Hard Technical Work

As you may have seen posted elsewhere, a part of the plan is to build a Parade Float. 

Well, you may know that I built a stage at Tamenend Park with the help of a long time friend, Gian.

As the construction progressed, we started up a group called "The Shakespeareans of Tamenend Park.

We did walk in The Southampton Days parade a number of times and it was very much fun for both us and the parade viewers. One year we won First Place in the parade for our presentation of "The Earl of Southampton present Queen Elizabeth".

 I just erased the photo of The Earl of Southampton standing next to the carriage, bummer. Here's another shot from a different event. We had performances set up at the stage after the parade.

Well, the point of showing these shots is this; 

The Stage at Tamenend Park was disassembled and the programs there, which included "Cinema Under the Stars" were discontinued after about six years,  due in large part, because of vandalism, but also because of a changing of management in the park.  However, the stage you see there, will be reproduced, using the Parade Float as a foundation. Doing this extends the usefulness of a parade float, but it also effects the design of the stage overall.

This leads me to discuss the nature of both the Parade Float / Stage 

as it pertains to 

The Gnomes of New Hope.

 As you can see from these photos, Southampton has the perfect set-up to develop the presentation of the Gnomes, a parade, followed by a festival.

 In my mind, the Parade Float will have it's testing grounds in The Southampton Days Parade, at the end of which, is a carnival/festival environment, whereby we can use the Parade Float as the stage for a festival presentation. That can either be a live performance or a puppetry performance, or a combination of both.

 So, this becomes an epiphany for me. It's perfect! One aspect of this that has tormented me has been the relationship between the actors and the sets, but I'll get into that later. The beauty of using the Parade Float as the stage, is that; the presentation in a park automatically provides the forest backdrop for the show. After all, the Gnomes live in the forest. (the only serious variable here is the weather).

As ugly as it looks now, this Corvair Greenbrier will become a self propelled Parade Float after the body is cut off the chassis and it is turned into a stage. 

It may become a templet for more than one parade float, but I will go into this further as work on this project progresses. I have begun setting up to implement the work of building the parade float, so keep watch for updates, which I expect will include design drawing and photographs of the progress.

UPDATE;

Here is a drawing of the Corvair FC (Forward Control) Chassis without the body. This is the fate of the sad looking Greenbrier above. It is to be the donor for our Parade Float.

 If all goes well, I will implement cutting the truck down before winter hits, here in Pennsylvania. 

My expectation is to emulate the stage that was in the park, albeit a bit higher off the ground, 

using the Parade Float for the main section.  The center section will be used as  storage for power and sound systems.  I expect it to become a Rental Stage.

AG

Some Thoughts About Cinema

Of course, this is regard to The Gnomes of New Hope. Having begun to shift the writing around so that the Libretto and the Illustrated Storybook Collection would also serve the needs of Storyboarding for a Cinema version, it now seems to me that the complexities of each arena must be address quite separately. I pretty much knew this, but a made a strong effort to craft the writing to accommodate each market. Part of that accomodation had been to craft sections of the material in such a way that it allows for expansion. Such expansion is particularly necessary in the film arena.

Film and television have a unique ability to juxtapose time and space in a way that is more difficult, if not impossible in theatre. That being the case, the cinema production need to take place after the stage show. In my estimation, the expansion is desired, whereas a contraction (or perceived consolidation) as would occur, should the theatre show occur after the Cinema or Television, is not desirable from a marketing standpoint.

Clearly, a Cinema Presentation would be quite different from a Television Series. Of course a Cinema version can be presented on Television, but there is a certain conflict between a film version of the story "Zach and Zebby's Grand Adventure" and an ongoing Television Series based on "The Gnomes of New Hope" which includes an expansion if "The Gnomic Tales".

So securing a balance of the relationship between the numerous kinds of productions is critical. As it stands now, the Illustrated Storybooks are first in line, followed by the Parade Float, which incorporates some degree of puppetry, little theatre, and festival presentation. All those arenas are simpler to implement than the full stage musical, but they do provide a degree of development activities that contribute to the stage presentation. Of course, the Feastival and Little Theatre are stage presentations, but they are non-union and therefore less costly, with the intent of moving the overall production toward a First Class presentation. In addition, the simpler productions provide resource material for the larger productions, both First and Second Class, as well as Regional and Community. More importantly, those earlier theatre arenas and publishing will begin to build an audience.

As much as I have a grip on all of this, I am increasingly becoming convinced that these production arenas need to be implemented via an assortment of Business Relationships, putting fulfillment into the hands of persons or organizations with whom Image of the Mind Studios has partnered. The truth is that there are other projects that need my attention, and those projects are becoming increasingly urgent and distracting from the work on The Gnomes of New Hope.

I say this to make my position know to those potential partners. I none-the-less continue on the path, but the truth is that for this to succeed to it's fullest potential, it needs to shift into high gear and for that to happen, we need the right team of people. It's clear to me that there are organizations that already have those people in place and function as a well oiled machine. Such an organization is required for "The Gnomes of New Hope; Zach and Zebby's Grand Adventure" to reach it's fullest potential. 

I am almost finished on my end; Development and I hope to be passing the project into Representation in the not-too-distant future. Keep that in mind, if this is your specialty.

AG

Final Aesthetics

After all the twists and turns of this journey to publish these books we definitely have arrived at the finished look. While I have been adjusting the CYMK to most accurately emulate the RGB layout I have had to made certain unexpected changes. Although I thought the series would be finished as to the look, when I submitted Book One to the printer, while conforming Book Two to those standards, I found anomalies. Egads! 

Anyway, those anomalies required some addition graphic design to amelliate. Ok fine. You see, the difficulty is that, although I matched my monitor to this new digital Canon press, visually, it is still a guess as to how the printer will respond to those changes.

Now, I want to say here, that although I have been advancing nicely with this new printer, I still intend to work with the other printers who have put time and energy into this project. As it turns out, there are at least four different methods of printing and binding. And, there are the two versions of the books. It now seems apparent to me that the look of the Gnome-sized and Big People books will be different. The reason here is that the backdrop on the Big People Books has changed in this process to adjust the books for the new Canon presses.

I am uncertain about the Gnome-sized books at this point. My concern is getting the Big People books locked in and begin to build inventory. This, of course, will put the remaining books in a position to do the same. It is Providential that all this back and forth adjusting has taken place, because when I thought it was finished (for the twentieth time) we began doing the artwork again. So my juggling the layout around and search for a new digital printer had allowed the illustration process to advance toward completion.

In terms of the illustrations, the sketches for all but book five al nearing completion. They are only sketches at this point, but hey, that's part of the process. It's a bit of a bummer that we had to skip over Book Five, in terms of the artwork, but much of Book Five is The Gnomic Tales, which take place in times past from our present story "Zach and Zebby's Grand Adventure". So that means that the perspective of the art must be aesthetically different and we need to address that after we finish we the present time frame. So the bummer is that The Gnomic Tales are in the middle of the Book Series. Eventually The Gnomic Tales will get their own Storybook treatment, but for now they exist as an assortment of synopsis' within Scene Ten, which comprise Book Five.

I am attempting to time the release of the books, so that buy the time we get to Book Five, that artwork will be completely finished. That is a big task and part of that is building inventory of the Hand-stitched books. 

For the time being, all the book will be Hand-stitched. I'm not keen on Perfect-bind for this project. I do have the files set up for Perfect-bind I want the Hand-stitching because it feels far superior and has the sense that the books have been stiched by the Gnomes. But, it is more costly to produce and takes longer. Although, I am working out a production line that may very well compete with machine bound books and will very likely combine the two processes.

That's enough for now.  AG

More focus on Unfinished Studio Work

As you can see from my last post, the intricate adjustments of the Book Layout have (as far as I can tell) been completed for the numerous press variations I have run into. I'm confident that we will be moving forward to inventory at least half of the collection, in preparation for sales. I will need to be setting up the "Shopping Cart" for both Wholesale and Retail on that issue.

I'm just throwing this in there for the heck of it. Back when I was younger than I am now and playing the flute every day, numerous times a day, for forty plus years. I quit playing for the past few years, for various reasons, but I bought a new African Blackwood Bohem System flute to try to get back to it. I'm also working with an Akai EWI 4000s and a Tenor Sax... as well as a new MIDI keyboard that has drum pads! 

But... I think this a cool shot... Not many of them, you know!

The artwork is progressing, with a few hundred new sketches in place, albeit in need of refinement, coloring and digital processing. Looking forward, I realize that someday, I will need to embellish The Gnomic Tales, which are briefly exponded upon in BookFive of the Series. I am uncertain how that will pan out, but that is not important right now.

So, having gained some degree of freedom, I am taking the opportunity to attend to other studio matters, particularly the vehicles that are in the process of being rebuilt. 

It is a delicate balance, because the publishing work must be continued on a regular basis. If I do not tend to the layout matters pertaining to the rest of the collection, at the least, every other day, then it becomes difficult to implement. It sounds strange to say that, but there is a flow to the process that is hard to describe. The number of components involved in the layouts are hard to keep straight and even more difficult to assure that they are not mismatched, if not tended to regularly. So, overall it is best to stay on it. But there are many other matters which must be tended to. So it's a delicate juggling act.

I acquired another engine for the International Loadstar CO1600, which needs to be rebuilt and installed, and the crane arm on the truck needs to be made operational. One of the purposes of this truck is to move sets and other supplies.

I'm also prepairing to move a trailer filled in with theatre supplies to the studio as well as tending to a shipping container used for storage and another storage trailer as well.

There are other matters with the facilities that are underway and once that is resolved, I expect that I can tend to renovations to the building that are required. 

I may have mentioned that I secured a set of stage curtains, which will be used in setting up the sound stage. It won't be a large stage, with a working area of 16' deep and 20' wide. If need be it could be expanded to 20'x30', but that would cut into upstage and wing space. There's no fly space and the ceiling height is only 14'. But it is sufficient to develop a number of dramas (Nunc Licet) television, puppetry, etc. It also matches the size of the Parade Float. I expect to to bring in an orchestra to rehearse the show and record the score for The Gnomes, although the score is already being produced using MIDI.

I expect that; once the book publishing files are locked in for the entire collection, I will be turning to scoring the music. I actually spoke again with someone from The Bucks County Symphony about that, saying I was looking for a Maestro who could work with me to assure that the scoring is up to par. Plus, it would be good to work it out with a Maestro.

Onward and upward. AG

Done?

BookOne is being printed. It's a very limited run, for the Industry Review and the assorted registrations that are required (before release to the public) and to begin building inventory. Also the run is limited in order to allow the resources to be put towards publishing BookTwo and BookThree. The remaining books have more work to be done on the artwork, although BookFour is very close to being ready to publish. 

Multiple files have been created which accommodate a variety of adjustments for the different presses I have used, to make the numerous prototype runs of these books. In addition, I was able to adjust for the differences between RGB, which I used to create the books, and the CYMK used to print the books. 

You might wonder; why the difference between RGB and CMYK? The RGB mode allows for a wider range of editing functions when processing the image, whereas the CYMK is much more limited. In part, the wider range gives functions necessary to shape the art in broad terms, allowing for things like density and a whole array of special effects not available in the CYMK mode. But the real issue there is; a significant color shift between the two exists. So it took a great deal of effort to counteract that color shift and make adjustments to achieve the desired effect. Specifically, because of the subtleties that needed to be retained to achieve the desired overall look of the finished product. In fact, in the effort to retain those subtle effects, other ones were created that turned out to be a nice addition to the look of the layout.. 

It all becomes rather frustrating, watching one's carefully created balance be destroyed when shifting to a different printing mode, but, luckily I endured and went back and forth numerous times, making needed adjustments, until I achieved an acceptable variance on my original theme. I think the end result is quite fine. I am, literally, up to Revision 415 of this layout.

So, all in all, the book series is ready to run. Still, only BookOne is conformed for printing under the present conditions. But conforming the remains books should not be too difficult in comparison. 

In that regard; as I mentioned previously, I am converting the multiple layout files, created in different programs, over to be merged into one layered GFX file, divided up into layers that keep the text and artwork separated and much more editable, given the size of the overall files. This simplifies integrating the new artwork and keeping the original text configuration, which making changes easier, should that be required. 

I won't go into why multiple programs were used, other than to say it was part of the progression into creating an Illustrated Storybook from the Stage Play while separately developing the artwork. Suffice it to say it was unavoidable. Having finally finished the Storybooks (in essence), in hindsight, I might have done it differently, but not knowing what I know now, as I said, it was unavoidable.

So, I will address this further after I finish binding this run of books. 

AG

Just to Touch Base

As you can see from the last few posts, I am conforming the layout to the new digital printer specs. While doing this the layout took another step up in terms of the graphic design. I never imagined it would, but while trying to achieve the color balance I was seeking, I thought I'd try some effects, well one in particular. I was completely taken by surprise when an oil paint effect on the background page brought about the kind of change I had in mind. Well, it wasn't exact what I had in mind for the page itself, but rather it changed the relationship between the background page and the text/art, something I wanted, but was unable to achieve until now. I had settled for what I was able to create in that regard, because it was the best I could come up with. But adding this oil paint effect brought about the effect of parchment. Well you might ask why not just use parchment? Well, the background page was essentially built from scratch. I started with a sketch of the shape of the page and built it through many generations of alterations to achieve the look. Unfortunately, the page I am working with now is fixed, because my original working files were lost to failing hard discs. But that's ok. What I have now is what we need.

   So Book One is ready to print and I have determined to build the inventory for Book One while I move onto confirming Book Two. Jency is moving forward at a good pace to complete the artwork. I will need to focus on building the art/drafting work-station. It's underway, but I stopped working on it for other things. That workstation will have a computer built-in so that it can serve both still artwork and animation and link to my main workstation.

   Well, it's be all moving forward, but now that spring is here, I have other outdoor work to do on my vehicles and building maintenance.

   That being said, I can take orders for Book One (via email). The production line is up and running for small quantities, under 500. But turn around time is commensurate to the quantity. A few books at a time, say up to 25, can be delivered within 14 days. It will take longer for larger quantities. Of course, once I build my inventory up to 500, then delivery will be quicker.

Well, that's today's report 

AG

More Design Variations

It's insane how many times I've changed the layout on the books. Well, I have been working.to publish the fourth prototype run. As I said below, the new printer for the Digital On-Demand books is using a Canon Printer, which is printing differently than the Xerox machines that I've used.i won't go into it here, only to say that it might be due to different color profiles. I'll need to check on that.

In any event, I printed two sample copies of Book One and, as a result, have made more adjustments to the layout . They have been made and once again the layout has been improved ad a result.

I'll come back to this. 

Time to sleep. 

AG

Here I go again !

Here's a letter I prepared some time ago, when I thought I would be moving forward more quickly in the theatre and film production arenas. I think it still applies. 

So, in regard to publishing the Storybook Collection; the printer I was using for the Prototype/On-demand books has relocated to another state and I have been required to develop a new relationship to fulfill that need. Yes, I have a number of printers I have been discussing this project with, for an assortment of things and to provide backup options, but Limited Edition and Hand-stitched Books are contingent upon the fixed budget, based on the maximum possible MSRP.  So it is that my pricing structure must be met.

As it turns out, my new printer is using Canon instead of Xerox. There is quite a difference in the color resolution and density balance. That means I must adapt my layout for his digital press, which I have begun to do. This bring another delay, because it is a huge amount of work to isolate the artwork from the background. As it turned out, when preparing the last layout I merged the components, not realizing that different presses would require adjustments of the primary components individually, due to density and saturation issues. So I am recovering the components and building new files from my original design programs. I have found new methods that greatly reduce the processing burden, but in addition, I went from a Quad Core Mac to a Twelve Core Mac with more the four times the RAM. So my previous computer issues are somewhat surmounted.

As I mentioned elsewhere, hard disc failures have cause me to loose virtually all of my original scans. Fortunately, I do have the insert copies, which were already processed, so I can rebuild another editable Layer file from those. In fact, I am doing just that anyway, since I will have to address an assortment of digital, off-set and web printing presses, all of which will likely require  adjustment to each layout.

The recent work of adjusting for this new press has brought about some quite stunning changes. I would not have believed it, but these changes have greatly improved the graphic design of the layout, all because of the need to control density and color balance for a different press. 

So even the samples provided in other posts here are now outdated. Mind you, they are a good example of the overall design, but they pale in comparison to this latest revision. I'm amazed that this is true.

On another front; I have ascertained the type and volume of inventory quantities of the book collection. I will only be inventorying the Hand-stitched Books, not the Machine-bound Editions. So I am working on building the inventory, in conjunction with setting up and perfecting the production line. 

 For the time being, I am be focusing on Book One, since that book will stand on it's own and will be released first. I anticipate that the remaining books will be released after 1) the artwork is finished, and; 2) a predetermined number of Book One copies have been sold, basically using Book One to refine our production and sales activity and fund the other books.

As I said in the last post, I will be taking orders for Book One. Those orders are for Custom Made, Hand-stitched Books, some of which will be Signed & Numbered Limited Editions. Those orders will be released after the ISBNs are registered, which will take place after this next prototype run of the full collection is published.

 Larger quantity orders from resellers will be taken, but a full keystone should only expected on the Machine-bound books, and is contingent upon either; purchasing the entire production run, or waiting until enough resellers provide purchase orders to do so.

At this stage, I will not be inventorying Machine-bound books for resellers, because the expected margin and required production volume is too high for me to do that. My inventory is only for Hand-stitched books and the turnaround time on those books is longer, due to production methods.

Hand-stitched books may be sold by resellers, but the wholesale cost of the books and the MSRP is higher. I did make accomodation for differences between Hand-stitched vs Machine-bound in the MSRP, but nonetheless, any purchase order for both Hand-stitched and Machine-bound books must be accompanied by either full prepayment or a letter of Credit from the buyer's bank for the entire amount of the purchase order.  

Said purchase order for Machine-bound books must be for the entire production run, or delivery will be pending sufficient other resellers joining in on the required minimum quantity of 25k units. In all cases, all sales are final, no returns and, as I said, the order must be prepaid, either by check or accompanied by a Letter of Credit. No product will be shipped until the check is cleared, or payment is received from the Letter of Credit

Specific details beyond what has just been said will be finalized via email.

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

Attention; Arthur Greisiger

Pending Orders are Being Accepted

Volume Two prototype prior to hand-stitching the spine. This Volume consists of Books Two, Three and Four. For now, only individual books are being produced. Volumes will come into play after a demand arises.

As I've discussed numerous times before, Book Publication is under way. It's more complex than you might think, because completion of the artwork effects the ability to release the books into the public eye. If there is a positive reaction to the first book, a person may want the next book after they finish reading that book. Likewise, there may be a circumstance where a person may want to buy the entire collection of seven books at the same time, because they happen to be into that at the moment. If the books are unavailable, that might well result in a negative effect, either by attitude or by loosing the buyer entirely. Such a circumstance, if it translated into the entire marketplace would be disasterous. So I must delay release of the books until we have completed the artwork. We are moving ahead with that.

However, in the meanwhile, I am building inventory of the finished books. Basically Books One, Two and Three are completely finished. Book Four, Six and Seven are almost finished and have been filled out with black & white sketches. While Book Five now has a number of sketches. None of the sketches will be refined and colored until all the missing art is first sketched out.

The fact that I am building inventory means that I will accept pending orders for any of the collection. Issuing a pending order does not require a deposit, unless the buyer wants a guarantee that they will receive that order. Pending Orders only give me an idea of quantity and allow me to set aside those book for a buyer, but without a 50% deposit, the books are first come, first served to the buyer who pays for the books. All books must be prepaid before they are shipped, in all cases, no exceptions, regardless of the quantity purchased. There are no returns, except in the case of faulty product, which will be replace after it is returned for inspection.

I will provide samples to buyers after I finish the necessary registrations, but those sample must be purchased at MSRP, unless we are talking orders of 5k or more.

As it stands now, IMS Publishing is producing the Hand-stitched Limited Edition Books. Larger scale runs may take place in another manufacturing scenario, in particular the Perfect Bind books, but that is yet to be seen. 

I am looking into puchasing Perfect Bind equipment for limited in-house binding  of on-demand Machine-bound versions of the books as well. This will allow for smaller production runs 

 The ISBN's will not be registered until the entire collection is able to be released at the same time, as doing so makes the books available worldwide via Bowker's catalogues and fulfillment under that circumstance may be best handled by a large Distributor.

Distribution via outside agencies may occur, but that will not take place until after the ISBN registration and the terms of sale in that regard are up to the Distributor.

So, all in all, IMS Publishing will be accepting Pending and Prepaid Orders while we are building inventory, with the Official Release remaining still in the future, after the artwork for the illustrations is completed.

ORDERS can be taken by way of email

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

Spring has arrived! Update

Well, as I've spoken about before, we have moved into filling out the missing artwork for the remaining illustrations. We art doing sketches, guided by the description panels. My work of steering up the files to accommodate insertion of New art had paid off and inserting the sketches is quite easy. Of course, I am modifying the sketches as needed to adjust the position, size and sometimes the shape of the components. 

The current approach is to move into the illustration panels one small step at a time. I am attempting to advance all the illustrations required to complete the collection simultaneously. I have described the status of the books (in regard to illustrations) below, so I won't do it again.

I am preparing to print the entire collection and right now I am constructing and inventorying the book covers for the Hand-stitched version of the books. I am striving to (ultimately) inventory 500-1k books, since constructing the Hand-stitched books is laborious enough as to cause delays in shipping.

I am uncertain as to whether or not the entire collection, meaning those books being sold by retailers, will need to be Hand-stitched or Machine- bound. Theoretically, the market will absorb both versions, but I personally feel the Hand-stitched is a superior presentation. That version simple has a more excellent feel to it. It is more costly, so that may be a factor, but also the limitations because hand-stiching books is more time-consuming. For now, I am Hand-stiching. When a distributor place a large order for Machine-bound books, well, then they will be mass produced in that fashion. All the technical layouts are finished for both Hand-stitched and Machine-bound books in both Gnome-sized and Big People books.

So I am moving forward to publish the book for the purpose of inventory. When the illustrations are complete, the books will be released to the public.

AG

Most Recent work on the Storybooks

Well, Covid has interjected itself and brought about more delays, so running an end game around that, I have been preparing another version of the files with trim-lines that are different then the cut-guides that I have been using.

 My cut-guides work perfectly, and I might say better than trim-lines, but I got grief from one of the printers because they are not accustomed to the cut-guides I designed and want things different than I have it. I don't need grief. That may have an effect on my decisions as to who ultimately prints the end product, but just to avoid other run-ins, I'm doing another version of the print layouts.

With all that in mind, I also am beginning to return to Book One. Since, after I finish this trim-lines variation on the layout, all the books will be ready to print (sans finished art) I can return to publishing Book One.

Book One is the introduction and the Gnome-sized books are what I will use for promotional purposes. Of course, in the more important instances, the Big People books will be used, but basically Book One, being the introduction, is perfect for pitching the project within the industry.

I have not done much of that directly, because of legal details and the fact that the entire series of seven books has needed to be postured for publication and distribution. The books are not quite there, but they are getting closer. As I said elsewhere; Books One thru Three are finished, Book Four is short about fifteen finished illustrations, Book Five is not illustrated at all yet (although sketches are underway), Books Six and Seven are mostly done, but together are missing (I'd guess) about forty illustrations.

So with the illustrations moving forward (as well as some activity with sculpting, 3D CGI, and music) and having the print files ready to submit, I can develop a schedule for the release of the books.

I am not yet ready to approach the public release, but I can do an Industry release. I need to develop the on-line sales of the hard copy books and in order to implement that, we need to have inventory of the finished book up to an acceptable level. So publication and binding of Book One will proceed in order to reach appropriate inventory levels in order to meet possible demand.

It's hard to say what that might be, but that will likely be affected by what kind of external marketing and distribution may take place. That will most likely involve a distribution contract and pre-sales. I'm setting up a two tiered system of distribution. Internal, being Limited Editions and External being Unlimited Editions.

All books are sold on a prepaid basis only, irregardless as to the quantities. There are two basic editions; Hand-stitched (Limited Editions) and machine bound (Unlimited Editions). 

Both editions can be purchased at the Wholesale level from IMS by resellers.

Only the Limited Editions can be purchased at Retail from IMS. The Unlimited Edition purchases require bulk quantity, with a Purchase Order and either prepaid or a Letter of Credit from the buyers bank, depending on the quantity. Minimum order at this stage of operations is 5k units per book. This will not provide a full keystone, a full keystone in this instance is offset by 10% in favor of the distributor. I have set the MSRP to accommodate a full keystone, but I need to hit minimum of 25k to achieve that. Distribution costs come into play in calculating the margins and some of that is presumed at this point. The larger quantities required for full margins could come from one or more distributors. There are quantity discounts, but it bottoms out at a full keystone at the retail level.

Limited Editions involve IMS Hand-stitched books inventoried in lower quantities and provided exclusively by special order via on-line sales.

I'll continue this in another post.

AG

Publishing Update

As you can see below, we started moving forward with completing the artwork for the illustrations. It is my intention to set up my new workstation to use Poser for creating CGI, animation and expedite the illustration process. If we continue using only our previous methods of illustrating it will take at least another five years, time I cannot afford.

Here is one of my other projects, a ground up restoration of this antique Star Trailerized Home. I have numerous projects which await my attention and will distract me away from The Gnomes. It is because of this that I advise potential participants to act on any desire to be involved.

There is the possibility that the first four books can be released on a schedule, but I'm not keen on that, since doing so would risk loosing our audience. You know, once someone gets excited by a story, they don't want to wait, at least, not for too long. So distribution will be held back until we at least have the sketches finished. Once they are done, it will be easier to see the finish line.

A chassis for our puppets, at least one version in the works.

In the mean while, I am currently changing the borders on the layout to accommodate the off-set printer's expectations. The on-demand layouts are finished, but the specs for the off-set are different. I suppose I need to hook up with a web printer to evaluate the layout for that method of printing as well. But, of course, that will only come into play if there is sufficient demand.

There are other products that need to be printed as well, but for the most part, I can handle those items with my in-house printers, since quantity will be lower. I'm speaking about the Libretto and the score.

On the music front; I have been working to acquire additional components for the new workstation, a third Raid Array, a wonderful keyboard with drum pads to link to Digital Performer, a MOTU MIDI interface and new cables for the EWI. These thing will round off our tools nicely. I want to be certain that once we settle in to redress the music, we have everything we need to finish the job. So I expect to be working on music while the artwork is being finished. It would be very nice, if not essential, if the publication and distribution of the books could be timed to sync with the production of the stage show. We need to capture the momentum once it kicks into gear. As they say; "timing is everything".

On another note; I'm becoming very inclined to move the studio to another location, what I expect would be the final location. I thought the current location would be the final location, but circumstances are not desirable to me. Truth be told, even though I have 10k sq ft of interior space and a back lot, it's not enough. I can work with it, but I need more control over the studio space.

I say this because, right now things are set up. So right now is the time to act. If I start to build another space and begin to tear down, move and set up again, it will be at least two-three years before that space if functional, maybe more. I would rather not contend with this distraction, but it may be inevitable.

So if you are a professional who has been watching and waiting, I would not wait too long, not only because of the potential move, but for other reasons as well.

That's all for now. AG