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.

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)   

    
 

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.  

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.    

Keeping an Amazing Comic Studio

The studio is where the magic happens.It is the home of the comic artist's inspiration.  Littered with comics, sketchbooks, statues, it is a breeding ground for the imagination.  Each is unique to its owner's style and a destination of pure comic delight. A well organized comic studio will help you be more productive and creative in all of your projects.

The main purpose of your studio is to support your creative endeavors.  It should be a place free from distractions, but full of motivational tools.  Keep in mind that the design of your studio will help you come up with better ideas and lot faster.  Here are some tips to consider when organizing your comic studio:

Your Studio is your research library.  It is your inner sanctum.  You should have a small collection of reference materials that you commonly use during your creative process.  This normally includes comics and graphic novels of your most inspirational artists, books on anatomy, perspective, and other "How to" art books.  I also include books on writing and publishing because its what I do.  Make sure that your collection is customized for you.

Keep you space dedicated.  Not only should this space be free from distractions, but also be completely dedicated to your comic projects.  This space can be a small desk or a full sized room.  The important part is that it is just used for your comic projects. 

If you work on different different media, keep your projects separated.  Have a section for your digital art, another for your acrylic paintings, and perhaps a section for your sketching or traditional drawing.  This way you can accommodate your art supplies in a way that make sense to your productivity.  Staying organized like this will keep you focused.

Have enough art tools out so that you can easily reach for something without losing your train of thought, but not too many supplies that it makes your creative space messy or cluttered.  Boxes and carousels make a great organizing tool for your pencils, pens, markers, brushes, and other supplies. Do not use anything toxic in your studio.  I'm talking about aerosol sprays or heavy paint thinners.  And even if they don't smell it doesn't mean that there aren't any harmful fumes.  You don't want to use that in a space that you're going to be constantly in for hours.

Here is a small list of useful thinks to keep in your studio:

• Trash can
• Adjustable lamp 
• Dry erase and/or cork board
• Computer, laptop, or tablet
• Portfolio
• Art supply bin
• Pencil/pen carousel 

Remember that maintaining an organized work space help keep the imagination flowing.