A Day in the Life of… Lynda McKinney Lambert #Uniqueauthors #Visualartist #Wordsarepower

Meet Author and Visual Artist:

Lynda McKinney Lambert lives and works in the Village of Wurtemburg, in rural western Pennsylvania.

Lynda Lambert

  1. Please give us a brief outline of who you are. 

I wear a variety of different hats. I use this word, hats, to describe an actual object, as well as a metaphor that portrays myself.  It is a little thing – but important.

Today, I am working on P.R.  for my latest poetry book, Star Signs: New and Selected Poems, just published on July 15.

Star Signs: New and Selected Poems showcases my professional career as a poet from the mid-80s and takes readers to the latest poems, written just before the book was published.

I  give readers 54 poems in this collection.

2. You’re a writer and artist – how is this reflected in your typical day?

Now that I am retired from my international teaching career, my days are more flexible, even, unpredictable. I love it because I embrace randomness and chance in my life.

In my Writing Life:

 I am often writing during the nights because I’ve never been one who sleeps much. I sleep in short periods of a couple of hours at a time. Typically, I am up working in my office between 2 and 5 am. 

My days begin early because I have 2 dogs to take out – they like to be out by 6 or 7 am.  It gets me moving, so that’s a good thing.

I do very little work after 5 pm. Evenings are my downtimes when I might watch some TV, or just listen to a book or relax. I like to sit and think – thinking takes a lot of time. You have to intend to think, and then set the time aside so you can actually do it.

 In my Artist Life:

I make art only during the daytime.  Because I have profound sight loss, I use an Acrobat CCTV – which is an electronic device that greatly enlarges my working area – it is a closed-circuit TV. My eyes are only able to work at this intensity in the mornings or afternoons.  After that, they are too tired to work any longer. So, you won’t find me making art in the evening or night.

On the days I am making art, I like to focus only on that.  I go to a place of “timelessness” in my studio and I am always unaware of the passing of the day while I am working.

Either way, my writing or art day begins after I’ve taken care of the dogs and cats. Bob will get up around 10 am, and he can take care of his own breakfast or whatever else he wants to do.   We often begin to work outside in the summer months, or inside the house in cooler weather.  In summertime, I tend my flower gardens.  My husband takes care of the yard work.

Like everyone else, we have appointments and essential trips to different places for groceries or exercise or social communications. Typically, we go to the gym 3 mornings a week for weight resistance training or cardio workouts.

My THEMES:

Nature is a predominant theme in my writing and my mixed-media fiber art.

I observe the day, the season, and watch for changes. I listen to the sounds of life, changing weather, and all the little details and nuances that we experience at any given day or night. I am so conscious of changing seasons, the quick turning from one to the other almost like magic.

In my writing, I describe the natural elements in my world, and in my art, I use the natural elements such as water-worn river stones; gemstones & crystals from different locations in the entire world; fabrics, and found objects.  I use the objects in the art, and in my writing, I also use them as metaphors or subject matter.

Other themes in my work:

*The passing of time

*Memory as in collective memory or place

*History – searching out the historical context of ideas

*Passage or Journey; a sacred Pilgrimage from one place to another

*No separation between sacred and secular

 

3. Do you work at another job?

My job is to be at work when the Muse arrives.

My responsibility is to arrive at work on time each day.

When I was working as a professor of fine arts and humanities, I had to fit my writing and art-making in-between my responsibilities at the college.  I wrote my first book, Concerti: Psalms for the Pilgrimage, from my journal jottings, drawings, and research that I did each summer. I taught a month-long course, “Drawing and Writing in Salzburg.”   Whatever the students were working on that day, I was working right alongside them in the classroom or in the field.  We met each morning at 8 am to begin our day. By 9 am we were often on a bus on our way to a location for that morning’s creative work.  Our class ended at noon (Monday through Thursday), so this gave me afternoons and weekends that were free for me to pursue my personal work.  I usually travelled to a different country each weekend, where I wrote in my journals and did photography and drawings.

As a professor, I had to squeeze my personal work in-between my heavy workload during the semesters.  Not only was I working on my own art and writing projects, I was also actively exhibiting my art in galleries and museums all over the world. It took a great deal of discipline to be able to do this intensive work.  So, I’ve always been a person who is focused and willing to put in the hours that it takes to be successful in what I am doing.  Retirement just opened up the door wider for me to create even more work because it eliminated the rigid teaching schedule I lived with for many years.

 

4. How did you fit in a family or ‘real life’?

I married my husband Bob, when I was seventeen years old. He was twenty.

We celebrated our 58th wedding anniversary this year.

We have 5 children and my life was completely occupied with cooking meals, doing laundry daily; managing our home and the children’s activities and needs.  We were active in their school and church life. My children were the center of my life and it was important that I was there to take care of our home, and all of them.  My first commitment was to my family.

My heart’s desire, was that I wanted to go to college, and I wanted to be a teacher.  That part of my life would not begin until I was forty-two years old, and the children were all in high school.

My academic career began at age forty-two, and I had a single focus. I intended to “go all the way” with education.  I intended to earn not only a BFA in Painting, but I would pursue the terminal degree in fine art, which is an MFA. I intended to be a college professor. I actually earned the MA in English along the way, too.  I had a passion for writing and making art – so this seemed like a good idea for me. From the beginning, I worked across disciplines.  And, this eventually led me to my teaching position at Geneva College, a Reformed Presbyterian college in western Pennsylvania. Because of my dual degrees in fine art and English, I was hired to use my expertise in the Humanities at the college. This work is both challenging and educational as a life-long learner. I loved doing research in my fields.

I advised students:

“Don’t give yourself permission to do less than what you have a passion for doing.

 Follow your passion and your abilities – you want to do work that makes you happy to get up each morning.

You want to do what you dreamed of doing.

Never make a plan for your life out of fear. Go for your highest purpose and you will get there.”

 I also believe in excellence. This does not mean I think that perfectionism is to be admired. It is not an admirable trait but perfectionism is a liability.  By the word, “Excellence,” I mean to be your best.   Perform at the highest level you can, and do the best job you can possibly do. That is not perfectionism.  It is holding on to your highest potential and working hard to make your dream, Plan A, your reality.

In 1976, I took my first class in painting.  Soon, painting was at the heart of my creative life. It was pure magic.

With 5 children and a husband to take care of.  I realized from the beginning that I had to be time conscious in order to live a creative life that was separate from family obligations. We have to have our personal identity, something that is ours alone to pursue.  Our “do” is not our “who,”  and I’ve always believed in my purpose in life – to create beauty and to keep memories alive for others.

5. Are you very organized?

This is a tricky question to answer.

At first, I thought, yes, I am very organized.

Then upon further reflection, I thought about how we live surrounded by chaos.  It is our normal condition of being a human creation.  We are finite creatures; we are flawed.

How we think about chaos matters –

I think it is better if we begin to think of mastering the chaos.

 

A plaque in my office reads:

“Nur kleine Geister  brauchen Ordnung,

ein Genie  beherrscht

Das Chaos.”

 

Translation:

“Only little spirits need order,

a genius mastered

The chaos.”

Links/samples/etc.

An Introduction to Lynda McKinney Lambert:  https://www.lyndalambert.com/

My Books:  https://llambert363.blog/lyndaslinks/

Lynda’s Media Kit:  https://www.lyndalambert.com/media-kit/

“My Books” on my blog:  https://www.lyndalambert.com/lyndas-books/

Listen to my poem, “To the Curator of Small Things,” in the Summer 2016 issue of Wordgathering. read by Melissa Cotter:

http://www.wordgathering.com/past_issues/issue43/poetry/lambert.html

LINK_ to my poem and voice recording of “Star Signs: in the December 2016 issue of Wordgathering – Read by Melissa Cotter:

http://www.wordgathering.com/past_issues/issue40/poetry/lambert.html

Lynda’s Authors Page- Amazon:https://www.amazon.com/author/lyndalambert

Lynda’s Official Authors Page: http://www.dldbooks.com/lyndalambert/

 Smashwords – get my ebook:  https://www.smashwords.com/profile/view/lyndalambert

Link to Lynda’s author Site at DLD Books:

http://www.dldbooks.com/lyndalambert/

 

My Blogs:

Website & Blog:  Lynda McKinney Lambert  – Official Author’s Website

Scan-A-Blog – A quiet Place of Inspiration, Art, Nature, Literature

Below – Photo: “Lynda with Tamukeyama,” by Bob Lambert

Lynda Lambert

Photo of Lynda – wearing one of her original hand-knit jackets in ombre shades of blues and aqua.

She is also wearing a one-of-a-kind necklace of Swarovski crystals and gem stones. She designs knit clothing, talismans, jewelry, and wall works.

Lynda is seated in front of her Tamukeyama Tree in her Zen Mediation Garden. Photo by Bob Lambert.

 

 

 

 

Cover Artist Interview Number Six – Roy Mauritsen

Hi and welcome to the Library of Erana, please tell us a little about yourself.

My Name is Roy Mauritsen and I’m a professional graphic artist with a career that spans over 20 years working for print houses and advertising companies.  I have a background in fine art from my days of crayons to college.  These days I do digital fantasy artwork and I work a lot in television commercial graphics. I also serve as an art director for some small press publishers. I’ve won several awards for my fantasy artwork, my television commercials and even for my book covers. I have worked for two years with a fan based science fiction convention as their Art/Marketing director. I also do photography.  As the Art Director for Perseid Press, it fell to me to create not only the book cover for Heroika, but also the supplementary promotional materials including the book trailer.

You are a cover designer, what made you decide to get into this line of work?

My own novel, actually. It was important for me when my novel “Shards of the Glass Slipper” was published that I maintain creative control including cover design. Padwolf Publishing was happy to work me and afterwards they offered to work with me if I continued own as an art director… and things snowballed from there.

 shardsbook1_cover

Can you tell us about some of the covers you’ve designed and authors you’ve worked with? (Name of books, authors you’ve worked with etc.)

I’ve done over 50 or so covers. ’ve worked with Padwolf Publishing, Perseid Press, Crazy 8 press, and Dark Quest Books. And many authors, Patrick Thomas, Ed Mcfadden III, Janet Morris, John L. French, Darin Kennedy, Russ Colchamiro, Andrew P. Weston, Brad Aiken and Matt Schiariti, to name a few and myself of course.  Some titles include “Heroika”, “With Great Power”, “The IX”, “Ghosts of Demons Past”, “Our Dying Land”, “Genius DeMilo”, “Apocalypse 13” and “Bartender of the Gods” (Which features my own hand modelling), and obviously “Shards of the Glass Slipper”. I’ve been working with Janet Morris for her upcoming re-release of her original Silistra Quartet series, and that has been very exciting!

 silistrapromoHC6x9

Can you tell us what is involved? (I have no clue so you can be as elaborate as you like!)

There are so many different flavours of books that it requires a little time to figure out the best path to proceed down.  I’ve worked in graphic design long enough that I can get something together that looks professional in a quick amount of time. Very few authors are like… do whatever, most have an idea and others already have some elements they want to incorporate. There are times when I’ll have to convince an author to let go of their idea in favour of something that would be better and not even something they would think of. After that I might utilize some stock imagery or some Photoshop and Illustrator work. More involved covers I’ve used 3D programs like Vue, which is a 3D landscape environment generator, Poser and render engines like Reality (which can create high-end photorealistic imagery) and I have even used After Effects (which is a graphic program used primarily for video) for other titles.  Though I’ve a strong background in fine art I don’t draw or paint much anymore, but that training in design theory, colour and composition for example, still apply. I have done a book cover over a lunch hour and some I can take weeks or even months of trial and error. The important thing is the end result; does it help sell the book?

Where does your inspiration come from? Do you read the book first, then come up with a design, or can you produce something from an author’s description?

The majority of the time it’s from an author description or perhaps something they’ve tried to do themselves. For a cover like Heroika, Janet Morris had a piece of art she wanted use which was the medallion of the man on the horse killing a dragon. I was able to work the art into more of a medallion feel and the rest of the design fell quickly into place. The cover was done months before the book interior was completed.

What are your thoughts on ‘generic’ covers – such as a sword or throne and skulls for fantasy, or interchangeable torsos for romance?

They are instantly recognizable and easily convey a feel for the story… almost to the point of cliché. But if you were to do something different with it, they still could be interesting.

When you buy a book do you look at the cover first? What else attracts you? What turns you off?

A good book cover is extremely important! You will judge a book by its cover. It’s a visual attractor and really the first impression… and you always want to make a good first impression. Of course I will look at covers first… for professional reasons, design ideas (or what not to do) how the typeface is handled, what styles and trends are out there, things like that. Probably the big turn off is a cover that was not done professionally… I’ve seen far too many books with covers obviously done by the author to save a couple of bucks; low-resolution images, choppy images, poor type handling, and no sense of design.

 a13

What advice would you give to anyone starting out in this line of work or who might want to design a cover? 

For an artist starting out… it’s not easy- pay attention to designs everywhere. Inspiration can come from unlikely ideas… It will take a long time. Keep trying different things, as they are many different ways to approach a cover concept. Keep thinking out of the box. Learn the under-the-hood technical aspects of design, layout, printing, how to make pdfs correctly and pre-flighting, and the differences between creating for print or web.  Not everything has to be a masterpiece effort to achieve what is needed. Your work ultimately has to best serve the book, not your ego.

 anywhrbuthere_final

What are your thoughts on sites like Fiverr where people can buy covers cheaply? Do you think they encourage substandard or very generic images?

I can buy a lot of things for $5 dollars… Coffee and a bagel, a ham sandwich with some chips and soda and a bunch of things things at the dollar store! My artistic knowledge my creative tools, my experience and skillset, my time are worth considerably more than a ham sandwich…especially if I am making your book look professional and marketable to your readers.  You get what your pay for. And if a generic design adequately describes your book, then that says something.  Or think of it this way… as an author you probably laboured for years to hone your craft and write your masterpiece; attending conferences, writing groups, blogging and query letters, tracking agencies you submitted to, and getting rejection letters. Blood sweat and tears, bad days and good days… edits and re-writes and now you are finally done-ready to publish.  All of that you go through, but then for your cover art you’ll spend five bucks on a generic “your title here” type cover? You do yourself such a disservice. You deserve an awesome cover for all of that work and time you invested.

 IX_cover-CS

Do you have a genre you prefer? 

That’s a great thing about working with so many types of authors. You get to explore a variety of genres. Probably my preferred one is Fantasy… I grew up studying a lot of fantasy artists Like Roger Dean, Boris Vallerjo, Larry Elmore etc.  I like the challenge of trying different genres though… up to a point. I ‘ll draw the line at doing erotica covers; it’s really not my thing, though it is a widely popular genre. It’s not something I would want to have myself, as a professional brand, associated with.

Please tell us about your favourite image and the favourite cover you have worked on?

One of my personal favourites is the cover art for “With Great Power” a super hero anthology. The concept came together very quickly and early on. It was a year later before the book was finally published.   It was created almost entirely in After Effects (a rather uncommon use of this software that I hope to have opportunity to do more with.) But it was an image that for me really embraced the spirit of the book.   It was nice to hear from anthology contributors like Gail Z. Martin and Jonathan Maberry, who called it “a pretty damn cool cover!”

I’m also enjoying the challenge of reinventing all four covers for Janet Morris’ Silistra Quartet series. It incorporates and image across the cover of all four books in a rather striking way. It’s probably my most ambitious cover project to date.  For Apocalypse 13, I had to render over a dozen individual character elements and composite them in photoshop- quite a complicated endeavour!

Can you give us a silly fact about yourself?

I’m feeling generous! Here’s three:

My favourite book of all time is Alice in Wonderland.

As a child, I was inspired to draw after watching the original Land of the Lost on Saturday mornings.

My favourite animal is the Platypus.

 heroika revised 1

Blog/website links etc.

www.roymauritsen.com Both my digital fantasy artwork series Chess Pieces and information and artwork from my novel Shards of The Glass Slipper are here.

www.padwolf.com the majority of covers you’ll find here I’ve worked on…

Here’s an overview of book covers I’ve done ( via facebook) https://www.facebook.com/media/set/?set=a.10205677896134136.1073741847.1456655061&type=1&l=d0cd2ba92c

Twitter: @roymauritsen

Cover Designer Interview Number Six – Rustin Petrae

My name is Rustin Petrae. I am a self-published author as well as a graphic designer. I wrote the Histories of Purga novels (Book One: Dragon and Book Two: Roc) as well as the Bane Pack Novels (Blood Ties: The First and Coming Soon! Blood Ties: The Second). I am also the creator and writer for the comic book Hybrid Earth published through Scattered Comics. I’ve been a graphic designer for over 5 years and I have really illustrative, stylized designs.

1) You are a cover designer, what made you decide to get into this line of work? When I first published my own novels, I spent a lot of time looking through other self-published works. I quickly saw that there was a need for my skills and so I offered them.

2) Can you tell us about some of the covers you’ve designed and authors you’ve worked with? (name of books, authors you’ve worked with etc.) I designed three covers (both eBook and print) for Irish author Matthew W. McFarland. He wrote 50/50, The Liar, and Defenestration. I also did a cover for LA author Ryan Haynes and Indian author Sneha Bansal. And of course, I designed all the covers for my own books as well as all the images you see inside them.

3) Can you tell us what is involved? (I have no clue so you can be as elaborate as you like!) I first start off with thumbnails. These are very rough sketches that give the client (or myself) an understanding of the proposed layout of images and graphics. Once we decide on the route we want to take, I go about creating the images, titles, pick out fonts, etc. I then send the client a proof and they either approve that or come back with any changes they may want. Once we go through several drafts and decide on the final product, I email them their finalized files.

Software used – where you source your images, how long a cover takes etc.

I almost exclusively work with vector graphic software but I am also highly proficient with other programs such as Photoshop, InDesign, Quark Xpress, etc. I can create nearly any effect or manipulation that someone might be looking for, all they have to do is ask. When I do create my covers, depending on what graphic I want to use, I usually just create my own.

4) Where does your inspiration come from? Do you read the book first, then come up with a design, or can you produce something from an author’s description? I do not read the books first as most people aren’t quite finished with them yet. I ask the author what thoughts they have or if they want any specific graphics or images they want me to use and then go from there. Once I have a really good idea of what they are looking for, I can picture the cover in my head and start to design what I envision.

5) What are your thoughts on ‘generic’ covers – such as a sword or throne and skulls for fantasy, or interchangeable torsos for romance? Generic, to me, is usually pretty boring. I’m not saying all generic covers are boring, but if they were jazzed up and looking really cool despite being an interchangeable torso or a skull or a sword, then they wouldn’t really be classified as generic anymore anyway. You can make any image look amazing if you’re talented enough.

6) When you buy a book do you look at the cover first? What else attracts you? What turns you off? When I buy a book, the cover is the number one draw. If it looks cool, I will definitely pick it up. The second thing is the back blurb. If that is interesting enough, then I will buy it. I don’t necessarily have turn offs when it comes to buying books, just certain genres that don’t interest me much so I won’t even go in that section.

7) What advice would you give to anyone starting out in this line of work or who might want to design a cover? Be patient. Be receptive to the client’s critiques. And above all else, make sure that the client gets exactly what they’re looking for. A happy client could mean more business in the future.

8) What are your thoughts on sites like Fiverr where people can buy covers cheaply? Do you think they encourage substandard or very generic images? I haven’t actually been on Fiverr so I couldn’t offer an opinion on that particular site. I don’t necessarily think the people doing those all have substandard or generic covers but I imagine there are probably loads of them that are. It is a shame because you have to wade through a lot of people that think they can do it to get to the people that can actually do it.

9) Do you have a genre you prefer? I don’t really have a specific genre that I like to work on more than others. It’s all very entertaining to do but if I had to pick one, it would probably be fantasy. I really like drawing monsters and mythical creatures.

10) Please tell us about your favourite image and the favourite cover you have worked on? I haven’t done a huge amount of covers yet and so I can remember them all pretty easily and I have to say that there is something I like about each one. At the moment, I don’t really have a favorite.

11) Can you give us a silly fact about yourself? I really like the notion of the basic elements like water, earth, fire, wind, etc. That really sneaks its way into a lot of my stories and my artwork.

Blog/website links etc.

rustin-petrae.webs.com

facebook.com/rustinpetraegd

facebook.com/rustinpetraeauthor

scatteredcomics.com

http://www.amazon.com/Rustin-Petrae/e/B009QU2J04/ref=sr_ntt_srch_lnk_2?qid=1409936769&sr=8-2

http://www.smashwords.com/profile/view/rustinpetrae

 

 

Cover Designer Interview Number Four – Tamian Wood

Hi and welcome to the Library of Erana, please tell us a little about yourself. Hello fans and followers of Library of Erana. I’m Tamian Wood, Graphic Designer and Book Cover Artist with Beyond Design International, based out of Sunny South Florida, USA. I design book covers and other related marketing materials, for independent authors and publishers around the world, in a variety of genres.

1) You are a cover designer, what made you decide to get into this line of work? It took me FOREVER to figure out what I wanted to be when I grew up. After all manner of odd jobs,  — petrol station attendant, secretary, sandwich maker, pizza order taker, manicurist, accountant, cashier, retail sales associate, tech support rep, (…and the list goes on, and on…,  did I mention it took me FOREVER?) I finally figured out I needed more creativity in my life. When I started doing cover design, everything made sense.

2) Can you tell us about some of the covers you’ve designed and authors you’ve worked with? (name of books, authors you’ve worked with etc.) Most of the authors I work with are self-published, indie authors or small press publishers. None of them are HUGELY famous (yet). Nevertheless, I have some great clients who are doing phenomenal work.  Here are just a few:

9781626202603-Cover7DaysWAdam.indd

3) Can you tell us what is involved? (I have no clue so you can be as elaborate as you like!)  Software used – where you source your images, how long a cover takes etc. I start with a cover design questionnaire. It helps the author to think about things like, genre, target audience, and mood. We figure out the author’s likes and dislikes and their vision for the cover. We explore the key points of the story, descriptions of characters, titles, sub titles, and the technical stuff, like trim size, page count, etc.

Then I come up with 2-3 design concepts using all the information at hand, and some research into what’s out on the market in that genre, and selling well. I am what is considered a photographic illustrator, so I use stock photography to blend and compile images into a “gotta have that book” cover. To put it all together, I use Adobe Photoshop and InDesign on my Mac and it usually takes a couple weeks (sometimes less)

4) Where does your inspiration come from? Do you read the book first, then come up with a design, or can you produce something from an author’s description? At first, I start with a synopsis or description from the author (and all the other answers on the questionnaire), but if that’s not getting things flowing, I’ll read selected sections to get further info. In the case of  “The Inheritance” by Christopher Stires , I had to read nearly every last word to finally get to a description of the “monster”

TheInheritanceE-book

And sometimes, it just comes to me. I know that sounds all woowoo, but really. It happens. With Beyond The Tempest Gate by Jeff Suwak, the author wasn’t sure what he wanted. He gave a description of a wall of lightening, storm clouds, etc. I later clarified that the ship should be a single masted.

9781938230448-Perfect.indd

When I finally read the first page of the “See Inside” section on Amazon, (months later) I nearly fell out of my chair. See for yourself: http://www.amazon.com/Beyond-Tempest-Gate-Jeff-Suwak-ebook/dp/B00ERY9OOS/ref=sr_1_2?ie=UTF8&qid=1409339127&sr=8-2&keywords=the+tempest+gate

A similar thing happened with a redesign for Love Abideth Still, by Scott Rezer. I read a couple pages from the “See Inside” section while I was waiting for the cover design questionnaire and this cover came together like it was divinely inspired.

5.5x8.5-CS-TemplateINDCS4.indd

If you are interested in this Civil War love story you can find it here: http://www.amazon.com/Love-Abideth-Still-Novel-Civil/dp/1493537652/

5) What are your thoughts on ‘generic’ covers – such as a sword or throne and skulls for fantasy, or interchangeable torsos for romance? As an author, your cover is your most important marketing tool. Why on earth would you want a generic cover that looks like everyone else’s? And I personally do not like the beheaded look.

6) When you buy a book do you look at the cover first? What else attracts you? What turns you off? I’m always drawn to the cover. It’s my job. Nothing turns me off more than bad Photoshop work. Ok, maybe kitchy fonts.

7) What advice would you give to anyone starting out in this line of work or who might want to design a cover? Study, Study, Study. Study what’s out on the market. (The NY Times best sellers.) Study HowTo tutorials on how to work with the products you have at hand. And for heaven’s sake study Typography. Nothing say’s DIY worse than bad font choices.

8) What are your thoughts on sites like Fiverr where people can buy covers cheaply? Do you think they encourage substandard or very generic images? I’ve never worked for Fiverr or 99designs, but I understand that several people do the work, but only one gets paid? Maybe it’s a fetish, but I like to eat and sleep indoors. I’m not the cheapest designer, and I have no wish to be. Creativity takes time. Software and hardware and training and images cost money. Experience and talent are priceless, and a good cover is worth it.

I don’t see how anyone could spend any time at all on your project if they are only making pennies per hour. It seems to me these types of web sites encourage a race to the bottom in terms of a fair wage for a job well done.

9) Do you have a genre you prefer? As a broad stroke answer, I’d say I prefer fiction to non-fiction, but I can do and have successfully done both. Here are some of my non-fiction covers.

Non-Fiction

10) Please tell us about your favourite image and the favourite cover you have worked on? I couldn’t possibly pick a favourite. They are all like my babies. Usually the one I’m working on at the moment is my favourite at the time.

11) Can you give us a silly fact about yourself? Hmmm, I don’t often get asked that sort of thing. The silliest thing I can think of, is… I like to wear my tiara whenever I watch a beauty pageant. J

Tiara

Back to business (if you can get that image out of your head.)

Here’s a link to my video trailer for more samples of my work http://bit.ly/1k4NppT (it’s quick and painless)

And here are all the other links you’d need to find me:
Tamian Wood
Graphic Designer
Beyond Design International
designer.tamian@gmail.com
www.BeyondDesignInternational.com
Video Trailer: http://bit.ly/1k4NppT
Twitter: https://twitter.com/beyonddesignint
Facebook: facebook.com/BeyondDesignInternational
Pinterest: http://pinterest.com/designertamian/graphic-design-by-tamian/

Your book IS being judged by its cover. It’s a statement, not a question. How can I help?