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Save the Frogs! Art Contest

The 2011 Save the Frogs! Art contest is currently open for submissions from anyone of any age and nationality. You can read all about it here! I’ve started getting a few frogs and toads down on paper, but you can submit any amphibian of your choice; the image must be a great stand alone piece that can work well on stationary and T-shirts too. Here are some of my practise pieces…

As you can see, another style I like to use! I love colours and inks, so if I ever use a photo reference I can guarantee the colours look a lot brighter in the painting compared to the photo. These images are photos of paintings taken using my iphone and uploaded via facebook, so I think the quality is rather good considering!


My current project “Little Red Hoody” is slowly taking form. I wanted to illustrate a short story and chose “Little Red Riding Hood” as it’s out of copyright and I could play with it a little, updating it with a modern twist, hence “Hoody” not “Riding Hood”. I needed also to get my style down; I’ve been told every illustrator needs one, but I have four! (Realistic, cartoony/doodley, reportage and photo manipulation with acrylic.) 

I started by having a quick look at what other illustrators had done with the fairy tale and found some great artwork…

Little Red Riding Hood by Annie Rodrigue



From Threadless 


Little Red Riding Hood by Amanda Gray





Little Red Riding Hood by Nelson Evergreen


Little Red Riding Hood by Leisha-Marie Riddel





I love what other artists have done with the genre! I decided I just wanted to stick to the same story, but set it in the present day. So I took lots of photos of my little sister during a walk through the countryside and wooded areas near to my home, then I manipulated them in Photoshop to heighten the colours and merge two together if I wanted more trees etc. 






I hope you can’t quite tell that each of these photos is actually two different ones put together. I love colour so I have heightened and changed all the colours, but I think the photos look much better like this, you want the images to pop out at you and not look like some dreary British afternoon with the sun going in! I love how I can make the shadows and darker wooded areas look almost purple, I’ve always found the colour works well in paintings.

After printing out the altered photos I’ve then painted directly onto them to add the characters into the “setting” as it were…






Unfortunately some of the photos haven’t come out as well as the first few as the scanner was on the wrong setting, but they can be scanned in again.

I’ve decided that as they’re photos I’m going to create like a family photo album in order to tell the story; thus I won’t be making an ordinary storybook where the whole page will be taken up by the picture, with the text printed over the top. Each page will have a couple of photos face up and the text will appear next to them on what appears to be the back side of the photos from the previous page…



The text will appear to be handwritten in blue ink and hopefully I can get it all done in time!




Another interesting seminar from last week was Nia Roberts’ talk about intellectual property (IP). (Note some of the numbers differ from the previous seminar, naughty.) These are the notes I took…

The most valuable brands (not company) in the world are*:

  1. Walmart     – worth 41bn
  2. Google       – worth 36bn
  3. Coke          – worth 35bn
  4. IBM            – worth 34bn
  5. Microsoft  – worth 34bn

(*Taken from the Brand Finance, Global Intangible finance tracker 2010)


  • Protect businesses name/brand/logo

Registered Trademarks

  • Can use the R symbol
  • Have to apply at the IP office
  • Must specify which goods and class of goods – Caterpillar makes as much money on licensing their brand for shoes etc as they do on their working vehicles
  • Can be UK, EC community or US
  • Can be for 3D marks
  • Have unlimited duration

To register a trademark in the UK go to

To register a trademark in the EU go to


Unregistered Trademarks

  • Tend to use a TM symbol
  • Can only protect by the “Passing off” action (common law)
  • Can protect a recognised reputation



  • Maximum duration is 20 years
  • Are territorial (UK, US, FR, DE…)
  • Protect innovations that are unique/inventive/industrially applicable
  • European patent office is at


Registered Designs

  • To get one apply for registration
  • Last up to 25 years
  • Protects appearance (design protected) – the design can be applied to many products
  • Are an important marketing role
  • Monopolise the rights


Unregistered Design Rights

  • Arise automatically
  • Last up to 15 years in the UK
  • Prevent copying
  • There are UK or EC unregistered design rights



  • Arises automatically for original work
  • Protects against copyright
  • Lasts for lifetime of the author plus an additional 70 years
  • Software programs are considered “literary works”
  • Ownership of copyright in commissioned work rests with the author unless agreed otherwise
  • You must keep records of what works you create
  • Mark work with a copyright statement


Moral Rights

  • Introduced by Copyright Designs and Patent Act 1988
  • Rights – to be acknowledged as author or creator / to object to false attribution / not to have your work subjected to                                           “derogatory” treatment
  • Subjects of “private”/”domestic” photos can restrict there uses
  • Moral rights cannot be transferred but can be waived
  • Rights must be asserted
  • Do not arise in work produced by staff during course of employment

Examples of cases:

Alberto Korda and Che Guevara took a photo in 1960

….Smirnoff used it in their ad campaign, but because Korda didn’t approve of it being used for alcohol he sued the ad agency and won $50,000

Coke stopped Sainsbury’s from putting their own brand of cola in Coke’s registered bottle as it has a unique shape that only Coke can use/sell.


It is vital to protect your IP if you are to profit from it; there is no copyright on an idea, so get it in writing with confidentiality agreements, registered rights, marking etc.

During my week of seminars I also attended one called “The Business of Branding” by Sid Madge from Mad Hen……

During this seminar we were asked what we recognise/recall when it comes to the brand of any one company. Is it colour?

The Google logo written using Coke’s font and colour….

Is it shape? Is it sound? (Intel’s little “ringtone” has become synonymous with technology and speed…)

The Metro Goldwyn Mayer lion


Is it purely visual?

The Sony Bravia advert actually used all those balls and dropped them from helicopters… 50 interns were asked to collect them after the shoot


Guiness, “Good things come to those who wait” ad campaign


Or is it how they make us feel? How they converse with us?

Innocent adverts open up with communication


We were then asked what we thought the percentage between logic and emotion was when it came to people making a choice and buying a certain product. The answer was 15%/85%; most people decide on which brand they’d buy based on their emotions at that time.

The global brands thought to be worth the most (not the profits the companies make) are

  1. Coca Cola, their brand is worth more than 70bn
  2. Microsoft
  3. Google

We were told that the value of a brand isn’t just financial  – unhappy employees cost businesses 40m

Brands engaging people through social media saw sales increase by 18%, whereas others dropped by 6% – Facebook: if the people using it are considered as a “population”, then Facebook is the 4th largest country in the world (the USA is the 3rd)

Most people’s interaction with brands is online and by 2016 digital music sales will eclipse CD sales worldwide. One survey found that 70% of young people would rather go a week without sex than a week without music!

Craigslist and Wikipedia are two examples of sites/organisations that go against nearly every traditional branding principal.

So what are these intangible items that make up 85% of our decision making?

Love, loyality and passion – service, customers and staff/colleagues. Creativity is highly collaborative.

Sid went on to say that there are 3 attributes to a successful business:

  1. A great idea
  2. It holds true to it’s core purpose and values
  3. It employs brand as the central organising principle

To build a successful brand you need to

  • Understand the brands pressure points and eliminate them – the best feedback is from the customers
  • Use innovation in the workplace; harness the most important asset of any company – your workforce
  • Link brand to the key driver – make customer experience easy
  • Think what measures you have to control your brand – Innocence focused on education and the big knit
  • Walk your own brand

Apple are one example of a good brand. Since their “comeback” they have become hugely successful by staying true to their original brand values.

The PC versus Mac campaign!

At the end of the seminar we were recommended a list of 3 books:

  1. Lovemarks by Kevin Roberts
  2. The Brand Gap by Marty Neumeier
  3. The Extreme Future by James Canton

I really enjoyed this seminar, the speaker was great and enthusiastic… plus I do like looking at all the pictures and little clips on Youtube!

During Creative Futures week guest speakers hold seminars for all the design and communication students at Glyndwr University. It’s a great event that’s aimed at guiding and inspiring the students in their future careers as designers, illustrators, photographers etc.; I really enjoyed myself and found it very interesting to hear from others who’ve made a success with their own artwork or talents.

The first guest speaker was Barry Purves who said that “everyone is gifted, but some people never open their package”. Barry showed us a number of animations (below), including his own, and described how he loves to breathe life into his creations and how no matter what you’re doing, if any detail is not relevant to the storytelling, then delete it.

“John and Karen” by Matthew Walker



“Overtime” by 2 French students as a tribute to Jim Henson






“Next” by Barry Purves re-enacts all of Shakespeare’s plays without using a single word!


My friend Tracey Green wrote one good post on her blog about the whole week, but I plan to break it up a little into two further posts…

Emily Speed spoke to us about her work. She’s a fine artist who creates installations made from found materials such as card and has recently written a post on her blog called Getting Paid.

Daisy Dowe came and showed us her new book Get Ahead Fred and also told us about her previous work as model maker for Warner Bros, Hot Animation and Aardman Animations.


And finally Joe List spoke to us about his design and animation work. His seminar was really entertaining and he himself graduated from Glyndwr university 6 years ago. Since then he has worked for a design company, sold his own comic book Freak Leap online and also started his own very creative blog The Annotated Weekender. His blog is worth a look; every week he doodles over the Guardian’s weekend magazine and puts the rather amusing results online!

Joe List gave us all some good advice on what we can do to succeed in the creative market;

  1. Stylise – but don’t make your illustrations look too real, or they will look “guff”
  2. Keep on drawing – do competitions, projects, fill a sketchbook, maybe collaborate
  3. Don’t work for free – unless you really want to
  4. Don’t hide your work – create online space to showcase it

He also told us about a few of his favourite sites/blogs by:

Until next time, happy surfing!

These are notes taken from a seminar explaining what contracts are for and what your rights are as an illustrator and how not to get exploited when selling your work to clients. If you want any more information on the subject a great site to visit is the site called Escape From Illustration Island.

Image by Mark Kaufman

What is a Contract for?


Legal document

  • Both you and the client have a copy.
  • Both of you sign it.
  • Outlines the project to avoid confusion.

Safety net

  • A bad situation can be made worse if you have no contract to turn to when handling a difficult situation.
  • As it outlines all the specifics of the project, it should ensure that everyone involved knows what is expected of them.

Project specifics

  • Amount of work/illos.
  • Size.
  • Medium.
  • Project name.
  • Intended use.
  • Phased delivery.
  • Revisions.

Terms of payment

  • Total Price? A flat lump sum? You may want half up front, then the remainder in instalments as you deliver the work through stages.
  • Can the client use the artwork if they haven’t paid in full?

Kill Fee

  • What if the client pulls out halfway through? How do you guarantee payment for the work that you’ve done?
  • Agree this with the client, either as a lump sum or proportion of the agreed fee that matches the proportion of work completed


  • What are you selling?
  • What are RIGHTS? (We’ll come to that…)
  • You need to be clear what it is you are selling the client, and how long they can have it for.


  • How will you personally be credited for the work?
  • What will you receive? (copies of books etc)
  • How much will it cost them if they don’t want to credit you in print?

Contact Info

  • This may sound stupid, but make sure you have key contact info and a signature for at least one person who will be responsible for payment.


  • A verbal agreement isn’t worth the paper it is printed on.
  • Don’t be tempted to avoid signing contracts because you like the client.
  • Also don’t worry that you’ll put them off by asking them to sign a contract.


Image by Mark Kaufman


What are Rights?



A company contacts you saying they’d like to licence your work to use on their products. A long licensing agreement is sent to you.

  • What do you do? Just sign it, trusting that they know what they are doing? Get a solicitor to translate it for you? Try and work it out yourself?
  • Don’t just sign it!
  • Find out if anyone has experience working with this company before. What was their experience? Good? Bad?
  • Googling the company can be helpful.
  • Pay a solicitor? You’ll find out what you need to know, but you’ll have to pay them. Ring around for the best price.
  • Or you could try to do it yourself.


  • The word means ‘The freedom to do something’; like driving, watching TV, owning a dog etc.
  • When you give a company a license to use your work, that means that you are giving them the freedom to use your art in a certain way, for a specific product, for a specific time and with restrictions on usage.

Copyright/Reproduction Rights

  • You own both the copyright and the reproduction rights for 75-90 years from the time you created it. This means that no-one can reproduce your work without your permission.
  • When you sign a license with a client, you are selling them the right to reproduce your work in a very narrow specific way and for a limited amount of time, usually several years.

Look out for:

  • The names of the specific works you’ll be licensing.
  • What kinds of products it will be reproduced on.
  • Agreement to put your copyright notice on everything that is sold that features your artwork.
  • The countries in which it will be sold.
  • The period of time in which the company has to bring the product to market, or else give up reproduction rights.
  • A termination date (2-3 years?)
  • An indemnification clause that says that the company will protect you legally from anything that arises; for instance if a child chokes on a product bearing your artwork, you aren’t liable to be sued.
  • A statement saying that you can cancel the agreement if they don’t abide by the terms. They would be in breach of contract and all rights would revert to you. Also covers you if they go bankrupt
  • A statement of a non-refundable advance payment to be made to you against future royalties, the royalty percentage, the frequency of payment and a statement of how they arrived at that total.
  • Your right to pay for an audit of their books at your expense to make sure you have been fairly paid.
  • Never let them get full copyright or reproduction rights for any of your work.
  • Never let them get the right to sublicense your work to other companies without your approval and signature for each sublicensing agreement.
  • Never give away the original works of art as part of the licensing agreement.


A Contract is a safety net, a schedule and an agreement that should mean that there are fewer misunderstandings with your client, and fewer opportunities for the process to go wrong.

Recently I’ve attended 3 business seminars aimed at helping illustrators to become more aware of what they need to know if they are going to become freelancers. What I’ve learnt is that freelance work is;

  • hard work,
  • requires you to plan ahead,
  • requires you to have business knowledge,
  • requires you to have more dedication than if you were working for someone else,
  • and may take a long time before it starts paying off. (So nothing new there then!)

Some difficult questions were asked of us;

  • Why do you want to be an illustrator?
  • What do I want to achieve?
  • What problems am I likely to encounter?
  • How much do I know about business?
  • How much do I know about marketing and self-promotion?
  • Who can help me?
  • What resources can I access?
  • Is my portfolio any good?
  • Will my portfolio attract new work?
  • What kind of projects do I want to work on?
  • What are my strengths and weaknesses?
  • How much money do I need to survive?
  • Do I have savings in the bank?
  • Do I have a backup plan?
  • What don’t you know?
  • What do you need to know?
  • Where can you find this information?

All the things we need to know to further our careers as illustrators will be covered in the following seminars, and I hope to write some notes out on them here…



Time, Creating a Budget and How Much to Charge


  • Time is one of your most valuable resources.
  • Runs out faster than you expect.
  • Affects the quality of your work, ability to meet deadlines and peace of mind.
  • Effective time management is difficult to master, so it is important to set up a strategy as soon as possible.


  • Know your personal clock. What time of the day are you best at performing what tasks? When are you most creative? What time of day are you best at mundane tasks?
  • Pay attention, plan accordingly and make the most of your day.
  • Make Lists. What are your goals for the day, week, month etc?
  • This is pretty dull stuff, but it is important that you keep on top of your tasks. It also gives you a sense of accomplishment to cross something off the list. You can get software such as Things (mac) that can help you manage your lists.
  • Daily Duties. You may want to assign specific tasks to each day of the week, ie Monday = Marketing, Tuesday = Emailing and Invoicing, Wednesday = Website and Blog Maintenance.
  • Realistic Goals and Expectations. Illustrators can be tempted to promise the world to secure a client, but it is important to give yourself enough time to complete the project. If you complete a project ahead of schedule, it always impresses the client more than if you simply meet the deadline.
  • Segmentation. Break your projects into smaller pieces. Focus on each stage rather than being overwhelmed by the whole project. Like making lists, this can motivate you by showing that you are making progress as you work.
  • Try a time management technique. The Pomodoro Technique was developed by Francesco Cirillo. Pomodoro is Italian for tomato. He had a kitchen timer in the shape of a tomato that he used to develop this technique:
  1. Choose a task.
  2. Set your timer to 25 minutes.
  3. Work until the timer stops, then take a 5 minute break.
  4. Repeat. Every 4 times, take a longer break (20 mins)


  • In order to run your business and know what to charge, you need to analyse your finances and develop a plan for the future.
  • This is an essential step towards protecting you from unexpected costs and giving you room to invest in the growth of your business.
  • Having a realistic picture of your finances will help you more accurately determine how much you need to charge for your work.

Startup Costs

  • Spending money to make money; Office supplies, Promotional Material, Web hosting, Website design.
  • These costs can add up very quickly. Only spend on what is necessary.

Monthly Expenses

  • What outgoings are you already committed to?
  • What is regularly paid for?
  • Do you have any irregular expenses? (art supplies etc)
  • It is commonly recommended that freelancers (in any profession) try to have at least 3 months worth of expenses in their savings account. This will help you get through slow periods and recover from ‘acts of god’ such as equipment failure of changes of circumstance. Without this safety net, one unfortunate turn of events could potentially decimate your business.
  • You are of course free to do your own finances, but you may want to hire a professional who specialises in working with small businesses or creative professionals. They can help with your taxes, and keep you on top of any laws and government regulations that you may not otherwise know. While you can do this yourself, you will either spend time or money working with your finances.


How Much to Charge.

  • Every artist, client and project is largely unique, so it can be difficult to find the right balance between earning the amount you’d like and meeting the client’s budgetary needs. I can’t tell you what to charge for a given project, but there are key factors that you need to consider while making this decision.
  • Keep in mind that in most cases, you are selling the right to use or publish your work for a specific purpose, in a specific format or for a specific length of time, rather than selling complete ownership of the work outright.
  • It is generally better for you to retain possession of your work so that you have the option of making money from it again in the future.
  • So, when considering your charges, consider the intended use of the work and the value it will provide the client.
  • If your work is for a wide range of applications (web, print, mobile etc) then it is of greater value to the client and is therefore worth a higher price.
  • If you are selling the work outright (full rights) then you should be compensated for the potential value you are giving away.


  • Books such as Pricing and Ethical Guidelines by the Graphic Artist’s Guild offers detailed charts of industry standard prices for a wide variety of projects and media.
  • While this is useful to know, someone with many more years experience than you will likely charge more for their services. As your business grows, you will be able to justify a higher rate.


  • Because of the varied work involved in illustrating, it is inadvisable to charge your client by the hour.
  • It can be useful to privately estimate your hourly rate based on expenses, it is wiser to evaluate each set of circumstances on it’s own terms and quote an overall price for the project. This helps the client understand what they can expect to pay for the finished work.
  • Keeping up with your cost of living and running your business should be your primary concern when determining your rates.
  • Put your survival first and work out the minimum that you will need to earn that month.
  • If you have done a realistic job of estimating your expenses in the budget planner, then you should have a relatively accurate idea of what your monthly needs are.
  • How complex is the project and how long will it take you to finish?
  • How many revisions will it take to get the work to a standard the client will accept? Each revision means more work for you, so try and estimate how much time it will take you to adjust or revise your work and charge accordingly.
  • How many other jobs do you have?
  • If you can tell from your first interactions with the client that they are going to be particularly demanding, then you may want to charge a higher rate. Some artists call this the “Pain-in-the-bum” fee, and it can help you tolerate an otherwise difficult relationship.
  • Working out what to charge is a personal choice that you will need to make on your own. Now that you know what questions to ask, you should be in a more informed position from which to make your decision.


After creating my own doodles I decided that I liked them enough to want to use them as a basis for creating my own little Book of Doodles! I definitely wanted one for myself, but these humorous little books do quite well in book stores now, so I wanted to try and see if I could make more than just one to either give to friends and family, or one day sell. I have a few books by Edward Monkton and love the Book of Bunny Suicides by Andy Riley, so I knew great art wasn’t a must, but dark and funny cartoons would work well just drawn simply.


By Andy Riley


So after drawing all my doodles I set about looking at the different ways you can make and distribute your very own books!


Handmade/Batch Production

For a previous project I had created a batch of 15 mini photo albums with my own illustrations inside. They took time to make, even though they were only bound by staples, and didn’t sell at any of the local craft fairs.

Maybe if they had been bound properly they would have sold, but binding your own book takes a very long time! If you’re practised at it you might get one done per hour say, but if they prove popular and you want to sell them, you’re going to spend a lot of time sewing and glueing paper together. This means you would have to sell each book at a tidy profit for it to be worth your while. Here’s one example of book binding a tried myself:


As you can see it isn’t exactly perfect; I used a guillotine. But this rough effect wouldn’t be a bad thing if you were making an arts and crafts or scrap book say. For a book that has simple clear images like mine, I would prefer something more clean and crisp; giving it a more graphic and expensive feel. There are many other ways of binding your own book though; saddle stitching,  thermal binding, spiral coil binding, and some arts books are simply held together by the                                                                             bending of the paper. Again, these methods would take time but there’s a few pictures of what they could look like on here .








The only alternative is:


Online Printing Sites

This is the first method I used to try and reduce the time involved in actually making my doodle book. There are many sites out there, but I happen to have an account on Snapfish. It’s a very reliable site and can print your photos, and the pictures that you upload to your own profile page, onto all manner of things: mugs, calenders, photo books, posters and canvas. They even have an app for the iphone so you can pop your photos online while your travelling. Obviously I wanted a photo book, and the cheapest. Prices start from £2.99 for a mini book and go up to £39.99 for a “signature” hard back photo book. You can choose from a variety of covers and inside page layouts, and it’s very simple to use; you simply have to drag your photo and drop it onto the page you want it.

My first purchase was a Mini Book (as a new customer I was able to get one for free):



Unfortunately the pages weren’t quite large enough to fit my pictures. I could have shrunk them I guess (something to try again later), but instead went for one size up; a 7 x 5 “Every day photo book”, normally costing £9.99, but I got mine half price in one of their special offers.





The mini book comes at a great price, but with p&p at £1.99, you’ll end up spending £5 on a very small book that some people wouldn’t spend £5 on! I prefer the quality of the bigger photobook, but again, prices would be at just over £10 per book; I doubt you could earn a profit from selling these as most people wouldn’t spend that much on a softcover book that’s smaller than the average book found in stores. Also, these prices reflect the minimum amount of pages you can have in the photo books; the 7 x 5 holds 20 pages, if you want any more you have to pay extra, imagine how much it would cost with 100 pages!

There are other sites that do the same, but their prices are very similar, and some require you to download software or PDF files onto your computer before you can even think about uploading your pictures. So printing your work, having it posted to you, then trying to sell it on will not generate a profit.



The third option is:


Online Publishing

There are now many sites where you can create your own book, but instead of printing it and posting it to you, they put it online for people to buy. This means they only print it when someone buys it and the profit gets sent to your account, and as they specialize in books alone they have more choice when it comes to design, layout and binding. Easy. Hopefully. Here’s a list of a few sites that look to me to be the best. I have yet to try one myself though…


The most attractive thing about Lulu is the low prices and the fact that you can distribute your book worldwide to third party sites like Amazon.


Blurb –   Blurb is pretty similar to Lulu; you download their free software, create your book, then upload that PDF file to your account on Blurb. Your book is ready to sell. However, the cheapest book starts at £8.95, say you want £5 profit per book, Blurb sells that book for £13.95. (You can only start selling once you’ve bought a copy of your own book.) If I was to try and sell my doodle book at that price, it wouldn’t sell often. Blurb does have a BookShow though; a virtual copy of your book that’s free to share with your friends via Facebook, Twitter, Blog or WordPress… but that’s not really the point of making a profit.


WordclayDoesn’t support picture books.


CreateSpace –  This is a site owned by Amazon and does not have a UK based site. It doesn’t give much information away, but can make your book available on Amazon and Kindle. It must be pretty similar to Lulu and Blurb.


Xlibris –  Again this website doesn’t give much away, but it does say you can start publishing once you’ve paid $99 (no thanks) and from what I can see doesn’t support pictures.


UnibookThis site does do photo books, but again, the site is hard to navigate and doesn’t give much away!


And that’s a wrap! Out of the sites I’ve seen most Lulu definitely looks the best. There were others that I did not list merely because they don’t support picture/photo books or they ask for a whopping fee up front (some were asking for nearly $1000!!). My next step will be to see if I can create an account on Lulu and perhaps make a book from my other illustrations so that potential customers will think it’s worth the money I will need to sell it at to get any profit.

The alternative would be to learn how to bind my own books very quickly and sell them on sites like Etsy.


Would you buy my doodles if they were in a book?

Happy printing!




A while ago I posted some videos here showing some great paintings done solely on the iphone and ipad.; they were amazing. Now I’ve found one video that takes digital painting one step further by involving not just one artist, but four! The video below shows four artists working on the same canvas simultaneously over a 4 hour period, their only method of communication being through text messaging and the art they were creating.


By Eclectic Asylum Art using


And here are a couple more great digital speed paintings that were created in Photoshop….


By Williams Shamir


By mohacsizsolt

2010 in Review…

The stats helper monkeys at mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health:

Healthy blog!

The Blog-Health-o-Meter™ reads This blog is doing awesome!.

Crunchy numbers

Featured image

A Boeing 747-400 passenger jet can hold 416 passengers. This blog was viewed about 3,200 times in 2010. That’s about 8 full 747s.


In 2010, there were 13 new posts, growing the total archive of this blog to 33 posts. There were 32 pictures uploaded, taking up a total of 48mb. That’s about 3 pictures per month.

The busiest day of the year was December 14th with 37 views. The most popular post that day was Second Project, First Competition Brief.

Where did they come from?

The top referring sites in 2010 were,,,, and

Some visitors came searching, mostly for edward monkton, ronald searle, bill jacklin, paul calle, and edward ardizzone.

Attractions in 2010

These are the posts and pages that got the most views in 2010.


Second Project, First Competition Brief December 2010


About Me December 2008


True Stories April 2009


When Graphic Artist Gets Bored March 2010

2008 – 2010 December 2008