightly improved with iOS11.

However, it is possible to create atmospheric townscape and landscape paintings from life using either just painting Aps like Procreate or ArtRage and/or taking photographs as reference from which to take colours and/or to use as background layer. I explored this in some of the Aldeburgh images in Assignment 4.

Some Aps like Sketchclub have distinctive brushes, and can also produce flat vector art. Most Aps can just drag and drop colours to fill in line art.

The iPad has a number of advantages for painting and sketching:

  • the ability to combine many different media on one image without needing to carry a lot of equipment.
  • can sketch in airports and people think you are just reading on your iPad.
  • possibility to work on very fine detail through zooming in and out of the image. fine control over transparency and ability to get very fine gradations of colour.
  • delicate edge effects can be produced with transparency lock.
  • ability to quickly explore many alternative styles, colours and compositions through manipulating layers.

Colouring, collaging, layering, blending and masking photos and images from natural media. Some textural effects of watercolour and gouache cannot be reproduced solely on the iPad itself. But using natural media and the iPad can produce very distinctive art that is impossible just using natural media. Procreate 4 has good selection, transformation and masking tools that, when combined with layer curves and colour adjustments, erasers and transparency lock, can produce very atmospheric effects. I explored these much further in the images based on found textures in Assignment 4 From the Edge:

Assignment 5 Oromia Reflected Journey and Project 4.2 Deliverance book based on gouache daubs

Using photographs enables very different perspectives, vantage points and weather conditions to be captured – providing the photographs themselves are well thought through with potential final images in mind. It is also possible to exploit the effects of light on printed images to create atmospheric effects.

Images can be endlessly worked on in natural media, photographed, printed and worked on again.

It is also possible to very quickly produce multiple variations to explore different colours and compositions.

An interesting feature I discovered was to use different layers of line art in different styles, and underpainting so very different effects can be produced depending on which layer is printed.

Some Apps produce effects that are impossible, or much more difficult, to produce in other media like kaleidoscopic and mirrored images (Pixelmator and SketchClub), pixellations (SketchClub and SketchBook Pro) and impasto techniques on textured canvases (ArtRage).

Although it is not possible to have very fine control over layout as in InDesign, and text tools are rudimentary, Medibang Paint can produce graphic novels and comics and Procreate makes it possible (with practice) to produce blended handdrawn effects more easily than eg Photoshop.

Some limitations of the iPad compared with digital art on pc

Although the iPad can do very many things:

      • Brushes still lack the fine tonal controls and blending possibilities on Photoshop.
      • There is still not enough processing power to create the watercolour effects that can be achieved in Core Painter.
      • Selection and masking tools are still quite rudimentary.
      • Vector programmes are particularly weak in terms of their range of styles and flexibility compared to Adobe Illustrator.
      • Text and layout tools are still rudimentary.

Conclusions for my illustration workflow

I still have a lot to learn and explore in using different iPad Aps for sketching and painting. Although it is possible to have greater control over line using natural media, for more exploratory and abstract work iPad brushes can introduce an element of randomness that can be very effective. It is also possible to learn a lot about drawing, colour and composition through using an iPad – and thus improve natural media drawing and painting. The ability to use and manipulate photographs as reference or as part of an image increases the range of drawing and painting possibilities.

However it is the combination of natural media and the iPad that I find most interesting in the very distinctive styles and effects that can be produced. And the ability to do this while travelling and from life. Together with the ability to then further fine tune tones, colours and masks on the pc through export to Photoshop and/or Illustrator or Corel Painter. This type of workflow, with its varied working positions and locations is one that is possible even with RSI. If I continue to learn how to use the iPad more efficiently, setting up brushes in advance and using different Aps as appropriate.


Wikipedia iPad gives a history of evolution of the specifications of the device. Specifically for the iPad Pro see

Ipad Artroom:

Cathy Hunt: iPad Art: Lessons, Apps and Ideas for the iPad in Visual Art : ebook  on using iPad for classroom art education for Apple download

My own software experiments and reviews

I focus on professional Aps that are capable of producing high resolution images.

  • Procreate the Ap I have used the most because of its wide-ranging and customisable professional drawing and painting features.
  • SketchClub a high resolution sketching Ap that can produce a range of very distinctive styles.
  • SketchBook Pro an illustration Ap combining vector and pixel art, including text
  • ArtRage that uses a combination of brushes and canvas texture to produce painterly effects.
  • Pixelmator that combines photography editing with drawing, painting and text.

I look briefly at:

Software Reviews:

MacWorld Watch, February 2014 Amazing iPad artists in action by Grace Rasmus

Creative Bloq September 2017: 19 best iPad art apps for painting and sketching bCraig Stewart:

Digital Art August 2017: The 13 best apps for drawing and painting on your iPad by Digital Arts Staff :

Digital Trends October 2017: The best drawing apps for the iPad Pro: Unleash your inner artist with the best drawing apps for the iPad Pro by Digital Trends Staff: 



In Process

Flash Games


Bouncing Balls

Types of Ball

Physics of Ball Motion


Bouncing Balls Adobe Animate Motion Tween

Jazza Adobe Animate motion tweened bouncing ball and curve path.
Aaron Blaise TPPaint Frame by Frame. Exaggerated squash and stretch. Keeps straight line from impact. Redraws up bounce instead of duolicating and reversing to stop things being mechanical.

Tv paint
Frame by Frame

TV Paint Frame by Frame Simple UpdDown Bounce
TVPaint FbF Horizontal Bounce
TV Paint FbF Complex perspective bounce

5: Presentation: Zemni 2021 In Process

Copyright issues

Copyright issues: The London Skyline – an IP view Leighton Cassidy, 18 May 2016

New London monuments in ads: are they public domain? Written Osborne Clarke  on 08 Sep 2000

5.1 Wish You Were Here 5.1.1 Aldeburgh In Process

Tessa Newcomb


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


5: Presentation: Zemni 2021 VisCom3 Tales from the Edge

Olivia Lomenech Gill forthcoming

5: Presentation: Zemni 2021 Theory


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.

Vanity publishing

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, 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 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, 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 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.[citation needed], 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.[citation needed] 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.


Blurb, Inc.
Bob Books

Famous Poets Society
Greyden Press
Kobo Writing Life
Lightning Source

Notion Press
Outskirts Press (also known as the International Library of Poetry)


Small press

Tate Publishing & Enterprises
Trafford Publishing
Vantage Press

Xulon Press



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”. 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.
External linksEdit

Self-publishing at DMOZ
Wikiversity has learning materials about Collaborative_play_writing
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Content is available under CC BY-SA 3.0 unless otherwise noted.
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Last edited 2 months ago by an anonymous user
List of self-publishing companies
Watch this page

American Biographical Institute[citation needed]


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. 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”. 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”.
Wikipedia ® Mobile‌Desktop
Content is available under CC BY-SA 3.0 unless otherwise noted.
Terms of UsePrivacy

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.

5: Presentation: Zemni 2021 In Process


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.