Wanderings of an artist in the trenches.


Morocco or Bust: 1

Installment One

by Ali-Baba

Poor wi-if has prevented me from posting during my journey. But I think I can finally get some of this posted – insha’Allah (as they say here.)


Marrakech. The narrow street is a never ending tide of robed and sandaled humanity. Bicycles and motorbikes career through the crowds, threading their way in fits and starts, the sharp smell of exhaust clouding the air and blending with the smell of urine, a blunt smackdown of the rich scents of various spices that tinge the air that resonates with the Adhan as muezzins through loudspeakers call the faithful to prayer. Merchandise is ubiquitous, splayed upon the street, hanging above and piled into small storefronts. Lanterns of meticulous and intricate metalwork, clothing, hats, shoes, slippers, wooden boxes, whistles, tajines large and small, fly swatters, necklaces, bracelets, spices, musical instruments, tiles, fruits and vegetables, on and on and on. To the left and right small vendors cooking pastries or cookies, live chickens in and out of cages awaiting their doom. Eye contact with any of the sellers is an invitation for them to try to get you to buy something and then haggle a price from you, or be lead somewhere (usually someone’s shop they have an understanding with) to then look at some other kind of merchandise. They are incredibly persistent and we’ve finally learned how to be firm and say, “La Shokrun!” (No Thank You!) Even then we have to repeat it several times, shaking our heads and moving on through the press of humanity. And not looking at people here is a crime, really, because there are so many wonderful faces to enjoy! Marrakech is a kaleidoscope of sights, sounds, aromatic and tactile textures, and throngs of people all jostling and sharing the stark heat of the day.

John Singer Sargent Watercolor 

My fascination with Morocco was sparked by the watercolors of John Singer Sargent when he visited in the 1880s. In 1981 I was in art school in New York City by way of Beaumont, Texas and those stunning watercolors hit me as extremely, powerfully exotic, filling me with a wanderlust I’ve barely been able to scratch the surface of. Morocco became my Grail, the destination that nestled and burned in my heart demanding that I get there someday. It was the allure of the traditional garments, the robes, the burnooses, the camels, the architecture, the Arabian Night stories. Time had other plans, but here I am now.

John Singer Sargent Watercolor


John Singer Sargent oil

 Other artists have also piqued my interest and stoked those fires further. Frank Brangwyn’s oils when he traveled through Morocco, as well as his traveling mate Arthur Mellville and his extravagant watercolors.

Frank Brangwyn Oil

Frank Brangwyn Oil

Frank Brangwyn Oil

Arthur Melville Watercolor

Arthur Melville Watercolor

Arthur Melville Watercolor

There’s Delacroix, Gerome, Matisse, Lord Leighton, Mariano Fortuny, and on and on. Each adding another stent opening that space in my heart until finally I could wait no longer. I’ve been incredibly fortunate to have been awarded a sabbatical from Ringling College of Art and Design, where I’ve been teaching for the past ten years. Everything aligned perfectly and during my teaching with the Illustration Academy I hit Jon Foster up with the possibility of joining me, and here we are.

Gerome Oil

Fortuny Watercolor

Fortuny Watercolor

Fortuny Oil

Fortuny Etching

Jon Foster

Ali Baba

Jon’s asleep right now and I’m up finally taking to the task of starting my blog entries. There’s a fan in the room with us circulating hot air. It makes a difference, but only *just*. I’m working by the dim bathroom light that’s spilling weakly into the room, sitting on my bed hammering away on the iPad.

It’s hot. 108˚F. I live in Florida and grew up in Texas on the Gulf Coast and I don’t remember being this hot. Brutal. But the heat gets pushed to the back of your mind and you get blown away by the sheer weight of the layering of people, the close quarters maze of hallways and textures and smells of this place. It’s sensory overload. Endlessly fascinating and draining all at once!

We’re staying at a nice Riad, The Empty Canvas, and the hosts are wonderfully pleasant and engaging. Jamal and his mother are sincerely nice, warm individuals. We feel totally welcome here and it’s a great place to come back to each day and night. We awaken to a nice breakfast of a hard-boiled egg, Moroccan bread with fruit jam, orange juice, mint tea and coffee. Perfect!

Jamal with my daughter’s Pusheen – Kitty in a teacup that she wanted me to take and photograph during the trip.

I left from Florida and Jon from Rhode Island and we connected in Madrid and were on the same flight to Marrakech. After landing and getting through customs we went out looking for a cab that was supposed to pick us up. Apparently there was some kind of confusion on the part of the driver and we never found him. We ended up sharing a different cab with a nice girl from England, Janice, who was here for a yearlong study abroad program. We were going in pretty much the same direction and she filled us in on things while we blew through traffic, our lives flashing before our eyes. The streets were crazy! Traffic from every direction! Cars, bicycles, trucks, donkey’s pulling wagons, horses pulling carriages, motorbikes, you name it! All jostling for position, cutting each other off, crisscrossing each other at crazy speeds. Our driver was first rate and handled it with ease. A real feat!

We were dropped off at the street that was listed in the communication with the Riad, but we didn’t know what we were really looking for and the phone call I made to the Riad connected me to Jamal’s mother who doesn’t really speak English (of course the real problem is that I don’t speak Moroccan Arabic). There was a group of guys there and they wanted to walk us to our destination, but we didn’t have a solid address. One guy got a little surly, but we eventually just left and walked to the Main Square, which was quite a walk. I was dragging along my luggage — a rolling duffle filled to the brim, a backpack also filled to the brim, and a smaller rolling case that had my Ala Prima Pochade Box in it. Jon had his backpack and a large duffle. Janice also had a few pieces of weighty luggage. The streets are uneven cobbles and, as mentioned earlier, are rife with motorbikes and bicycles and people and cars and donkeys and horses! Crazy.

Pusheen getting around!

 We walked for what seemed like forever through the maze of the medina and finally found the Café de France. There we sat down and had big bottles of cold water and piping hot sweet mint tea, the national beverage. I finally got through to the Riad and someone came to pick us up. Janice was on her own at that point, but I lent her my phone to make a call and she also finally got through to someone.

That first day Jon and I did no drawing whatsoever, just wandered and ogled at the kaleidoscope of colorful clothes, the press of humanity, the bustle, the cacophony. We took lots of photographs and muddled our way through the day trying to get a handle on what little bits of the language we can pick up and parrot back to people. We were wide-eyed at the number of people that crowded the narrow walkways. We were consistently called Ali Baba (which we were beginning to think was directed at me because of my beard. This proved to be true.). Everywhere was an interesting sight and it was hard to take it all in. Our jet lag got the best of us and we came back and took a little Spanish pause that lasted roughly four hours of sleeping like the dead. We went back out and got dinner and wandered a bit more. Jon had gotten up earlier than I and had met a guy named Mustafa who said he could get us to places. He seemed like a very nice guy and off we went.



More to come!

The Illustration Academy

I was looking through the various posts I’ve made since I upgraded this blog from my old artblog and realized that I haven’t posted about the Illustration Academy on this new version. Crazy! Since it’s getting close to the summer I thought I should rectify that. Scattered throughout this article are shots from last year’s Illustration Academy. I hope they entice you to explore further what the Illustration Academy has to offer by going to their website:


I was honored to have my image on the Academy poster last year.

The Illustration Academy is where I go to recharge my batteries, both as an artist and as an instructor. All the instructors there are working professionals and include some of the top talents working today. I always feel incredibly privileged to be friends with these wonderful artists. What always impresses itself on me is that each and every one of these individuals is also still a student. They are constantly experimenting and striving to discover new ways of working, of stretching their skills to the next level of their personal artistic development.

Mark English drawing demonstration

John English drawing demonstration.

 The Illustration Academy is a five-week program designed to push you as an artist in your technical skills, but also in how you solve problems and interpret the world visually. It’s also heavy on process, steps that, if relied upon, can make picture making a success. It has been described for years and years as “bootcamp” for artists because it is an intense learning experience. And as intense as it is, everyone also has a great time sharing a lot of laughs and making a pile of artwork.

Jon Foster and John English working with students.

A typical week at the Illustration Academy: We begin at 9AM. An assignment is given and for that week we work with the students to hone their solutions through the process of ideation, composition, tonal plans and color studies. If you’re able to get approval early then you have more time to work on the finish. Generally many don’t get to hit their finish until Friday or Saturday. The finals are due the next Monday morning.

We encourage everyone to make their space their own.

Bud Cook’s final cover design.

On Monday a new instructor arrives, let’s say Gary Kelley, and he along with myself, Mark English and John English, critiques the work. Gary is the new pair of eyes and is able to approach the critique with a fresh sense of perspective.

After the critique Gary delivers his assignment for that week (And he, along with the other instructors work with you that week to help you create the best solution possible). Gary then gives a presentation/lecture about his career and work. During that week Gary will also give demonstrations and how-to’s on various techniques and aspects of, say, book design, etc.

Sketchbooks get filled at an alarming rate!

George Cwirko Godycki was a sketch machine!

The next Monday another instructor or instructors arrive and it begins all over again. Throughout each week there can also be impromptu demonstrations and lectures on various techniques and topics. Students are encouraged to shoot reference for their pieces so they’re working with real information as opposed to making stuff up. It is for “reference” not for copying.

There’s so much information being imparted and so many wonderful pieces of art being creating. Lots of laughs. Just a great crowd of serious, like-minded artists to be with.

Mark English mixed media demonstration.

John English Oil Pastel demonstration.

Your’s truly doing an oil demonstration.

My putty knife and acrylic demonstration.

My mixed media demonstration.

Visiting Mark English’s studio.

Jon Foster demonstration.

Jon Foster digital painting demonstration.

Francis Livingston oil demonstration.

Chris Payne

Chris Payne mixed media demonstration.

Jeff Love and Ted Kinsella by Chris Payne.

Ted Kinsella explaining his process.

Ted Kinsella roughs.

Ted Kinsella roughs.

Jeff Love shares his work.

Jeff Love’s work.

Jeff Love demonstration.

Gary Kelley lecture.

Gary Kelley tissue demonstration.

Gary Kelley tissue drawings.

Bud Cook checks out the originals that Gary Kelley brought with him.

Sterling Hundley lecture.

Sterling Hundley painting demonstration.

Sterling Hundley painting demonstration.


Drawing Night at the Academy

We draw from life three times a week at the Academy. All poses are 15 to 20 minutes long. Mark English does the first demonstration highlighting a form of drawing he utilizes to get students to see the whole figure and not concentrate on details by working with two tones on a toned paper. It’s a pretty heady experience to get to draw in the same room with Mark English, John English, Gary Kelley, Chris Payne, Sterling Hundley, Jon Foster, Francis Livingston, Ted Kinsella, and Jeff Love.

Drawing Night at the Illustration Academy.

Mark English and Gary Kelley drawing.

Sterling Hundley drawing.

Mark English drawing from life.

Chris Payne life drawings.

Chris Payne life drawings.

George Pratt life drawings.

George Pratt life drawings.

Mark English life drawings.

John English life drawing.

Sterling Hundley life drawing.

Gary Kelley life drawing.



The usual gang of idiots: Mark English, John English, Gary Kelley, Sterling Hundley, Francis Livingston, Jon Foster, George Pratt, Ted Kinsella, and Jeff Love.

New instructors include: Bill Sienkiewicz, Bill Koeb, Bill Carmen, Wes Burt, and Victo Ngai.


A Short History

The Illustration Academy, was founded by Mark and John English in 1995. It’s first summer session was at William Jewell College and remained there until 2001. It moved to Virginia Commonwealth University (VCU) in 2002 – 2004. It moved to Ringling College of Art and Design in 2005 – 2009. It then moved to Kansas City in 2010 where it has remained.

The Illustration Academy was an outgrowth of the Illustrators Workshop. Art Center approached Mark English to teach on their campus, however he did not want to go to California. Instead he suggested the school send a group of their best students to Connecticut where he would arrange the introduction to some of the stars in the Illustration field — Bernie Fuchs, Fred Otnes, Bob Peak, Bob Heindel, and Alan Cober.

The first group from Art Center arrived in 1974. The program was a success and the instructors began to organize what became the Illustrators Workshop.

Left back: Bob Peak, Mark English, Bob Heindel. Front left: Bernie Fuchs, Alan Cober, Fred Otnes.

 The first Illustrators Workshop was held at Marymount College in Tarrytown NY, 1976 -1979 (1980 Paris, 1981 Monterey, CA)  

In fact, Chris Payne and Anita Kunz both attended the Illustrators Workshop as students and credit it with getting them prepared for the illustration field. Both Chris and Anita have taught at the Illustration Academy.

Left to right: Bob Heindel, Fred Otnes, Bob Peak, Alan Cober, Bernie Fuchs, Mark English.


Hope to see you this summer!




I’ve been spending more time in my sketchbooks and have been enjoying that solitary time. The great photographer Henri Cartier-Bresson, who took up drawing later in his career, said that drawing was a meditation and I think he hit it on the head. Sitting and drawing in my sketchbooks (or doing any art, for that matter) is an inner journey at times, a sort of zen place where a lot of personal reflection comes into play. My sketchbooks are mostly filled with observational drawing. It’s not that I don’t work out various compositional problems in them or try to refine some figure or other, but by and large my sketchbooks are just a place to keep my hand in. I’m not one to draw monsters or space marines and so the books are mostly filled with drawings done at cafés, while traveling, or while watching various movies purely for my own pleasure.

I began sketching in sketchbooks religiously in art school, a habit ingrained on me by my teacher Barron Storey. If you’ve not seen his sketchbooks you need to familiarize yourself with them:


Lately I’ve been scanning my sketchbooks with an eye toward self-publishing a nice volume of drawings from the pile of sketchbooks I’ve filled over the years. If you visit my website: http://www.georgepratt.com and navigate to the sketchbook section you can view a somewhat broad selection of these books. But I thought I’d throw out a few of the images I’ve done relatively recently. I’ve shot these with my iphone rather than scan them for the sake of time. I’m usually posting these on Facebook, Instagram and Twitter but thought I’d throw out a blog post as well and try to get a feel for what you might think of a book of material like this.

These days I’ve been really leaning on working with a Soft and Smooth Palomino Blackwing pencil in a Moleskine sketchbook. I love the way the buttery line that the Blackwing’s soft lead has and the beautiful tones I can achieve by smearing the line with my finger. I’ll cut back into the drawing with the white eraser on the Blackwing and also use the Mono Zero 2.3mm eraser by Tombo. On many of these you’ll also see the use of a white gel pen, which is a nice little hit on the sort of off yellowish Moleskine paper and pops just enough.

There’s a few in ink as well. I’ll jump around with different media and even different sketchbook papers, usually opting for the Moleskine, but occasionally a brown paper sketchbook where the white gel pen really shines. In addition to the Blackwing pencil I may use a Pilot Custom 98 fountain pen or a Hi-Tec C gel pen for my linework. Every media is fair game (watercolor, gouache, colored gel pens, acrylics, etc.) and it’s only lately that I’ve focused on pencil and pen.


I’d love to hear any thoughts about the possible publication of a sketchbook. Is this something that might be of interest to you? As usual, thank you for scoping out the blog!




Limiting the Lines

Readers of this blog will recall that I was invited to Germany to work on the Black.Light project with several international artists. You can read the account of that trip here:
While there I got to meet Danijel Zezelj whose work I have loved for quite awhile, and watch him at work with his rollers and acrylic paint. I was struggling with a way to approach the work I was to do for that project because I didn’t want to just do what I normally do.
Upon arriving there I immediately fell into just doing pen and ink drawings. And they were fine, but they weren’t killing me. They didn’t capture the raw and brutal nature of the genocide. I wanted something much more simple and blunt. I had been working with putty knives at home and asked if they would take me to get a set.
That was a transformative decision for me. Because I couldn’t noodle with a putty knife the work took on a more direct and edgy feel. They were so much more suggestive than the pen drawings I was doing. I felt very good at that point about where I was headed. I felt that I had found something that almost felt tribal, like cave paintings.

George Pratt – 15 black lines, 8 white

Watching Danijel work with the rollers was mesmerizing and took me back to printmaking days and my work with monotypes. Upon returning home I got my rollers from my print studio and began attacking the final Black.Light pieces with both rollers and putty knives. I was very happy with the results. Danijel is certainly the master of the rollers and I’m so appreciative that he turned me onto them again. They’re the perfect counterpoint to detail.

George Pratt – 15 black lines with roller

I teach an Advanced Representational Drawing class and got the students messing with the rollers and the putty knives. I was very apprehensive the first time out with them on those tools. I really thought it was going to turn into a cluster. But they clicked right into it and were quickly doing some of what I believe are their best drawings. It forces them to simplify.

The problem I ran into the other day was that the students all seemed to be falling into a mode where they were trying to do basically greyscale paintings. As a result the drawings suffered. They weren’t really “seeing” what was in front of them because they were too busy trying to blend everything and take it to some place more like painting. Lots of fixing going on rather than trusting in the marks the were making. Lots of blending and softening and what they would end up with was a tepid, sort of lackadaisical drawing that wasn’t really a drawing and wasn’t really a painting.

George Pratt – 15 black lines with roller

So I made them stop and squeeze out only black acrylic. I told them they could use fifteen lines with only a roller and black. Each mark could be something like five to eight inches long, depending on how long the paint would hold out, which wasn’t long. Lots of groans. Haha! But they dug in.

George Pratt – 15 black lines with roller

George Pratt – 15 black lines and 5 white lines with roller

The pose ended up being something like eight- to ten minutes. One student, as you’ll see, kept count of the strokes on the side of his drawings.

Student Mark O. working in class

George Pratt


Student Sam W. working in class.

Student Brooke S. working in class.


George Pratt – 15 black lines and 5 white lines with roller

This was a wakeup call for the students. Suddenly each mark had to mean something. They had to be frugal and zero in on the best use of each mark. What they couldn’t do was to cover up their mistakes or, to quote Scott Hampton, polish turds.

George Pratt – 15 black lines and 5 white lines with roller

They were the best drawings they’d done. Everyone was surprised (except me).

Alex Pitthan’s 15 black lines

Mark Orzechowski’s 15 lines.

Mark Orzechowski

Mark Orzechowski

Rachel Ciaramella

Gabriel Gomez

Gabriel Gomez

So we did that for awhile, then I told them they could have fifteen strokes with black and five strokes with white, using only a roller. Now they were excited and dove right in. Again, beautiful drawings resulted. No longer were they meandering around being noncommittal. The lines they were putting down were to the point and essential. 

Mark Orzechowski

Today we did it all again, but they could have eight white lines instead of just five.

It will now be interesting to see where this newfound confidence leads them in other media.

Johnny Winter February 23, 1944 – July 16, 2014

Johnny Winter by George Pratt for d’Addario Guitar Strings


This was originally written and posted on Facebook. I’ve added a little here and there and am including some images from my sketchbooks.

Saddened by the death of Johnny Winter.

I’m from the same hometown of Beaumont, Texas and was incredibly fortunate to get to meet Johnny at his home in New York in the 1990’s.

Johnny Winter Rehearsing

I was working on my blues book and a friend of my mother said I should talk to Johnny Winter about the book. I didn’t know if she was serious or not. But she immediately called Johnny’s mother and mentioned to her that Johnny and I should get together. I thought that would be the end of that.

Johnny Winter Rehearsing

 However, when I got back to New York there was a message on my answering machine: “Hi, this is Johnny Winter and my mom says I should call you.” I was flabbergasted.

And in the strange way that synchronicity works I was called the next day by the art director for d’Addario Guitar Strings to do a portrait of Johnny for a calendar and poster they were producing. I sent my sketches to them which they routed past Johnny’s agent who did not like them. I called Johnny and asked him if I could just run the sketches by him personally. He agreed and had me come to his home.

 He and his wife were so warm, friendly and generous! I talked with Johnny about my book and then showed him the sketches for the d’Addario piece. He picked one out that he liked and I said I’d do a painting of that one. “What if I don’t like the finish?” He asked. I told him I’d do another one until he was satisfied.

While I was there I played Johnny a recording I had made of Jack Owens who was living in Bentonia, Mississippi, where Skip James was from. Before listening to the piece Johnny mentioned that some people claim that the dirt in that town contributed to Skip James great voice and playing, but he felt that it was just Skip James. After listening to Jack play the song Johnny exclaimed, “Man, I’ve got to go to Bentonia and roll around in that dirt!” It was fun, because I had played Jack (93 years old at the time) some of Johnny’s music and he loved it. “He’s a note man, like me!”

Jack Owens, Bentonia, Mississippi, 1993

 I went home and painted the piece. In order to get his approval on the finish, Johnny said I should bring the painting to his rehearsal at Sony Records. I was psyched! I dragged the painting, which was a large oil, on the subway to the recording studio and he ended up loving it, as did his agent who was also there.

 Johnny told me to just hang out while they rehearsed. I was walking on air! I got a private 3- to 4-hour concert of Johnny and his band jamming like you wouldn’t believe. In-between songs he would tell stories about all the old bluesmen and their songs. Just incredible. While I listened I filled a sketchbook with drawings. They’re simple sketches, more about the energy rather than me trying to really capture a likeness. But I thought I’d throw some of them out here for you to see.

 When Steve Budlong, James McGillion and I finished our blues documentary we entered it into the New York International Independent Film Festival and invited Johnny to the screening. Our minds were blown when he actually came, stepping out of a limo and sitting down to watch our film. We won Best Feature Documentary at that festival.

Johnny’s playing is amazing and so unique. I love the way he belted out his voice, always reaching, never settling. Always giving it his all.

He’ll definitely be missed!

PS: An aside about the painting for d’Addario. The painting was purchased by d’Addario for their collection, but was in the Society of Illustrators show that year and published in their annual. When I went to pick the piece up I left the Society, which is uptown Manhattan and entered the subway. It was rush hour. I was beat. The painting was large. I had to wait awhile for a train, which was pretty usual back then. My route required lots of train changes in order to get to Brooklyn. Anyway, I was so beat I got on the train and was zooming along when I realized that I had left the painting on the platform!!!! Cripes!!! I was freaking out! I had already been paid for the original and was going to be shipping it when I got home. My heart leapt into my throat! I sat there freaking out waiting for the next stop. I bolted from the car and ran full out over to the platform across the way to get on the next train going back the way I’d come. Wait. Wait. Wait. Finally a train! It couldn’t move fast enough for me! I just knew that painting was going to be gone by the time I got there, and it would serve me right.

However, the train pulled in and I ran out scanning up and down the platform. Ahead I could see a group of old ladies crowded around something on the platform. They had my painting and were trying to see if there was a name or an address on it. Sweet relief! I couldn’t believe the piece was still there.

The painting and I got home safely, and it made it to d’Addario just fine. All’s well that ends well.

GEORGEPRATT.COM Website Total Overhaul

The new face of GeorgePratt.com

It’s been years, really, since I’ve made an effort to post to my www.georgepratt.com website, much less do a complete overhaul of the thing. The main reason was the thought of having to go back into Dreamweaver and mess with all that was just too daunting for me. The other reason has been that I really enjoyed the simplicity of this blog and being able to just fire away and post things pretty much effortlessly. But I knew that I would have to take the plunge sometime. Obviously it’s been later rather than sooner. But better late than never!

I migrated the site to Squarespace and I have to say that it’s so much more enjoyable than messing with Dreamweaver. If I could have kept my site at it’s original host Dreamhost I would have. They’ve been incredible, really. They still will manage my domain name and all. But in order to utilize Squarespace one has to work with their setup. But it’s been flawless.

I hope you’ll take the time to scope everything out. I’ve expanded the site and have hopefully broken it down into manageable chunks according to media and projects.

GeorgePratt.com Navigation

There’s a sizeable sketchbook section where I’m constantly scanning my sketchbooks and posting.

A constantly growing sketchbook section!

And I’ve also updated to include a Shop where you can purchase original art, prints and books. It’s in its infancy, but is growing constantly.

The Shop has Fine Art…

Watercolors in the Shop.

Drawings in the Shop

Monotypes in the Shop



Next to that is the Sequential Art Shop where you can see work from my graphic novels and mini-series. I’ve already posted lots of panels from my Wolverine: Netsuke mini-series from Marvel, and a pile of Batman licensing art. I will be posting work from Batman: Harvest Breed as well, though these are mostly fully painted pages, rather than just panels.

The Sequential Art Shop has cover work and content from Graphic Novels and Mini-Series.

Above the Dreamless Dead originals in the Sequential Art Shop

Wolverine: Netsuke


Magic Card Originals


Anyway, I welcome comments and suggestions about the site and I hope you enjoy perusing it all.

BlogPad Pro

Was on the Apple App Store earlier today checking out one of their “Editor’s Choice” type of pitches. This one was titled “Apps for Writers” and I was excited to see what they would be putting in there to entice writers toward. I’m a nut for writing apps and have tried piles of them. But this little post is not about all the different apps I love to play with in regards to writing. Looking through their list I was upset by Apple’s choices for blogging software, most notably the absence of BlogPad Pro!



I’ve been writing my Blog entirely on my iPad for some time now and BlogPad Pro is my go-to app. And I’m amazed and dismayed that BlogPad Pro is not one of the first apps on this list.

I don’t get it! One of the ones on this list, Posts, has the worst customer support on the planet. Actually, having the worst customer support would be like saying they HAVE customer support. But they never responded one single time to any of the emails I sent requesting assistance! I wanted to like it, and there were things about it that I did like. But I ended up having to massage the text and the images SO much that I couldn’t take it anymore. Chunks of my life were taken away from me. Life is too short. And coupled with absolutely NO response from the creator, I tossed it. It used to cost money. Now it’s free. Free? You get what you pay for.

I have to tell you, I’ve tried all the blogging apps and for my money BlogPad Pro is the easiest to use (and you can also read most fun to use, as well), along with the best technical support bar none. I’m wondering how Apple made their choices. Not that all of them are bad. There’s a couple that are pretty nice and were ones I used before the kind folks at BlogPad Pro released their offering. But once BlogPad Pro was out, it was all over but the crying.

Blogsy was convoluted and difficult for me to wrap my head around. Simple things were not simple. I tried to use it, but eventually gave up on it.

I did like BlogPress but, as I said, BlogPad Pro won me over. But BlogPress was a solid app and fairly enjoyable to use.

The WordPress app was atrocious. Buggy, crashed all the time. I gave up very quickly on it and never looked back.

If you’d like to read my original post on BlogPad Pro here’s the link:

BlogPad Pro: A Shameless Plug

 I realize that this is also a shameless plug, but dammit, when you find something that makes your life easier you want to shout it from the rooftops! The two people I’ve had interaction with from BlogPad Pro are Dino and Mary. They’ve been so damn helpful and kind and considerate and have made this software something wonderful. They’re busting their asses on this thing and struggling to make it all worthwhile and I’m blown away that apps of lesser quality are getting the nod from Apple! It makes no sense to me.

So, I’m yelling from the rooftop here and imploring you to download this app and give it a shot and support some developers that really deserve it. You won’t be sorry.

Features include:

  • Supports WordPress.com and self-hosted WordPress blogs
  • Manage multiple WordPress blogs all in one app, even with different user accounts
  • Offline or airplane mode – save content locally if you don’t have an internet connection to stop you losing work
  • One-click sync to upload all your changes when you go back online
  • WYSIWYG editing: style your posts with a touch of a button. No coding required!
  • AutoSaving of Posts and Pages – never lose your work because of unforeseen issues
  • Conflict Management – never unwillingly overwrite your work (or that of others) when working on a multi-user blog or when changes are made from different devices
  • Write and edit raw html – although with our great WYSIWYG editor you may never want to!
  • Easily find that post or media item you’re looking for with our search and filtering options
  • Check, manage and reply to blog comments on the go
  • Easily add images from your iPad, a url or your WordPress media library

Here’s a link to their site:

BlogPad Pro