Save yourself years of  'art instruction' … 

Mark Mitchell photo
"We'll go through each step."
"Discover A Right and Easy Way to Illustrate  a Children's Book ---
From Your First Thumbnails to Final Art for Publication"

Award-winning children's book author-illustrator Mark Mitchell will
show you in a new course that will help you to develop your artistic confidence

Dear Fellow Artist,

Have your ever thought of illustrating stories for children -- creating  art  for publication?

Or dreamed of  turning your children's book idea, plot, folk tale, poem, song and/or make-believe characters into an illustrated book proposal that gets favorable attention from a children's publisher?

Are you interested in improving your drawing and painting skills while keeping your personal style? 

Then…keep reading...  You'll find this letter valuable.

Because you'll find a resource that will show you:

  • How to confidently draw anything you see

  • How to navigate the children's publishing marketplace.

  • What to do when you land that freelance assignment to illustrate a story in a magazine, book, or other media format.  

        But first, the heads-up...

"This Must Be the Cruelest Business in the World..." 

Those aren’t my words. They were spoken by the husband of a friend of mine. He loved her very much, and he was expressing what he thought of the profession she was determined to succeed in. 

She was good. She had a Bachelor of Fine Arts degree and was meticulous, a perfectionist in the best sense. 

She loved what she did.   

But over the years she’d run into setbacks and disappointments on her path that had been hard. And it broke his heart to watch her persist in the face of all this hardship and so little reward. And on one particularly upsetting day, he made his comment that you see above. 

She was a children's book illustrator.

My own story isn't so pretty either. But one day when I was in my mid-20s, I got lucky. An illustrated children's story that I had mailed out was plucked up from a publisher's slush pile.

The editor of a company known then as Harper & Row Publishers wrote me that my pictures and story had charmed her.
But there were problems that needed to be worked out with both, she said. She asked to see my original art.
So I sent her my drawings, which were rather rather large and ungainly.

I was a long way from New York, working as a reporter for a newspaper in West Texas. 

I had always liked to draw. But my college art education had left me a little rudderless, and after languishing in one particular painting composition class, I changed majors, and colleges.

This was the era when art that made statements about society
upstaged traditional, represental drawing and painting.

It was years before the computer game explosion and anime.

Communication and eventually, journalism would become my new path. But I continued to sneak in life drawing and art history classes, because I knew I had that painting gene in me.

And so now, years later, my picture book had been discovered in a slush pile. 

But I was clueless about the world of children's publishing. 

Somehow I hoped that the life and "personality" of my work would push my book past all the conventions of the industry that I didn't know.   

It almost did. The editor wrote me thoughtful "status report" letters.

She asked to see more proposals. (I only had the one.)

"Have you read a lot of picture books?" she asked me in a phone call she made to me during those months. 

I knew at that moment that I'd not studied  enough.

Sure, I loved Maurice Sendak's pictures for Where the Wild Things Are (they reminded me of stage sets.) I was crazy for  the drawings E.H.Shepard did for the original Winnie the Pooh, and the magical pen and wash styles of Edward Ardizonne and James Stevenson. 

But I was basically uninformed.

Harper & Row sat on the fence with my book for a year before finally declining it. The editor wrote me a long, even apologetic letter explaining that my book, had they taken it on, would have required much revision and work. Meanwhile the economic and publishing climates had changed, she said...

In the end, though, I believe that it was my naivite' about the craft and 'the biz' that sank the deal.

So I stepped up my learning. I read children's books and books on art and painting. I attended life drawing sessions after work, took more drawing classes in the evenings and weekends with small groups and at the Art School of the Austin Museum of Art that was just down the highway from my home.(I'd moved back to Central Texas by now.)
And I found some great teachers.

I secured some moonlighting illustration work. (I was still working as a reporter.) 

This led to a few assignments from children's magazines. They paid better than the black and white book illustration I was doing for the regional publisher I was moonlighting for. But the magazines wanted full color pictures. It meant painting on deadline.

         A New Way to Learn

I was used to deadlines as a reporter. 

With art it was different though. Like, what if  
you only had a few hours remaining to FAX your sketch and the sketch felt all wrong?

Or you could tell your painting wasn't 'working'

It was missing something  -- some little ne sais quoi...that would make all the difference, if only you could figure out what it was.

So I had to teach myself to get over the worries, tap straight into the joy of creating art, make the pictures work and slam dunk those assignments!

This meant going back to the basics, of course. I had to really learn all the little technical things I'd been shakey on.

A huge part of the on-the-job-learning was the shock of seeing your watercolor illustrations published over and over.

It wasn't always pleasant. (Each publication experience was like hearing a recording of your voice for the first time.)

Still working as a journalist, I had some articles accepted by American Artist magazine and its quarterly publication Watercolor. 

This meant interviewing some of the country's top representational painters.

I was named a contributing editor of Watercolor. One day the magazine asked me to write a series of articles profiling children's book illustrators who worked in water-based mediums. 

This turned into a two year series that featured many of top stars of American children's book illustration -- Patricia Pollacco, Jerry Pinkney, Ted and Betsy Lewin, Edward Everett Fisher, Jaqueline Rogers, Caldecott Medal winners Emily Arnold McCully and the late Barbara Cooney, to mention some of them.

I listened intently to everything these artists  said, of course.
And not only because I was writing about them. I was trying out what they told in my own illustration work that I was doing for publishers and the kids' magazines -- especially Cobblestone and Appleseeds, but also Cricket, Pockets, Caliope, Faces, Footsteps and Odyssey. 

About this time the Art School of the Austin Museum of Art invited me to teach a workshop-class (for adults) on how to illustrate books for children.  

It's one of the exceptional museum art schools, with a faculty of  professional, working artists who are dedicated to helping others
(adults and in the summer, children, too) become proficient in their various disciplines
of drawing, painting, print-making, ceramics, sculpture, photography, bookmaking, cartooning, and computer graphics.

                  Kindred Spirits 

I could bring to class what I'd learned on the job -- and from some of the some of the most successful children's book artists!

My new students were of all backgrounds, geographies, ages and skill levels. Many had their BFAs; some had MFAs (but still had questions about children’s book illustration.)

There were game animators, graphic designers, illustrators, photographers and professional fine artists and even some of the art school's faculty.  

They were also

  • college and high school students
  • waitresses 
  • architects
  • authors and editors
  • teachers of all grade levels
  • veterinarians
  • a builder-real estate developer who was working on a bed-time story for his kids
  • an eye surgeon, 
  • the curator of one of the largest university museum and research collections in the world
  • and a nationally known children's songwriter and performer.
Every class was full of talent. 

Some of these students had never taken a drawing class before.

Yet most brought in sketchbooks that contained their scribbles of original story characters -- or notions for an illustrated story! 

I was struck by how much they reminded me of myself when I began -- yearning to tell a story in pictures but not sure where to start, or how to get going under full sail. 

So my objective was clear: 

  • To teach empowering attitudes and core skills in drawing and painting. 

  • To shorten students' learning time
  • To help them avoid the common mistakes and disappointments.

  • To expand their appreciation of the field.
  • To help build their foundation for future art-making. 
  • And prepare them a little, if they were inclined to confront "the cruelest business in the world."

Career-wise, things were percolating a little for me. A "chapter book" I'd illustrated for David R. Godine Publishers was named to the list of  "notable children's books of the year" by Smithsonian magazine.

Another little book I'd written and illustrated, Raising La Belle (about an early colonial shipwreck recovered from a Texas coastal bay) won a prestigious Spur Award from the Western Writers of America. 

It won the U.S. Maritime Literature Award for the same year (2003.) 

That led to my commission from the governor of Texas as ...ready? Admiral in the Texas Navy. 

I tend to get seasick on water, and I've never heard a shot -- much less a ship's cannon -- fired in anger!

But crazy things can happen in the arts sometimes.

I was asked to judge, with two others, an annual competition by the National Society of Children's Book Writers and Illustrators (SCBWI), the Magazine Merit Awards.  

               A Personal Litmus Test...

But when the children's literature magazine Cricket asked me one day if I would be interested in illustrating a story by the popular British fantasy novelist, Lloyd Alexander, I got a little nervous.

Cricket's art director approved my initial sketch and I was excited...

But I felt the icy grip of stagefright tighten on me, when I saw, after several hours of paintiing, that my watercolor was not turning out well. 

It was time for the average mortal to panic. And I did (a little.)

I caught myself, took a deep breath, and fell back on what I'd taught myself and was now teaching to students.  

unconfused myself and diagnosed my painting's problems.
I followed my own fix checklist -- added color layers, deepened colors,  pushed the darks beyond what someone might deem safe or prudent.... 

And after another day of painting (and keeping the faith, which illustrators must keep) the picture came around.
It even still looked fresh. I mailed it in on time and everyone was pleased.

The moral, I guess, is, always keep your illustrator's cool.
And make sure you have the right maneuvers.

It's been a great journey of self-education. 

But I think the trip would have been shorter had I found a course like the one I'm teaching now. 

I would have 
become a more competent artist sooner. I might have started off on a better foot with some editors and publishers.  

Oh. Remember that illustrator friend of mine, whose husband was concerned for her?

She was tapped by one of the country's top children's poet-authors to create the pictures for her new book. The book went on to win important literary awards and glowing reviews that celebrated the artwork as well as the writing.  

No, she was never a student of mine. She made her own luck. 

But it shows you that magic is out there if you give it a chance and some time. (It's our job as illustrators and creators, as it turns out.) 

So there's the end of my long story.   

Then I thought...

What if students could access this specialized knowledge online?   

In a structured, but informal course that covered the art, craft and a bit of the business of children's book illustration

That helped them to ramp up their skills to meet this market

A curriculum that was already c

Taught by an illustrator, 
informed by some of the country's star children's book illustrators

And answered the questions:

  • How and where do you find work as an illustrator? 

  • Is there enough work even for the best?

  • How do you get started? 

  • How do you know what to leave in and what to leave out in a picture? 

  • What captures a child's imagination? How can an illustration create a magical page that transmits the meaning of the story in a way that it sears itself into a young mind? 

  • How do you develop a personal style of illustration that will appeal to children?

  • How much detail is "too much?" in an illustration?

  • What should you include in your portfolio to catch a publisher's interest?

  • How do you lay out a book?

  • Do I need an agent?

  • What types of contracts and terms might an illustrator be faced with and what
    pitfalls should he be aware of?

  • In what form do you submit your illustrations for a book proposal?

  • What is the process from illustration to publication?  

  • How do I take a character, or characters that will appear in many different perspectives in the book and make him look like the same person each time? How do I make a character visually consistent from page to page throughout a picture book?

  • How do you translate a story into a cohesive flow of words and pictures?

  • How do you gain confidence in illustrating a children's book?

  • I've heard over and over that it's a long shot. What do you think?

  • Do you need formal training to illustrate a children's book?

  • How do I get as many published "clips" as fast as I can?

  • Is it better to try to develop a "style" for children's illustrations or just do the work and let your natural way of doing things be your "style?"

  • How do you balance the work of illustrating and marketing to find more work?

  • I have both my BFA and MFA, but how do you "get your work out there" to the children's book industry? What steps must you take to enter that world as both an artist and a business person?

  • How do I bring out that 'something extra' in my pictures and words that will
    make my book stand out?

  • What basic knowledge do you need to illustrate a children's book?

  • How do I make a dummy book?

  • Can I really make a living at this?

  • How does one get past the fear of doing one illustration or book?

  • What guidelines are there for submitting to a publisher?

  • Is my work good enough?

  • How do I get better? 

Be neat, huh?

ike Children's Book Illustration 101  on your computer screen.


Course box image

Click here now to sign up!        
           How would it work for you?             
           The lessons 
would come to you in illustrated PDFs.  You could save them to your computer, copy them to a disk or print them out. 
           There are 18  in all --
 each in an "easy-read" e-book format. 
           They're not so much lessons, as they are illustrated conversations.
           With good training hidden, lurking in them...that I think will save you tons of time.   
           Sessions would come to you about once every 7-9  days or so, over the next five months.

            Beginning in March, we'll hold our first group conversation -- where we'll look through some of your pieces, troubleshoot and answer some questions.
      By the time you've completed the 18 sessions, you'll know: 

1.) H
ow to compose your picture thumbnail in 30 seconds (without ‘forcing it.’)
   (Sessions 1-3)

        2.) How to give your characters life from that first scribble.
(Sessions 1-3)

     3.) An easy procedure that will help you plan your overall book design and each of your scenes 
And  you can use to diagnose your story's weak points. 
(Session 3)     

              4.)  The mindset that lets you lay out your large final drawing as swiftly and easily as you did your
thumbnail sketch. (Session 16)

        5.) How to confidently structure the flow of your picture book so that an editor
who’s never met you will feel confident in you.
(Session 4)

        6.) How to make a book dummy that will make an editor smile.
(Session 8)

             7.)  Why the publishers need you, and you may not need them sp much. 
             (Session 24)
               8.) How to paint so that the color in your picture works every time.                
               (Sessions 5-7.)          

          9.) How to set up the visual perspective in your scenes so that it practically draws itself.
(To free you up for the crucial stuff -- your characters, the action and the mood and emotion of your scene.)

               10.)   How to draw and paint so that others feel confident in your vision.

                        11.)    How to create the value patterns that make your scene an instant ‘read.’

                          12)  How to prepare your final art and package for mailing to a publishing house.        

right education is the answer.
Sometmes it's
alternative education
Course box image

 Ready to begin? 

          Click here!   

"You may not have seen 'art instruction' like this before..."  

My approach is a little ...relaxed...


There aren't that many things to learn. You just have to know what they are.  
That's the surprising thing about the visual arts.  It's like cooking, in a way. 
A handful of principles -- and different ways of combining them. 

But your best pictures will come from the unconditioned you.

But you'll trust the 'you' part better after you've got some of these recipes down. 


Except maybe just a few people in the business who are doing well.
We'll meet some of them in this course.


But you don't have to go to the music conservatory to learn how to play the guitar. 

        This course will instill the basics in you  --  so that you'll come away feeling good about them.
The Beatles first had to learn how to play their guitars, right?

        This is not as hard as learning .to play the guitar.

Then there's the advanced stuff. You'll be shown :

What needs to be in your book covers..

The one  ingredient your illustrations must have for your viewers to suspend their disbelief.

Five tricks to placing your characters (and other picture elements) inside your picture
space so that viewers accept them.

The “Howard Pyle theorem” -- and how it will help your pictures to connect  emotionally with viewers.

The “' Lynne and Tessa' factor" and how you can use this to animate your illustrations (and portfolio.)  

How to diagnose your painting problems and fix them. Quickly

What  the Renaissance painters knew about composition that will almost effortlessly
improve your picture designs.

What the Renaissance painters knew about color that can turn your scenes
into full-spectrum eye-feasts!
(Remember, editors and art directors want to see examples of your color work.)
(Sessions 6-7)

Ten ways to make your pictures fun. 

How to make your watercolor brush behave. 

The right direction to take in furthering your education as a children’s book artist

  How to put up your illustrator’s blog or online portfolio.
(Session 24)

How to professionally submit your picture book story proposal or illustration samples to a publisher.
(Session 24.)

 How to find the right visual  reference fast and use it without violating copyright law --
or making your pictures too formal or stiff. 
(Session 9)

How to draw interiors so a viewer feels like she's in them.  
(Sessions 11-13)

How to tap into a wide network of children's book artists, writers and editors. 
(Session 24)

How to effectively handle multiple figuresin your scenes,  and figures in action.
(Session 16)

Easy ways to draw children and animals.
(Session 17)

Two kinds of drawing you should know how to do (and why both are critical to your  picture.)
(Sessions 1,2,8)

How to engage, even fascinate the eye with your picture design. 
(Sessions 14)

How to handle watercolor with bravura
And why you have to. (It's not as hard as you think.)
(Session 21) 

The hidden between the covers secrets of the children's picture book
(Sessions 2-4)

 How to draw the way a child sees. 
(Session 16)

How to draw and paint like you know what you're doing (because you will.) 
(Sessions 1-24)

How to promote yourself  and avoid having your work  treated as a commodity in the "bunny eat bunny"
world of children's publishing
(Session 24)

Transforming the “fear factor” into the “fun factor”  
at each step in the illustration process.

(Session 1-24)


Stop practicing in wrong ways.
And use these sessions to help you bring your book into the world.

        Heads up, here:  

It's not a get rich quick course. There are better synonyms for business opportunity than
children's book illustratio
n. (It's the arts, remember?)

 But one assignment from one small publisher can pay for your investment in this course. 

             The next one can pay for a year's worth of your art supplies. We'll talk about how to get these jobs. 

This course can't paint the pictures or submit your portfolio for you.

You'll be urged to tackle some kind of "project." (It doesn't have to be large.)
You'll be asked to do some drawing and painting, and to practice. 

         We all know it's the do-it-yourself component that makes learning any craft or skill exciting.  

        Take the sessions to heart, and you'll:  

Know know to proceed with a book, magazine or media illustration assignment. 

Be able to prepare dynamic thumbnail sketches, find the best references to help you draw with authority, and create solid, final drawings for your book 'dummy.' 

You'll be steeped in the "right maneuvers", armed with scores of professional tips on visual design, perspective, artistic anatomy and watercolor technique.

  Be able to easily transfer your pencil sketches to a painting surface -- and create satisfying full color illustrations for your portfolio, book proposal or assignment!

You'll understand better how to promote  yourself and work well with editors and art directors at a publishing house.

You'll have built up your artistic confidence to a degree that you may never have thought possible.

Yes, Fine Arts Colleges and Art Schools proffer illustration programs
        There's so much to cover. They want you to be able to eat when you get out of school (to their credit.)
        So their academic 
programs embrace commercial illustration -- advertising, technical, medical, industrial, fashion and the digital arts applications that employ so many now, such as web and game design, animation, film and video.
They don't tarry too long in the rarefied air of children's book illustration. 
ou can spend $700 to $800 per credit hour at one of these schools. 

        That's times three credit hours, or $2,100 - $2,400 per course. Or $10,500 for a full semester of five courses
        Or $21,000 per year -- in just tuition. 
        And it might be worth every penny to you. And a great career decision. 

        But what if you just wanted to illustrate a children's story?

you can't (right now) return to college for that studio art degree you always wanted.

         Or you've been to art school, but need a refresher,
         And want to hear those tips on illustrating children's books that you never got n your classes. 
You might have a relative or a friend who's "in the biz."
         Her work might keep her too busy to teach you from scratch or to mother you.

        You can sign up for community college classes --
        And hope that one of your instructors is a published illustrator (or knows something about it.)  

       You can figure it out on your own --
        From your observations, trial and error experimentation and reading books. 
        (There are a few -- not enough -- and most are decades old.)        

And it can take you the better part of your life. 

        The right education is the answer.  

        But how do you find it, or even know where to look?

You might know it if you saw it:

A simple course of action that you could take 

In the comfort and convenience of your home

So you don't have to pack your car with art supplies and drive to evening classes.

 No fluff  instruction that could reduce your learning time to a fraction of what it might have been.

Distilled from years of (published) experience, learning and studio-classroom teaching -- so you get only the interesting, practical fun stuff that works!


"OK, All right!  Enough!

"How much is this web course?" 

You might be asking. 


       Friends and loved ones were surprised when I told them what I was thinking of charging. 

       They thought that people would dismiss the value of the instruction. (Some even got a little upset with me.)

       I explained that it was an introductory offer that would not stay up long.
       It would be a chance for some "pioneer" students -- and me -- to get up and going.        

      The cost would rise when I was satisfied that all the parts were working smoothly. 
      (I was already looking into more expensive formats for the course,  I told them.)        

I didn't want to charge $2,100 for a semester.

 I'm not an accredited institution. 

I was thinking of something less ...conventional. 

More along the line of "community education classes."

I didn't want to charge $1,000. 

I envisioned something closer to the group Salsa dance lessons at the neighborhood rec center.

Or guitar lessons at the local music shop.

Except you don't have to drive anywhere.

For 2009 "pioneer" students, I was thinking of an introductory charter offer of  $15 per session.
(Remember, a session is like a lesson, only better.)

You would receive links to three or four sessions per month, until you get all 18.

So if you choose to pay month by month -- you'll pay  $54 per month
for five months, or a total of $270. 

If you elect to pay for the  course up front
20 percent or $54 off the total 

And pay only  $216

-- or $12 per session.

Or four cups of  fancy coffee.

Sign up now.

       And get in on the March teleconference call.
       I suspect you'll get more attention from me on this charter run, as we work the kinks out of long distance learning and sharing .

        And I work hard to cultivate some success stories out of you.


       In fact, I have a soft spot for pioneers.             


    So I've got another incentive for you.   
        Last summer I started gathering up the artist submission guidelines that some publishers make available.
       They vary from house to house (of course) but these are the "official statements", or the dish straight from the publishing houses, explaining who they are, what they're about and what they want to see from us. 

        The guidelines spell out, in the publishers' own prose how they want to receive those art samples, portfolios and illustrated proposals of ours. 

        I was collecting the guidelines for myself.  Then it occured to me that if I provided them to you, it could save you days or weeks of hunting and poking around online, and maybe even help kickstart an assignment or gig for some of you.    

        So hop on this wagon train now before it leaves -- and I'll toss in my own collection of these guidelines..

Publishers Guidelines image

I  don't want to dissuade you from doing your own marketplace sleuthing.  I think that's important.

But these "artists' marching orders" from 23 North American children's book publishers are a good place to begin your research.

Publication is the outcome I want for you from this course. 

Couse virtual box image

So sign up now. Within minutes you can be looking over your course supply list,
publishers' guidelines and your first amazing session.  

And begin a year of creating.  

Click here to enroll.

But don't just order, tuck the PDFs away on your computer
and forget about the weath of instruction that’s in them.  

Use the course. Go into these unconventional sessions and discover what makes illustrating stories for children one of the most 
creative endeavors on the planet.

If you're disappointed, or 
anything less than really pleased with the instruction
 e-mail me within 30 days of receiving the course or session.

I'll refund you with no questions asked and no hassles.  

My reputation as a teacher is based on your complete satisfaction.
I want  the risk to be all mine.

guarantee seal

  Erik Kuntz drawing "I'm still in touch with some of those students and we look back at how far we've  come since then."

    "When I took Mark's class, I was at best a doodler with  a desire to draw well but without the background or drive to work really hard towards my goal. The class environment was very supportive, with students taking their cues from Mark's way of finding the good in your work and his gentle way of helping you see where you could improve. 

     "I'm still in touch with some of those students, and we look back at how far we've come since then. But I remember that class as my first real step towards taking my art seriously. More than that, with Mark's help I created a piece that is still in my portfolio and which still draws great reactions from people who see it."

Erik Kuntz, designer and writer, Austin, TX

Laura's book cover

"My first introduction to children's book illustration and it's still the most helpful resource I've ever tried."

"I'm contacted from time to time by illustrators who are starting out or need a jumpstart and want to know where to begin.  If they are remotely local, I always highly recommend your AMOA class.  I took it over 8 years ago (WOW) as my first introduction to children's book illustration and it's still the most helpful resource I've ever tried.  I learned SO much.  Now that you may be offering it online, the "local" bit won't matter!"

Laura Logan, Illustrator, Designer, Austin, Texas

"..It was fantastic."

"If there is anything you want to learn about illustrating children's books, Mark Mitchell is the teacher for you.  I took his course at Laguna Gloria Art School in Austin and it was fantastic.  He taught us everything: laying out the book, making the drawings, creating and using a color wheel based on a four-color process, using water color techniques, getting published, and marketing your book. Mark appears to be very laid back, but he has a real knack for organizing and presenting information, and he gives excellent feedback to help his students build their skills.  I am so looking forward to his online class."

Linda Seder, Artist, Austin, Texas 

Susan Sorrell Hill Watercolor

"A huge sigh of relief.."

"In all of my research (on-line and in books) in the last several years, I have never come across a clearer, more work-able approach to color that can be applied practically to a painting...and I have looked far and wide for this information, recognizing that it was of major importance.... The need for a sustainable, predictably successful approach to color, for illustration as well as fine art, became crystal clear to me when I switched from oil painting to watercolors...the old 'keep messing with it until it's right' approach just was NOT working with watercolor...(Is this the 'shadow' side of watercolor's wonderfulness...unforgiving??)

"As you predicted, the results are immediately recognizable. I heave a huge sigh of relief!

."In HUGE appreciation,

Susan Sorrell Hill" Artist
Northern California


"I really enjoyed Mark's approach. It was inspirational!"

- Lisa Stora, Austin, Texas

Mad Hatter illustration by Sir John Tenniel

"Mark's class is art school in a teacup!" 

 The Mad Hatter, Wonderland

"..A Wealth of Practical Information!"

"Mark Mitchell is a delightful teacher. Each class brings a wealth of practical information yet coupled with plenty of time for releasing your creativity to produce viable images. His sense of humor makes the time fly by and you quickly forget how bad your back hurts from sitting on those bar stools!"

 Diane Carr, counselor and life coach, Austin, Texas


P.S "What's the worst that can happen if I step out on this journey?" You might be asking.

        I  wondered about that, too. So I tried to brainstorm a list of 'worst things.' 

                    1.) Something creative and authentic might spark in us. 

                    2.) Some vital ideas about art-making will get spread around...

                    3.) Skills will improve.         

                    4.) We'll nourish our environment, even if just  a little, with the story-pictures we create.    

                    5.) We'll think harder about how to communicate to the young people of this world, in ways that are worthy        of them. 

                  That's all I came up with...                  

                  What did you come up with?
        To your amazing art success,

Mark signature

Contact Me 

 Mark G. Mitchell Instruction  - Austin, TX 78759  -  (512) 258 - 8348
Content Copyright 2009 by Mark G. Mitchell
. All Rights Reserved.