The short answer is somewhere between $5,000 and $20,000. Each book is different, and requires a different amount of labor - so the cost can vary greatly.
I’ve had several budding authors come to me interested in having me illustrate their work for them, and I wrote this to educate and inform new children’s book authors a bit more about my process and the real cost to hire an illustrator.
First of all, congratulations! Writing a story is a lot of hard work, and even getting to this step is a big deal. Making the decision to hire an illustrator is a big leap,and this is a very exciting time. To make the process go as smoothly as possible for everyone involved, There are several items you will want to have ready when you go to an illustrator for a quote.
The Quote
To provide a quote I will need to know the following:
First I will need to know which of my styles you would like the book in. If you want highly detailed hand painted watercolors, each page can take up to 10 hours of painting time(or more) while more simplified images, or digital art, can take a great deal less. Am I doing full illustrations with backgrounds, smaller images meant to go on a white background, a mix of both?
I will need to know how many illustrations I will be doing. Am I doing one illustration per page, or will some pages be blank? How many full page illustrations? How many half-page? How many stand alone images, or embellishments? Will I be doing the front and back cover?
I will need to know what your desired timeline is. This will help me determine where I can fit it into my schedule. Shorter timelines may mean that I have to push your project ahead of others, which could incur a rush fee.
Knowing the story premise will help me get a better picture of the project.
Once I have these details I will give you a quote which includes the project scope, the timeline, and my hourly rate for any work above and beyond the quoted scope. (such as additional revisions, or last minute changes).
We will also decide on which additional services will be included in the quote. If you are not sure, and want to add the services later, they will be billed at my hourly rate. Examples of these services are below:
If you decide to move forward I will send a contract to sign with the project details and payment schedule. Once I have the signed contract and initial payment deposit in hand we can begin creating your illustrations!
Step 1 - Hammering out the details
The Manuscript
I will need a fully completed, edited, final draft of the manuscript. It needs to be a final copy because changes later down the line may be difficult to do and will likely incur extra charges.
You should have it broken out by what text you would like on each page, including the title page, dedication page, copyright page, and any end pages.
A typical children’s book is 32 pages long, but it can also be 24 or 48 pages. It is always in a multiple of 8 due to how the paper is folded during the manufacturing process. If your book is not a multiple of 8, many printers will add extra blank white pages to the end to cover the difference. It tends to look unprofessional, so I highly recommend keeping an eye on your page count.
Technical Details
I recommend, before you go to an illustrator, first choosing what company you will be using to print the book. Different printers offer different sizes and options, and this will be vital information for the illustrator. I have worked with both KDP Publishing and IngramSpark, but there are hundreds of other printers out there, so I suggest doing research into which one is best for your specific needs.
Once you have selected your printer, the information I, as illustrator will need are as follows:
With this information I will map the text layout as it will appear when printed. I can then use this to sketch out the rough draft so that everything flows together well.
Characters and Scenery
I will need descriptions of how you envision the characters and setting. The mood, personality, style, etc. that you pictured in your head when you were writing the book. I will add my own style and bring my own ideas to the table when working on this, but this will make sure I stick to your vision as well.
If you have any reference photos, mood boards, color swatches, these will be VERY helpful. The more you communicate your ideas, the smoother the process will go.
I’ll work up some rough preliminary character sketches. You’ll give me your feedback and I’ll make 2-3 rounds of changes. Any changes beyond this are billed at an hourly rate.
Step 2 - Thumbnail Storyboard
Once we know what the characters are going to look like, I will put together a storyboard showing what each page will look like. These will be rough sketches, to give you an idea of what each page will look like. I will again make 2-3 rounds of changes.
Step 3 - Line drawings
After we have the thumbnails approved we are ready to get into the actual line drawings. These are tightened drawings based on your approved thumbnails. They will be done to size (including any trim and bleed). These will form the basis of the final colored illustrations, so you will want to be sure everything works for you before we move forward. I will again do 2-3 rounds of changes, so be sure to communicate very clearly and concisely what you would like changed.
Step 4 - Color Roughs (optional)
If we have contracted for color roughs, I will take the final lineart and digitally color it very roughly, to give you an idea of the color scheme. This is especially helpful for watercolor illustrations, as once I start painting, I will be unable to make changes to the art. If any changes need to be made the painting will need to be thrown away and started over, which will be charged at my hourly rate.
Step 5 - Painting
The approved drawings and color roughs will be used to create the final paintings.
If we have contracted for digital art, this will be done using ProCreate on my iPad, and you will have 2-3 rounds of minor tweaks.
If we have contracted for watercolor art, I will transfer the approved lineart to watercolor paper and will hand-paint each image, based on the color roughs you have approved. Due to the nature of watercolor paints, colors may not be exact, but I will have them as close as possible.
No tweaks or changes are possible at this point. I will scan the completed paintings, and digitally format them. I will send low-res images for viewing and approval as the pages are completed.
Step 6 - File Delivery
Once the work is completed and the balance paid, I will send you the high resolution files prepared and ready for your printing company. If you have someone to do the layout and text then my work is done! Congratulations, you have an illustrated book!
I’m interested in commissioning some artwork from you. What is the commission process?
First off, let me say I’m so happy you thought of me when commissioning custom artwork. A lot of clients coming to me have never commissioned artwork before, so they have questions about how it all works. Let me break down the steps for you!
Discovery and Quote
The first step is a conversation between us, going over exactly what you are looking for. Some of the things we will discuss include:
Once I have all the details I need, I will give you a quote. I require a 50% deposit before I will begin work on your project, with the balance to be paid upon completion.
Rough Draft
Once I have all the details needed I will create a digital rough draft. At this point you can make 2-3 revisions. This is to get the basic idea for the image, so focus on any major changes. Don’t worry about tweaking fine details at this point, as those will be hashed out in the next step.
Lineart
Next I will create the line art for the project. You will again be able to make 2-3 revisions. Here is where you want to make any detailed tweaks or changes. Make sure the lineart is exactly what you need, because we may not be able to make any changes moving forward.
Coloring
I will use the finalized lineart as the base for the final piece.
If it is being hand painted, I will trace the lineart onto watercolor paper and start painting. I’ll keep you apprised with progress pictures if it is a larger work. No changes can be made once I begin painting.
If the commission is for digital art, I will add the color to the lineart and send to you for approval. We can make 1-2 small color tweaks at this stage, if needed, but no major changes.
Once the work is done, and the 50% balance paid, I will send you a high res file of your artwork. If your commission is for a painting, that will be shipped to you as well.
]]>How to make your own watercolor paint
Making your own hand-made watercolors can be a fun and rewarding experience. You get the satisfaction of having the exact color you are looking for, combined with the pleasure of using something you made yourself from scratch. Also, the act of mulling the watercolors is relaxing and enjoyable in itself.
The basics of watercolor making are rather simple: You take a powdered pigment, add a liquid binder, and mull them together to mix and grind the fine particles.
Materials Needed:
Preparing the pigments
What is a pigment?
Pigments are crushed particles that provide the colors to paints. Some are synthetic and created in a lab. Some are derived from natural materials such as crushed rocks like hematite, turquoise, jasper, and malachite.
For obtaining pigment powders for your own watercolors, there are several options. You can purchase powdered pigments online, or create your own earth pigments by grinding materials in a mortar and pestle. You can make pigments from foraged materials such as charcoal and soot, soil, acorns, turmeric, or even dried flowers.
Some of the ones I’ve purchased that I am experimenting with are below:
You want to be careful when working with powdered pigments as some are highly toxic when breathed or consumed. Gloves, a respirator, and safety goggles are recommended when working with the more toxic minerals. Whatever pigment you choose, make sure to do your research on it first.
Making the Watercolor Medium
For the medium, you can either buy pre-made watercolor medium, which can be rather pricey, or you can make your own.
To make your own, you need hot water, gum arabic powder, clove oil, and honey.
I use this Gum Arabic powder https://amzn.to/3PZWvZe
And this Clove Bud oil https://amzn.to/3GkAIIq
Mixing and Mulling
Mulling is the process of evenly suspending the pigment particles in the binder. This is done using a grinding slab and a mulling tool. I got my mulling tool on Amazon here https://amzn.to/3YUXk9o , but professional mulling slabs are rather pricey, so I used a glass cutting board that I used etching paste to give it a frosted texture.
I’ve also seen others use marble slabs.
Once your watercolor medium is ready, measure out your pigment powder and make a little mountain of pigment in the center of your grinding slab. Use the back of a spoon (or measuring spoon) to make a well in the center of the pigment.
Pour an equal amount of watercolor medium into the well and let it set for a minute to absorb some of the pigment.
Using your palette knife, gently fold the powder into the medium, mixing as much as you can before adding more binder until all the pigment is mixed in and it has a paste-like consistency.
Take your glass mulling tool, and slowly grind the pigment mixture in a circular motion, spreading it across the grinding surface in a thin layer. Use your palette knife to pool the mixture back in the center and repeat the process of grinding and mulling. If the paint is still too stiff to mull smoothly, add more binder.
Test the paint during the mulling process by swatching it on a piece of watercolor paper. Allow the paint swatch to dry before rubbing your finger over it. If the paint dusts off of the paper that indicates a little more of the binder is required. If the swatch appears too shiny it indicates there is too much binder and more pigment should be added.
Continue mulling until you have the consistency that you desire for your paint.
Pour the mixture into pans and leave them to set. If the drying pan cracks, next time add a little more gum solution to that particular pigment. A little cracking is not a huge issue though, as it is still good to paint with.
If the paint is still too gummy after it has fully dried, then try adjusting the amount of honey used.
Empty pans are hard to find at most craft stores, but can usually be found at fine-art supply stores like Blicks, and of course online. These are the ones I use https://amzn.to/3hTA3nT
All links are paid ads through the amazon affiliate program.
]]>Once I get confirmation on an event, the wheels really start rolling. There’s a lot more that goes into a successful event booth than just tossing some books on a table and hoping for the best. Below is an in-depth look into some of the many things I do behind the scenes to prepare for an event.
Booth Help
For most shows I need some assistance, if only to cover the occasional privy break, or to give me time to duck behind the booth and scarf down some lunch. Up until now I have been reaching out to friends and family for volunteers to give me breaks and to help with setup and tear down when possible. Starting with the upcoming PA Faire, I can actually afford to pay a part time helper for the shows, which makes me a much happier Talyn. I appreciate everyone who has been generous enough to donate their time to helping me, but I am so glad to be able to actually compensate them moving forward. Now the biggest challenge is finding someone who I know and trust that has the time available to work with me on those event weekends.
Stock
In order to have a booth at all, I need to have something to sell. For each event I try to tailor my stock to match the event. I might make a specific sticker that I think will do well at the event, such as my “lavender heart” sticker for the Maryland Lavender Festival, or the “Faire Tidings” sticker set for my renaissance festivals. Other times it means adjusting the quantity of materials I bring. I bring a larger quantity of children’s books for family themed events, and a larger quantity of adult coloring books for events that cater to adults. Celtic festivals see my knotwork and ogham pieces placed in the forefront, while Fairy festivals see my elves, mermaids, and other fantasy creatures take center stage.
Booth Layout and Displays
Every show is different, so my booth layout varies from event to event. Some shows I am on a corner, so I can have two open sides. Some shows I have a larger space so I use a borrowed canvas tent instead of my popup. Some shows I have space behind the booth, so I set up my awning and have a little “backstage” area for me to sit in, allowing me more floorspace under the tent for customers. Oftentimes, I do not know exactly what the layout will be until I actually get to the event to set up.
I have designed my displays to be able to be easily rearranged to suit whatever configuration I may need for a specific show, and before the spring event season, tested and tweaked my displays and layouts in my basement and driveway. When I have a good solid setup, I then take pictures or videos, which I can reference once I get on site to make my setup a bit easier. All I have to do is look at the picture and re-create it.
Advertising
I currently rely pretty heavily on the advertising that the event itself does to draw in customers. To let my own audience know where they can find me and when, I make sure to put upcoming events into my quarterly update blog, as well as to post them on facebook and instagram. It is my goal for next year to have a constantly maintained upcoming events listing on my website as well.
Travel, Room and Board Plans
Most of my events are multi-day affairs, with many of them being too far away from home to drive to and from each night. In those cases I have to find somewhere to stay nearby. If the event allows camping, and is for more than one weekend, I prefer to camp on-site. However if it is only for a weekend, it is just too much work to set up the tent for just one night, so I either find a friend that lives nearby and has a spare couch, or I find an Air BnB to rent for the weekend. If I have a booth helper with me who will also need lodging I take this into account and make sure they also have a place to stay the night.
Packing Checklist
About two weeks before a show I create a packing checklist, listing out every item I need to remember to bring - all my displays, tables, chairs, stock, pens and sharpies, first-aid kit, etc. I include the clothing and toiletries and bedding I will need to bring if it is a multi-day event that is too far to drive home from at night. I include the cooler and snacks and drinks to keep me hydrated and fed while I’m working. I have a checkbox for when each item is packed into its appropriate bin, and one for when it is loaded into the car.
If, during the show, I think of something that would be helpful to have for future events I make a note to include it in the list for the next show. Truthfully I usually end up overpacking and having items I don’t need with me, but it means I rarely forget the things I actually need.
With this list in hand, I carefully pack everything I need into heavy duty storage totes, and then tetris it into my car as best I can.
Setup Day
Finally Setup day arrives. I really enjoy long drives, so often getting to the events is a relaxing and recharging experience for me. I get my coffee(s), turn on my audiobook, and hit the road!
Once I get on-site however, it is all hustle - all bustle - in a mad dash to get the booth set up before the event opens. This means first unloading the entire vehicle and moving it to the vendor parking area. Then I can actually start setting up. Tent goes up first, and gets staked down and weighted. Once the tent is up I set up all the tables, pegboards, and other large infrastructure. Tablecloths go down and shelving goes up. Pegs go into the pegboards, baskets go on the shelves, and its time to put out the products!
Setup usually takes at least 3 hours if I am doing it by myself, but no matter how much time I allow myself to get set up, it always ends up taking just a few minutes longer.
And that, gentle friends, is your look behind the curtain at the life of a working artist. If you'd like to show your support for my art, hop on over to my patreon page!
Patreon subscribers get access to discounts, behind the scenes, sneak peeks, downloable coloring pages, and so much more!
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As a renaissance and craft show vendor, I often find myself subject to the whims of fate and mother nature. No matter how well prepared you think you are, the weather will find some way to throw you a curveball. I’ve certainly had my fair share of challenges this season, from 104 degree days, to sudden unexpected hurricane-like storms. Unseasonably cold mornings, and unreasonably hot afternoons. Setting up in a snowstorm. Tearing down in a thunderstorm.
Unfortunately you can’t control the weather, but each new challenge I’ve faced this year has led to me improving my displays, products, packaging, and practices to better handle its whims and winds. I’ve included a list with links to some of the products I’ve found to be most helpful at the end of this post.
I won’t lie - some days it is hard to handle the setbacks. There are days when it feels like the universe just keeps kicking you when you are already down. There are days when its very hard to look at these challenges in a positive light, and when it is easy to get discouraged - especially when you have to take a financial loss in addition to the emotional loss.
July has been one of those tough months for me. The first of the month I lost my beloved pupper. He ran away from the dog sitter while I was on vacation, and he has not been seen at all since. You can probably imagine how devastated I am over it. Add to that the Annapolis Irish Festival getting rained out, and losing stock to water damage. Then my 10x10 tent was broken beyond repair under very mysterious circumstances (likely either vandals or deer).
I’ve found the only way to get through it is just to get through it. Put your head down and walk through the rain until the sun shines again. And it will shine again.
So here are some things I’ve found that have improved my ability to stand through the storms. Hopefully if you end up in my (very soggy) shoes, these will be helpful for you too.
Portable Battery - This sucker has been a game changer. I can run fairy lights in my booth for lighting at night, re-charge any of my devices and my battery fans, https://a.co/d/eGZOjCh
Here are the things I ask myself when evaluating an event.
Location
Where is the event being held? If it is a multi-day event, is it close enough to drive home to sleep, or will I need to find nearby lodgings during the event? Do I have local friends I can stay with? How much travel time will I need to account for both before and after the event? Will I need to take time off from the day-job to travel? What amenities are nearby? How much will I need to spend on gas to attend? Is it indoor or outdoor? Will I need to bring my own tent?
Attendance
How many people will be there? Has attendance been growing over the past few years? Is it a popular event? Will there be enough potential customers there to make it worthwhile?
Time and Date
Is it on a weekend? Do I have other commitments that day? How many hours does it run for? Are the running hours worth the travel time and setup time needed? Is it a multi-weekend event? If so, do I have other events conflicting with the other weekends?
Reputation
What do other vendors have to say about the event? Have there been recent problems with management? What do the attendees have to say? Is it a reputable event? Is it a new event? Is it a Jeff Mach event? (if so, it immediately gets rejected)
Other Vendors
Do I know any of the other vendors attending? Am I friends with any of them? Are there other vendors providing similar merchandise that I would be in direct competition with? How many vendors will be there?
Market
What type of people will be attending? Why are they going to the event? Are the attendees there to shop, or is their primary focus going to be elsewhere? Are my pieces a good fit for the type of people that will be shopping? Are they in the right price range? What is the theme of the event? Does my artwork fit in well with the theme or aesthetic?
Cost
What are the booth fees? Are there any unusual costs I would incur for the event? How much gas will it take? Will I need to pay to board my dog while I work the show? Will I need to pay for booth help? What is included in the cost? Does the event advertise, or do I need to pay extra for that?
Once I have gone through all these questions, I either reject the event or add it to a list of all the events I am interested in working at for the year. I then make a spreadsheet showing me which events overlap. For weekends where shows overlap, I then have to make a choice between the two shows. Which I choose depends on a variety of factors, but since most of these shows are first time events for me, it's mostly a guessing game as to which will be more profitable and enjoyable.
Once I have decided on the show I want to book for a specific weekend, I send out the application and hope for the best! If I don't get approved, I can move on to the next option in the spreadsheet.
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I had hoped to have a nice long informative blog post about living life as a full-time elf - Why I do it, the trials and joys that come with it. All that fun stuff.
But HOT DAMN I am tired.
It has been a grueling few weeks working the day job 5 days a week, going home to make new stock and replenish what I’ve sold. Spending Friday nights driving and setting up for shows. Working every weekend running the booth at one festival or another. Tearing down and driving home late Sunday nights, only to have to wake up bright and early to work in a cubicle hell on Monday Mornings.
Yes, yes, I brought this on myself.
Yes, I knew what I was signing up for when I started this season.
And it will all be worth it in the end when I can yeet the day job and focus solely on my art.
The end of this slog grows ever closer, and then I can rest and recover and finally have the time to work on some of the larger projects I’ve been dreaming of. I’ll have the time to finally paint some of the 240 pieces I have planned on my “To Paint” spreadsheet. I’ll finally have time to travel and see a bit more of this world and show it to you through my paintings.
The goal is worthwhile. The work is going to be worth it. Heck, the work itself is enjoyable. I love running my booth, and driving, and setting up, and making stock. But I am still exhausted right now. And that’s okay too.
]]>This will allow my followers to both keep up with my latest artistic endeavors, give them a deeper look and insight into my creations, as well as some fun glimpses behind the curtain at my processes.
I will also be posting more frequently to my Patreon. In addition to the monthly coloring pages and blog posts, I will be uploading exclusive videos and sketches.. I would also like to offer Patreon exclusive tutorials and drawing references that other artists can utilize in their own creative projects.
With that in mind, what are some fun things you would like to see, or see more of?
Are there any tutorials you would like to see? Any subjects you would like me to write about? Any insights or spotlights you would like to see featured? Let me know!
]]>I was not happy with the colors and the shading.
The lines were too thick.
The proportions were off.
The paper had a wrinkle
The paint had a smudge in the right corner
No one will ever want this painting.
But I put it in a frame
And I put it up for sale
Just in case.
And it sat in a corner for days.
And it sat in a corner for weeks.
And it sat in a corner for months.
But then
Someone saw it and said
This is beautiful
Marvelous
Delightful
I want this in my home
And I sold a painting
That I thought was ugly.
I remembered all the times I looked in the mirror and saw myself
An ugly painting in a corner
And I finally realized
Maybe I am not an ugly painting.
Maybe I’m just waiting for the right customer.
]]>In mid-march I decided to get serious about starting the transition to full-time artist. I had a dream, but now I needed a plan. The first step was to decide what conditions I would need to meet to ensure I could pay all of my bills without the security of the day job. So I did one of my favorite things - I made a spreadsheet! I made several actually.
Using all the fun maths at my disposal, I decided I would need to have the following in place before I left the day job:
Once I have all the requirements above met, I will be able to shuck my corporate overlords, and embrace the life of a full-time self employed artist.
I set a timeline of 2 years for myself to do this, as I think that will give me enough time to reach my goal markers without completely working myself to death in the process, while still being challenging enough of a timeline to force me to maintain my momentum.
So now that I know what I need, and when I need it by, its time to buckle down and get to work!
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To be a successful artist the first thing you MUST learn isn’t proportions. It isn’t angles or anatomy. It isn’t drawing or shading. It isn’t light and color theory. It isn’t even (as some people will tell you) how to “look”.
No. The first, and most vital thing you must learn as an artist is how to fail. Repeatedly.
Extravagantly.
Spectacularly.
Sometimes catastrophically.
Because you will.
And those failures big and small are a necessary part of growing and honing your skills.
My trash can has seen far more of my art than any of my fans and followers ever will. Believe me, I have made some absolutely hideous pieces of art. And that isn’t even counting various unhappy accidents that are just a part of life. Like the time my cat walked through my wet palette, and then all over a large piece I was halfway through painting, leaving neon green and muddy purple paw prints behind.
The real trick is teaching yourself to accept these failures big and small, and use them to motivate you instead of discouraging you.
Take a step back
Failure can be disappointing and frustrating. I think we all hold ourselves to high standards, and everyone wants something that they have put time and effort into to be a grand success. Its easy to get discouraged or even angry at ourselves when things don’t turn out the way we want them to. And that’s okay. These are normal feelings. Allow yourself to feel them for a brief moment. But don’t let yourself dwell on them. Instead give your head a little shake (like an etch-a-sketch), take a deep breath, and re-evaluate the situation. Try to look at it from a logical standpoint instead of an emotional one. The failure likely isn’t as bad as you think it is.
Damage Control
Now that you are in a clear headspace, its time to clean up the mess. Whatever that may be. Determine whatever steps may be necessary to resolve any problems that have arisen. If its a spilled cup of water, go fetch some paper towels. If its a tear in your booth wall, get out your sewing kit. Call the bank, call your support network. Do what is needed to recover and get yourself back on track.
Find the Root Cause
Once you are on firm footing again, take a look back and figure out exactly what went wrong. Dig deep to find the root of the issue.
Was it due to a lack of knowledge or practice? Did you have the necessary resources to accomplish your task, or were you trying to make do with less? Did you fully commit, or were you only giving it a halfhearted effort? Is it something you even want or need to do? Was the timing right? Sometimes the fear of doing something wrong causes us to not give it the effort it deserves, or the knowledge that something will be difficult can make us hesitant to delve too deeply into it. Ask yourself these hard questions and give yourself honest answers.
Do Better next time
How can you prevent it from happening again? How can you use that to improve in the future? Did the hand you were drawing come out looking like five sausages stuck in a pumpkin? Then maybe a good course of action would be watching hand tutorial videos online, or practice hand positions by tracing photographs, or even taking an anatomy class.
In the case of the cat and the palette, a solution could be (and I say this with love) locking the little monster out of the studio. Or switching to an angled desk, so he can’t walk on it. Or covering the palette when it is unsupervised.
You may not be able to make a happy little tree out of whatever mishap has occurred, but you can certainly use it as a learning experience to help you grow and improve both in art and in life. And always remember, failure is proof that you at least tried.
]]>When I started Sunfeather Studio back in 2017 , It was always with the vague dream that one day it would be my full time occupation. In the years since I have been running Sunfeather Studio in the spare time afforded me by my day-job, slowly building up my company on weekends and evenings. I have to admit, friends, it has been exhausting to essentially work two full time jobs.
Therefore I am very, very excited and pleased to announce that I have grown my art enough to start the process of transitioning to full-time artist. My goal is to complete the transition and end my outside employment on my birthday, two years hence. April 18, 2024.
There are some benchmarks I will need to meet along the way, and some things I will need to have in place to make this a reality, but I am very confident in their achievement. It will likely not be an easy road, but I am no stranger to hard work, and I am fully committed to making this plan a success.
I have created this blog to document my journey to self-employment as well as to share little bits of insight and inspiration I come across on the way. I will be posting here and on my Patreon page at least bi-weekly, so you can all follow along on this adventure.
I wanted to thank everyone that has made it possible for me to get this far - I would not have been able to do this without your love and support. Thank you for sticking with me thus far, and I hope you enjoy watching as I continue down this path that I have chosen.
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