I love pen and ink so I still do a good majority of my work with tradition tools like dip pen and brushes, but I also use a Wacom pen tablet (shown below) for layouts, lettering and finished production.
Scans 11″ x 17″, plus it prints up to 13″ x 19″. Cost saving tip: I find you can get a deal on the older models just when the newer models are coming out. Also you can check with your store if you can get money back by returning your old model when you buy the new one.
DRAWING & INKING MATERIALS
From left to right…
Pencils: 3h for light sketching and blocking in shapes. 2b for tightening up drawing. Pental Twist Erase with HB lead for a clean line.
Erasing/corrections: Kneaded eraser. white drafting eraser. X-acto knife (for removing ink by cutting away layer of bristol paper). Whetstone for sharpening X-acto blades.
Misc: Triangle, ruler and T-square. Tape to hold art in place. And above tape, piece of paper to have under your hand when penciling or inking.
I also have a larger T-square and ruler – but the smaller size comes in pretty handy.
From left to right…
Nibs: B6 and C5 lettering nibs. Japanese G NG-3. Hunt 513 EF.
Brushes: Winsor & Newton (In partnership with Blick) Round #1. Winsor & Newton Series 7 #2.
From left to right…
Rapidographs/Corrections: Kohinoor Rapidograph 2/.60. Kohinoor Rapidograph 1/.50. Presto fine point correction pen.
INKS, PAPER AND ODDS & ENDS
For inks I love FW’s black acrylic for how dark it goes down, but lately I have been using Speedball super black as it’s comparable and comes in a big bottle (thus saving me money).
For Flash Gordon I used both 1-ply and 2-ply vellum. Of late I’ve been using 2-ply smooth (or plate).
Underneath is an Alvin green cutting mat – very handy for not only cutting, but for tacking things up as well.
Last but not least… Inking templates: Circle, oval and a set of french curves. Erasing shield (bottom right hand corner). Ames guide for lettering (to the left of erasing shield).
Not pictured. For inking: a water jar, rag, paper towels and some scrap bristol are also a necessity.
I can’t stress enough that the items listed above are not the only ones I own or use. For instance, I have a number of different inking and lettering nibs, the ones pictured are just the nibs I am currently using the most. Check back in a year and you’d probably see some slight variations in what’s shown above.
Find what what works best for you, but don’t get mired down in the familiar. Try new tools (cutting edge and old school) and keep experimenting.
PARTING THOUGHT: GETTING THE WORK DONE
Interested in increasing your productivity? Jessica Abel offers a world of advice about getting more productive and creative. I currently am a subscriber to her online workshop and find it incredibly informative and helpful – highly recommended.
I’ll end with a few words from Zak Sally. I first met Zak while teaching at the Minneapolis College of Art and Design. He’s a great teacher in that he has the rare ability to make lightbulbs go off in your head where you didn’t even know you were in the dark in the first place. Here he talks about one of his favorite artists, Kim Deitch.
Kim Deitch, he puts in 40 hours a week. He doesn’t put in 40 hours dicking around… Not time thinking about drawing. Not time thinking about when you’re going to draw. Not time drawing but then you get up and look for reference. It’s straight up time sitting there working on it is what he marks down. That’s huge for comics people. It’s putting your ass in the seat and keeping it there. It’s amazing the stuff you can do in an hour if you’re working the whole hour.”
Listening to Kristy Partridge on YouTube talking about why she doesn’t do art commissions. She hits the nail on the head in regards to how labor/time intensive private commissions can be. Actually drawing the art can end up being a fraction of the total time in some cases. I steer clear of them as much as possible as well.
I love Terry Moore’s drawing style and he gives great pointers here culled from his personal experience working in the field.
The book shown above is out of print, but the chapters are available digitally as five separate how-to books available on Kindle and Comixology through Amazon.
From Amazon; “Written for pros and amateurs alike, Terry Moore addresses the questions and challenges artists find after their art school education… Moore details his step-by-step process making a comic book from drawing board to pdfs. This book is loaded with timely material geared toward the world of comics as it is today.”
How to draw comics with an eye on the academic. Scott McCloud first put comics under the microscope with his 1993 book, Understanding Comics. Here he expands on it.
“Only Scott McCloud could organize his thoughts on comics like this. Scott’s talent as a cartoonist not only makes him intimate to insights no outsider can see but also gives him the power to show it to the world. Will it be controversal? Does it live up to the promise of Understanding Comics? Happily, the answer to both questions is yes!” — Jeff Smith (Bone)
Recipient of a Reuben Award for “Cartoonist of the Year” from the National Cartoonist Society, Tom Richmond is probably best know for his work for Mad magazine. Here he lays out what goes into drawing a great caricature.
From Amazon… “In this comprehensive title, famed animator Preston Blair shares his expertise on how to develop a cartoon character, create dynamic movement, and coordinate dialogue with action. Topics include character development, line of action, dialogue, timing, and, of course, animation! This valuable resource provides all the inspiration and information you need to begin drawing your own animated characters.”
First published in the 1960s, the following Jack Hamm books are a mainstay on my bookshelf. Highly recommended!
It’s been my experience that networking is the key in getting work in the art field. I know it seems basic but it bears repeating that if an employer is not familiar with you and your work then they won’t hire you. And this is not a matter of “it’s not what you know but who you know.”
“The most delusional graphic design belief system is this: becoming a successful graphic designer is all about being an extraordinarily talented designer. It is not. Talent is only one part of the equation for a successful career in graphic design. In fact, in the field of professional graphic design, talent is simply what is considered “operational excellence” in business school. Talent is essentially a given, a point of entry. A career in graphic design brings with it the assumption that you have talent, and in isolation, talent will not guarantee success for any designer or design program.”
One great way to network is comic conventions – but it can get costly. I was a guest at Dragon Con awhile back and had a complimentary table that otherwise would have cost $500 (at that time). I sold more stuff than at any other convention I’ve been at – but still couldn’t break-even after I added up the cost of airfare, hotel and meals.
What balanced it out for me and made it worthwhile was the networking. Along with the standard touching base with fans and other professionals in the business, I was interviewed for two podcasts – Sidebar and Comics Coast-to-Coast– which was great publicity.
The following is some hands-on experience from artists/cartoonists from the trenches.
Tyler Page back in 2010 did a great post where he broke down the cost of self-publishing and promotion for his book Stylish Vittles. In part 2 of the post he cited convention costs over a seven year span.
“…the grand total of all my business expenses from 2002 through the printing of Nothing Better Vol 2 in late 2009 is $46,918.60. Yes, that is a lot of money. It is. But it’s important to realize that was spent over the course of 7 years – it’s not like I dropped it all at once. I also tried to be as thrifty as possible in my spending when I could, especially when traveling.”
“In the end it wasn’t the cost of printing books that really rang up the bills – it was the traveling and conventions.”
Daniel Davis of Steam Crow LLC had an informative blog post where he related his experience exhibiting at the 2011 San Diego Comic-Con in regards to what works and what doesn’t. In summation he noted;
“It’s getting more difficult to profit at comic conventions, but I’ve seen it done, and know that it’s possible. It’s no longer a space where one can simply show up, and expect to profit. But, with ample year-long preparation, and strategy, it is doable.”
Steve Bissette (Swamp Thing, Tyrant, Taboo) has years of experience as an artist and publisher.
The following is an excerpt from a Facebook post of his where he did a comic con post-mortem.
“Professionally, it ratified all the reasons I stopped investing in conventions…
In short, while I met some great people, signed a ton of SWAMP THINGs, and had fun with my cronies, I didn’t get to see/shop/experience the con outside of my table space; my being there didn’t sell even ONE World of Strange Bissette t-shirt (and we were just an aisle apart, right NEXT to each other!); I didn’t make a dime on sales (lost $$ after shipping costs); and my add’t commitment to a three-lecture/workshop day following was a wash, at best (again, personally, great to do; didn’t earn me a dime).
Had I paid for travel/table, I’d have busted my entire fall budget at home to do the one convention. Whatever I made at the table, I spent eating during my stay (and spent more). If I’m going to travel, it’s going to be TRAVEL, with Marge, to see friends/family, not to do cons.
Just being pragmatic. I mean, look. I’m thankful I went, and thankful Rick, Tom, John, and I have so many folks who came out to see us! Folks & our fans are great—kind, generous in their comments, and all want their SWAMP THINGs signed, but most of ’em sample nothing else, by and large. Money’s tight everywhere, particularly these days, and SWAMP THING is still all folks want from us, and those they’ve got. Whatever else I have, I’m better off selling via online sales. In fact, only ONE person bought one of everything new from the table.”
I’m often asked from readers/fans which upcoming comic conventions I’ll be at. In general, not too many, as I’ve cut down on going to cons. If I do attend a con it’s likely because it’s close to home (because of cost), and if I do a show out of town it’s usually because I have family living in the area that I can visit and save money on hotels by crashing at their homes.
Another big deterrent is the time involved, which if it coincides with a tight deadline can be MURDER. I’ve tabled at way too many cons where I’ve had to bring work, which just ends up being a disservice to fans looking to say hello and should be avoided at all cost. Add to that the time it takes to recover from that kind of scheduling and it’s lose-lose situation all the way around.
Is tabling at a convention worth the time and effort? If you go in ill-prepared you’ll probably just end up pissing money down the drain, with no benefit other than the same enjoyment any random attendee walking through the door could have had.
If you attack a convention in a business sense where you’re budgeting cost and working your butt off (commission sketches/networking/research trends) then yes they are. If you want to work in this business, I’d advise treating it as such.
I’ll end with some stellar advice from Colleen Doran (A Distant Soil, Amazing Fantastic Incredible Stan Lee, Troll Bridge). This is related to networking and making the effort to get your work out there…
“Lots of people assume that the reason they can’t get hired is because publishing is some kind of closed circle. It’s really not. Clients are always looking for new talent. REALLY. They are DYING to hire the next JK Rowling, the next Jim Lee, the next James Patterson. Who doesn’t want another money-maker?
The truth is, almost everything that comes over the transom is not very good. When I write this, aspiring creators cringe thinking “Oh, she means me.” No, I don’t. If you have any idea of the level of just how bad submissions are, you would be appalled. It is rare to see anything of quality. I don’t know anyone in publishing who enjoys going over submissions, because it’s depressing. If you are good and if you’ve got something to show, DON’T GIVE UP. Trust me, clients are DYING to find you.
SECOND THING: a major reason clients don’t like to hire new people is they have a tendency to screw the pooch at an alarmingly high rate. The joy of creating for fun evaporates when you HAVE to create. Creating all the time: not so simple. And, especially in comics, the workload is awesome. Almost everyone in graphic arts will try to steer you away from comics and toward advertising because comics pay is usually terrible and advertising is less work. I can’t tell you how many people I’ve tried to hire up from fandom who have completely vapor-locked, including people I’ve tried to hire from other areas of publishing…
Everything in comics is labor intensive and often techy and boring these days, since artists have to do their own production work. You have to really know what you are doing. So, next time you think that publisher isn’t going to give you a chance, think of it from the publisher’s point of view. If your portfolio is good, and you show a real, steely willingness to produce there’s a publisher looking for you.