I would really appreciate if you could take the time to complete this survey for one of my uni projects. Its about games and the games you play, so if you are gamer I would appreciate you taking 5 minutes to complete it.
The survey can be found here
Overall 2016 has been a great year for me, and 2017 promises more of the same. I have really enjoyed watching and supporting the great artists I have discovered on DA, and I look forward to seeing more of the amazing art you all produce.
Anyhow, peace to one and all, and I hope you all have an amazing 2017.
Its been a while (almost ten months) since I posted anything on DA, though I have been curating this account for the duration, as life has gotten in the way of photographic creativity.
Most of my time has been spent developing my art skills, and you can see my efforts here: - I am mainly developing my scifi project - www.arz5a.com, as I want to build it using my own skills, so we'll see how it goes.
As far as this stock account goes I am not sure how things are going to develop. I am committed to DA through to the end of 2016, and most likely I will be here until the lights are turned off, but as far as adding new content I have not real plans for this year. I am going back to university in September 2016 to study computer game design, which will devour all my free time, though it also opens up the door to a ton of new stock for reference purposes.
I do plan on adding a load of new glyph sets which I am developing, and they should be uploaded as and when they are ready. I will also add a load of new scenic stock over the course of the year, though again I will have to see how my time dictates.
Ultimately I want to add to the work I have already produced, and give you something extra to work with. I really do enjoy seeing what you all produce, so hopefully any new stock will spark new ideas.
Cue the fanfare, brass band, and ticker tape, today is zero hour for the Arz Patreon launch, and full details of the
Patreon can be found here
Why have I launched a Patreon?
The main reason is that I want to dedicate my time and energy to work on Arz full time, without having to worry about a full time job to support myself. It also means that as the Patreon grows I can bring new goodies, such as audio books, photo shoots, and amazing art to you.
Plus, as my desire has always been to run my own creative IP creation company, this is the perfect launch pad, as it will enable me to employ more fantastic artists, writers, and creatives.
How can you get involved?
I would love you to pledge as much or as little as you are able to, as every pledge is greatly appreciated. You’ll get great rewards each month, and the more pledges we raise the bang for your buck you will get.
If you are unable to pledge anything, I would really appreciate it if you could spread the word, as the more people who hear about Arz, the bigger we can grow the audience.
This is the true birth of the Arz universe, and together we can grow it into something truly awe inspiring.
Check out the Arz website for more details about the universe.
How long have you been on DeviantArt? 8 years
What does your username mean? Originally we were known as Tigg-Stock, as I am very bouncy and outgoing, but we changed it to Random-Acts-Stock to match up with the creative design business I run.
Describe yourself in three words. Fun, creative, giving.
Are you left or right handed? Right hand dominant, though I can do most things with my left
What was your first deviation? A stock photograph
What is your favourite type of art to create? I love photography, but over the last few years I have been developing my holistic art skills through my own sci-fi universe.
If you could instantly master a different art style, what would it be? Hard one, I think it would have to be digital art.
What type of art do you tend to favourite the most? As a stock provider I always favourite the art created by other artists. On a personal level I love good digital art.
Who is your all-time favourite deviant artist? Another hard one, can I pick three or four? is awesome, both on DA and in real life. is an amazing photographer, and it has been awesome seeing her work progress over the last eight years. has inspired me, made me fall head over heels for his comic, and generally makes me want to fly to the Balkans and have an epic conversation with him. her work is simply sublime, no two words about it. I cannot recommend any of these guys highly enough, they are all incredibly artists who inspire me every time I view their art.
What are your preferred tools to create art? Photoshop, Illustrator, my camera, my sketch pad.
What is the most inspirational place for you to create art? Paris, though my desk is a close second.
What is your favourite DeviantArt memory? Travelling across the USA in 2009 meeting up with four lovely deviants I met through here.
My current work situation is a bit precarious at the moment due to contracts finishing in mid-July, so in light of this I have decided that I am going to pursue making Arz - www.facebook.com/Arz5a and the main site: www.arz5a.com/ - a full time career. In light of this I am going to launch a Patreon at the end of June to fund the project in the short to medium term, so any help/support would be most appreciated.
I have been working on Arz for nearly three years, and if I am able to make it a full time career as a Mistress of a Universe, then it will be a dream come true.
Or how Sir Issac, Frank Herbert, Arthur C Clarke and a whole lot of Mass Effect begot this bairn of mine called Arz.
I often say to friends that my career goal is to be the Mistress of a Universe, and while I am sorely tempted to actually get business cards printed up with that on, the key thing for me is being a creative bunny for the rest of my life. This is why Arz matters to me, and why I dearly want to share the universe in my mind’s eye with y’all.
Arz in some shape or form has been knocking around my head for about twenty years (yes I was say dreaming back in first period chemistry), and when I started to think about my long term career about six or seven years ago the singular thing that always stuck in my mind was being the creative font through which others could realise their talents. It sounds all cockamaimy, but for me it is always an absolute pleasure seeing a piece of art based on Arz for the first time, then being able to share it with the wider audience. I love the process that comes with working with the great team I have assembled, and I get a real kick out of it all.
So, where do Issac and Frank et al come into it? I would be a liar if I said Arz was created in a vacuum. Indeed, I would go as far as to quote Newton and say that I am well and truly standing on the shoulders of the greats when I develop this project, from Homer to Herbert, John Blanche to David Feintuch they have all had a small, but perceptible, influence on Arz and the way I have thought about how I have shaped the universe. Mass Effect’s scope and scale probably had the biggest influence, as did the Dirty Dozen, which is why there is a lot of foreshadowing, shenanigans, and intrigue in the one shots I am writing to sit along side the main saga. Indeed I would say that without my Mass effect binge in 2012 I doubt I would have had the kick up the backside I needed to actually put the whole project on track. Oh, and here’s why Sir Issac had such an impact on Arz: www.youtube.com/watch?v=hLpgxr…
Ultimately Arz draws on many different ideas, philosophies, concepts, and cultures, far too many to list in this blog, but the core ones are drawn straight from the greats, with hopefully enough of a spin from me to make it worth the joy ride for the reader/viewer to enjoy and come back to time and time again.
Arz website: www.arz5a.com/index.html
One of the underlying ideas I had when I started Arz was the idea of any sufficiently advanced technology is indistinguishable from magic. In principle this shifted my mind set more into the realm of science fantasy, though in practice I do try to use science as a guide when I envisage tech. All of that said, I much prefer the technology to be subservient to the story rather than the other way round.
So, how do I express this idea within the universe I have created, and why the devil do I want to be tagged as a science fantasy author? I’ll start by answering the latter question. I love science fiction, have done since I was knee high to an ewok. One of the biggest foibles of all science fiction settings has been the ability to weave real universe science with a healthy dose of imagination, everything from The Earth to the Moon to Mass Effect does this. Many fans like to dissect the science within the series, and there are plenty of ‘mistake’ blogs and books that phooey the science and technology writ large. For me as a writer/creator this poses a cognitive problem, as while I love the idea of abiding by scientific principles, I also want to give an awesome experience for the consumer of my work. Which is why I have sidled on over to the science fiction camp, tapped it on the shoulder, and said boo. Science fantasy tends to be along the lines of Star Wars, Warhammer 40,000, and Dune, where the story plays fast and loose with real world science. I want to write, and draw you into the story, without having to story every other paragraph to explain why a particular piece of tech works the way it does, hence the cosying up to the science fantasy tag.
So, in answer to the first question, how does all of this feed into the expression of science and technology in the Arz universe? For starters because the setting is so far in the future (though an undefined time) it allows me the freedom to extrapolate ideas like wormholes, quantum entanglement, and parallel universes, mash them up, and then work them into an everyday sort of tech that makes the Arz universe tick and pulse. Yes there are hard and fast rules, such as no real space FTL, no ship-to-ground transporters, and Sir Issac Newton is the deadliest sonabitch in space combat (spot the reference); but this also gives me a strong framework on which to hang the more speculative technology I can imagine. Time travel into the past, no sweat, though there are hard rules defining what is possible. Unlimited fuel from a star via a wormhole umbilical, sure; I used this as a way of avoiding seriously huge amounts of the fuel needed for interstellar travel. Wormhole gates connecting one system to another, tick. The list goes on. The main thing is that they solve issues within the universe that allow for consistency and drama without having to tie myself in knots.
Ultimately I love to envisage a universe where technology has evolved to fill the needs of the people, with all its quirks and dead ends. This passion, I hope, comes across in my writing, and that you as a reader and consumer enjoy the universe without being forced to stop in your tracks and scratch you heads at inconsistencies in the tech.
Someone opined on one of my pieces that I write most of my pieces about female characters, and it got me thinking about my thought processes when it comes to writing. The simple answer is that as a woman I love to write about women doing daring do, going on action adventures, and generally being awesome in the universe I have created.
The long answer is somewhat more complicated, and has something to do with my desire to avoid creating Mary Sues. For the record I do write male characters as well, though they generally are rogues/cads/bounders, soldiers, aloof monarchs/politicians, or heavy muscle; maybe I have the reverse problem most writers have in that I tend to make my male characters cookie cutter background fodder.
I write female characters primarily because I am a woman, I empathise a lot more with them, and I like taking them to places most people would assume a female character cannot go. My literary muses include Femme Shep, Lara Croft, Sara Connor, and characters like GI Jane. I want my women to be more than trapped behind the apron strings, to see the universe, be hurt by the universe, and then smack the universe down with a great big can of whoop ass. Okay, that, and lots of sex, fashion, relationships, more sex, parties, angst, and skulduggery.
Oh, did I mention the sex? Yes, I like my characters to have a sex life, to fuck and be fucked, and not have to pay a price for being sexual beings. This is one of the things about my writing style that I hope comes through that I want to write science fiction stories that are more than just puh puh laser guns, technology, and blowing shit up (though there is plenty of that). I want to present the future as a febrile mix of passion, intrigue, and hormones, much like our own times. I understand why a lot sci-fi writers airbrush sex out of their stories, as most of the time it gets in the way of the tale they wish to tell, but for me the visceral nature of being human includes sex, fucking, and being allowed to do so (or not as the story demands).
As such writing about female characters allows me to explore sex from a personal vantage point, explore my own ideas of relationships, intimacy, and then spin a tale which engages the reader. I may even be able to show a side of being a woman that provokes a pondering moment, and bring something new to the table. Who knows?
Ultimately the woman in my writing are a reflection on both me and my world view, either directly or as a contradiction of how I feel. My aim is to engage the reader through their lives, and spin a tale that will linger.
Religion and science fiction make strange bed fellows, though the intertextuality between the two is as old as the genre itself. In this post I want to explore what it means to me as an atheist sci-fi writer to use religion within my work, and look at the broader context of how religion is used within the genre to explore the meta nature of religion. There are potential spoilers across the whole genre within this piece, though I only briefly look at ideas from 2014/2015.
Right from Mary Shelley’s Frankenstein, where the good doctor is an allegory for human hubris in trying to take God’s power through to Parson Nathaniel inWar of the World to modern examples like the faith in the 12 vs monotheism in Battlestar Gallactica and the exploration of personal faith in the Mass Effect trilogy religion permeates the stories as metaphor, allegory, and personality trait for characters driving the narrative forward. This is why I like having religion within my universes, as it gives added depth, narrative conflict, and best of all a way to express a character’s personal views in a manner which a reader can understand. In the Arz setting I have used religion extensively, creating new ones, adapting old ones, and finding ways to allow a character to express their faith which is both natural and workaday. I use terms like Deus, Mater, and the Unifier to express religious affinity, all of which harken back to our own experiences.
I find it interesting that in a seemingly atheistic universe such as Star Trek the only group that are really without a religious creed motivating them; the Vulcans have the tenets of IDIC, Klingons have faith in Kahless, and the Bajorans have the faith in the prophets. What makes this so interesting to me is that Gene Roddenberry uses none of the tropes of religion per se in the original series aside from a humanist universalism, it is only with the advent of the Next Generation era does religion become part of the saga. For me this is an indication that the audience was both ready and receptive to the idea of religion within the setting, while at the same time happy to allow religion being dissected by the show’s writers. I think this came in as a reaction to the post Jedi era, where science fantastical ideas overlapped with the harder science fiction of the 1960′s and 1970′s. The Star Wars saga helped legitimise overt religion within the genre, and writers/film makers/directors responded to this. Both Star Trek: The Motion Picture and The Wrath of Khan have strong religious undertones
Blade Runner is an existentialist take on the human condition, questioning the very nature of what it is to be human, and took the scientific outlook of the 1970′s science fiction into the 1980′s. This outlier in the 1980′s gave a good template for the existential science fiction film, which explore the human condition without tripping over into overt religiosity. As a writer I think this philosophical take on the genre serves it well, as films like Solaris, Sunshine, Oblivion, and Edge of Tomorrow all carry these ideas through in their plots. This philosophical take on the human condition is generally religion free, preferring the humanist ideals as the backbone to the story; or completely ignoring religion altogether. This is why I think it is so stark when a writer does overtly use religion in their work, as it is a complete counterpoint to the humanist science fiction that is often presented.
So, as a write, why do I use religion within my work? Well, personally, I am what I call a recovering Christian, namely I am an avowed atheist who used to be a Christian. Because of this I am steeped in the religious narrative of Christ and the bible, and I have penchant for religious allegories such as the war in heaven and the fall of man. Both of these are used within Arz to a lesser degree, and I used them because I find the idea of free will v overt authority a very intriguing idea. I also find that by giving characters belief, or a lack of belief, it helps add flavour to them, giving them a view on the universe that is their own. The over arching philosophy in the Arz setting is a mix of Roman emperor worship, Buddhism, and Taoist ancestor worship, as I wanted to create a timeless faith that fits the concept of the greater good. By cherry picking the ideas I feel fitted the setting I think I have come up with a good framework that fits the narrative I want.
Ultimately I think this is the key to using religion, philosophy, or the lack thereof within your stories. Personal ideology should never be a sledge hammer, unless that is crux to the tale (Contact being a good example of this), as you can end up with films like Battlefield Earth which take the allegory too far. George Lucas used the dichotomy of the force as the singular impetus of theStar Wars sage, yet Episode Four is essentially a rescue the princess/save the day/coming of age movie where the force could be removed without any detrimental effect to the plot; lack of faith indeed. When writing religion into your work always think about how religion can serve the character/plot, not the other way round. Even George Lucas retconned the force in Episode 1 to fit his own original ideas into the wider story he wanted to fell.
In the end religion and sci-fi can work well together as long as the writer/creator has an appreciate for using it as a facilitator for the plot rather than shoehorning religious ideology into a science fiction setting. Done well you get Deep Space Nine, done badly and you end up with Battlefield Earth,enough said really.
In the age of Mass Effect, Game of Thrones, Dragon Age, Call of Duty, and Battle Star Galactica where war is presented as harsh butchery with no real winners just survivors how do you write about war without being jingoistic and a right wing cheer leader? Personally I love to write war stories, with action, death, and lots of mayhem, yet I also like to write about the human side of the chaos going on.
As a writer and consumer of sci-fi war stories I find that jingoism only goes a small way before it becomes droll and boring. How many shoot the aliens and steal their shit stories can you write before it becomes a rote banal tale that is the same as every other droll banal jingoistic story out there. Military sci-fi writers have a whole country’s worth of giants shoulders to stand on, everything from ancient Greek dramas through to Edge of Tomorrow, and what marks the best tales are those that focus on the human element of war. Personally I think that war stories which humanise the slaughter, give a face to the horrors, and allow you to empathise with the characters are the most successful. Mass Effect does this through the three games by giving you supporting characters to empathise, emote, and grow with, those humanising the growing tragedy that consumes the games.
This is why I write about war, to show the human condition through the mirror of conflict and adversity. I have no interest in jingoism, indeed the very idea of nationalistic ideas frustrates me as it strangles inquisitive progress, so when I write about war it is looking at it through the lens of the survivor, the team dynamic, and the individual. Homer does this to great effect in the Illiad, using the Trojan war to showcase hubris and human frailty, and when combined with the Odyssey give a picture of war that is timeless because it humanises the conflict. King Lear uses the same human lens with a backdrop of war to show the tragedy of hubris, and Shakespeare uses the climactic final scene to show the utter loss that Lear suffers as a result of his pride. Romeo and Juliet also does this on a smaller scale, with the feuding families conflict the setting for the events that unfurl. War is not a character in these stories, rather part of the threads that hold the characters in place.
Then you have the possibility of using war as a backdrop for other genre, such as Foyle’s War, Atonement, Boy in the Striped Pyjamas, The Book Thief, and Good Morning Vietnam. All of them use are as the starting point, and then interlace the war with the main story. The Lion, the Witch, and the Wardrobe uses the evacuation of the children from London during the Blitz to transport the children to the professor’s house, which in turn thrusts them into Narnia and a whole new conflict which they must overcome. Indeed the whole Chronicles of Narnia thrust the children from the morally uncertain war of the ‘real’ world into the unambiguous fantasy struggle laid out by C S Lewis. He uses the prism of war to provide a guide for moral certainty. Compare this to films like Starship Troopers which satirises war through the lens of propaganda and pastiches films like the coming of age Full Metal Jacket. All three show war through the human lens, yet all end up with different moral certainties at the end. By laying other genres onto a war you add nuance and finesse, and give the reader a new insight.
Ultimately I want to put characters front and centre, and use conflict and war as a way of getting to the heart of the human condition. So, in answer to what is war good for I would say that from a story teller’s point of view it allows me to tell stories that show characters in a multi-layer way while also having action and dynamism to the tales.
In a lot of my stories I have an ingrained subconscious bias towards writing about LGBT characters, which probably stems from my own personal life. Personally I prescribe to the idea that I like who I like regardless of their gender/sexuality, and as such this spills over into my writing. For me there is something natural that happens when I pair two women together, or writing about a poly triad, or have a character who sleeps with who they fancy without having any remorse.
There have been many polemics both from feminist and social historical writers on the dirth of LGBT characters in mainstream literature, in particular science fiction and fantasy. Usually such character attract a lot of scrutiny or are relegated to side characters when they are mentioned, to the extent that when comics out a character as LGBT it makes international headlines. For me this smacks of tokenism, a way of drumming up free publicity for the product being sold (which is marketing gold), but at the same time degrades from the overall construct of the character in my eyes.
For me, when I start to write I really have no idea who a character will fall in love with. Sjelby is in love with both a man, Jackodee, and a woman, Juniper, and has a pod with them which suits their needs and wants. I did not intend to have Sjelby and Jackodee end up together, as I had written Juniper as the main love interest, yet as I wrote it naturally evolved into an amour. In this way I have allowed the characters to dictate who they love, without forcing my own proclivities onto them. I have not taken the easy way out and forced the characters to choose between themselves who should love who; rather I have given their triad room to flourish. Polyamoury is not a topic often broached in speculative literature, and if it is it generally gets a brief mention then pushed to the sidelines, so when I write about the mundane daily rites the triad have it is me looking to explore the dynamics of the characters rather than being sensationalist with it.
Aquila transitioned from male to female for religious reasons, not because she felt trapped in the wrong body. Being trans myself I had to justify this when I conceived the character, as I did not want to send a negative message when I presented her back story. Indeed, the idea that a person sacrifices their gender for their religious faith is as old as myth and legend, and by bringing it through Aquila it gives me a chance to explore cultic religion in an age of technology and wonder. All of that said, I treat her gender as a minor issue after her introduction, as it is not really that big of a deal to those around her. I am more interested in having her do the job, moaning about how unfair it is that she was shanghired, and then finding redemption than shining a bright light of the nature of gender variance.
There have been reams and reams written about these issues, and hopefully we are at a point in western popular culture where being LGBT is just another thing for a character, rather than THE thing for a character. Life is a complex tapestry, and as a writer I would much rather have characters live their lives in splendid technicolour then have then monochromatic pastiches of what it is to be LGBT. A science fantasy setting allows me to put forward the mundane in a vivid way, using the lens of the future to showcase ideas that are still raw and emotional now. Much like the best science fiction I want to explore what it is to be human as much as I want to explore the stars, and for me this is why I feel no restraint in writing LGBT characters as core constituents of my tale.
Ultimately I believe that as long as a character feels natural and have a genuine flow to them they can be whatever gender or sexuality I like. I write as I see fits, and never try to force a template onto my characters. Which, I sincerely hope, means that my readers can sit back and enjoy my yarns without feeling forced out of the narrative due to characters personal proclivities.
Its been a while since I last posted, and I wanted to give an update on where things are with Arz. Basically the whole project is now an open verse for peeps to explore and dive into. Due to my work contract I am unable to do anything commercially relating to sci-fi or fantasy, which means that if I want to keep Arz on track I have to make it non-commercial.
Simply put this means that I am making the whole project free and open access to everyone who wishes to read, view, and enjoy what I and my team of artists have created. I do have the delusions of grandeur that one day the Arz verse will be as big and bold as Star Trek, Star Wars, Warhammer 40K, Mass Effect et al, and as a bidding Tolkien/Lucas/Roddenbury I have dreamed of being the mistress of a universe. Well this is my verse, and as such I want y’all to enjoy at least some aspect of it.
I thoroughly enjoy the creative process, and with Arz it has been twenty years in the brewing. Lots of the ideas, stories, and background has evolved from core tenets of my teens, and hopefully all of this will come to fruition in something that will be deep and complex. Sjelby’s journey is one part of that, while all around I plan on adding so much more to the tapestry of the whole.
In the mean time I will post regular blog posts with updates, so please check back soon. Check out www.arz5a.com if you want to see more.
I wanted to do a journal on the benefits of using AI files instead of simply creating an ABR file for use in Photoshop. For examples of my techniques please check out www.arz5a.com/about.html and arz5a.com generally to see how I am using AI files in my work.
Firstly, for those who don't know, an AI file is an Adobe Illustrator saved file, created in Illustrator, which you can import into Photoshop as a smart object.
Why use a smart object? The great thing about smart objects is that they retain all their original information, so if you need to change the object you can do so losslessly. This is important if you wish to refine your work without loosing any of the crispness that comes from using a vector created in Illustrator. The other major benefit is that you can edit the AI file on the fly in Illustrator, which in turn will update the object in Photoshop with any corrections you have made.
Personally I always create a duplicate of an AI file layer in Photoshop so that I have the option to rasterise that layer for direct editing in Photoshop once I am happy with the original. This way you will always have the smart object to come back to should you need to restart, edit, or check your work. Plus, this also gives you a nice template for creating masks from should you wish to do so.
If you want to change the colour of the smart object you can either a) open the AI file in Illustrator and change the colour of the layers, or b) rasterise the layer, magic wand the object, then fill in the colour on either the original or a new layer.
If you want to take it a step further an create a brush from the AI, because it is a vector it makes any brushes you create nice and crisp. To create a brush I open a new PSD 500pxx500px file in Photoshop, drag the AI file in (which creates a new layer), and then I edit > Define Brush preset, which then creates a brush from the AI smart object. You can then use this brush as normal within Photoshop, with the added benefit that when you size it up or down it should retain a nice crisp edge.
In the end I have found that AI files are a good tool to have in the creative arsenal, as they are much more flexible than a standard brush in terms of editing, refinement, and the ability to create a unique shape to suit your own needs. There is a lot of potential when it comes to using AI files, and this is why I have stopped creating ABR files for DA, and uploaded the original AI files so y'all can have more functionality for your work.
This is an example of the sort of thing I am using them for: www.arz5a.com/sjelby.html
There was a time when I was posting to the site every week with new content, looking to give back to the wider community for all the kindness and goodness that I have received. Somewhere in 2012 that kind of dropped of, until now I have been a bit of an absentee landlady for the stock I have provided. I think part of the problem has been that I have posted so much on here that there is little left for me to put up that I have not already covered, though I think 2015 is a good time to re-energise our stock with some new work.
We have one of, if not the largest stock galleries on DA, though only a small percentage of our images get used. I am not about to pull any of our older work, but at the same time I think it is right that we add more stock to play to our strengths. I love DA, and I think it is one of the best sites on the web for art. I am a proud member, and have been since the day I joined, and as such I am going to make the effort to keep a regular discourse with the users/viewers of our work.
I am not going to make any promises about what type of stock I post, rather I want to give you all pieces that will inspire, provoke, and allow you all to produce great art with our work. I get real joy from seeing the pieces that have been produced by y'all, and hopefully going forward I can inspire you further.
Here's to a great 2105, and I look forward to seeing what you all produce with the old and new stock we produce.
First off happy New Year, and here's to a good 2015.
Its been a while, and life has certainly been interesting over the last five months. I kind of dropped off the face of the creative planet due to me getting a new job with Games Workshop HQ in Nottingham, which has taken up a lot of my spare time with painting and other GW creative gubbins. Due to my contract I have had to put a lot of my sci-fi and fantasy plans on hiatus, though I plan on resurrecting them in some non-commercial form mid-2015.
In terms of the new stock rules I have updated our rules by adding in the following section:
7 - School, college, university, and non-profit work falls under this category, and as such you are free to use our stock for coursework, non-profit tutorials, and charity projects as long as these rules are abided by.
I hope this clarifies our position regarding using our stock in terms of school/college/course work, as I am always happy for our stock to be used in helping artists develop, and as long as our rules are abided by then feel free to use as you wish.
I really, really need your help and support to make my Kickstarter a success. In case you don't know I have launched a Kickstarter for my new novel and short story compilation, and in order to make it a success I need to raise £20,000.
So far I have raised £90.00, which is just a tad shy of the target goal, so I would really, really appreciate it if you could stop on by and pledge event £1.00 to the cause. Every person who pledges gets something for their buck, and with your support I can make this Kickstarter zing, fizzle, and pop into life.
This is a link to the Kickstarter and this is a link to the Arz project website if you want to check out the background to the project.
I know that together we can achieve the goal of getting the novel launched, and I thank you for any pledges you can give.