At 3PM I sent the last page of the last project of the year. I was wrapping up all year’s work and I found myself working a lot, a huge lot in order to finish it on time.
Gladly, I succeeded. All pages are now on their own dropbox or gmail folder and, for the first time I started to think about what I have accomplished this year.
Since I was a kid I wanted to be in comics and after march 18th 2013 I am trying to make it seriously into comics. but after this past two weeks, sunk in work I realized that I have gain real understanding about the deep love for comics I have since I was a kid. While working I was watching several comic book documentaries and It touched me the same spot those artists have towards the love of comics is tuned with what the love I have for it. This last month, I think the hardest one since I am an inker, recharged that love.
The year in numbers:
(like the joke about lawyers, it’s a start)
I have been published digitally in these projects:
– Li.la 3, (Chile), by Accion Comics, based on a script of German Valenzuela. (Pencils and inks). By first trimester of 2014, I’ll do the next part of it. LINK. 8 pages
– El Viudo, Las Coplas Del Diablo (Chile), S: Gonzalo Oyanedel, P: Rodrigo Campos, I: Me. Futuro Esplendor Publishings. It’s planned to see print by 2014. LINK. 24 pages
– Sinfonías Sencillas: Compasión: (Chile) S: Alfreo Rodriguez, P+I: Me. LINK. 6 pages
– La Senda del Errante: (Chile), S: German Valenzuela, P: Sebastian Lizana, I: Me. Possibly sees print in 2014. LINK. 22 pages
– The Red Devil, (USA), digitally published by Tapastic. S: Tony Dwight, P: Erik Roman, I: Me. LINK. It’s being published now. 5 pages published by now
– One Must Break 4 (New Zealand), digitally published by Beyond Reality Media. S: William Geradts, P: Diego Toro, I: Me, Colors: Kote Carvajal. LINK 23 pages.
I have been only seen print:
– Trixie Dynamite #1, #2, (USA), published by ECV Press. S: Ben Schwartz, P: Mauro Riefscheinder, I: Me. Issues 3 and 4 to see print in 2014. You can read Issue #1 here. LINK
I strongly believe that I’ll see print in 2014 (Besides noted above)
– Oblivion: (USA) A longshot by Bad Cog Productions, donde by 2010 to 2013. S: Devin Richard, P: Rodrigo Campos, I: Me. Last news of it was that it was in line to be lettered and sent to print. Backend project. This project show me a lot about trust an editor. 48 pages
– Robin Hood #3 and #4. (USA), by Bluewater Productions. Still not clear about release date, but I have finished last page of Issue 3 today. S: Ken Janssens, P: Luis Rivera, I: Me. 22 pages each issue
– Snowmalinas: (USA). This is a GN which I help ink 8 pages back in 2011 and I believe that it will see print this year. S: Daniel Karluhen, P: Cynthia Sousa, I: Me, 8 Pages
– StarBurn: (USA), Emerald Star. First collaboration with my Canadian friend Kelly Bender (S), Brian Balondo (P) and me on inks. Still on a production process. This will be a back end project.
– Midnight Delivery Service: (USA) Double Barrel Theater. S: Matt Kayal; P + I: Me. My first attempt on drawing and inking digital. I’ll show some of it soon. 10 pages
– Headliners: Issues 1 and 2. S + P: Kevin Strieter, I: Me. Not clear about medium of publishing, I have delivered 10 pages this week, so we are in a good speed.
So, That’s what I am right now. I have done some Flats to a GN and 4 issued lettered. But I believe I have been inking like 200 pages this year only, Involved in more that 17 projects, most of them about to see print or in a pitch process, but I am wanting for more. What i like the most is that i have learnt a lot. About inks, about dealing with foreign artists; about what to charge, what to expect from publishers and searching for the way to break in to bigger publishers.
I think that 2014 will be the year of seeing some things out there in the shelves. I strongly expect that and I can’t wait to see work in reader’s hands, aging to be reviewed and hoping that you like what you see. I want to let you know that I put my strongest effort, tears, blood and sweat… (and sometimes I put some prescripted pills XD) on every page you’ll see.
Peace, may your best wishes come true this new year.
Did this piece as a warm up for inking and testing my new brushes.
Always being in love with great Jason Pearson‘s Body Bags and this piece by the also great Silveira JR was the best opportunity.
done with Raphael Kolinsky 8404 #1 Brushes.
Pencils: Silveira JR
Inks: Cristian Docolomansky Cerda
Original penciled piece: here
What to do when things does not move Part 2: Requesting free bread.
“Is this guy for real?”
That’s what I thought and still think my overreaction was quite normal, regarding the fact still I can’t believe this guy who was trying to hire me.
Last time I wrote about working in Comics, was here, and I told you about speediness and amount of profitable work you could accept. Several weeks had passed and well, I needed to give some update of my thoughts about this beautiful job. What to do when things are not moving at your speed, remember? Now, let’s see what happens when you are being asked to move in a different rhythm as usual.
After a couple of weeks without any new job things started to move.
One of the possible deals was inking a comic book for a upcoming publisher. An Irish friend of mine, penciler was on board and it sounded promising. But here was the catch. Despite the editor (… or writer… or penciler as I finally learned the guy was…) was very eager to start, he could only pay backend.
I thought it could be a interesting addition to my portfolio, but I finally couldn’t accept it, since I got two new paid projects for Dec and Jan 2014 that came almost immediately as this one. So I wrote to this person telling him that thanks, but I had to decline his offer.
Most important thing: be professional, work as many projects you can handle without compromise quality and keep close communication to your client.
Back to topic: Back end projects are… well… difficult. They are a great way to develop many things of your craft. You can work in a professional playground, meeting deadlines, the level of demanded quality is way more demanding and it can end with a great project, meet and collaborate with new artists and eventually get your work printed and get paid. But there’s another side of backend projects. Sometimes they don’t have clear plan about where to be printed, it’s distribution and sometimes they are only based on dreams, not plans. Besides, since it’s not a clear project and professional relationship, teams tend to broke apart before they start and it’s very, very difficult that the payment you might get is not as close as your page rate.
I have accepted some backend projects, so I know what I mean. Actually I am waiting some pages to come, this time for Emerald Star Comics. the planning I was offered was detailed in some emails, I know the team closely and I like the project.
But, some other times, if the other party can’t understand your decision of not taking part of his project you can find these kind of answers:
Several things that I want to point out:
– I want to take a lesson from this situation, so I won’t post any bad vibes from this issue.
– I wish this guy nothing but success, but here’s a lesson for both to learn.
– He claims he can hire Front paid, but he never told me that until this letter, as long as I know. I have never been offered “half” or full front payment, this was only backend.
– For newer artists: it’s difficult to us being in the same place as our editors/writers/publishers… When I see this kind of self-confidence mixed with an extremely eager demand of trusting their work no matter what, get suspicious. I have meet these situations some other time, where “my idea will change comics” makes me wonder about my adamant skepticism towards pretty much everything. Maybe I am way too much convinced that you can’t beat the giants whether you ride a horse or a tank and they are only windmills, but I find hard to fall in love with something I can’t rely on. I am on the comic book inking business, not the love business. So when I am asked for my services retributed with nothing more than love for the story telling and commitment to the project, my desk wonders if I can pay my brushes and inks with that love. Just for once, please do this exercise: forget the bills, the talent and the product, forget the hours I spent per page and forget that I love what I do. If I only worked for the materials I use and need to constantly buy in order to accomplish my goals, these kind of projects does not suit for me. Can’t pay PaperInkArts.com with love. Sorry, tried that last time and didn’t work.
– I try to be more of the kind “what you see is what you get”: Want great inking? Want to meet deadlines? Need to improve your pencils with my inks? I am your guy. My job is not free, because I need to pay bills, to eat and more important because every job demands to be paid. It needs to be rewarded. I don’t go to the bakery and ask the baker to give me his bread, because it’s a primary food to sustain a human body, or even worse, because he loves to bake some bread at 4 AM. He needs to be paid and with that money he can buy more ingredients to keep baking bread. As simple as that.
It’s amazing how in artistically environments free jobs are so easily requested.
Oh, on the other hand maybe I am rejecting being part of a project that really would change comics.
So, keep close info of the people you are in touch. See what have they published before, comments about their work and professionalism, if they have a clear plan. And above all, don’t give your work for free.
Bests and hope I don’t scared you.
After a couple of weeks off, (just like everything in the States regarding Thanksgiving, Cyber Mondays and Black Fridays), we are now back on track. Enjoy!
Writer: Tony Wright
Pencils: Erik Roman
Inks: Cristian Docolomansky
Colors: Joe Haemmerle
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Check out Champion City Comics: www.championcitycomics.com
ah! Just found this: Is the whole Red Devil Story embedded, for your instant pleasure!
Hi, there: Today is the end of the last issue – so far – of Beyond Reality Media’s One Must Break, with this splash page we end Issue 04 of One Must Break where I do the background inks:… Want more? Beyond Reality Media is your answer!
Script: William Gerards,
Art: Toro Diego
Inks: Me; I did the backgrounds.
Color: Kote Carvajal
find it here: http://beyondrealitymedia.com/one-must-break/issue-4/page-23/