Will Terry stops by to give some insight into creating his first interactive app using the TaleSpring format. Will has been gracious enough in the past to share his experiences with the E-Book industry. He shares the ups and downs, advantages and disadvantages over on his blog. He also offers a number of instructional videos that are available at the Folio Academy.
I’ve received quite a bit of interest in making a tutorial on “How To Make An App Using TaleSpring” and offering it at Folio Academy So I’m going to make it but I thought this would be a good time to offer some advice for you to get your story and art ready to use the tutorial that I WILL be producing sometime in the next month. I just pulled the trigger on “I Eat You!” and submitted it – should be live in Apple’s app store by the beginning of November!!!!
The first order of business is to let you know that I’ve talked to the CEO of TaleSpring and he has assured me that they are backing way down from the “rights ownership” part of their contract. He reports that they are drafting a new document that will protect their rights to own, distribute, advertise, etc. -the app that their software produces. He also assured me that the new contract will make clear that artists will own the rights outside the app produced by Talespring.com So this is really good news because there was quite a bit of concern over this issue.
Let me also re-state that I do NOT have any financial obligations to TaleSpring or receive any moneys or discounts for writing about them, using their tools to create my own apps, or making the tutorial on how to use their tools. I like this separation because I am free to remain objective about the value they provide.
Ok – the following are my general pieces of advice to get you thinking about and preparing yourself to make your own Talespring app.
The issue of copyright and protecting our images has always been an issue with artist’s. In this modern era with the advent of the internet removing international boundaries, our work is seen everywhere and can be snagged and used by someone else at the key tap of a finger. This stretches out the net we need to cast as artist’s to protect ourselves and stretches thin our ability to realistically do so.
Is it a pointless endeavor? If we legally register copyrights on our images with the gov’t, how much good does that really do us? Is the financial investment worth it? There are many opinions out there on this subject and we would love to hear your opinions. Today Will Terry drops by and shares a video post expressing the experiences of himself, his peers and the conclusion he has come to for himself.
Please know that this isn’t meant to be the only answer to the question, but one possible answer amongst many. Consider it food for thought.
Artists often wonder if they should or shouldn’t spend the time, money, and effort to register their copyright. There are some distinct advantages to registering with the US copyright office but there are also disadvantages – some of which you might not have thought of. In the above video I give information from 96 professional illustrators. I asked them if they register their copyrights – their answers might surprise you. In the end it’s always good to educate yourself on this subject so you can make the decision for yourself. If you want more information the US Copyright Office has a great FAQ section here.
Will Terry–I’ve been wanting to make this post for a long time and it’s taken a long time to formulate my opinions on this subject. If you’re an illustrator perhaps you really haven’t thought too much about who you are. One thing’s for sure – you need to know who you are to be able to exploit your strengths and work on your weaknesses.
1. The Gunslinger. Like Clint Eastwood wielding his Smith & Wesson the gunslinger illustrator wields his paintbrush, stylus, or drawing instruments with great skill. Great craftsmanship, design, and rendering skills are his/her trademark and the reason clients want him/her in their posse. This illustrator is typically brought in when the job has been defined and visual communication is needed. The skill level of the gunslinger can vary greatly. Most illustrators fall into this category. Examples: David Catrow, Dan Santat, Kadir Nelson, and Paul o. Zelinsky.