Change of Name

 We've recently changed our name to SoFlo Panels Indie Comic Magazine to best reflect our intentions.  South Florida provides a vast amount of beautiful local comic art that we felt needed a voice.  The melting pot of culture that encompasses South Florida brings an exotic take on comics.  This magazine is still part of Digital Hand Studios. 
In the upcoming months we plan to interview local artists and comic book stores and review local comic cons.  As it stands right now we plan to release a small run of ashcan size magazines at local stores as a preview of what the magazine will be like.  A digital version will also be available. 

We've already changed our Facebook page and are changing our Youtube channel as we prepare to upload new videos by next month.

Thanks for following our blog!

Concepts for Clients

One of the best ways to acquire new clients is to provide concept work.  You can't rely on a portfolio and a few booths setups at your local comic con.  Notice that clients aren't knocking on your door or sending you emails?  You have to get out there and work to build up your client bank and referral system.  What this simply means is that you have to go look for work by enticing writers or project managers to hire you.

There are many opportunities around you everyday, but many of us are so focused on our art projects and our tendencies to be a bit introverted that we let those opportunities slip away.  Share your art as often as possible.  Pull out your sketch book at a coffee shop or book store.  You're basically telling the world that you create art.

Writers interested in arts tend to ask lots of questions about your work habits and fees so be prepared.  Decide on your service...penciler, inker, colorist, etc.  Know your turn around time: the time it takes you to complete a comic page.  Have a page rate in mind: how much you charge per page of art work.  Its ok to be negotiable with your fee but have a ball park figure to start off with.  Most clients will find this convenient and will feel a bit more confident hiring you.

Feel free to explore ideas with writers.  Many of them have ideas brewing or work with other artists in the past and might be ready for a new project.  Use their past projects as a stepping stone and recreate their characters or settings in your art style.  People appreciate the enthusiasm and seeing their ideas come life.  But be warned, DO NOT USE THIS TACTIC IF THE WRITER IS ALREADY WORKING WITH ANOTHER ARTIST ON THE SAME PROJECT THAT YOUR PITCHING FOR.  This will create a rift and in
some cases result in legal issues depending on the contract in place between that writer and artist.

Fill your sketch book with other characters and places than the usual Marvel or DC.  Make your own.  This shows potential clients that you are creative and able to conceptualize ideas outside the usual mainstream.
       

Creating the Adventure

Comics can hold such a magical grasp on an audience.  They can take you to wonderful and exotic places.  Some stories are so bold they become classics.  Everyone strives to create a masterpiece.  The best way to start is by building a fantastic world full of incredible things and characters.  Here are some ideas to think about when planning out your epic comic:

Genre 

Star Wars and Star Trek are leaders of there sci-fi space genre while Harry Potter and Lords of the Ring lead the way of Magic, sword and sorcery fantasy genre.  Choose a genre that you are familiar with and are passionate about.  There are many to choose from.  Here a re a few to consider:

• Action/Adventure (James Bond, Jack Reacher, Superman, Avengers)
• Mystery (Batman, Sherlock Holmes,)
• Western/Eastern (Jonah Hex, Wolf and Cub)
• Fantasy/Sword and Sorcery (Lord of the Rings, Conan, Red Sonja)
• Fantasy/Magic (Dr. Strange, Harry Potter,)
• Teen (Archie, )
• Sci-Fi (Star Wars, Star Trek, Power Rangers, Voltron)

World Building

Make an Art Bible for your project; a file with the collection of notes and references.  You need a spectacular setting to immerse your audience.  This is very important if want people to feel part of your world.  Think about where you want your story to take place, the culture in place, and even the architecture that influences the buildings.  It helps to create some locations in good detail. Here are a few details to keep in mind:

• Land or terrain (Dessert, Space, Ocean)
• Architecture/Design (buildings, landscapes, vehicles, weapons)
• Culture (beliefs like in the "Force" or religion, councils or federations)
• Customs (Traditions, slang, code, ethics)
• Groups, Guilds, Associations 
• Diversity  

The Great Conflict

Don't be afraid to think in epic proportions for this part.  Remember it will have to be something so impressive that it spans through all of your stories.

(Continued in Issue #1)

Best Self-Marketing Practices as an Artists

You keep hearing about you need to put yourself out there... but how do you do it and what works best?  I've compiled a small list of things that have worked for me and artists that I know along with what I've read in comic artist books and marketing books.  I'll try to keep it simple and straight to the point:

Social Media:  Facebook remains the largest most influential social media monster out there.  Besides having your personal page for family and friends, create an artist page for yourself with a good amount of art samples for your gallery which will serve as your portfolio.  Connect this profile to your Instagram account...you should have an Instagram account if your an artist.  Communicate daily or at a minimum every few days with either art or updates on your latest project.

Business cards:  You have to have them.  You can get them for a good price off of Vista prints.  They are a must.  Everyone you meet that is somewhat interested in what you do or would like to work with you will appreciate a business card.  At the end of the day you are a salesman selling your service or product.

Networking:  Oh yes...here's the part so many dread.  You need to go out and socialize.  Many artist are very introverted so this can play a particular challenge.  Go to comic book stores and comic conventions.  How to engage in a conversation: Start off with a nice complement (comic art related works well) and smile.  Then follow up with an introduction... "Hi, my name is Andres.  I draw comics."  Have your portfolio with you. Try to avoid showing them your online portfolio on your phone and try to get them to use theirs in order for them to like or follow you.

Small Jobs:  Take on small projects to get your name out.  You can look into magazines for quick 3-10 page projects.  There are also small indie publishers that you can work with but don't expect much money out of it.  You can also go for the Mid-Level publishers.  This will help build up your reputation.  Its good practice on meeting deadlines and meeting editors.

Remember to place your art out there one way or another on a daily routine so that it becomes a habit.  

Building Yourself up as an Artist

The reason many artist fail is because they don't get their name out.  The industry is very saturated, but even within that pool of artists some have very recognizable talent.  Sadly enough several of those waste their efforts in frivolous actions that lead nowhere and quickly become disappointed about the market.  Others have the mistaken notion that if they draw well enough opportunities will simply walk up to their door step and knock.  All of these artists wonder why they aren't making any money or getting more work.  "Exposure", that little word that has gotten so much negative feed back is actually the key.

Many upcoming comic creators have this idea that talent alone justifies them.   The almost cliche' argument of "Working for Exposure..." is the high light of almost every new artistic presenter...and yet these are the same artists that can't find new work.  As an artist myself I will say and stand behind saying that working for exposure is one of the greatest ways to acquire new and well paying clients and jobs.

The single most important thing to know when you work for exposure is the marketability vs work.  In simple terms, do your due diligence and evaluate the opportunity.  There is a big difference between working on a full 34 page comic for a first time writer and/or studio versus working a cover or 3 comic pages for a national recognized magazine.  Use a little common sense.  The opportunities are out there.

To get the best marketing out of it you will want to target national to global publishers and what you would consider small or simple jobs that you could showcase your best art.  You can even get some benefit from helping small publishers with small projects as long as they're well known in their local comic book scene.  Take on a few mini projects.

When you put your art out there with recognized publishers many clients can view your marketability for themselves.  In other words they'll be able to see for themselves that your work sells and is out in the market place.  When you help local small publishers the word spreads and others will want to hire you.  If you can be a bit flexible with your financing many publishers and writers will want to hire you.

The key thing here is to get your art out there in the market place through recognized publishers and local indies so that you're recommended to others.

Romance: A Niche' to Consider

 

As the larger publisher saturate the diversity market many indie publishers look for new niche's to dive into.  One such niche' is the romance market.  As more young women pour into the comic industry as readers, artists, and writers, this market may start making a come-back.  Romance lends itself to a wide variety of sub-genres that make it very robust for today's creators. 

The current reader requires a modernized version of that classical romance we are use to seeing.  The importance of romance is that the reader has to connect with it.  As a creator you need to explore pop culture.  Many things don't change from generation to generation, but the style and theme does so investigate. By no means is today's market as simple as "boy meets girl".  You should explore current issues and culture for ideas.

Romance is about relationships.  This is a great opportunity to create diverse and intricate characters.  Explore personality traits and work on interesting dialogue.  Remember that your main conflict should be a relationship problem.  Remember that you might find yourself replacing a lot of fist fights with kissing and crying.  Become familiar with emotional responses to situations.

Understand your age group and audience.  If you are writing to a younger reader keep the situation very simple.  Your story will be more about friendships, holding hands and maybe a first kiss.  When you deal with a much more mature audience you can dive into more complex topics like adultery, passion, polygamy, and raunchiness.  Learn your distributor's guidelines so you can property label your book.

Something to keep in mind: fashion can play a significant role in attracting readers to your book.  The art should contain modern styles if appropriate.  What I mean is if the story is set in a modern day high school use popular clothes on the characters.  It adds a layer of realism that helps the reader submerge into your story.  Of course if its in a Victorian age please don't give the characters jeans and tank tops.

Easy tip:  You can always try short comics (10 pages or less) to get a feel for your audience and develop your story telling style.  Get feed back.
   
 

Powers and Copy Right

All creators can testify to the satisfaction of making a character for their comic story.  And for the most part this is fun and always interesting.  Most indie characters end up on a self published comic of some sort and usually make their debut in a local comic convention or two.  These characters face many perils in their story but none as devastating as success.  You see once your character becomes popular you begin to gain many secret enemies.  And their weapon is intellectual copy right infringement!

First thing you need to know if you plan to make a professional character for a commercialized story, comic that you plan to sell, is that there is nothing new under the sun.  What I mean is that there are many variations of existing ideas.  what's very important to know is that you try to take very obvious elements from other characters...satire being the loop hole in all of this. 

One of the fist dangers is comes from the origin story.  Have you noticed that there aren't many "Super" anything outside of DC or that the term "Mutant" tends to stay within Marvel as "Metahumans/sapiens" deals with super heroes in DC.  These coined terms are some of the few ways large publishers can trip you up when you begin to head towards a recognizable amount of success.  Magic and religion seem still pretty open as most big publishers barrow from Greek mythology and various religions...especially in today's hot topic arena.  Topcows uses technology to explain their characters super powers and a touch of religion and magic as well.

When you start talking about where you characters get their powers, remember where the land mines are and choose a unique way to explain the source of their abilities or keep it a mystery.

 

Personal vs Commercialized Art

I keep running into this often so I've decided to touch base on it.  In my opinion there are two type of art that artists create: Personal and Commercialized.  Its very important that we understand this if we plan to make our art profitable.  Each has very distinct values and purpose.  This is a concept that has to be explored before we can reach a significant level of success.

Personal art is art that we create to bring us personal pleasure.  It gives us a sense of value and internal happiness.  This type of art serves to motivate us and explore our own style or expression.  This type of art is considered our voice.

Commercialized art is art that we create with the purpose of selling or profiting from it.  This type of art requires research and has can has specific requirements to fulfill the expectations of your target market.

The goal is always to try to merge the two.  Drawing comics is an incredibly creative way to express an idea through story and art.  Understand that to make a noticeable impact to your audience you need to see what's going on in that industry, especially in the genre that you want to create your story in.  Look at art styles and stories.  After a few we'll start to see a slight pattern, a rhythm.  Learn to work in that scope or pattern to shape out your comic.

Its not always what you want it to be so be prepared to step out of your comfort zone.  Know your readers.  Have avenues to communicate with them and listen to feed back.  People are talking to you because they want to continue reading your story and be part of the adventure.

When you draw for money you draw to please your buyer.  Look for art that sells or is really popular.  Learn why people like it from their point of view and learn how your art can take on that type of value.  It could be that you need to update your art style or choose a better gimmick for your stories.  What ever the case is you need to start looking into it.

Remember that personal art is for your own pleasure and commercialized art is art that needs to sell.  

Super Battles, Super Bust!

It would seem all the big publishers are coming out with these large scale wars between super heroes.  Its seems like only natural for the smaller indie publishers to follow.  I mean with all the super hero movies coming out and big graphic novels or comic series everyone is on a binge for comic conflict.  So why aren't you selling more books? 

One of the biggest factors that many creators fail to acknowledge is the lack of fan base to drive their comics forward.  There are many reasons for this outcome but the most common are these:

Lack of Foundation:  You have a great story and a cool group of heroes and villains but not enough going on to get anyone interested.  I'm not talking about action.  Yeah you got a 10 page battle but the real reason people aren't interested is because they have no connection to the conflict. 

Somewhere along the lines you got a little to busy with the awesome battle that you might have forgotten to show your readers why they should care.  Even more did you even evaluate the reason, did it sound concerning or believable, how about interesting?  Your story has no roots!

Build this up by creating tension between heroes and villains.  Add real problems.  Make the hard choices.  Build a history with your characters so that your readers feel like they have a stake in it. 

Great Conflict:  Heroes and villains fight all the time.  Why is this time so special.  You need to find that urgency in the problem they face.  Try to get away from cliche's...the bigger publishers have beaten that horse dead a long time ago.  Look for fresh new ideas.  Use current events as a resource.

The damsel in distress doesn't work in a world fighting for equal rights for men and women. You'll end up with a mediocre response.  Avengers: Civil War is practically about human rights.  X-Men: Age of Apocalypse is about choosing sides on morality and so on.  Find a topic to parallel and work you major conflict from there.  A lot of these topics will involve what's wrong or right scenarios and does the end justify the means type questions.

Remember to build your fan base up before releasing a major conflict title.  You can use a series of stories leading up to the major issue.  This will help get that major title off the ground when you release it since the issues leading up to it will act as your marketing and advertising. 

 

Racism and How to Deal With it in Comics

Comics are not exempt from racism, nor has it been absent from it's pages.  We all understand what it is: the belief that all members of each race possess characteristics or abilities specific to that race, especially so as to distinguish it as inferior or superior to another race or races. And with recent events police shootings and other events have created a cultural divide and naturally cause an artistic individual to express themselves through their medium.  For us its comics, its the creation of stories that translate our opinions on such delicate matters.  This article was created to contain the tools necessary to express your thoughts through your comic without being offensive and carrying out your message.

I know there are readers about there that think "I don't care if I piss off some people!".  The reason this is wrong is because you'll limit your fan base and maybe put yourself in a bad situation that could cost you a publishing gig or burn some bridges with other great creators.  You can still get your message across and let people know how you feel without getting carried away.

Here are a few things we will cover:

Racial Comics vs Hate Speech
Working with Diversity and Culture
Colorful Language
Working with and around Stereotypes
Racial and Cultural Topics and Themes to Write About

This will help you navigate this complex territory without losing any friends and come out with a strong message.  Understand that racism and prejudice is making a come back so we as comic creators in touch with young readers have the opportunity to make a difference.

Racial Comics vs Hate Speech

You can write a story about racism and it will fall into one of two categories: a story about racism or hate speech.  When you write a story there's usually an under lined theme that is apparent in your story through a series of events and or actions.  The resolution should push forth that message by promoting what the theme or message is.  The messages used in racial stories illustrate the injustices faced by that particular group of people or culture BUT offer a positive resolution in the end.  It is when you finish your story with a negative message that you fall into the hate speech which will limit your success to get the book published or even read.

Working with Diversity and Culture

Understand that there are many different cultures in the world with very unique views.  If you wish to work with different cultures you must first do your due diligence and research the culture.  Race is one thing but culture is another and usually the one you represent by the way your characters act. You can have a Black, Asian, or Hispanic character but the culture could be Haitian or American Black, Chinese or Japanese, Cuban or Puerto Rican.  There are very distinct characteristics about each culture to take into account.  Lucky for you, just like you are able to read this article you are also able to search the web for information about different cultures.  You will want to research:

• Slang
• customs
• food
• history
• current events

The CIA World Fact Book online is a great place to start along with Wikipedia.

Working with Colorful Language

Most cultures have a slang that is particular to them.  By using it in context and with the guidelines you have setup for your audience, you can easily submerge your readers into a rich story filled with diversity.  Remember to include a translation near the lexicon (slang).  Some slang may not be appropriate for your audience, especially if you market to younger readers. 

(To be continued in issue #1)   

    
 

Romance for Comics

Keep your audience engaged in your comics by the spell bounding effects of romance.  Many of the larger publishers know this and use it to add drama to their stories.  Romance is an addictive element that can make your stories provocative and suspenseful.  But adding romance to your story or even writing romance stories can be challenging.

Romance is the strong and intimate relationship between people.  The drama that extends from that relationship fuel many parts of a story.  There are many emotions involved in a romance story, but to understand which ones are more apparent you should know what sub-genre you may want to focus on.  Here are a few popular ones:

• Contemporary Romance: Romance novels that are set from 1950 to the present that focus primarily on the romantic relationship.
• Erotic Romance: Novels in which strong, often explicit, sexual interaction is an inherent part of the love story, character growth and relationship development and could not be removed without damaging the storyline. These novels may contain elements of other romance subgenres (such as paranormal, historical, etc.).

• Historical Romance: Romance novels that are set prior to 1950.

• Inspirational Romance: Romance novels in which religious or spiritual beliefs (in the context of any religious or spiritual belief system) are an integral part of the plot.

• Paranormal Romance: Romance novels in which fantasy worlds or paranormal or science fiction elements are an integral part of the plot.

• Romantic Suspense: Romance novels in which suspense, mystery, or thriller elements constitute an integral part of the plot.

• Young Adult Romance: Romance novels in which young adult life is an integral part of the plot.

       Also to keep up with current trends you can explore inter-racial relations and LGBT.

Remember who your target group is and create stories that would stir up ideas, debate, and awareness.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

7 Reasons Why Your Women Look Horrendous

There's an old saying that goes "An artist that knows how to draw beautiful women will never go hungry."  There's almost nothing more beautiful in this world than a woman.  Art attempts to capture that beauty in the form of illustration.  This is very apparent in comics through out history.  But unfortunately its a complex concept to grasp for many artists.  Drawing gorgeous women for your comic stories is more dynamic than just squiggling a couple of round boobs and a big butt.

Reason #1

The face of a women is incredibly important so if the proportions are off it will affect it tremendously.  Most artist have that down for the most part, but where it becomes insanely tricky is the expression.  A good deal of the attraction starts off in the face.  As an illustrator you must master the art of expression, specifically suggestive facial expressions.  A good exercise is to draw several faces from sexy advertising...or "other places".  You know what I'm talking about, don't make this awkward!

Reason #2

Hands.  Yes, hands.  Some new artists avoid drawing women's hands as much as Rob Liefeld did with drawing feet.  They can only hold bouquets of flowers for only so long.  I know it's a pain in the butt to draw those five to ten pages of hand studies but DO IT!  And remember to study WOMEN's hands.  Its so very surprising to see a drawing of a sexy comic book heroine with big gorilla hands.   Remember, thin and round off the knuckles a bit.

Reason #3

And while we are at it lets also mention FEET!  Same as with hands.  Go through those exercises and learn the correct positioning and movement of feet.  This is actually a big one.  Practice drawing toes from up close.  No one likes gargoyle feet on a nice looking women.

Reason #4

Character depth.  Personality.  The half nude women heroines in leotards might work well with the young adolescents but adults prefer to be romanced a bit with personality and character.  Don't make Latoya a black female just to have diversity in your comic.  Give her likes and dislikes, a genuine history, and make her real, in other words have her react to situations that stimulate mature thinking.  "No Don, I'm not going to be one of your side chicks.  Go play with your girls because you're messin' with a REAL WOMAN now!"

Reason #5

Drawing realistic and relevant hair.  You better believe it.  Women's hair is biblical.  You need to understand women's hairstyles and how to best draw those curls and shadows.  Please get out of the habit of drawing these 80's big porn star hair styles.  Your readers are palm facing and you're just not getting it.  Once again, use references.

(Continued in Issue #1) 

Panel Flow

Understanding panel flow is a particular art form that you need to become very familiar with if you design comics.   This is the relation between your reader and their viewing path throughout your story.  Viewers follow particular cues that help form the path in which they read your comic.  The better you become at identifying and designing that path, the more enjoyable your comics will become.

With this in mind lets understand how a reader follows cues or clues.  We are all animals of habits.  People tend to look at each other and wonder what each of us is seeing so its normal for people to follow eyes.  That means your reader looks at the direction of where your characters are staring at.  Its a natural flow to follow the direction everyone is looking at so keep that in mind when positioning your characters.

Next is the action flow.  In real life people tend to go towards the same direction as where the crowds go. call it an instinct.   People want to know where someone or something is headed to.  This also becomes a natural focal point.  Aim towards pushing the action towards the next panel or word balloon.

Lastly, people have to read your comic book story so they will be looking for those captions and dialogue balloons.

Use a combination of these to lead your reader as gradual as possible through your comic book pages.  It will enhance your reader's comic experience while enjoying your story. 

Going Places

 

Many readers want to find an escape from their everyday world through your comic.  Its part of the fantasy.  Don't shy away from creating amazing back grounds, profound panoramic panels, and beautiful open splash pages used as the establishing point.  Make it a habit of drawing and including back grounds and establishing points throughout your story.

The open establishing shot, as the picture on the top of this blog.  It conveys a strong opening message and welcomes the reader to your adventure.  The establishing shot is usually a panel displaying the current setting or location of the story.  There should be one every time you change locations in your story.  This will help the reader understand that they have traveled elsewhere in the story.    

 Establishing shots can be full page splash page, two page spread, a panoramic scene panel, or a regular panel size; it all depends on the effect you're going for.  Take your time and think about the impact that you want that specific panel to have on your audience one they reach it.  Give it a high amount of detail.  You want the reader to be left mesmerized as they look at all there is to see.

Use references.  Look at scenes similar to what you're planning.  There is a lot to consider.  Perspective and point of view are among the first that come to mind, but think about the mood, the color scheme, even the items and architecture.  Do your due diligence when it comes to designing the space for the scene.  Be creative.

 

Basic story foundation

Beautiful artwork by Greg Tocchini

What is a comic book without the story element?  Nothing but a picture book.  If you plan to create comics you should understand at least the basic premise of a story.  Without getting too deep into it here are the basic parts of a basic story and what they contain:

The beginning is exactly that, t
he beginning.  It is used to introduce an idea, situation, characters, and the setting.  Take your time to give some details of the people in your story.  show their interest or involvement.  Produce a question for your audience. Ask them what they think about a particular topic.  Show them that something is going to happen.  Welcome your reader to your world.  Make them feel part of the story.

Beautiful artwork by Greg Tocchini

The middle is the part you use to develop the elements and characters you introduced at the beginning.  Here is where your story brews.  Start leading your audience towards the main conflict or problem.  Whatever happens here should lead to your main conflict.  You can have a few minor conflicts where your heroes succeed or fail, but they all have to lead to this main conflict.  Great stories use elements such as foreshadowing and plot devices to hint towards the main conflict or the resolution of it.

The main conflict should be a turning point.  It should be grand and exciting.  Don't cop out on this part of the story.  Really put everything on the line.  People love excitement and risk.  Readers want to learn or imagine how your characters were able to resolve the conflict, how Super guy and Mega dude foiled Dr. Devastation's plans.  Make it creative and dynamic.  Do your due diligence on the resolution you choose for the problem at hand because your readers will challenge it, be assured of it.

The end should answer almost every question that the reader might have unless you plan to leave it as a cliff hanger, as in mot continual comic series.  But at least answer the main questions in your current story so your reader doesn't accuse you of leaving plot holes in your comic book.

There are many different story structures but this is the basic one used in many comic books so learn it and build from it.        

Meet & Greet (Updated Date changed)

Attention!  Date has been changed to the following week due to Supercon!

 

Calling All Comic Book Artists/Writers Near Miramar

July 8th

 

6:00pm

 

Panera Bread on Miramar and Dykes  

Come and join your fellow artists for a simple meet and greet.  Get to know the different artists near you and their work.  Many of us know each other from several Facebook comic pages or we've run into each other at numerous conventions, but what I'm proposing is a simple meet & greet where we can bring and share our comic book art in a relaxed environment.  Bring your sketch books and enjoy some coffee with other artists.

No admission fees or booth fees.

Some where relaxed to draw and eat.

Miami is experiencing a fluctuation in creativity.  As art districts begin to pop up in many places it would seem a great time to cultivate this culture up in Broward.  There are great comic book stores in the area and a good amount of talent to work with.  Sharing our creativity in person, explaining our techniques, and stories will inspire all of us in creating better art.

Stay tuned on your Facebook page New Miami Comics for the event.


Hope to meet a lot of creative talent out here!

Deafening Diversity: What This Means for Indie Publishers

 

Racial diversity in comics has long since been a rather controversial topic.  Apparently since the golden age of comics diversity in main characters has been quite absent from the medium.  It wasn't until the silver age that black characters took on main roles.  One of the first mainstream characters was the Black Panther in 1966.  Latino or Hispanic followed after with the exception a few characters like El Zorro.  Now in modern day comics we find a much more diverse characters throughout the larger publishers, which is great.  But now as all the large publishers fight to take on as much diversity as possible how does that affect the smaller indie publishers?

Traditionally indie publishers acted as the leaders in pushing the limits.  Many publishers were even labeled as "underground"  just solely on the topics of genre's they produced.  Typically indie publishers has a very wide range of topics to chose from that made them so different from the larger publishers, who were also constrained by their sponsors.  This was the upper hand advantage that indie publishers could go to in order to compete.  But as the views of society broaden and become more liberal so too has the range in which the larger publishers operate.  Hence the issue of diversity which was a few years ago a playground for the smaller publishers and still a field of land mines for the larger companies, now has overrun the world of comics.  And even though I'm glad that diversity has gone as far as it has with comics, it also worries me because of the fear that the larger publishers will begin pushing it to extremes.  

How so?  Well just look into the latest controversies over the choice of actors playing ethnic roles and the out cries claiming white washing in Hollywood.  For those who are not familiar with the term, its when white Anglo actors take on a role associated with a character of a specific culture or race.

 
But that isn't the question that I'm really posting here.  It comes down to what do indie publishers do when the larger companies take over their niche'?  Now that they are claiming in full force the diversity market what now?  The indies proposed the question of diversity in comics and the larger publishers answered it.  The smaller comic creators can continue to write diverse comics but eventually Marvel and DC will swallow the market for that niche', leaving many companies searching for a new market.  It doesn't mean that smaller publisher will stop writing about diversity in comic, but it will mean that they will need more than that to compete in the highly competitive market of comics.  

10 Things Every Comic Book Artist Needs To Know

 Realistically speaking (or writing) there are things an aspiring comic book artist needs to know before getting themselves into the wonderful yet treacherous world of indie comics.  The sooner you get familiar with these concepts the better off you'll be getting your at career started.  Unfortunately, these are the types of topics many people will be very political about sharing with you an opinion and sometimes they are also shadowed by the local indie comic community.  The reality is you really need to know this.

Skills

True artistic ability.  Don't kid yourself.  Can you draw or is your imagination and optimism setting you up for failure?  This and an enormous ego will seriously restrict your success in the art world.  You need to know.  Don't ask friends or family members...they will by default praise your efforts.  "Wow... did you draw that?  Very nice!"  No.  Go find other comic book artists in the level that you want to aspire to and prepare yourself to get torn up with a critic.  Don't fight it!  Get as much advice as you can and work on it.  Build up your portfolio.  Work on it constantly.  Give yourself about 3 month of hard work before you go for another critic by a different source.  Even if your art is good...keep working on it.  The comic book artist industry is very competitive.

Style

Decide on your art style and specialty.  Sounds silly?  No.  Writers often look for a particular look when they imagine their work as a graphic novel.  Draw and learn from many great comic book artists in order to grow, but in the end you need to have a consistent art style that defines you.  People should look at your art and say "Hey... that's [your name]'s style!  Pretty cool!"  You'll get closer to your personal style the more you draw.  Some artists draw in noir while others choose a light pastel feel to their art.  What ever you choose, stick to it and make it your own.

Job

Choose a position.  Know right off the bat what you want to specialize in: penciling, inking, coloring, letting...whatever you like the best and feel the most comfortable with.  Even if you like being a cover artist, choose one of these mediums as a back up for work.  I don't just mean how to do it well.  I'm talking about the whole sha-bang!  Know your turn around time (the time it takes you to complete a finished page), your page rate (the amount of money you charge per page of work), and have a portfolio of your work handy as a physical binder AND an online gallery.

Networking

The truth about networking is that it is very difficult in the indie comic industry mostly because the industry is filled with distrust, predators, lack of business knowledge or left brain thinking, and many creators are working on their own projects.  I'm not saying that people are shady...just that yeah, people are shady.  But this atmosphere changes from place to place.  I'm just mentioning what I've personally run into and the experiences of some of my peers.  Many artists don't understand the unparalleled power of the collaboration process.  Its a give and take action and a collective force to create a project.  With honesty and true expectations, a great group of individuals can come together and build a comic, agree on a starting fee, and pay everyone off with the fruit of their labor once the comic is published.  The trick is finding reliable people with strong work ethics that are willing to put in the effort into an amazing project that you can get along with and trust.  Simple enough?  You're better off working with a small group or by yourself until you establish a reasonable source of income from your work.  Then they will flock to work with you, but you will then have to review everyone's work before hand.  Not just any Jack or Sally will do.  

Comic Conventions

You need to understand where comic book conventions stand between incredible events of opportunity and total waste of time.

(Continue in Issue #1)     

Marketing: Creating Excitement!

When it comes to creating a comic book story it usually leads to a climatic conflict.  This is the normal set-up with modern comics.  You have to build up the action, the anticipation, the drama for the reader.  And there are so many avenues to take to get that done.  You can use violent battles, seductive encounters, mysterious events, even the death of a main character to lead to heart of the story.  Its these roads that will get you a wider audience when you finally put it out there for the world to read.

No one truly cares about the superpowers or quick reference back ground that you thought up a few days ago.  People want a story, an experience to associate with your character.  From that story the pieces will help create a press release.  You need to dissect parts of the leading action to give hints of the climax without giving away the ending or story altogether.

One popular way is to ask the question.  What if the reader found themselves in a similar predicament?  What if a particular situation arose that forced the reader to make a hard decision?  You have to create that bond between your main character and your audience. Show them your hero's struggle.

Another common way to generate interest is to show-case the action.  Its like the latest superhero movies where they pan right to where the heroes are clashing with the villains for that monumental battle.  Share some of that great art. Give them a tease at what's inside.

Keep the marketing short and concise.  You don't need to give a full explanation of your story up front.  In fact that will deter a lot of your audience because they're going to feel like they just read your comic in a paraphrase.  Just give them what's at stake, what's the conflict?

Don't go on about how Power Man X was created out of a secret government project and his powers are x, y, and z...and how he's the defender of all and so humble but powerful.  I mean com'on, its his first appearance.  How are your readers going to swallow all of that?  People will read it and give you the all too common "Great job!"  and forget about your comic by the time they go to the next article  on Facebook.

Build the anticipation, Power Man X sacrificed everything for superpowers he never wanted.  Now as the city is under siege by giant alien robots, Power Man X must risk his life to save the few people that matter the most to him or lose his humanity and life to the secret organization that created him.  Add some mystery and drama.

Pictures are gold.  Attach pictures of your comic book or action scenes.  You'll get a much better response from your readers.  Aim for color pictures.  Even if your project is in Black and white, try your best to add color to the marketing.  Use the cover or title to give it that spark.

Remember to pace yourself.  Don't just bombard your audience with full-time marketing at all hours of the day or the typical ten postings on Facebook, one on every comic book related page you're on...because people usually are members to several of them just like yourself.  Resist from the Twitter bomb...unleashing multiple tweets at once about your project.      

This is very important when it comes to marketing your comic.  If the reader doesn't establish that interest quickly they will move on to the next one.