Symptom of the Comics Publishing Industry

I wrote this in response to someone on The Beat and thought I'd share it here. Comics are in a hole now, and it is not the artist's nor the consumer's fault. Allow me to share:


...for an artist to be successful they absolutely must draw from a wealth of the world’s knowledge and it is vital to look past the (very young) world of comics.

The problem with doing so is not the artist’s burden but the publisher’s. They do not know how to market anything outside of the nerd multiverse. This is why, say, Sarah Glidden’s How to Understand Israel in 60 Days or Less is criminally unrecognized (not even nominated for an Eisner?!, even with the tons of press it has been getting. It should be getting press outside of the world of comics.

My next big project is a comic done in charcoal and meant to be read as a play, inspired by the work of Jean Genet. I have no illusion that anyone will want to read it in the comics sphere. There is no publisher in comics that I can think of that would touch it (part of why I self-publish) but I can think of some literary publishers that I am going to pitch it to.

We can do better, but are discouraged from doing so. No publishers are willing to risk promoting great books (which is why traditional literature publishers like Pantheon put out books like Persepolis. Would Oni Press? Or Dark Horse? D&Q? It became a deserved success because it was not marketed to the comics world and didn’t pander to the comics world. It is simply a great comic, doing something that no other artform can do. If it only sat in LCBS (local comic book stores) across the country it would be unknown and forgotten right now.

Now that digital distribution is easy and inexpensive, publishers have the opportunity to reach audiences all over the world and actually take risks on books that aren’t about zombies or movie tie-ins or fill-in-the-blank trends.

But I doubt there is anyone willing to risk it when there is a quick buck to be made off comics. Even Fantagraphics has taken to simply reprinting popular, lost greats (or translations) as their bread and butter. This probably allows them to do things like MOME without going broke.

How To Draw Comics

I recently responded to someone who was wondering what tools they needed to make a comic after seeing someone working on one in a coffee shop. I was baffled by all the tools and techniques when I set out to make my first comic. This is by no means comprehensive but if your new years resolution is to make a comic, this can help you to achieve that goal.

Here you can see me posing with my tool:


QUESTION: What tools do you need to make a comic?

ANSWER:


This may sound corny, but you should just use whatever feels right to you:

Maus; A Survivor's Tale was drawn on common typing paper with a cheap pen to give it its desperate, this-must-be-told feel. It is the only graphic novel to win the Pulitzer prize.

Alex Ross primarily paints covers, but he has done a few graphic novels, fully painted in gouache and watercolor. He has won multiple awards for his work.

Sophie Crumb has made comics using a bic pen. Really cheap.

Most artists today are switching to digital, however. It's not quite the majority, but it will be soon. They draw in photoshop with a Wacom (or other brand tablet).

Traditionally, comics are drawn with a brush and/or a nib pen.

Hunt was the favorite brand, the 102. Crow quills and spoon bills. I personally hate this nib, as I feel as though the quality is in serious decline. But many artists still swear by it. And their art is astounding...

The brush is tricky, but it can produce beautiful, lush results. Jeff Smith's Bone is fantastic and is done entirely with a brush. The problem with brushes is that they are tricky, inconsistent and expensive. If you go to an art store, look for sable and look for a fairly large size (at least an 8 in the US). If the store is worth its weight in salt, they should let you test it out with some water. If it doesn't "snap" back into shape and keep a clear point without splitting, it is a dud.

Some are rounds, some are liners... as long as it has a sharp tip that won't go haywire when it gets wet, it's comics gold!

I use a cheaper, non-sable brush called "Masters Gold." Go figure! It is around 6 to 8 dollars and is the best for its price. I also use a pen... but the dip pen I use is from Japan and all the info on the packaging is in Japanese, so I have no clue what they're called! It says G-Pen on it and that's all I know. But they are phenomenal! They are only available in one or two art stores in Manhattan, so I have a feeling they are hard to come by.

Ink is a matter of personal preference. I buy Winsor-Newton's black India ink with a spider on the box. It is pretty pricey, but it is the perfect consistency. Some artists buy cheaper, watery ink and leave the bottle open for days so it thickens. I don't have the time or the coordination to leave a bottle of ink sitting open in my room. I have to have deep black on the page... some artists photohop it to look darker.

Oh, and the paper I use is 14X17 Bristol board with a little "tooth" a.k.a. roughness. I love drawing on watercolor paper, but damn that stuff is too rich for my blood!

I have a pretty inventive pal whose blog COMICS TOOLS has a bunch of tips and tricks... it was on hiatus for a while and is possibly back, but if you look through it you can find a ton of advice on everything from eraser shields to Ames guides.

It's here: http://comictool.blogspot.com/


Sorry for all the info, but when I was starting out, there was just really vague advice like, use a big brush, get an old pen, everything's done with computers, etc. etc. and I was bewildered until I started hanging out with actual comics artists who turned up their nose in utter revilement at my tools.

Just kidding, they're all pretty nonchalant. And were super helpful.

All that being said; draw however you're comfortable! Use whatever you have. I started drawing with a bic pen at the last convention I was at and people were astounded by it. It cost 10 cents.

What's more important is the actual content. But we all know that already!

Your Move...

Chess. Yes, chess. It is probably the most boring game, just under bridge and golf. Why am I talking about it? Because these rules, from the 64 Commandments of Chess, sound like something out of Sun Tzu's The Art of War (with a little tweaking) so I'm going to share them with you.

results guaranteed!

by Bruce Pandolfini

• Be aggressive, but play soundly. Don't take unnecessary chances.
• Make sure every move has a purpose.
• If you know your opponent's style, take advantage of it. But, in the final analysis, play the board, not the player.
• Don't ignore your opponent's moves.
• Don't give needless checks. Check only when it makes sense.
• Answer all threats. Try to do so by improving your position and/or posing a counter-threat.
• Play for the initiative. If you already have it, maintain it. If you don't have it, seize it.
• When exchanging, try to get at least as much as you give up.
• Take with the man of least value, unless there is a definite reason for doing otherwise.
• Cut your losses. If you must lose material, lose as little as possible.
• If you blunder, don't give up fighting. After getting the advantage, your opponent may relax and let you escape.
• Never play a risky move, hoping your opponent will overlook your threat, unless you have a losing position. In that case, you have nothing to lose.
• Rely on your own powers. If you can't see the point of your opponent's move, assume there isn't any.
• Don't sacrifice without good reason.
• When you can't determine whether to accept or decline a sacrifice, accept it.
• Attack in number. Don't rely on just one or two pieces.
• Look for double attacks.
• Play for the center: guard it, occupy it, influence it.
• Fight for the center with pawns.
• Don't make careless pawn moves. In the opening, move as few pawns as necessary to complete your development.
• If feasible, move both center pawns two squares each.
• Develop your pieces quickly, preferably toward the center.
• Develop purposefully, and not just for development's sake.
• Don't waste time or moves. Try to develop a new piece on each turn. Don't move a piece twice in the opening without good reason.
• Try to develop with threats, but don't threaten pointlessly.
• Develop minor pieces early. King-side pieces should usually be developed sooner than Queen-side ones, and Knights before Bishops.
• Develop during exchanges.
• To exploit an advantage in development, attack.
• Try to give as much scope to your pieces as possible.
• Seize open lines.
• Determine whether you have an open or closed game, and play accordingly.
• Trade when ahead in material or when under attack, unless you have a sound reason for doing otherwise. Avoid trades when behind in material or when attacking.
• Choose a plan and stay with it. Change it only if you should or must.
• If cramped, free your game by exchanging material.
  
• Trade bad minor pieces for good ones.
  
• If the position is unsettled, disguise your plans: make noncommittal moves.
• If behind in development, keep the game closed.
  
• Try to accumulate small advantages.
• Use the analytic method. When you don't know what to do, first evaluated the position (as best you can), then ask pertinent questions about your analysis

Results guaranteed!

before:

after:

More Than Perfect

When we make art, we constantly set ourselves up to fail.

There is a goal, something we need to make that doesn't exist in the world, and we practice, gather, research, try, push, get lost, sketch, exercise and struggle until it is done.

It is easy to get caught up in perfection. We can see it or hear it in its perfection, but in translating that perfect ideal we can get caught up in falling short.

But how much incredible music has been made with low-fi equipment or virtually non-existent production, how many sketches have you seen that had ten times more energy than the final painting, how much delicious food have you eaten that was "a mistake," how many accidents have changed the world? It is the limits that make us great.

If Picasso had kept trying for "realism" in his early days? You would never have heard his name.

Embrace the mistakes. Don't let them stop you. The only thing that is more than perfect is the work that is completed.

After that, your failures may succeed beyond your greatest successes:


This architect failed, and made one of the biggest attractions in the world:


Gone With the Wind was rejected 38 times. Lord of the Flies 20.
Ulysses was constantly rejected (and keep in mind that the rejections are the publishers that bother to write back) and James Joyce's first book was thrown into the fire after getting rejected so much:



Here's an epic failure by one of the greatest artists in the world:



Citizen Kane was a huge box office failure. Even though critics lauded it, it also failed to win any of the Oscars it was nominated for; Best Picture, Best Actor, Best Director, Best Cinematography, Best Art Direction, Best Film Editing (all things it is considered revolutionary in)... only winning one: Best Writing (Original Screenplay) so it's 1 for 8:

Squirt It

DISCLAIMER: This is a work of fiction. Any resemblance to persons living or dead is purely coincidental.


Someone just tried to extort money from me, then stole my room mate's rent and bill money all while owing me money. To top it off, they are still running around with the keys. Now I really feel secure! I knew he was a scam artist after a few months, but I never thought he would stoop to something this petty and, frankly, sad.

When things like this happen, I usually have dark thoughts in my head. Then I feel bad and think, "no, no, I shouldn't think like that. Everyone is descent... I should still treat everyone with kindness and respect." Maybe this is the trappings of an introvert, or a misfit, or a depressive. Whatever you want to call it. I always ultimately end up taking a deep breath and clearing the negative thoughts from my head.

But kindness and being nice got me into this mess. It is such a cliché at this point, but it's a cliché because it's true. These vampires will take advantage of nice people. It gets proved again and again in my life. So rather than sit around, having a mental tennis match with my good thoughts against my bad thoughts; this time I became proactive.

It is all well and great to be nice to people. Even dicks. But when they do something callous and malicious, you need to act and you need to act fast.

When life gives you lemons, squirt them back in that fucker's eyes.

If you sit around feeling sorry for yourself, you'll simply fuel your self doubt. I repeat my mantra: I will not fall victim to anyone else's insecurity. People are damaged, people are disturbed but NO ONE can take their problems out on you. They will try and they are crafty but you will win in the end with truth on your side.

We can't love everyone. And why should we? Not everyone will love us. We should be fine with this. Can't we all just get along? NO! The worst of the worst will pretend to love you, then stab you in the back. They will twist the knife. These people are a waste of complex cell structures. They are a virus masquerading as life. They are also not worth your energy.

Be proactive, take on the situation calmly and coolly, make a strategy, organize and then let it go. Don't let these people enact their vampiric fantasies. As Sarcofago said; Crush, Kill, Destroy. Then as Black Flag said; Rise Above. In this order is the simple way for dealing with these predators.