Table of
Contents
DIY: Drawstring Bag Local Teacher Spotlight: Margie Labadie Artist Spotlight: Kuniko Kanawa Art Form Spotlight: Kanzashi FanARTic Adventures: Episode 6 Birthstone Creations Coloring Page Sarcastic Designer v. Vague Client: Episode 5 Word Search Photoshop Fun: Fireworks Submission Guidelines
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Do It Yourself Drawstring Bag
This bag is based on a tutorial shared with us by Christine, written by Ashley at The Creative Place. Christine actually made the bag for me for Animazement (check out our special edition for photos!), but there was no way of knowing the stress I would put it through during the convention at the time. It turns out that I would have to redo it, which was actually a good thing since I had no documentation of how Christine had made it initially. :( As awesome as this bag turned out to be, I decided to up the ante by adding pockets! After my initial experience with this bag at Animazement, I knew pockets were a practical addition, since I had to rebuild and retool the bag anyway. What could possibly go wrong? I found a tutorial for elasticized pockets by Steph of Sew Thrilling Crafts and got to work! The materials and directions will be for creating a bag just like mine. If you would like to try making the bag and pockets the way Ashley and Steph did, check out their tutorials linked below.
Materials:
2 11.5x22 inch pieces of fabric, one for the outside of the bag, and one for the liner 2 3x11 inch pieces of fabric, for the drawstring channels 2 1x24 inch pieces of fabric, for making your own drawstrings 2 5.5x14 inch pieces of fabric for a large pocket, including a pocket liner 4 3.5x14 inch pieces of fabric for two rows of smaller pockets, including two pocket liners 2 pieces of fabric for an exterior pocket with liner (Optional) 3 8 inch pieces of elastic for the pockets Trim (optional)
Step 1 To reinforce the seams that I would be sewing later, I started off by rolling some Âź inch hems on both pieces of fabric for the body of the bag all the way around. To roll hems, you simply fold the edge of the fabric over once, and then one more time. If you prefer, just folding your seams by Âź inch all around should be sufficient. I just like to take extra precaution! Then, I rolled the hems on the drawstring panel pieces as well just to ensure that there would be no fraying. Rolling the pocket hems was a given for me, because I can be heavy handed when I am rushing around during conventions and shoving things into them! Lastly, I rolled the hems on the drawstring pieces. With all of the fabric pieces cut out and hemmed, it is time to start on the construction!
Step 2 For the drawstrings, I folded the 1x24 inch pieces in half so that the wrong side of the fabric is out, then I pressed them with an iron (you can use cord or ribbon if you’d like). Rolling the hems will give the long edges more strength when they are sewn together. Next, I ran a straight stitch along the long edges to turn the drawstrings into tubes. Then I turned the drawstrings inside out by putting a safety pin on one end to thread back through the tubes (using a pencil or thin dowel to poke the end of the drawstring through to the other side works as well). The ends of the drawstrings can be finished by tying them into knots or putting tiny stitches on the ends. The strings are now ready!
Step 3 I ironed some featherweight Pellon interfacing to the wrong side of the bag liner fabric where I planned to sew the pockets on to give the stitches a bit more support since pockets take a lot of stress. Then I took my fabric pieces for the pockets that I hemmed earlier and paired the outer pockets with the pocket liners, wrong sides together, and pinned them together. After that I ran a straight stitch along all sides to secure the pieces together, removing the pins as I got to them.
Step 4 Next, I took a length of elastic and sewed one end about half an inch from the top edge of the pocket on the outside fabric using a long, tight zigzag stitch. Then I turned the top edge of the pocket over to cover the elastic and ran a straight stitch to close the elastic channel, pulling the elastic taut as I went along to gather the fabric down to the desired size. Then I sewed the other end of the elastic down in the same way, folding the top down to close the elastic channel. Once the pockets are elasticized, it is time to sew them down! I pinned the top two corners of the pocket down where the pockets will go and stretched out the gathered length to the desired size. Using this top measurement as a guide, I folded some small pleats along the bottom edge of the pocket until it is the length I wanted, and pinned the pleats in place as I went along. Once this is done, the elasticized pockets can be sewn wherever you want them to be. One long pocket can be turned into multiple pockets by running a straight stitch from the top of the pocket down where you want to pockets to be spaced.
Step 5 This part is just something I wanted to add on, but I decided I wanted a regular pocket on the outside front of the bag. I measured how big I wanted it to be, and cut a piece of the same fabric I used for the drawstring channels and drawstrings, and another of the same fabric I lined the bag with in the same size. I rolled the hems once again, placed wrong sides together, and sew the two pieces together. I placed the pocket where I wanted it on the outside bag fabric, having reinforced that area on the back with some interfacing, and sewed my simple pocket on.
Step 6 To finish the bag, I took the top edge of the front of the outside piece for the bag, and laid one of the two drawstring panels along the top edge, with the right sides of the fabrics together. I made sure the channel piece was upside down so it would be right side up when I folded it over inside the bag. I sewed along the seam, and took the other long edge of the channel piece and repeated this step for the top edge of the inside liner fabric, with the inner and outer fabrics for the body of the bags right sides facing one another. I sewed the drawstring channel shut along the bottom, just below where I sewed the channel to the bag, securing the outer bag fabric to the liner fabric. Then I repeated these steps for the other side. I added a decorative trim by lining it up with the top edge of the outer fabric and sandwiching it in between the outer bag fabric and the edge of the drawstring channel. Now one end of the bag has the drawstring channel secured. Since my channel turned out to be narrow, I went ahead and threaded the drawstring through before I sewed the channel shut along the bottom. Then I repeated the drawstring channel steps for the other end of the bag.
Step 7 Now that I have the drawstring channels sewn on, and the inner and outer bag fabrics sewed together along the short ends, I ran a straight stitch along the long edges to secure the sides of the inner and outer fabrics together. All that is left to do now to finish the bag is turn it so that the liner fabric is facing me, fold it in half so that the outer bag fabric is on the inside, and sew the bag closed up the sides (be careful not to sew up the sides of the drawstring channels at the top so that you can close the bag). Then turn it rightside out and the bag is complete!
Notes
I have a Brother LX2500, which is actually one of the most basic table top models that Brother carries now. Admittedly, I had trouble sewing through so many layers by the time I rolled hems on my outer fabric layer and inner fabric layer and had to sew the hems together. Even so, I do not regret my choice to take the extra step to roll the hems because this leads to stronger seams in the end. If you have a basic machine like mine, PLEASE invest in denim needles. These are sharper than the standard needles that come with the machine, and I did not have to worry about breaking my needle working through so many layers. If you cannot find denim needles, cut down on seam bulk by simply folding your hems instead of rolling them. My bag may look a little crazy with several different patterns going on, but my aim was to incorporate as many elements from the cosplay it was created to match as I could. Christine did a very good job cutting my fabric pieces straight the first time, it made rolling the hems so much easier. Now that the bag is done, it is one of my favorite things I have made, and I can see myself making more to match future cosplays! Experiment with different trims and fabric patterns and have fun with it! The pockets are completely optional, but I like the options for storage and knowing that certain things are easy to get to! Go out and sew drawstring bags to your heart’s content, and happy crafting, FanARTics!
Sources: http://thecreativeplace.blogspot.nl/2010/10/tuesday-tutorial-drawstring-bag.html http://sewthrillingcrafts.blogspot.com/2012/03/custom-built-purse-elastic-pocket.html
Local Teacher Spotlight Margie Labadie
Art is an absolute necessary part of the lives of the FanARTic staff. With any craft you aspire to be better at comes the teachers and professors who inspire you to reach for more. One such professor is Professor Margie Labadie, who I, Megan, took classes under during my undergrad studies at the University of North Carolina at Pembroke. Professor Labadie was a joy to study under and taught me many skills that I use everyday in my work. I was presented the opportunity to interview her to learn more about her own experiences and motivations. Where are you from? I am originally from the suburbs of Philadelphia, PA. How long have you been teaching art? I have been teaching art at the college level for 14 years, first at East Carolina University and then at the University of North Carolina at Pembroke. Before that I created after school art programs in Red Springs, North Carolina for children considered “at risk”. What caused you to become a professor? I had inspiration from my parents, family friends as well as many informal teaching experiences that pushed me toward becoming a professor. Both of my parents were science educators. My mom taught high school and college and then went into research. My father taught high school for 15 years and then taught at Temple University for 42 years, becoming Chair of Science Education. Another influence on me was my dad’s closest friend from childhood, the artist and professor, Neil Kosh, MFA. He taught Fine Art at Temple University in Philadelphia starting in 1954. I took drawing classes with Neil working in charcoal, conté crayon, and pastels. He enabled me to discover my own abilities and he got out of my way when I was succeeding. He singled me out and made me speak in front of my fellow students about my art-making epiphanies. This was both frightening and exciting! Neil Kosh recommended me for study abroad at Tyler School of Art in Rome, Italy. There I learned to appreciate every teaching moment offered by my professors. I graduated from Temple in 1982. In 1985 I was given the opportunity to teach English in China. I loved it so much, I thought I should become an English professor. I started classes toward a Ph.D. program but instead I took a job in a printing and publishing company. Within five years I was a vice president. In any position of responsibility one gains the opportunity to give back, so I began volunteering for a number of international conservation organizations. First as an illustrator and then a photographer, I helped in the creation of science education posters to promote preservation of the natural environment. Those international organizations provided travel experiences for me to see how these materials could be used. I
subsequently left the publishing industry and opened a tour company to take scientific illustrators to the rainforests of Central and South America. For a decade I led many nature tours and helped create a diplomatic organization to preserve the environment through tourism in Central and South America. I lectured for many universities on the various aspects of my international work, I published articles and photographs, and I finally realized that what I really wanted to do was teach. With my passion for photography and art still a huge part of my life, the obvious choice for me was to seek a graduate school program in Fine Art. Nineteen years after undergraduate school, after working in industry and owning my own business, I went to East Carolina University for my terminal degree. I taught digital art classes there and received my MFA in 2003. In 2004 I was hired by UNC Pembroke. I still teach there, part-time, along with my wonderful husband, Professor John Antoine Labadie, who founded the Digital Arts program at UNC Pembroke. What do you hope your students take away from your classes? My parents influenced me to have compassion for students. Through them I know that students have many learning styles, and that it is my job to inspire and teach each one - with the further understanding that students must be willing to learn. I hope my students take away a little understanding of how hard it is to be an artist and make original artwork. I also want them to know how satisfying it is to make original artwork. I hope they feel empowered with skills that, with practice, will lead them into something new, creative and exciting. What kind of art did you major in in college? In undergraduate school at Temple University, I loved both printmaking and drawing. I used to haul those heavy lithography stones up and down several flights each day to work in the figure drawing classes! But the results were worth it and my professors were really happy to have a student doing figurative work in lithography. Years later in graduate school, I pioneered the use of digital tools in Printmaking at East Carolina University. I incorporated digital tools with traditional techniques and even worked in 3D collage forms using digital prints and etchings. What is your favorite art form? What/whose art do you most identify with? I love pastels. I love photography. I love digital. I love collage. I guess I have four favorites! In undergraduate school, most of my drawing skills were developed using conte crayon and pastels. My drawings were/are very expressive, colorful and loose. I enjoy working in pastels and closely identify with Van Gogh’s extraordinary use of color. I credit my mentor, Professor Neil Kosh, for allowing me to find my own voice in life drawings. Many people draw from photographs they take. I have never done that, except in the case of documentation for commercial illustration. Since childhood, I have always had a camera in my hand. I learned to think photographically, planning shots carefully yet letting go when the unexpected presents itself. As soon as I could, I had my own darkroom where I learned both patience and process. When I moved into digital photography, it did not change my thinking process for taking photos, but the immediacy of results using digital photography is quite exciting. Digital tools changed everything for me. I now digitally combine drawing, photography, and scans of my drawings and collected objects. I incorporate all of these techniques to create both digital and physical art forms. In that respect, I closely identify with Robert Rauschenberg. His collage and assemblage crossed all media available to him in his lifetime. He inspired me (at a very young age and throughout my life) to be experimental in 2D and 3D collage and to have no apprehension about using any art form to express myself.
Where/Who do you draw inspiration from and why? My husband and I work and travel internationally. So in some ways, I am heavily influenced by place. I draw inspiration from color, pattern and light. The light of the sky at sunset in Belize; the patterns of fabric in India; the cactus spines from the Texas desert; the carved, old jade jewelry in Taiwan. I am inspired by nature and especially the critters that inhabit our organic garden and property in North Carolina. What subjects inspire your art work? (People, places, thoughts, etc.) I carry several themes throughout my artwork. Some are intentional and some just keep showing up! These include the imagery of birds, birds in language and birds in culture; the imagery of cigarette smoking in culture; the imagery of subversive advertising; the politics of war— especially its consequences on relationships and families. I have used military objects including images from Joan of Arc to WWII in my art work. Physical health issues have also had an important influence on my artwork. I have included x-rays, MRIs, and vocal chord charts and graphs. Do you have any specific works you have done that are your favorites? I’m not sure I would say it is a favorite, but I am quite proud of a work I did as a tribute to my father after his death.The work stands 6’1” tall, just like he did. It includes images of his laboratory equipment like glass beakers and mercury thermometers. It is filled with items of his life. It incorporates things that had special meaning for me and our family. His kind, smiling face gently floats inside a beaker, almost like a ghost. Most people miss seeing it until it is pointed out to them - and then suddenly they smile - because there he is smiling back. Do you have a website or Facebook page we can include in the magazine? For publications of newer works of mine, some are available on https://issuu.com/search?q=margie+labadie and for older works of mine, you can go to: http://steppingstonearts.com and for our non-profit JumboArtsInternational.org Have you won any awards or been featured in any publications? Recent awards: The Langston Hughes Project, for which I was part of the Jumbo Arts Team that did the video backgrounds, was the winner of the “Live Experience of the Year Award” for Ice-T & Ron McCurdy at the Barbican Centre in London, April 2016. Outstanding Part-time Teaching Award, 2012; First award of its kind given on the campus of UNC Pembroke. People’s Choice Award, 2010; New Media Consortium Annual Conference Poster Session Grants: I have received approximately $10,000 in grants from various granting agencies in North Carolina in the last 5 years. Recent publications: John Labadie and I were interviewed for the international art blog of Sara Mascia “Art Sky In the Room” Feb. 2016 (http://www.artskyintheroom.com/intervista-a-john-antoine-e-marge-labadie-interview-with-john-antoine-and-marge-labadie)
What is the main challenge you face when beginning a piece of art? I don’t have any challenges beginning a work of art. I have more ideas than I know what to do with! I have many works going at one time and may work on any one of them for weeks, months or years, until I feel they are complete. The challenges in making art come during the work process, but mostly that is in finding time to work! How has art influenced other aspects of your life? Do you have any professional or personal plans for the future? Our Non-Profit: Jumbo Arts International My husband and I (with other colleagues) founded Jumbo Arts International as a non-profit in 2012 to help bring more arts into our local community. This includes the visual arts, music, performance and dance. We’ve been successful with our programming which continues to grow. Our Publication: Journal of Creative Arts and Minds Having had the good fortune to travel and teach internationally for many years, my husband and I have shared many extraordinary experiences. Over the years we have been hosted by wonderful artists around the world and we have always wanted to share our good fortune. To that end, we have begun the Journal of Creative Arts & Minds or JCAM for short. The publication features up-and-coming, mid-career and well established artists from around the globe. As Senior Editor and Publisher respectively, John and I are extremely proud of the quality of the art in our publications. Artists from all over the world find a voice in the pages of the JCAM. They join a growing conversation about “being artists” and they come from diverse cultures and countries such as the USA, India, Taiwan, Russia, Ghana, Hungary, Canada, Brazil, Spain, Israel, Pakistan, France, Belarus, Argentina, Greece, China, South Korea, the Czech Republic, Iraq, the Republic of Tatarstan and others. The interaction with so many fine people has had a very positive influence on our lives and we know it has had a positive impact on the artists who have been included so far. Our next issue comes out in June 2016. It can easily be found via our non-profit website at www.jumboartsinternational.org and click on the JCAM tab.
Kuniko Kanawa
Artist Spotlight
Since 2007, Kuniko Kanawa has professionally practiced the art of the creation of kanzashi, which are traditional hair ornaments that change in design with the season and mimic the beauty found in nature. Coming from a long line of Japanese craftspeople, Kuniko found herself driven to pursue kanzashi craft. She was accepted as a pupil by master Kazuyo Hozumi, one of only five recognized Edo kanzashi masters in Japan. Despire her poor health, master Hozumi trained Kanawa as long as she could, before Kanawa’s apprenticeship was taken over by master Hozumi’s husband, master Minoru Hozumi, another of the five designated Edo kanzashi craftspeople. Kanawa is also a kimono consultant, and shares her passion for both kanzashi and traditional kimono etiquette with the American audience through classes and craft shows. She is currently the only professional Edo kanzashi craftsperson in America, making her a rare treasure trove of traditional Japanese culture and knowledge. She has a website for her studio, Atelier Kanawa, where she discusses her crafts as well as markets her skill for beautiful custom made kanzashi pieces. Source: http://www.atelierkanawa.com/#!about/cjg9
Kanzashi
Art Form Spotlight Kanzashi is an old and revered style of handicraft in Japan. The style is over 3000 years old and is still in use today. The word kanzashi derives either from kami-zashi, which means hair stick, or ka-zashi, which means flower stick. Traditionally, it was believed that the rods housed good spirits that were used to ward away and exorcise evil. Traditional kanzashi hair ornaments were crafted to celebrate the beauty of nature with the changing of the seasons. Depending on the time of year, different motifs would be popular in the kanzashi worn by noble women as well as geisha and their apprentices, the maiko. In January, evergreen pine and bamboo are popular themes, while cherry blossoms dominate in April with the coming of spring. There are different types of kanzashi that serve different functions. Hana-kanzashi is the most recognized style, decorated with flowers and often incorporating petal or flower falls in elaborate designs and rich colors. Mimikaki kanzashi consists of a thin rod with a small scoop at one end that functions as both an ear pick and as a tool for scratching itchy scalps. Having to wear elaborate hair styles for days on end would make this a practical tool to wear. Matsuba-kanzashi are flat rods that resemble pine needles, decorated with crests and other medallion images at the top. Tama-kanzashi are thin rods that featured balls of coral, jade, lacquered wood, and other decorative materials on the end. It is a simple yet elegant design suitable for everyday wear. Hirauchi-kanzashi are thin, flat one or two pronged hair forks that feature a minimalist design on the end similar to matsuba-kanzashi. Though these five were the most common during the Edo period of Japan when these were very popular, there are new styles that can be seen decorating the elaborate hairstyles of geisha and maiko today, who are some of the last habitual wearers of kanzashi. There are the comb style (kushi) as well as the birabira, which feature thin metal dangles that make a beautiful chime sound. Sources: http://www.atelierkanawa.com/#!edo-tsumami-kanzashi/cdf7
July Ruby
July is here, and we have another exciting set of Birthstone Creations to share with you! Once again, the only rule is to incorporate the birthstone color in our creations. With July comes the queen of gems and the gem of kings, the ruby. Treasured by many cultures even more than the diamond itself, it is no wonder that this symbol of the sun was said to ward off plague, warn its wearer of danger, and even banish sadness. Other properties included bringing peace, keeping bad dreams at bay, and helping resolve disputes. Check out our ruby-inspired creations, and don’t forget to send your creations to fanARTicmag@gmail.com!
Christine
This month, I wanted to branch out again and do something that I’ve been experimenting with for a while. My creation was made using the fractal creating program, Apophysis. Since July is ruby, I wanted to go for a red rose. Making the rose proved to be difficult, but it came out looking like a flower so I am still happy with the end result.
Megan For this month I continued my series and created a ruby inspired piece. This month I referenced the red coloring of the ruby and emphasized its radiance. The lantern held by the personified ruby is something I added to reference the glimmering qualities of the gem. The lilies are one of the flowers commonly associated with the month of July. The red color is probably my favorite part of the piece as it is a very bright saturated red that is not seen in the other birthstones.
Rebekah This month I decided to actually finish a piece that I started last month to showcase for ruby, since the deep red is the feature color. The pair of hair sticks display red and yellow flower dangles, as well as bead drops. I adore the bead drops since I was able to incorporate these beautiful red beads that I have had for a while. The kanzashi flowers are great since I was able to make a new style of flowers that I had seen in a tutorial. I am actually going to go more in depth about how I crafted these beauties in a future edition, so stay tuned!
Chelsey This month’s art piece is a photo manipulation/digital art piece. I wanted to really emphasize on the red of the July ruby with three-dimensional objects in the front while also using the manipulated image in the background. I call this piece “Complete.” This was my first time manipulating a photo as much as I did and I am very pleased with the pattern that I came up with. I am also very happy with the liquid appearance of the threedimensional objects.
Show us your art! Each moth we will have a coloring page in the magazine, and we encourage you to color it in using any medium you like. If You would like your coloring page to be featured in the magazine, please send it to fanARTicmagazine@gmail.com along with your name, location, and the medium used.
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Sewing Crossword 1
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3. Decorative needlework in which designs and pictures are created
1. One of two finished edges on a bolt of fabric that does not fray. Manufacturer information is often printed here
6. A device that closes openings in clothes
2. A join between two adjacent clothing panels
12. Cloth gathered into a frill
4. A fabric of varying thickness that is used to stiffen fabric and help it hold shape
14. A special type of sewing machine used primarily for finishing hems to prevent fabric fray 15. The area between the stitched line and the cut edge of fabric
5. A plastic mesh used to stiffen parts of clothing that need to hold a shape on its own with minimal support, such as skirt hems and hat brims
16. The finished lower edge of a sewn work that prevents the item from fraying
7. Fabric which is woven strips of rubber that returns to its original width and length after stretching
17. Protective shield worn on the thumb or finger
8. Layers of fabric or padding that are joined together by stitched lines
18. A small bag sewn into clothing for the purpose of storing small items 20. A thin type of yarn used for sewing
9. A method of hand sewing which keeps the stitches from being visible 10. A type of fold formed by doubling fabric back on itself and securing it in place
Photoshop Fun Fireworks For this Photoshop Fun we are gonna learn how to make our own fireworks in Photoshop!
Step 1
Duplicate the background layer and if it does not already look like it’s nighttime, make the photo look nighttime using the levels menu (command+L). In order to do this properly I want my focus to be my niece Emily, so I used the select tool and switching it a circle. I also made sure my feather was at 20% so that it would create a faded look. I also used the gradient tool to enhance the shadows and in the end it should look like it’s nighttime or darker except where your light focus is.
Step 2
We will be making the path for the fireworks to follow. I used my brush, although you can do it by making text or whatever you choose. The brush was at size 4, and I used a hardness level of 100%. This is one of those things you can play around with based on your preference. I went for rings because it made me think of hoola hoops which befits a child playing in my mind. After you have created your path, we can move on to Step 3, creating the sparkler like effect. I’m using the grass brush which shows a single blade. Now this is where I’m gonna break it up as it may be hard to follow.
Step 3
Part 1: Creating the brush
In order to get the proper effect we need to go to the Brush window which can be found under the window drop down menu. From here we start with Brush Tip Shape. You want to make it close in size to the width of it. In shape dynamics you want to max out the Size Jitter, Angle Jitter, and Roundness Jitter. You want to go to the drop down menu by Control and select Pen Pressure. Although this would typically be selected when using a tablet it will help along with the sparkler effect. You then go to the scattering section and set the scatter to 100% and the count to 4, however, the scatter will vary as we go. Finally, turn off the color dynamics by unchecking the box.
Part 2: Use your brush on your path
Make a new layer for the sparkler. Select the path by using your magic wand tool on the path layer, but then switch back to the empty sparkler layer while leaving the path selected. Begin using
Part 3: The Outer Glow
After you have finished with your brush, you want to create an outer glow. Right click the sparkler layer and selecting blending options. When you see the menu, check outer glow. You will then change the blend mode at top to Linear dodge (add), and the opacity will be set to 50. You can change the color but I suggest you go with a lighter color. I used a pastel yellow color.
Step 4
We are going to basically repeat the process till the desired look is achieved. I upped the scatter in the brush present to 302%, and then deselected the path but traced over the lines. The end result is what you see! If you enjoyed this tutorial and want to try it yourself please be sure to send us your work. We would love to feature it in the next edition! Can’t wait to see it!
You Could Be Here
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Submission Guidelines We would love it if you shared your creativity with us! At FanARTic we hope to showcase so much more than our own work for your viewing pleasure. You can submit the coloring page (see page 18) and submit it to: FanARTicmag@gmail.com for the chance to appear in our March FanARTic edition. You can also submit it via Facebook by uploading your finished masterpiece and tagging FanARTic Magazine. If you are an artist looking to get your name out there, please feel free to contact us. We would love to help, whether it be by placing an ad in our magazine, being our featured artist spotlight, or just having your art showcased in our magazine! When submitting, please make sure we have: The name you wish to be addressed by Contact information (email/phone whichever is preferred) What you want to call the finished work or any message you wish to appear in the magazine There are no rules for artwork or coloring page submissions. You can use whatever medium suits your taste! Please note FanARTic is not liable for any compensations for showcasing your work. By submitting, you have agreed to let us publish your work and are not expecting anything more than the free exposure. If you have any questions please email us at: FanARTicmag@gmail.com.
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