Animations

I’m moving this to the top 

because we have begun to animate

Some of the Illustration panels in the Storybook.

Our process is to follow 

Classic Animation techniques.

Starting with a stick-figure flip-book, 

we establish the basic movement.

This group of stick-figures is embellished 

with rough sketches.

The rough sketches then become character sketches, 

which then become watercolors.

I have numerous tools to transform those paintings

into film, video & digital media.

I am anticipating doing some simple scenes 

at a ratio of 1:1, but then 

building the more complex scenes

at five or even ten to one. 

Maybe even just building marking posts

for an overall structure.

I’m thinking along the lines of using those

“Marking Posts” as a guide, or a trail, so-to-speak

for an Ai (Si) tool to travel, to create embellished 

Animations, much like you see below.

Clearly there needs to be a way of implementing

the movements in animation

that are specific to the story that needs to be told,

both with the character relationships therein

and the background elements of the scenes.

I’m working toward developing those tools 

“In-House”. In the meanwhile, 

we will be pursuing Classic Animation

as a foundation for that future work,

as well as the puppetry, which may also

be integrated into both Theatre & Cinema.

The test below was created by Ai using one watercolor painting

followed by the instruction;

“Old man walking, turns 360 degrees”

I expect to combine Classic Animation 

with some CGI and the use if Ai. 

Our approach will be to do some 1:1,

Then pass off a different (wider) ratio to Ai

and allow Ai to fill in the gaps.

We will need to experiment.

Clearly, we can establish the character movements,

But how Ai would expand the dimensionality 

of the backgrounds is yet to be seen.

In the meanwhile, we will be concentrating on

Adding movement to the e-Storybook

in the form of GIFS,

presuming that will lead to

more expanded animations.

🎥

Here is an AMAZING test.

Created using Ai.

The test above was made from this artwork.

(which was not thoroughly detailed)

We will be moving forward with this 

animation project

once the publishing work is finished.

The Artwork used in the books is being far more detailed that the image used for this test.

If you expand the image, you will see that 

I did not fully detail the artwork,

which I am now doing for the publications.

I only wish I detailed this image further 

before doing this test

but even so, it is amazing.

AG

Conversations about the Gnomes

UPDATE  8/31/26

  Although I did these videos some time ago, the conversation presented here is a good summary of both the work done and the goals that have always been part of this project.  I changed the date setting so this is basically moved closer to the top, because I am "so close to finishing the Illustrated Storybooks" and I expect to be endeavoring to locate a Theatrical or Literary Agent to pitch this in the numerous markets it was written for. 

   I want people who become involved to hear my thinking on this.

   I will not be selling the project outright. I will be licensing markets based on performance. However, I am also thinking of how I will sell Image of the Mind Studios, when I am too old to carry on with it. So my thinking along these lines is to invite Industry Professionals & Organizations to buy into a newly established Board of Directors. Doing this will allow me to turn the entire studio over to the board when I decide to actually retire from the work of it all. I'm 72 and I expect at least another 10-15 years of some degree of involvement.  I am seeking to build a new studio compound as part of "The Theatrical Development Centre".  So that is one of the goals that this new Board of Directors will be involved in making happen.

   Initially I seek to establish "The Elder Gnomes Joint Venture" as the mechanism to produce this project (The Gnomes of New Hope) across the board. This Joint Venture is part of a larger organizational structure that is designed to support any project coming into the studio environment. Each project is so structured to contain its own management system in accordance with the overall structure and the studio provides certain resources for the project.

   Any organization buying exclusive rights to market in a particular Ancillary Market will be buying a position on that board and obliged to report on the activity in that market and likewise become one of our "Producing Partners".  Each particular project has its own board of Directors, essentially Executive Producers.

   There are multiple degrees of management going on here so I will outline all that on the IMS Management Page after I am finished publishing these Illustrated Storybooks.

Enjoy these funny videos. AG

I took these from my YouTube page, 

which I am only now starting to use.

 The Seven books in the collection are actually 

768 pages long, not 900.

Part Two;

Part Three;

Sorry for the colorful language at one point.

 Since these videos were done three years ago, 

we are very much further along by now.

ARCHIVE (edited)

I believe I am down to the last dozen pages or so 

that need to be finished.

The next stage is to prepare the layout for the printer.

   Now, contrary to what I said in the last video, I am considering setting up IMS Publishing with a print shop. 

    I went thru a lot of difficulty in trying to set a MSRP for the books. Numerous printers were interested in the project, but I need the price per page to be a fixed amount in order to set the project up with proper wholesale pricing that locks in a margin for each step along the production pathway.   Well, I am not finding printers willing to give me the right price.   So that mens we have two choices; web printing (external on-demand printing is now an alternative) or setting up an in-house on-demand print shop. All of these options require volume sales.

   Considering the amount of printing that is needed for other items, Libretto, music score, other publishing projects... setting up a print shop seems like the best option. We'll see what happens. 

   I'm leaning toward licensing the machine bound books to a reputable organization, but the licensing fees will need to be paid up front, based on a minimum quantity.  I'll get into the detail of that later and post that on the IMS Management Page, which is a private page for business parters as is IMS Producing Partners, where other details are posted.

    I continue to explore printing and publishing management options. In the meanwhile, once the full collection is completely ready for release to the public, I will be seeking to open the other markets in an effort synchronize the release of this project across multiple platforms. 

That' all for now... folks !

AG

Update on the Publishing Layout

On-Demand Printing

 UPDATE 8/25/26

Two of the prototype 2D "Garden Gnomes"
good for indoor plants and outdoor gardens.
The Gnomette is "Meg" and the Gnoman is "Bubba"

   The Publishing Layout: 

    The book layout is nearing completion. I'm finding out that; saving the more complex illustrations for last is proving to be more taxing then I thought to complete. It's slow going when on illustration uses six to ten (or more) watercolor paintings to craft. A major issue right now is how to achieve consistency and accurate color rendition in the final printing. I am leaning toward installing a print shop in the studio, but that comes with a plethora of other details and expenses that need to be tended to.  I am also doing research on engaging a fulfillment firm to oversee book publication and distribution.

    It is important that I move away from the publishing aspect and move into the music and theatre aspect of this project. I can say that the signed Limited Editions will remain in-house at all times and I do believe that the hand-stitched edition may also be distributed directly from IMS.  It all depends on how this pans out. My previous efforts are jobbing out the printing did not work out the way I had hoped, mainly because the firms I was dealing with wanted to produce the books they way they wanted to, not in accordance with my designs (mostly in terms of binding and production quantities).

   The other activity that is beginning to take place is Animation. In order to keep Jency employed on this project, we will be engaging in classic animation. I'm having thoughts that I could use Ai to enhance some basic animation. (See the Ai sample below). So we are taking some basic scenes and drawing cells for the animation. My thinking is to do (for instance) 8:1 animation cells and let the Ai fill in the gaps. That's all up-in-the-air right now, but if another production compny wants to be involved in this process,  contact me through the web page; www.imageofthemindstudios.org (I need to start using that page more often) or use the links on this blog.

ARCHIVE (edited)

   The photos here represent a few of the work-stations that are currently dedicated to publishing and artwork. I'll add more photos later.

 

   As I have repeatedly said "It's almost done".  Well, relatively speaking that is true. I now have less than one binder of artwork that yet needs to be prepared and inserted into the layout, but the volume of those binders is largely due to the fact that there are multiple paintings that make up the illustrations for the few remaining pages requiring artwork. 

   It is most interesting that my prep work for making the paintings ready to be inserted into the books takes five times more work than actually creating the sketches and paintings. But that's just the way it is.

   So now we are going back to "placeholder" artwork and redoing it. Some paintings were not of the caliber that I wanted, but we used it anyway so we could move on. My goal is to keep Jency working on other aspects (sculpting & animation in particular) so I am addressing redrawing/painting some of the artwork, mostly to make sure that the look of the character's faces is consistent. Sometime it is hard to keep the look "right" when one is drawing the characters from different angles and trying to express an assortment of emotions. So some of it needs to be redrawn.

   But also, I inserted characters into the pages, in numerous instances, without backgrounds. So I am now crafting more backgrounds for the scenes. I figure we will need those backgrounds for the animation, but also, they will be used as backdrops for the stage show.

   The two images above are photos of the first stage model that I used when I first started writing the Libretto. I used it to determine blocking as I was writing. It's very primitive, but it helped. The clay gnomes started out with the features you see here, but that changed when Jency started drawing the characters. I'll get into that process in another post.

   In regard to the stage show; I have it in my mind to secure an LED (or digital) backdrop as part of the hard supplies for the stage show. My intention is to put a stage in my studio, wherever my final location ends up being. I started building the stage, but difficulties at my present location has prevented me from advancing with that. I will address the studio on the IMS Virtual Studio. This link takes you to my "main portal". Other links will be present there.

    I am also crafting a more functional Business Plan. It is based on all the other elements that have been discussed, but now I have decided to sell options for the major markets. Ownership of "The Gnomes..." And other projects will always remain with IMS, but I do expect to sell the studio outright when I am too old to be effective. (That's creeping up on me, ugh)

   So, the options will be for, production in the four primary arenas (Publishing, Theatre, Film, Television), distribution in those markets (contracted to a degree through production), and merchandizing individual Ancillary Markets. Marketing will be largely contracted, but supervised by The Elder Gnomes Joint Venture.

   I will be turning over 40% of all rights (and management) to The Elder Gnomes Joint Venture, who will hold the rights for a set renewable term, but not ownership. Ownership remains with Image of the Mind Studios, ad infinum. To possess ownership, it is contingent upon buying IMS outright. As I have mentioned, I will be posting the details to this Business Plan on the IMS Management or Producing Partners blogs (after the publishing layout is done, done.) 

   In the meanwhile, I am open to discussing any of this with persons interested in these affairs. I do expect to secure a Literary and/or Theatrical Agent, once the books are ready for distribution to Industry Professionals. 

   The licensing of any rights will be contingent final upon negotiations through my agent, although we can set the groundwork ahead of time and I can discuss the terms of a straight-forward and simple Option. However, I will not engage in legal manipulation or rhetoric in this regard and any final agreements must be cleared with the appropriate legal or other representatives. (sad to say). I do expect that legitimate business dialogue can take place in an environment free from complexity, given the right circumstances.

AG

Parade Float Update

UPDATE 8/26

   Work has advanced on the Parade Float. A new front suspension has been acquired and is ready for installation (sans the brakes) the metal for re-fabricating the chassis in areas where rust has decayed it's strength has been acquired and is on the welding table. Components of the stage sub-structure and cradles are being gathered as well as the stage itself (in the form of 5 4x8 platforms). No work on the engine or controls will be done until the chassis is sufficiently strengthened (see diagrams below).  Discussions and consideration regarding the animatronic aspect of the Gnomes of New Hope display are under way, but serious address of those elements will not occur until after the Storybook publication is underway, as that also involves puppetry and is connected in some degree to work on animation (as to content selection for marketing).

ARCHIVE

§   This year's Southampton Days Parade, which takes place on July Fourth, is in the planning stages. As much as I had hoped that this Parade Float would have been ready, sadly, that's not going to happen.

§   The truck that was acquired for this purpose was in very much more poor condition than I had expected. That means the rebuild will be more extensive and costly than I had anticipated. Components of the truck which I had planned on reusing will have to be replaced, in particular, the entire front suspension. But also, all the control cables and braking systems. It gets down to a complete rebuild, to the point of pulling the power train and rear suspension. All of this bring more complexity, time and cost. But it needs to be done if the end product will be safe, trouble free and serve a long term functionality.

§.   I have a source of numerous additional trucks if it turns out that more than one self-propelled parade floats needs to be built.

ARCHIVE:

   The templets for repair panels have been made and those panel are being quoted. 

   Here are the drawings for the Parade Float. Current activity is preparing the chassis for paint and reinforcement. The initial goal was to have the Parade Float functional in time for the Fourth iof July Parade. Truthfully however, I doubt that that will be possible. In addition to finishing the technicalities of the float itself, there is the issue of designing and constructing a presentation for the parade and then producing it (ie: actors costuming sets, materials etc,). So our goal is to just get the Parade Float/Portable stage constructed and functional (mainly for use with The Gnomes of New Hope).

    When the Parade Presentation for the Gnomes is under way, then plan is for Animatronic characters to be part of the Parade Float. We'll see how that goes. One step at a time. For now we need to finish the Parade Float and to assure that it is functional as imagined.

 In regard to Animatronics, we have advanced with building the parade float.

  

    Here you see the chassis that is being used for the parade float. It will be strengthened and rebuilt. It is the chassis of a Corvair truck the section in the back contains the power-plant and the section in front (center) will contain a cockpit for the operator. The operator will be seated under the stage. We are working on designing an animatronic puppetry presentation for the parade float.

     I was in Ohio recently and while there I bought a new front suspension for the parade float. The existing suspension is unusable due to rust, however, it will stay in place until the frame is strengthened in the critical areas, which likewise have severe corrosion that have cause the integrity of the chassis to fail. Even so, strengthening of the frame would be required in any event, because the chassis was part of the unibody, which depended upon other body panels for strength. The frame area need to be boxed and other support modification need to be made. Preparations to effect those changes are being made over the winter, with welding to taken place after the weather lets up and becomes warmer. 

Here is the Meadow Amphitheater,
where we performed as 
The Shakespeareans of Tamanend Park

   
   I have begun prepping the chassis for paint and welding support struts. As you can see above, the chassis will accommodate standard 4x8 stage platforms and not only serve as a Parade Float, but also the core of a mobile stage which can be set up in a festival or park environment.  Thinking in that direction is a result of what happened with the stage that was built in Tamanend Park, being destroyed by vandals. With this portable stage, we can take the stage with us and not leave it exposed to nefarious deeds. I expect to try to emulate the stage that was built for Tamanend Park, with wing extensions that can be added to all four sides of the Parade Float/Mobile Stage.  We may even consider a modular backdrop scenario as an accessory to the stage.

AG

Thoughts on Book Publishing (+Garden Gnomes)

Above is one of our new Garden Gnomes
and two others below.
I'm developing a collection of these "flat" displays
from hundreds of watercolor character paintings used in
The Illustrated Storybook Series

These products will be available once I post them in a "Shopping Cart"
 on 
www.imageofthemindstudios.org

 

     In calculating what kind of printing operation I would need to set-up for an on-demand printing operation, it seems quite clear to me that if I do enter into a printing operation, managing those affairs will distract from the work that needs to be done on the Stage Musical and other work on Animation & Puppetry. 

  The kind of printing press that needs to be used for this project is something that may be a bit beyond my immediate thinking, in regard to expanding my studio printing capabilities. I say this, not because it is beyond my capabilities, but because entering into that degree of printing, in terms of quality and consistency, will distract my operation away from the primary goals, because I will need to be focused on the production line.  

    I will be expanding the printing operation for an assortment of purposes, including Limited Edition copies of the books, printing the Musical Score/Libretto and other prototype & Limited Edition materials, but larger quantity publication for Retail Distribution requires a higher quality printing presses than I think it is advisable to maintain at this time. 

    It remains a possibility depending on circumstances and expense, but the initial expansion of our capabilities will, by necessity, be limited to smaller production quantities with printing equipment that is less capable of consistent quality on high production quantity.

   That being the case, I invite larger scale printers and publishers to discuss this project with me, because I expect that I will not be able to meet sudden large scale demand, should that occur.

AG

July thoughts on the Progress

​

 For those of you wondering what’s going on with the books… well they really are almost finished.  As far as I can see, all the artwork required for the illustrations is finished. 

   There are a few pieces which might be redone, because some of the early sketches were used for the sake of expediency, but they are not of a quality equal to the better illustrations. 

   I can say that; less than a dozen pages need to be done. However, the entire layout needs to inspected (again for the fiftieth time) to make sure everything matches. 

   I can say that the overall layout will need to have each page adjusted to match the quality control required for color balance and saturation which is provided by the printing press used. Because of this, setting up a printing operation in-house is under consideration. Experience with publishing prototype runs shows that, not only quality control, but also production expenses, will be easier to monitor and control either an on-demand press in the studio. Doing this will consolidate operations for printing, binding, inventory, sales and shipping. Sadly, jobbing out smaller quantities is prohibitive because of inconsistent quality (between multiple printers and the press operators) compounded markups, travel, handling and, frankly, lack of security over controlling publication and hence, the actual quantity of books produced.

So, the current efforts are both creating the last few illustrations (which often require multiple painting to achieve, due to the detail required) and the effort to inspect and correct the pages that were not properly prepared. I am surprised how many painting were not detailed properly to accommodate the effects, that later on, were added into the layout. Those paintings/illustrations need to be properly detailed in order to match the current quality specifications.

All in all, the entire series is truly almost finished and I am beginning to work on the boxes for the boxed set, but the specification as to dimensions cannot be finalized until the entire set is properly finished and bound. The reason for this is that each book is a different width, depending on the number of pages per book. Since the books published in the first run are hand stitched, that is a factor as well.

That all for now. AG

Contact re; Purchasing Books

The full collection of "Big People Books" is actually nearing completion. Even though I have said this before, this time it is very close to being a reality, finally!

I will be setting up a print shop, so that we will have complete control over quality and quantity.

The "Gnome Sized Books" will be worked on after all the registrations are complete.

The registrations are pending, although have been started. So all of this will determine the actual release of the books to the public.

However, since my main email is deluged with nonsense emails, I have another email for use in communicating regarding purchase of the books. It is:

imagemindag.publishing@gmail.com

Any email sent to the above address that addresses any subject other than the books or publishing activities will be deleted and blocked.

I also have purchased numerous domains for IMS and the portal for those sites is;

imageofthemindstudios.org

There is a contact form there, but I have not begun using that on a regular basis yet, but it should work.

AG

Status Report 3/26/26

Most Recent Activity:

   For the last month there have been activities surrounding facilities that have interfered with the work on completing the layout. But I managed to relocate my workstation and archives and proceeded to prepared the finished artwork for insertion into the layout. This has prompted me to seek to duplicate my workstation to avoid this in the future.

   Truthfully, I am beginning to feel burned out on trying to complete these books. It is SO close to being finished that I must fight the urge to just quit and work on my cars.

   I was very happy to see that Book Five looks to be complete. Two days ago, rather that work on the art, I was reviewing the technical details of the page layout and making corrections to assure that the pages all matched. I figured discover (again) that the earlier artwork I had installed was not properly prepared and needed to be gone over to be trimmed in order to accommodate the effects that are now being used (but we're not at the time the art was installed). I found this situation has occurred on many pages. With the more recently prepared artwork I have been much more detail oriented. This is in large part because we have been thinking in terms of 3D animation and the paintings must not have artifacts that will translate into the animation.

The First Page of Book One

     

ARCHIVE:

  You will note that below I posted video conversations that took place three years ago. Overall that still applies. What has been happening since then you can see in other posts below. Let me just say that in all this time we have been both designing and redesigning (when necessary) the artwork. Just yesterday, I asked Jency to redo the illustration for a particular page, because in looking at the proceeding and following pages, I felt that we needed a greater diversity in the posture of the characters. In fact, there are a few illustrations that will need to be done over because the characters drawn do not have the kind of consistency and detail that I feel is needed. So in those instances, the artwork is just place holding, while the collection is completed.

§   Five Binders of finished artwork that has been inserted into the layout. There are more.

§    I'm pretty well certain that there are around a dozen pages left to do. Some pages are half finished, the ones that use multiple paintings to create the illustration panel. Once the last page is illustrated with the characters, then we will be going back to review and assess the backgrounds. Along the way I decided to make sure the characters were placed, even without a background. In some instances no background is necessary. But for diversity's sake, and depending on the shift of environment in the story, a backdrop is appropriate or required. But in order to complete the layout, insertion of the characters has had to have taken precedence over the background. Indeed, we have an excellent collection of quite detailed paintings of the environments where the story taken place, but I discovered (after creating those paintings) that there really isn't enough room in the books to show those backdrops to the story. In some instances there is room, but by the time those environments are reduced to the slotted space on the page, the detail is lost. So this collection of art will really be shown in the context of the exhibition.

§   Work has been done on these exhibition panels, but the significant progress on assembling the Exhibition must wait for the book layout to be completed. I will discuss the exhibition at another time and, in fact, will assemble the exhibition as an online presentation, for those that cannot travel to where it is physically presented. That online exhibition will be generally (in part) available for publicity, but in whole will be available by subscription. Sort of an entrance fee, like a ticket to the show. I will discuss this as it proceeds.

That's all for now.  AG

Publishing Update

  NOTE: a few keys on my laptop do not work, so letters are missing or tyyyping the wrong character. I will have to fix this on a different computer.

As I have so often said "It's almost finished" and what I also sayid is "Almost doesn't count". So I won't do that. But I am satisfied about the progress.

   All the illustrations in this collection of Seven Books are watercolors that have taken a great deal of effort to achieve. Taking a guess at it, I'd estimate that the total number of paintings exceeds two thousand, I think more when the backgrounds are added in. 

   I won't go into detail about the paintings here, since I have discussed the process before. But I will say that it's possible that we have, less that 20 to do. I have eight or ten sketches that need to be painted, but I know that there are some illustrations that I would like to do over, because I want, either a different design, or better detail.

   

    This is an old version of the page layout, showing one of the product lines "Gnome Gnog". There have been quite a few improvements in the layout since this was done, but this gives an idea of the look of the art. The page background is now different than this. You can see below that a twine edge has been added.

   So, what are we up to? Well, I have two three inch binders with finished watercolors and I have been slowly scanning, prepping and inserting that art into the layout. I'm happy that this stage of the process is going more quickly than creating the art. I also have a binder of unfinished pages that give a quick view of what needs to be finished. That binder contains little over a dozen pages in it. But I also am using the digital files, which are color coded, to comprehend what pages are unfinished. The entire collection amounts to about 768 pages (give or take). I pages in the books that are not part of the page numbers, which are basically inserts. (Such as below)

   Now, after all the artwork has been installed, I will need to review the entire layout to make sure the effects used in the latter (improved) pages is also used on all the other pages. To explain this statement; I have used a stroke and a drop shadow on certain paintings, in particular, the illustrations that are built out of numerous paintings. The effect this has is to make the characters "pop" out of the page. But when I started doing this I did not have these effects refined for the proper balance. So, I need to go back and inspect the pages so they all match. After that is achieved, I can then build the files for the printing press.

   

Now, I did publish a prototype run of books one thru four, but stalled on book five, because that book is bigger than all the others. The reason for that is that Book Five contains references to "The Gnomic Tales" and those tales comprise five other stories. 

   "The Gnomes of New Hope; Zach and Zebby's Grand Adventure" 

is one story that spans seven books. Each book consists of between 90 and 160 pages, depending on the segment. The chapters in the books match the scenes in the stage musical, upon which the Illustrated Storybooks are based. 

   Now these Illustrated Storybooks are designed to also serve as "storyboards" for a film version of the story. So the publishing layout is an adaptation of the storyboard concept used in filmmaking.

   The intention is to produce an animated film using the illustrations in the Storybooks. The beginning of this process is to produce the illustrations as GIFs, which will be used in the e-Storybook. These GIFs will be the foundation of larger scenes in the animated film.

  

  After the books are in distribution, producing income, the effort to advance animation and a theatrical production will advance. In the meanwhile, sample and prototype materials will be generated as best as possible, given resources available.

That's all for now.

AG

Happy Thanksgiving

Approach to Publishing the Books

I have said this elsewhere, mostly in passing reference. 

The First Editions of the Storybook Collection will be hand-stitched, custom made to order.  I will be inventorying 100 copies of each book, so that I can meet  prepaid orders at the full MSRP for individual books in a timely manner.  Signed editions are an additional 25%. Contact us by email or use the contact form in the right column. 

Retail Wholesale Pricing (still under review) will require a minimum order of 12 copies of each book and a retailer will be required to stock the full collection of seven books.  A full Keystone will require an initial order of one gross of each book and a commitment of 100 copies of each book per month for one year.  Books to meet these orders will have a turn-around time that has yet to have been determined.  Orders will be prepaid for the first year, after which a deposit of 50% will be required with 30 days on the balance.  Larger orders are possible. No books will be provided if there is an outstanding invoice.

Further, we are seeking to exploit the numerous Ancillary Markets as a means of funding the Stage Production. Hence, I am open to dialogue in this regard. I do expect to job out numerous production aspects and welcome inquiry in this regard.  

We have begun working on the Parade Float (trying to have it ready for a separate Fourth of July presentation) and expect to craft Animatronics for our Gnome presentation and for use in the Gallery Exhibition Walk-thru. We are also evaluation our mission to implement Puppetry and what the extent of that will be, in part, because of the desire to implement a cyclorama walk-thru.  Portions of the Cyclorama will be present in the Gallery Exhibition.  These things are taking precedence over the Stage Presentation, because they require less cost, logistics and will result in hard assets for use in promotion.  However, set construction for the Stage is moving forward with models that will be part of the Gallery Exhibition.

An AD for a Playbill

    Last month I placed a full page Ad in the Playbill for an excellent production of "Man of LaMancha" at MPAC (The Mitchell Performing Arts Center) in Bryn Athyn.  That AD was a B&W, but here is the color AD that was prepared for that Playbill;

I'll add the B&W Advertisement in the near future;

The Impending Release of the Books

The Books are getting closer to Release

 I am finalizing the remaining Illustration Panels

there is still much to do, but relatively speaking,

we are almost done.

The Cover of the e-Storybook

UPDATE (10/8/25);

   I keep thinking the books will be done very soon, but it keeps taking longer that I expect. If I were able to dedicate full time to working on the layout, then in might be very close to being ready, but I cannot. I am building the studio and advancing assorted projects.

   The final Illustrations are being assembled with numerous parts, as we started to create the components of the illustration panels as individual paintings for the sake of having higher detail in the work. This causes more work for me to assemble, but it results in a better finished product.  Also, we are moving toward the 3D animation and the paintings of the characters needs to be more detailed for that. 

   I have concluded that it would be best if we sculpted the characters and then scanned the sculptures for the 3D. That way, we will have consistency and the Garden Gnomes/figurines will match the animated characters. So on that basis, I am looking for people who would like to sculpt our characters (in clay).

    Other work is being done on the Gallery Exhibition. I'm trying to finish the design of the panels, after deciding how to do so. I will be constructing frames for the panels from old fencing so it looks very rustic. I have just decided to add stage models to the exhibition. We will need them anyway for the set construction, so we might as well design the models to be used in the exhibition and integrate a few more panels that have a model stage as part of it's design. But further than that, I have been intending on producing a cyclorama walk-thru presentation.   In one way the exhibition can add to that concept, or we might integrate the puppetry into the exhibition as an enhancement by including a few stops that act as an animatronic cyclorama.  So these are design elements that are being addressed, but they do change the work that needs to be done and the time-frame.  There are numerous degrees of puppetry involved and this needs to be considered as well.

   Practically speaking, these elements and components need to be completed in such a way as to support one another. The Exhibition needs to take place in synchronization with the release of the books, just as the parade float needs to support the stage play and even those elements should be well along or even completed as well. I am now engaged in building the parade float, which will ultimately use animatronics to convey a promotional scene from the Gnomes.

   So, all said, it's not easy to synchronize and implement these components of the overall project.

AG

UPDATE (6/14/25) :

 

   I have the prototypes of books one through four printed and bound.   We have nearly completed all the watercolors for the entire series, with only a dozen of so needing to be painted.  There are Illustration Panels that still need to be assembled from numerous paintings and there are two three inch binders of art that is ready to be installed into the layout. When we do complete the painting for the Illustrations, we will shift over to painting drops for the "Little Theatre" stage show.

   Little Theatre; Definition - in this context, this refers to the size of the Green Screen/Sound Stage that is being set-up in the studio. That is 20" wide by 18" deep by 14' high. This will serve a number of theatres available for the try-out run.  The size is expandable (within IMS space) to 30" wide by 25' deep if necessary, but my opinion is the smaller version will be suitable for workshopping this show, since there must be smaller productions available, within the context of the entire scope of possible venues. Certainly a larger production could be produced, but that is outside of my immediate scope at this time.

   My mission has now become printing Book Five, which is the longest of the books, because that book contains "The Gnomic Tales". These are not the full version of the tales, but only summaries of the stories that are used to serve the storyline of "Zach and Zebby's Grand Adventure".   Publishing of the prototype books continues; Five, then Six and finally Seven, with only a small amount of work remaining to be completed.

   So now, I have enough of the book series finished that I can talk turkey with another publisher and or distributor. But since I am finishing up the final layout. I will not be soliciting that dialogue, but I will be open to discuss the project if I receive inquiries.

  Even after I finish the books, the only publication I will be doing is in-house, which amounts to limited quantities. My efforts will shift over to Theatre Production, Animation, Literary Representation and Cinema.  The larger Publication and Distribution activities will take place within the context of an organized production structure that is external from the development environment of Image of the Mind Studios. That means that the rights to all markets will need to be negotiated with my literary Representative, if and when I secure that agreement. Until the entire series is fully published in it's completed form that agreement will not be implemented.

   If you are an Industry Professional, I am certainly willing to discuss the possibility of licensing any market, and I will be able to accept an Option of First Refusal, contingent upon the proper contract structure being put in place for Union Operations if that Option is implemented into a Production Contract. I have to say that, contrary to the Writer's & Dramatist's Guild Contracts, I will not permit any other writers or any producer to modify what I have written.  I will remain open to enhancing what has already been written, in fact I created opportunities for that to happen within the material, but I retain sole authority over the Core Creative Material ad infimum, in all markets.

   "The Gnomic Tales", five at this point, can be constructed by a writing team, but I will supervise and direct that if it occurs.

   I will add more to this discussion as necessary, as time allows. AG

Notes regarding Distribution

    I have a number of versions of the books.  Above you see a cover for the e-Storybook. The e-Storybook, which will be a subscription, includes not only the Audio Book,  but the watercolor illustrations contained within it will (gradually) become animations, meaning most of the page illustration panels will be converted to GIFs.   Eventually, this will lead to an Animated feature film or television series.  The books were in fact, designed to serve as Storyboards for a film.

   There are the Gnome-sized books; a small version that is about 3.5" square. There are the Big People's books that are about 9"x10".  There is the "Hand-stitched" version and a "machine bound version".  Both of these editions will be presented in boxed set editions.

  I will be keeping the "Hand-Stitched" and Boxed set versions as in-house production, at least for the time being,  because they will become the signed and numbered editions and I have yet to have found a production house willing to make Hand-Stitched Editions who is willing to adhere to my design specifications and do so at a price that works. As it stands now, the MSRP is $34.95 per book. There are seven books in the collection.

   I may release the Hand-Stitched (as well as all other ancillary markets) at some point, to another publisher/producer if the design elements are maintained and the down payment is sufficient.  Contact me to discuss terms.  Basically my terms are; a deposit against a guarantee, plus 10% of the gross on all markets. That applies to every market. That's firm.

   For now,  I am looking to find partners for publishing and distributing these books.  I am publishing in-house but those quantities are very limited. This is because I need to focus on the details of producing the stage musical and not assembling and selling books.  After all, the whole point is the stage musical and I can't focus on that - if I have to be making books.

   I will be making Hand-Stitched books on a regular basis and they can be ordered directly by contacting me via email. I will be setting up a Shopping Cart and selling the books direct using PayPal. 

   I will not be concerned with mass production, unless I receive bulk orders exceeding for 25K books.  If that occurs,  it will be contingent upon available personnel and/or publishing partners.

   Just some recent thoughts. 

Contact me via email if this business opportunity interests you.

image.of.the.mind.studios@gmail.com

AG

Sculpting

   I've concluded that the best approach to creating 3D characters is to sculpt them. We started on the puppetry and the Garden Gnomes, only to get distracted back to publishing work. 

   Now that the paintings for the Illustrated Storybooks is mostly finished, we started painting some of the characters to create a 360° view. But this is easier said than done. I'm finding that getting an accurate perspective with separate drawings/paintings is not so easy to do. 

  This leads me to realize that the best way to create a 360° view is to sculpt the character and then scan that sculpture. I know that there is an Ai program that can convert a 2D image into a 3D image file, but from what I understand the character needs to be referenced from all four sides. It might be best to take at least eight slices. By the time we go through all that, we might as well sculpt it.

   I have a kiln, so we can fire the clay. After that we scan the sculpture for 3D. I'm thinking that might be the best approach, mainly because then the characters will be consistent.

   There are "details" to a computerized scan of artwork that seem to make a sculpture highly desirable. Of course, a sculpted Garden Gnomes, not only gives us a master, but also allows mold making. I considered 3D printing, and I hope to explore that, but I think sculptures advance our overall cause more effectively for now.

   That being said, I am looking for persons who may like to sculpt some Gnomes. Let me know if you are interested. If I can find the time, I may try my hand at it. I did some sculpting in the past and I really liked doing that and seeing the results of my efforts.

  I'll post photos if I do.

AG

Animation Studio

    Below is a skeleton laid out on top of an enlarged sketch of Zach. This gives us an idea of the ratio of the bones required. The bones are modified to match the limbs of our drawings. You can see that the upper arms are so modified and adjustable, depending on which character thy are used for. 

 This guides our work in building puppets, both manual and animatronic. 

Animatronics depends somewhat on whether or not IMS buys the machine shop; R.C. Kletzing Inc.

  This also leads me to the subject of Animation. The intention is to incorporate animations into the e-Storybook. For the storybook, the animations can start out to be 2D and transition into 3D, but one of the efforts underway is to convert our characters from 2D to 3D and to set up a work station for that effort, This leads me to believe that we need to establish the IMS Animation Studio. 

So that will be happening. 

   I invite participants interested in this arena to make their voices known.

AG

 

IMS Design Studio

Here's a link to a subject relative to the Gnomes;

IMS Design Studio

Theatrical Game Plan

  The theatrical production of The Gnomes of New Hope has been the ultimate goal since it's inception. Publishing the Illustrated Storybooks was originally intended as a means of building an audience for the stage show. Of course, the books have become an entity unto themselves, but the intent for the musical still exists as the purpose.

   This leads to the fact that once the books are fully put into play (meaning published and distributed) then the focus of attention will return to completing the score for the musical. 

   The Libretto is written sufficiently to work off of and begin building the show. We are considering painted drops vs an LED backdrop. The LED can be used for other film projects on the Sound Stage.

   The Musical Score is partially finished and needs to reach the point of publication. Although, all of the musical numbers have MIDI files outlining the melody lines and the majority of the arrangements. The last section of (maybe seven) songs still need to be arranged. There are a total of 70 musical numbers in the piece, that includes bridges and backdrops. The Overture is only sketched out at this point. Once the Illustrated Storybooks are finished and being distributed, then return to work on the music will occur.

    The Technical Manual for the show is started, but that cannot practically be fully produced until we are in production. Some portions of that can be set-up in pre-production, which will happen as we progress.

 

  Ideally, I would like to partner with other producers who work on Broadway. I prefer not to attempt that arena, simply because I have been involved in the development arena and have been away from that level of production for too long. 

   I have been building the tools, equipment and facilities to mount a try-out production and I have the video and film capabilities to create visual aids in mounting a larger production. Ultimately, I feel as though the larger professional endeavor should be implemented by a larger organization that is already steeped in the First Class Theatrical environment. That goes for the First Run Cinema as well. I think the project would be best served by that approach.

   I can and will continue in the Development process in-house and potentially into the Try-out Scenario, but advancing into a Try-out Tour will be contingent upon Licensing the First Class Production before doing so.

   There is an overall plan that involves conducting the Try-out Tour based on four wall contracts, meaning the First Class Contracts will not be tied to any third party agreements.

More later, AG

Artwork for Illustrations

   

    These binders contain the watercolor paintings that are finished and await being installed into the books. There are a dozen or so more paintings to be included in these binders, but that is it for the illustrations (actually there turned out to be another binder about 1/4 the thickness of these). I have eleven more binders like these, containing the all artwork that has been used in this Illustrated Storybook Collection.

 

   Installing this artwork involves;  first defining the sketches requires, then once they are composed properly, scanning the sketches and filing the scans away properly, then opening the digital sketches in Photoshop and proceeding to prepare the digital copy to be painted (cleaning up the extraneous lines, fixing rough edges and lines),  then printing the digital B&W sketch out on watercolor paper.  The sketches are then painted with watercolors, rescanned, cleaned up again, removed from the background, and processed to enhance the color, brilliance, contrast & exposure.  Then the individual drawings are assembled into a composite illustration, that illustration is reduced and inserted on the appropriate page.

    Whew! It's a lot of work !

   Just taking a wild guess, I'd say each of the 768 pages of the collection uses, on average, six paintings for the illustration, often times more than that, sometimes many more.  That's at least 5,000 watercolor paintings that cost around $500 a piece to produce.  In other words, the paintings used in this collection of books has cost approximately $2.5m and around fifteen years to produce.

   I better sell a lot of books to make up for that expenditure!

   When the books are finished and published, we will be moving to convert these paintings (of the characters) into 3D files for animation.  

   To say nothing of the stage production!

   Does it ever end ?  I hope so, I want to work on my cars.  AG

Purchasing the Books

Update, 7/24/25

Pre-Ordering Books

The Illustrated Storybook Collection is not yet fully in production.

Books one through Four are finished and ready to be produced.

Book Five through Seven, although mostly completed, 

still need to have some artwork installed, which is underway.

All the Artwork is completed, just not installed in the layout.

I am still setting up the payment systems, 

along with production lines for publishing and the necessary registrations.
So at this time, I will not be accepting payment,
I only seek to know if you are interested.

If you are a distribution outlet, give me an idea of the quantity you might like

and I will get back to you on the details.

Once payment is set-up, I will accept Sales of individual books

and Pre-Orders the entire collection of seven books.

If you are interested in securing the entire collection of books,
let me know, as I will be offering a discount to persons
who pre-order all seven books.

Terms for a pre-order for the entire collection will be forthcoming.

You may choose to purchase Book One,

since Book One is an introduction to the collection and the actual story of

"Zach & Zebby's Grand Adventure"

begins with Book Two

Here's a Graphic from one of the songs,
just to show you the titles.

If you would like to order Book One, the whole collection
 or have other interests in the book series,
send an email to my attention Arthur Greisiger at;
imagemindag.publishing@gmail.com

I will let you know when payment systems are in place.

I may release each book at an interval, once the artwork is installed
that hasn't been decided yet.

Archive;

Here is a Flyer that was produced years ago

 (when I had no idea just how long it would take to build these books)

It is still valid.

I am building this page to be the online shopping cart for book sales

and will connect via PayPal.

This order form below is outdated as to pricing, but the rest of it is legit.

I will modify the above order form to reflect the accurate pricing.

As of my last production run of prototype books

the MSRP for the books was 

$34.95 

(per book, plus shipping and sales tax) 

 Look for updates to make this page your portal to buy the books.

They will become available after I build the inventory 

and finish setting up the production line.

If you would like to pre-order, you may do so without sending any money

I will inform you when the books are ready for purchase.

Use the contact form in the sidebar or the above email.

If you would like a hard copy order form that is easier to read

please provide a mailing address.

Initial production runs of the books, will only be available by direct purchase 

through this web page.  As it stands now,  all books will be MSRP without any discounts, 

because the books are all hand-stitched and they take time to bind this way.

Delivery times will be according how quickly we can make the books.

We do expect to maintain at least 100 books in inventory before we release them

and wholesale orders will not be permitted to deplete that inventory.

AG