Both writers and artists agonize over their work and many
fine tune it a lot before delivering it to an editor. That's
a welcome sign of a professional approach, but it is possible
to go too far.
An editor should appreciate a script that is well laid out
and also follows any company stipulated layout if the publisher
has one. They also appreciate good spelling.
My next point is a bit harder to explain, but I hope it
makes sense. Ever since my days at Marvel, we often encountered
a situation where an artist had delivered a draft or layout
that instinctively worked well in terms of comics storytelling
- and then ruined it in the final pencils by 'overpolishing'
the art.
In some cases, especially on comics work, this means a page
becomes a piece of art rather than a piece of storytelling
- the energy and dynamism of the artist that inspired you
to employ the artist was lost.
Sometimes, your first, gut instincts when it comes to drawing
or writing are often the best. Too much re-working can stifle
raw creativity.
Showing posts with label Drawing Comics. Show all posts
Showing posts with label Drawing Comics. Show all posts
Wednesday, 15 May 2013
Quote Me: Potfolio Advice from Pete Ashton - Don't be Nervous
"One thing I've noticed over the last couple
of years is that the creators doing portfolio reviews at the 2000AD table
[at the Bristol Comics festival] at least are very encouraging
to new people probably because a lot of them were on the other
side of the table until quite recently. In other words, the
younger generation of pros know exactly what you're going through
hawking your portfolio around so they are often sympathetic
and willing to give advice."
Pete Ashton from bugpowder.com, ostensibly a resource for the UK small press but there's much more on the site besides!
Pete Ashton from bugpowder.com, ostensibly a resource for the UK small press but there's much more on the site besides!
Quote Me: Pencils Provide when it comes to portfolios - Marcia Allass
"I'm not an editor, but based on friends' experiences
- I would try to have some pencils in your portfolio, just so you can
show the quality of the art before and after inking - I know
artists who have picked up inking work, for instance, by demonstrating
what they can do with ink over rough pencils.
"Also make sure that you have some sequential work in there as well as pin ups or splashes. It's important to show that you can visually tell a story.
"If you write and draw, then a finished short might be nice too.
"I've mostly seen people showing the actual artwork at shows in the past but
I'm not an editor so I don't know if they have a preference on that score."
Marcia Allass, Sequential Tart, a leading web zine about the comics industry
"Also make sure that you have some sequential work in there as well as pin ups or splashes. It's important to show that you can visually tell a story.
"If you write and draw, then a finished short might be nice too.
"I've mostly seen people showing the actual artwork at shows in the past but
I'm not an editor so I don't know if they have a preference on that score."
Marcia Allass, Sequential Tart, a leading web zine about the comics industry
Quote Me On Portfolio Presentation: Matt Brooker
"Back when I was breaking into comics, I always used to present my work in an A4 ringbinder, and never had any problems as a result - in fact, at a crowded portfolio session, A4 binders are a lot easier to deal with," advises creator Matt Brooker, best known for his work on 2000AD as D'Israeli.
"[Include] whole pages of comics. Three pages is a good amount for a sample piece. A good way to do a sample is to take a scene from a real comic, write down what happens in each panel, plus dialogue, then re-draw the pages from scratch without referring to the original comic. Some publishers do also provide sample scripts for this purpose.
"Showing pencils can be helpful if you're showing samples to the Americans - if that's the case, try to get photocopies of pencils before you ink them. It's best to show pencils and inks on facing pages in your portfolio for direct comparison. The only exception to this is 2000AD, who tend to prefer people to ink their own work.
"I'd also say that it's better to keep it short; only submit your strongest work, and leave out anything non-comics related - no life drawings, illustrations, stuff like that. Perhaps one pin-up and one page of character sketches to show you know how to do such things.
"It also helps to target your work a little; for example, have a giant robot sample for 2000AD and a superhero piece for Marvel/DC (or even a piece based on a character from each publisher if you can).
"And above all, don't let the fact that you haven't, or can't do any of the above from going and talking to editors. Go for it, and have a great time!"
• Matt's guide to colouring comics on the computer can be found by clicking here
What's in that Portfolio? Do's and Don'ts
More than anything else - DON'T stuff your portfolio with artwork.
Be ruthless about your portfolio. Evaluate the work you plan to show an editor, then cut it down. Think about the number of people who will want to show off their art and may be queuing behind you.
This sound harsh, but any editor worth their salt is going to make a judgement about your art after seeing the first page, not the last of 20, so make sure everything in your portfolio is the very BEST you're capable of. If you aren't happy with the art, don't include it.
DON'T include splash pages, cover illustrations or if you do, keep it to the very minimum.
What editors want to see is that you can draw comic strip, not pretty pictures. Have both pencils and inks of those pencils to show editors. Present pencils on the left, inks on the right. (Copy your pencils before you ink them if you're used to inking your own work). If you're looking for inking work and have inked some samples, show editors copies of the pencils you've inked.
Consecutive pages is a good idea, as suggested by others. I don't think size is important, an A4 ringbinder/portfolio is probably a damm sight easier to carry to a convention than an A2 folio.
Present a good script
Find some professional scripts and work from those if you can. I've encountered many a determined comics artist has been let down by with their portfolio by trying to draw a badly written script.
If an editor likes your samples, be ready with a set of photocopies of your work for him to take away.
Follow up a positive response with a letter of thanks as soon as you can when you get home, and send the same set of copies. There's always a chance the one you gave them got lost on route, or your address got separated from the samples (so make sure you put your name and address on them.
If you're after advice from editors, then please, please don't start arguing the toss if they don't like what they see.
A comics convention is a good opportunity to meet several editors, and if one editor doesn't like what you've done then another sure as heck may do. Thank them for their time and move on.
If a professional editor offers advice about your work, listen: even if you don't agree, if you argue, that will be remembered. Editors will be looking for specific things in a portfolio. If your portfolio doesn't offer what they're looking for, they'll say so. Accept it and try somewhere else, or take note of what's said and you'll be better prepared for the next time. (That, by the way, isn't to detract from the quality of anyone's art. The professionals will be looking for work they can publish that fits their corporate needs, not just good art).
By the same token, I don't consider it appropriate for editors to be rude about someone's work, but that doesn't stop them from being honest.
Fanzines sell your work!
I cannot emphasise enough how great it is for an artist or a writer to give an editor a fanzine they've had a part in. For one thing, all editors like freebies. For another, it shows that you, as a creator, have the commitment and belief in what you're doing to get right down to it and draw a strip people want to see. Plus, publishing a fanzine and selling it at a convention might just cover your bar tab (but there are no guarantees).
"I think they work pretty well as business cards to complement a portfolio," says Pete Ashton from bugpowder.com on taking fanzines to conventions: plus if you make them A6 they fit in pockets better. It's a good way to stick in the editor's mind when they find your mini in their jacket pocket a few days later and read it on the train. About 12 pages A6 should do it.
"Make sure your address/email/site is clearly on it though."
Tailor your work for the target publisher
Have pages for DC with Batman, Superman etc, Marvel heroes for Marvel, 2000AD characters for Rebellion. The editors for DC and Marvel will want to see their own characters, not yours. Also, before you go to the event, see who's announced they will be there and plan your pitches accordingly. Check the event's web site if they have one.
That of course may not apply to smaller publishers at the event looking for new strips and concepts to publish.
Links
• Artist Bryan Talbot's advice for new comic creators
Be ruthless about your portfolio. Evaluate the work you plan to show an editor, then cut it down. Think about the number of people who will want to show off their art and may be queuing behind you.
This sound harsh, but any editor worth their salt is going to make a judgement about your art after seeing the first page, not the last of 20, so make sure everything in your portfolio is the very BEST you're capable of. If you aren't happy with the art, don't include it.
DON'T include splash pages, cover illustrations or if you do, keep it to the very minimum.
What editors want to see is that you can draw comic strip, not pretty pictures. Have both pencils and inks of those pencils to show editors. Present pencils on the left, inks on the right. (Copy your pencils before you ink them if you're used to inking your own work). If you're looking for inking work and have inked some samples, show editors copies of the pencils you've inked.
Consecutive pages is a good idea, as suggested by others. I don't think size is important, an A4 ringbinder/portfolio is probably a damm sight easier to carry to a convention than an A2 folio.
Less is More
Less is more. You'll have ten minutes at most with an editor. Be ready to
have your very best work on the opening pages of your portfolio and be ready
to change those pages to suit different editors (see above about drawing
samples for specific publishers)
Present a good script
Find some professional scripts and work from those if you can. I've encountered many a determined comics artist has been let down by with their portfolio by trying to draw a badly written script.
If an editor likes your samples, be ready with a set of photocopies of your work for him to take away.
Follow up a positive response with a letter of thanks as soon as you can when you get home, and send the same set of copies. There's always a chance the one you gave them got lost on route, or your address got separated from the samples (so make sure you put your name and address on them.
If you're after advice from editors, then please, please don't start arguing the toss if they don't like what they see.
A comics convention is a good opportunity to meet several editors, and if one editor doesn't like what you've done then another sure as heck may do. Thank them for their time and move on.
If a professional editor offers advice about your work, listen: even if you don't agree, if you argue, that will be remembered. Editors will be looking for specific things in a portfolio. If your portfolio doesn't offer what they're looking for, they'll say so. Accept it and try somewhere else, or take note of what's said and you'll be better prepared for the next time. (That, by the way, isn't to detract from the quality of anyone's art. The professionals will be looking for work they can publish that fits their corporate needs, not just good art).
By the same token, I don't consider it appropriate for editors to be rude about someone's work, but that doesn't stop them from being honest.
Fanzines sell your work!
I cannot emphasise enough how great it is for an artist or a writer to give an editor a fanzine they've had a part in. For one thing, all editors like freebies. For another, it shows that you, as a creator, have the commitment and belief in what you're doing to get right down to it and draw a strip people want to see. Plus, publishing a fanzine and selling it at a convention might just cover your bar tab (but there are no guarantees).
"I think they work pretty well as business cards to complement a portfolio," says Pete Ashton from bugpowder.com on taking fanzines to conventions: plus if you make them A6 they fit in pockets better. It's a good way to stick in the editor's mind when they find your mini in their jacket pocket a few days later and read it on the train. About 12 pages A6 should do it.
"Make sure your address/email/site is clearly on it though."
Tailor your work for the target publisher
Have pages for DC with Batman, Superman etc, Marvel heroes for Marvel, 2000AD characters for Rebellion. The editors for DC and Marvel will want to see their own characters, not yours. Also, before you go to the event, see who's announced they will be there and plan your pitches accordingly. Check the event's web site if they have one.
That of course may not apply to smaller publishers at the event looking for new strips and concepts to publish.
Be honest
Be ready to answer, honestly, "How long did it take you to draw this?" That
kind of question is a good sign, it means they might be thinking of trying
you, unless it took you a week to do just one page (a comics professional
will as a general rule draw a page of pencils in one, one and a half days
if they want to get a 22 page book done every month, that is!)
Best of Luck!
You'll be competing with hundreds of determined
creators. If you think those wannabe TV Pop Idol contestants have it bad,
you've never presented a portfolio. But if the work you sweat over to present
at the event gets you a job, it will be worth it.
Links
• Artist Bryan Talbot's advice for new comic creators
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