Here is a question I received from reader Kyle:

What does a professional portfolio for possible employers look like? How many pieces of work should I use? How large is the physical portfolio? Do I take the physical portfolio into interviews or do I take in a resume and a disc with all of my work? Also, how did you go about shopping this portfolio around?

Truthfully, I don’t use a physical portfolio very often. My website does most of the grunt work, which is true for many freelance artists nowadays. The most an art director will usually see from me in terms of printed pieces are postcards and tearsheets. So if you haven’t already, BUILD A WEBSITE. They are extremely useful.

However… there are many occasions where you would need a physical portfolio, such as job interviews and reviews. Here is my take:

Art directors want to see ART. So do NOT make this more difficult for them than it needs to be! Keep the images neat, organized, and easy to see, and the presentation simple to browse through.

There is a tendency to over-think the physical presentation of a portfolio, as if the right amount of trickery or decoration will magically transform the the artwork. Just make it look nice and let the work speak for itself.

General Portfolio Tips

• Follow any guidelines set by the employer to which you are applying.
• Never use original art. Use good color copies/scans. Original art might get lost or damaged. Plus with the copies, you can make all the images a uniform size.
• Include samples such as postcards, business cards, or tearsheets that you can leave behind for the employer to keep in their files.

What does a professional portfolio for possible employers look like?

As long as the presentation is clean, professional, and not too cheap or cheesy looking, this is up to you. I use a simple leather binder, and from what I know this is what a lot of other artists use too. However, I have also seen zipper cases, hand-bound books, and nice boxes put to good use. But again, don’t over-think it. Anything too fancy would probably come off as contrived, and anything too difficult to use is annoying for the art director.

How many pieces of work should I use?

A good number is probably between 12-15 pieces. Show enough work for the employer to be confident in your abilities, but don’t overwhelm them.

However, remember to only include your best work. Do not add images to your portfolio just for the sake of filling it up. It is better to have a small portfolio of stellar work than a large portfolio filled out with mediocre work.

How large is the physical portfolio?

You know those fancy, ginormous zipper portfolio cases you see in art stores? Those are for personal storage and transportation purposes only! In portfolio reviews, you want something that is easy to carry and easy for the art director to set on a desk and flip through. Something that can house standard letter or A4 size color copies is just fine. Some artists use will use a bigger size, like 11″x14″. Anything bigger than that is unnecessary and inconvenient.

Do I take the physical portfolio into interviews or do I take in a resume and a disc with all my work?

Physical portfolio. If you have been asked in for an interview, then chances are the employer is going to want to see your artwork. Don’t make this difficult! If all you bring is a disc, then you are relying on the chance that the employer will have a computer nearby, that the computer will be able to read your disc’s format, and that the interviewer will want to make the extra effort to pop in the disc in the first place. Unless a disc is part of the employer’s submissions policy, don’t take your chances and bring the physical portfolio.

How do you go about shopping the portfolio around?

Depending on what you want to do, you are going to have to do a lot of research to find specific companies and venues. You can often find art submission or job application guidelines on company websites or job listings. Sometimes, it is just a matter of calling someone and setting up an appointment. Some conferences will have portfolio review sessions. Read a lot of books and browse a lot of websites to find the standard practices for your industry.

Artists - what does your physical portfolio look like? Have any tips or favorite supplies that you use? Let me know in the comments!

Related posts:

• Five Ways an Artist Must Use the Web
• Why Every Artist Should Watch American Idol
• Question: What Are Your Favorite Artist Websites?

When you paint digitally, one of the most intimidating tasks can be choosing colors. On a traditional palette, you might have 6-12 tubes of paint to work with, but on the computer there are millions of colors available. How do you work with options like that?

Here is how I have tackled this problem.

Choices

When you install and load Photoshop for the first time, the first tool you see for controlling your color is the Color window, which features a series of sliders showing either RGB or CMYK settings.

Personally, this thing confuses the heck out of me.

There is also the Swatches palette (which can be opened via Window > Swatches). This window can be quite handy, and you can customize it to feature whatever variety of colors you want.

In the end however, this can be as limiting as picking crayons out of a box.

One could also click on the foreground/background swatches. Doing so brings up the Color Picker, which allows you to choose from a whole spectrum of colors in a way that is organized and makes sense. I know lots of artists pick colors this way.

However, I personally think this interface is a bit overwhelming, and also a bit frustrating if you want to recreate the same colors over and over again. Plus I don’t like the extra step of clicking on the foreground swatch just to adjust the color by a little bit.

How I Pick My Colors

In the default Photoshop interface, the Swatch palette is usually buried underneath the Color palette, or vice versa. The first thing I do when I rearrange my workspace is open both these windows and place them next to each other. While I’m painting, I use both of these tools constantly and need to be able to access them easily.

You’ll notice that the Swatches I use are just the Photoshop defaults. On rare occasions, I will play with other palettes and color schemes, but this is the state I leave it in for the majority of the time. The only difference is just a few colors I added on the end because I use them a lot in my personal style of painting.

In the Color palette, I will always change the settings of the sliders. If you click the flyout menu in the corner, there is an option to change them to HSB. This stands for Hue, Saturation, and Brightness. These settings are a lot easier for me to use than RGB or CMYK settings because as a painter, I always think of my color in terms of its hue, saturation, and brightness. So, picking and adjusting colors this way is the more natural way to go.

Now, with these two windows open and adjusted, I am ready to paint! I pick a color from the swatches, adjust it slightly with the HSB sliders, and start painting. I like how the swatches give me a set number of colors to work from, while the HSB sliders allow for endless variation. Pick, adjust, paint. It’s a very logical process for me that transitions well from the traditional methods of choosing and mixing colors on a palette.

Of course, these are just my personal preferences. You may find a better way that works for you. The point is, be sure to find a way to organize all those millions of colors on your computer so that you can paint more easily and efficiently.

Related posts:

• Create Your Own Painter’s Palette in Photoshop
• The Complete Digital Comic, Part 3: Coloring in Photoshop
• Five Ways to Create Textures Completely in Photoshop

I was recently interviewed by Danielle, a student at the Savannah College of Art and Design. She asked some very interesting questions that made me think about my career and why I took some of the steps I did, and how I work today. Here’s the full interview…

Starting Out as a Professional Illustrator

How did you get started in illustration?

I’ve always been interested in art, so when I entered college I enrolled in a few drawing courses. I wasn’t intending to pursue a career, and even after I declared myself as an art major, I dabbled with other fields like computer science and business. However, after a couple years, it became quite clear to me that art would be the only thing I would be happy doing, so I dedicated myself fully to an illustration degree in my junior and senior years. I’ve been going forward ever since.

How long have you been illustrating professionally?

Since 2005.

Choosing the Right Market

Why did you choose children’s books over other book markets?

It was not the area I had in mind when I first started in illustration, and I probably even avoided it for awhile. However, I had a few teachers in school who were very enthusiastic about picture books, and over time I realized that I really enjoyed it myself. Working in children’s illustration really fits my style and sensibilities, and I’ve come to really love the picture book industry. That has been a great discovery, because when you go into such a competitive field such as art, it’s good to find an area you can really be enthusiastic about.

Did your style influence your decision?

My style fits in really well in the children’s market, but that wasn’t my biggest concern when I entered the field. I decided to take the children’s industry head-on because it was a market that I really and truly enjoyed working in. And because I enjoy it so much, my style continues to evolve and fit better within the market. So, to me, it’s not a matter of finding an industry that fits your style, or creating a style to fit an industry. It’s finding what you enjoy doing and pursuing it. Style will come naturally as a result, your work will get better, and the you’ll eventually settle into the right markets for your art.

Working in Picture Books

What’s the most challenging or most difficult part of doing book illustration?

With picture books, you have to learn to be consistent. With something like editorial work, you create a single image and move on. But with books, you not only have to learn to draw well, but also to draw well enough to show the same characters at different angles, emotions, sizes, etc. Another element unique to picture books is storytelling. A picture book artist needs to know how to use narrative elements to keep the story exciting and moving forward page after page.

What’s your process for a commission (deadline, communicating with client, contracts, pricing for different work, etc.)

When a publisher is interested in my work, I will usually be contacted by the art director and that is who I work with for the duration of the project. They will give me the manuscript, from which I have to lay out the pages and create sketches. Usually, the manuscript is not separated into pages, so I have to figure out how to split up the story to best fit with each spread. I will submit my sketches for the entire story to the art director, who gives me feedback before I move on to the final paintings. The entire process for a full picture book will take months and even up to a year.

In the contract for a picture book, it will outline the schedule, rights, and payment. Payment for a trade picture book is done with an advance and a royalty. The advance is the amount that is paid up front with the creation of the book. Usually, illustrators receive 1/3 upon signing the contract, 1/3 with sketches, and 1/3 after finals. The royalty is a percentage of the book’s sales.

Promotion

What advice would you give to an inspiring illustrator trying to break into book illustration? How do you handle promotion? Is it ongoing or sporadic?

Create work that is unique and strong. Make sure your art is appropriate for whatever field you are interested in. Lots of beginning illustrators fill their portfolios with student work, made up of random assignments, figure drawings, still life paintings, etc. Show work that is both outstanding and relevant. That will get you the jobs.

For promotion, I will send out an occasional postcard. The key to a postcard is to put a really killer image on it, and your web address. My website is my main source of promotion. I include it on everything. It is the easiest way for an art director to see your full portfolio. I think it is necessary for every illustrator to have one. I usually try to send out at least 2 or 3 postcards a year. Sometimes, I will also do a more extensive promo such as my Three Pigs booklet that I send to a smaller list of people. It is a step up from a postcard and better targeted. A lot of promotion is also done by my rep, who also sends out regular mailings and visits with clients personally. My job there is to always keep her updated with my latest stuff.

Digital or Traditional?

Most of your work I’ve seen is digital. Do you prefer this to traditional media? Is time a deciding factor when choosing?

Digital media is what I am personally most comfortable with, create my best work in, and work faster with, so yes I prefer to create my work on the computer. It is not, however, because I dislike working traditionally or think digital is better. In fact, I would love to work traditionally more often and I admire artists that do. I just think my work comes out better when I work digitally.

For artists trying to figure out the digital thing, keep in mind that it’s not necessary for everyone to learn how to paint digitally. A lot of illustrators seem to be under the impression that if they can’t work digitally, they are handicapped in some way. Although I think it is necessary that all artists learn how to edit, scan, archive, and format their work for display on the web or delivering to a client, artists can and should still work in whatever medium they are most comfortable with and are most skillful in.

Also, if you haven’t yet, read my previous post/interview Advice for Art Students.

Related posts:

• Starting Over
• Book of the Month: Starting Your Career as a Freelance Illustrator or Graphic Designer
• Illustrating a Children’s Story, Part 6

Video: Franky (Quicktime, 2:28, 3.85 MB)

As October comes to a close, here is a small Halloween treat for you. It is a quick painting I made from one of my Daily Doodle sketches. I liked experimenting with painting right on top of a heavy texture. Enjoy!

YouTube link: http://www.youtube.com/watch?v=cnlPKqZ_eXk

Process:

First, I took my sketch and put it on its own layer with the mode set to Multiply. I put the texture on another layer beneath it, and lowered its opacity.

Next, I changed the background color underneath the texture, then painted some additional oranges and yellows to give it some interest. I also colorized the line drawing to a red/brownish color.

I added another layer on top of everything and painted some basic colors.

On top of my base colors, I put a little shading and texture.

Then I continued to paint in the details and refine the painting.

When everything was done, I adjusted the colors and contrast slightly until it was just right.

Related posts:

• Video #15: Faun Sketch
• Video #16: Sailor Sketch
• Free Textures to Download

Do any of these statements apply to you?

• I have trouble keeping my portfolio up-to-date.
• I never have new artwork to show.
• I’m behind in my postcard mailings.
• I can’t paint/draw as well as I’d like.
• I often get stuck in a rut and don’t know what to paint.
• I haven’t created any good paintings lately.
• Most of my sketchbooks are only half-full.
• My blog hasn’t had a new post in weeks.
• I am having trouble coming up with ideas and staying creative.
• My work has stopped evolving/improving.

etc., etc…

Well, here is your solution…

Just Draw!

Paint! Sketch! Scribble! Doodle!

It doesn’t matter what it is or if it is any good. Let your brain brainstorm. A lot of what you come up with is going to be terrible, horrible work - but that is the only way you are ever going to get to the good stuff.

Creatives and freelancers suffer the most when they are not PRODUCTIVE. You have to find ways to keep your brain and hands working. If you are always producing artwork, a) you will become better at your craft, and b) you will always have new artwork.

One Main Goal

I’ll admit, I get distracted very easily. I have promos to make, emails to answer, blogs to write, housework, business work, and every different kind of work that doesn’t even include drawing. I get discouraged really easily, and in between getting pulled from here to there, I’ll get little or nothing done. Very frustrating.

So one day I took a moment to evaluate myself. As an illustrator, my entire work and business and living comes down to one thing - my art. If I can continue creating and painting and illustrating, everything else would pretty much fall into place. You can’t create postcards, update websites, or improve your work if you are not constantly creating new art.

Now, when I sit down to work every day, I have one goal and one goal only: to draw.

Example: The Daily Doodle

As part of my new strategy, I implemented a personal goal called the Daily Doodle. If you follow my sketch blog, you’ve probably already seen some of them. The task is simple; every day, no matter what else is happening in my life and no matter how much other stuff I have to get done, I do one little personal sketch per day.

I have no rules or theme for this daily exercise, other than the doodle can’t be for any job (just a sketch for me and me only), and it has to stretch my creativity or skill a little bit. It usually takes only a few minutes.

And you know what a few minutes per day gives me?

• A break - I draw a lot of the same things every day - children, animals, and basically anything cute. Well, with the Daily Doodle I am able to draw whatever I want without a client to please.
• Creative practice - If you have ever stared at a blank piece of paper, you know how hard it can be to fill it. This goal has given me that challenge every day. It’s like a small rehearsal for getting out of the bigger ruts.
• Unusual results - Vampire clowns. Zombies. Monsters. I don’t draw these things very often, but they have all seemed to come out in a doodle these past few weeks. Who knew I had it in me? Give yourself the freedom, time, and effort, and hidden parts of your creativity will start to emerge.

Now, go draw!

All artists will go through down-times and ruts. The mediocre, undedicated artists never make it out, but the good ones succeed because they know how to work their way through it. In the artist’s world, that means drawing, drawing, and more drawing. It’s how you stay productive, move forward, and become a better illustrator.

Every time I get confused, and life starts to bog me down, I put it all aside and just draw. And you know what I’ve found? The other stuff actually gets done too.

Just draw. Every day. Produce. Sketch. Create. And the rest will come.

All of my Daily Doodles can be viewed on my website at http://www.danijones.com/dailydoodles.html. The archive is updated weekly.

Related posts:

• 50 Facial Expressions and How to Draw Them
• Video #17: Franky
• What Do You Hate to Draw?

In my latest experiment, I recently opened up an account on a site called Zazzle, which allows you to order custom products featuring your own artwork. So far, I’ve been having a lot of fun experimenting with creating some simple, graphic characters for some t-shirts. Here is a little behind-the-scenes look into the making of this cute bat character.

This is my rough doodle, which isn’t much bigger than a thumbnail sketch. Isn’t he cute?

I am going with a simple, cartoon style for these illustrations. So to start, I placed my sketch in Illustrator and used the brush tool to ink my drawing with a clean bold line. I’ve reviewed this process in some earlier tutorials here and here.

After inking, I copied and pasted the drawing into a Photoshop document, with the line on its own layer. On a separate layer underneath, I put in some simple color. I used a normal hard-edged round brush with the Opacity Dynamics turned off so I would get 100% solid color.

To give the illustration a grungy, weathered look, I copied and pasted a texture into a new channel (by the way, I have previously posted this texture for download here). You can open the Channels palette under Window > Channels. Then, I clicked the “Load Channel as a Selection” button in the bottom of the window.

Going back to the Layers palette, I grouped the line and color layers together. With the group selected, I then clicked the “Add Layer Mask” button to apply the texture to the illustration.

As a result, the picture is transparent in the black areas of the texture. I changed my background color to something darker, to simulate how it would look on the t-shirt.

I added a glow by selecting the area around the bat and painting using a heavily textured brush on a new layer.

Here is the finished product:

And a close-up of the paint and texture effects:

Using this method, I can create a nice PNG file that I can use on any color shirt or background I like. The transparency will allow whatever color to show through the textured surface.

So far, I’ve created a series of Halloween-themed shirts. They’ve been really fun to make and I hope to experiment even more - there are lots of other products on Zazzle to play with, from shoes to mugs and even skateboards. I haven’t gotten to see at any physical products yet, but I plan on ordering a few shirts for myself. I’m excited to see how they turn out! Check out Zazzle.com if you would like to do some experimenting of your own.

I have also made the Halloween shirts available to the public if you’d like to order one of these for yourself. Just browse to Zazzle.com/DaniDraws. Enjoy!

Have fun, and Happy Drawing!

Related posts:

• Video #17: Franky
• Video Notes: The Mouse, in Layers
• Free Textures to Download

Video: Sailor Sketch (Quicktime, 1:18, 157 KB)

Here is a bit of a quickie sketch that I made a few weeks ago. It is pretty straightforward, but it is significant because I created this painting during a live broadcast at Ustream.tv. The site enables you to create live video streams that users can interact with through chat. I am still experimenting with it, but if you have suggestions or have had experience with this service before, I would be happy to hear any comments you may have! Hopefully, I will have more Ustream experiments to share soon.

My Ustream profile page: http://www.ustream.tv/danidraws

YouTube link: http://www.youtube.com/watch?v=Hcc_PjgO7MI

Related posts:

• Video #15: Faun Sketch
• Video #17: Franky
• DaniDraws Videos on YouTube

I was recently sent an email from reader Lorraine, who teaches an illustration class at Sheridan College in Toronto. She asked me a few questions regarding the illustration industry today, and what advice I would give to her students who are about to enter the field. Here are her questions and my answers.

If you were instructing this class, what would you tell young artists about working in today’s market?

A lot of the print industry is suffering - less books being produced, magazines disappearing - because of a weak economy and lower demands. Competition is as stiff as ever. You have to create top-notch stuff to find work in these fields, while also finding new avenues for your art. You have to really love what you do and be innovative if you want to make it in this business.

Also, today’s market is increasingly dependent on technology. A lot of artists are handicapped by their lack of knowledge about software, digital manipulation, and computers in general. Even if you don’t paint digitally, you still have to know how to scan and adjust artwork, upload files, keep an email account, and manage an online portfolio - hard to do if you’re not up on today’s technologies.

How do you handle the growing competition from the Internet and stock illustration?

As an illustrator, there are certain advantages that can never be taken away from you. Your brain, sense of humor, etc.; if you can consistently create illustrations that tell a story, evoke an emotion, communicate strong ideas, or feature unique characters, you will always have a heads up over generic stock houses. That is always my goal when I create new artwork - creating images that people can connect with, and work that they will enjoy. It keeps the demand for my work up, and the jobs coming in.

What steps did you take in developing a cutting edge style?

My style has developed over time from lots and lots of drawing, practicing, learning, and experimenting. It continues to evolve every day. It is not really something you can force yourself to do or take shortcuts toward - it just takes lots of mileage. You also have to keep on top of current trends, while also studying the masters. Not to copy them - but to learn and develop your tastes, which will affect your work and give you a unique artistic view. (Read more of my thoughts on style here: http://danidraws.com/2007/11/28/some-thoughts-about-artists-style/)

And lastly, would you do anything different if you were starting your career in 2008?

Well, my career started not that long ago - 2005. One of the biggest changes that has occurred since then is the growing popularity of blogs, podcasts, video, and social networking. They were just barely getting notice a few years ago, and now they’re all over the place. Now, even big businesses are trying to find ways to utilize these new tools. It is important for you to know them; before, you could get away with just a portfolio site, but now it is standard to have a blog and a strong web network also, just to keep up with all the other working artists around you.

You still have to do the traditional stuff like sending postcards and researching clients. I don’t think that will change anytime soon. But my own online presence has helped me greatly in promoting my work, connecting me with other artists, and giving me more credibility.

It’s exciting, really. There are so many tools available today that will give you an edge over your competition. Be creative and think of innovative ways to use them to your advantage.

In the end, though, what really matters is the quality of artwork you put out and the work you put into it. Create super work, then put it in front of as many eyes as you can. Make that your first and foremost goal. The rest will come eventually.

One Final Thought

This interview has made me think a lot about the steps I’ve taken in my career. I put a lot of emphasis on technology and web presence in my answers (I may be a bit biased, no?). The fact is, working as an illustrator involves sooo many more skills than just drawing and painting. Technology, business, and marketing are all part of the deal too. Always be learning and evolving (and create great artwork), and you just might be able stay a step ahead in this increasingly competitive industry.

Have a question you want answered on the blog? Email me at contact@danidraws.com.

Related posts:

• Build a Drawing Catalog
• Student Interview: Starting Out, Picture Books, and Style
• How to Make a Sketch Blog People Will Actually Enjoy

I hope you enjoy the new look. If you’re reading this from a feed, drop by the home site for a visit.

New features:

• simpler look
• comprehensive site index to help browse articles and find specific topics
• and hopefully more posts in the near future. Drop me an email if you have requests/questions.

Also, don’t forget this recent addition:

• my Twitter feed - a great way to ask questions, share links, chat, or just find out what I’m up to.

UPDATE: Based on feedback, it seems that the site isn’t working properly in Internet Explorer. I don’t know how to fix this yet, so sorry for the inconvenience. If any web-saavy readers out there know of a fix, please let me know.

UPDATE #2: Okay, IE issues should be fixed now. Thanks Jared and Mitch for your help!

Related posts:

• News: Contest Extension and a Twitter Feed
• Mariachi Cover Featured on the Graphic Design Blog
• The History of DaniJones.com

I was going through my archive of old site designs the other day, and I was amused and appalled. I thought it would be fun and educational to share them here, even if there is a slight risk of embarrassment.

I have had a pretty brief illustration career - under 4 years - but in that time I’ve had eight website designs. Eight! That is not something I would recommend, and if I were to go back in time I would have exercised a little more restraint. However, I learned a lot about web design, which has been an invaluable skill for showcasing my portfolio, building blogs, and marketing myself on the internet.

So, here it is - the history of danijones.com. If you’ve been following my work for a while, you might even recognize some of these. I hope you are able to learn from my successes and failures.

Disclaimers

• I’ve disabled some of the links, but you will still get a good idea of how each site looked and operated.

• In order to accurately portray each site and the content that they held at the time they were launched, I am displaying a lot of my old artwork. PLEASE don’t judge!

November 2004 - The College Years

In my junior year, I was just starting to get serious about my illustration career. I knew I would need a website, but I had absolutely no clue how to make one. I slowly started to learn the basics of HTML and built my first web page.

Actually, the website shown here is not the first site I ever built. The first was actually painstakingly HAND-CODED, because I had no idea that programs such as GoLive or Dreamweaver even existed. I just thought all websites were built with text editors.

Well, I don’t have that first site anymore; it quickly got discarded once my professor showed me how to use GoLive. The look and layout really didn’t change all that much from my first concept, though. Very simple and plain.

April 2005 - Starting Out

This is the site I launched shortly after I graduated. I wanted to create something prettier and fancier for the launch of my illustration career. It’s funny how simple and sparse the site looks to me now.

August 2005 - The One That Never Happened

At this phase, I was just starting to really get the hang of HTML and GoLive, and I really wanted to create a website that pulled out all the stops. I used a lot of fancy tricks like animated GIF’s, image maps, rollovers, templates, CSS, and Javascript. Notice that I was going to create several “themes” so the user could change the look of the site. I spent hours and hours on this concept and obsessed over it for awhile, but it didn’t get very far. It was VERY VERY complicated and frustrating to make, and I didn’t really understand half the tools I was using.

My prototype was kinda cool, but ultimately too time-consuming, hard to to update, difficult to navigate, and annoying to use.

All I’ve got to say is… thank goodness I didn’t know Flash.

September 2005 - The Sensible Alternative

Instead of going with my EPIC website concept above, I decided on a simpler route. But notice I still used a lot of fancy tricks for my Fun section.

February 2006 - More, More, More

This site was an attempt to fit more stuff - more artwork, more pages, more features, etc. - yet still trying to keep it simple.

August 2006 - Facelift

Are you getting whiplash yet? I knew at this point that I was changing my website much too often, but I still wasn’t satisfied with the design, which wasn’t as refined as I wanted it to be.

So, I set out to create a simple, pretty site that I could hopefully live with for more than a few months. I think this site was the first one I was truly happy with. I actually kept this site for about a year, but I found it was too hard to modify and update.

July 2007 - Another Stepping Stone

This site was easy to update, simple to navigate, and looked okay, but ultimately I thought it was a little boring.

June 2008 - The Result

I am very happy with the design I have today. For the first time, I think I finally have a site that is attractive to look at, simple to navigate, and easy for me to update and customize. I will probably stick with this design for a long while.

But given my history, you never know.

Related posts:

• Video #17: Franky
• A Sketchbook History
• Just Draw!