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If someone pulled that to me with my rightfully paid for table and the convention didn't make it right, I would be flipping tables. That there be horseshit.
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Jul 4, 2015 17:34
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As much of a hand lettering enthusiast as I am, there's lots of excellent fonts out there that work very well—you just have to cough up for them. I often find that most bad lettering is not objectionable because of the fonts but because people make layout mistakes or ballooning mistakes. Lettering that doesn't make a cohesive layout and flow is a far more serious crime than a font. But I still enjoy a well-done, hand lettered dialogue comic. I love hand lettering effects, and I still draw my balloons by hand. IMO, any bone-standard effects that are just fonts are very, very boring. That's really where font crimes come into play. But for your average dialogue balloons, I use an arsenal of fonts because the amount of time saved would be significant. I would rather spend more time making cool effects lettering than hand lettering every dialog balloon. But that's my trade-off and like everything in comics there's usually some kind of time spent prioritization going on.
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Jul 7, 2015 15:00
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For those who want real high quality fonts, Comicraft is doing a half-off sale during Comic Con. Not as good as their new year's sale, but still a hefty discount.Reiley posted:You can use this method to both take advantage of all the conveniences a font offers while also correcting the capital-i having or lacking crossbars within a given font (the sideways-H looking I is only for the pronoun I, and not for general-purpose capital-vowel use). Any half-decent comic font will have a crossbar and not-crossbar I.
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Jul 9, 2015 02:08
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Spent my day today at the Massachusetts independent comics expo and it made me very nostalgic for my days in the indie comics community. If you're disillusioned with big cons, try to go to your local indie scene and support them. Honestly one of the best con days I've been to in years.
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Oct 18, 2015 21:09
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Rad, I'll have to make sure to say hi to you next year neonnoodle. Maybe next year if I get my act together I can have a book ready too. I didn't bring any business cards because I didn't expect to do any networking, and I wound up having five people asking me for cards for lettering and coloring. Note to self: always bring cards to cons.
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Oct 18, 2015 22:51
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Yes, yes. As a multi-year table veteran I am shamed. However, I MacGyvered contact info on post-it notes and on the back of the people's cards I was talking to. So it worked out.
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Oct 19, 2015 03:20
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When "great artists steal," It means taking something somebody else has done and transforming it into your own. You wouldn't have had so much of the artwork in Calvin and Hobbes if Watterson wasn't such a Walt Kelly fanboy. What do you like about it that generates an emotional response? That response is what's key in making your own thing that's inspired without ripping off. Hell, Star Wars is The Seven Samurai. Reiley posted:Take the story you've written from your inspiration, reskin everything with your own designs and go from there. also this
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Jan 21, 2016 15:43
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Space-Bird posted:
Yeah, my bad, I was completely wrong. Hidden Fortress was what I was thinking of.
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Jan 21, 2016 19:55
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Whoever told that lied to you. It isn't. Yeah, Lucas takes a bunch of pseudo-Japanese stuff 'Jedi" = 'Jidaigeki'... but definitely nothing like 7 samurai. There aren't even 7 jedis. star wars sucks.
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I table at multiple conventions every year, it's honestly not a bad thing to do at all. The key thing is that the convention community is a pretty good network, a lot of people know each other. Word travels fast. Conventions aren't really full of smelly nerds. Yeah, there are some, but you'll sell and talk to people of all stripes. The real obnoxious people exist, but they are a rarity, and good conventions have staff that will get rid of them. Especially when you're first starting, it's kind of an investment or gamble. And for god's sake, get a Square or some other method to take cards!Kojiro posted:Cons make up the backbone of my income, kickstarters aside, but it's taken four years of consistently visiting the same 8-12 cons with a new, professionally printed book each year. I'm no salesperson but I've got my short pitch and a smile, which seems to do the trick, and I definitely don't go out of my way to be a "face", but have made friends regardless. This is also basically me. It's tough to do shows sometimes because it really feels like gambling sometimes. I'm in no way a name, and sometimes my fan poo poo sells more than my original poo poo, but that's what you got to do to make money. And it's STILL not enough for me to be able to quit my day job. I'm trying to do costume photo booths instead of my art at a few shows, and while it works, having to split the income with my photo partner really puts a crimp on the final take. But I find it massively enjoyable, far more fun than trying to repeatedly convince people to buy my book or prints. Unbelievably Fat Man posted:I think I might be able to pull off SPX this year. I've got several friends in DC so I can probably find crash space, and I've got two graphic novels and by September I'll probably be done with the one I'm working on. Ironically the biggest problem would be travel. Trains and flights from Boston would be about the same price as a half table and a bus would only be marginally cheaper. Might be able to bum a ride with one of my friends, though. Carpool if you can, split hotels if you can, anything you can do to cut your costs. Boston to DC is at least drivable.
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Feb 12, 2016 15:03
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Pick posted:I have friends who are full-time artists who primarily rely on fanart sales at cons to make ends meet because the original work doesn't sell nearly as well. In my mind, the issue is complicated because it seems to be a symptom of the difficulties involved in being a full-time independent content creator. I think many artists would sell less fanart if they didn't think it was necessary to make their participation in the art world financially viable. Feeling the same here. It really depends on what kind of show you're selling at. Like it or not a lot of classic comic cons have morphed into pop culture cons, and it's not just fanartists selling what amounts to bootleg merch. I think people would feel very differently if people were selling traced work or legit plagiarizing others, but if you make your own work with your own effort and your own style, it's a much tougher call. Nobody seems to care about the people selling the laser engraved shotglasses and cups with trademark infringing junk on them, because I guess they're not seen as competitors to other artists, but they absolutely are! But it doesn't feel like competition since these people aren't seen as artists, even though they may design all that stuff themselves. When I was doing tables for my (now defunct) comic, things were less expensive and less troublesome. We just did commissions or sold a few printed versions of our favorite strips. Since we didn't have the wherewithal to make a printed book at the time, we made enough to basically attend the local shows, but it was in no way a real living. We were able to actually make money when we added a few fan prints to the mix. People still picked up our comic but we were also able to afford to actually eat and maybe not come out of the show in the red. The same amount of people still got commissions and bought comic junk, but we had even more net customers. I think, if every artist had their choice, they would be able to subsist solely on their own merit. But even the most famous renaissance artists did bible fan art to make ends meet. I love indie shows, but even at my local small press show (MICE) there were a few people who, in addition to their original work, had some fan art stuff. But there wasn't a person there who was solely selling fan prints (since they would have been filtered out). I think people get that the goal of shows of MICE and SPX are to promote your work, that's why they're cheap to attend and they attract a crowd that is genuinely interested in (for the lack of a better term) indie comics. But when you're at a big pop culture event, you're getting a crowd that's a much harder sell to buy a comic from a random person. I've transitioned into doing photo booths, which has worked out very well and been very profitable. But I moved on because I can only hawk so many buttons/keyrings/baubles/books. I just got tired of not making much actual money selling art.
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Feb 18, 2016 02:24
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Retro Ghost posted:Hey guys!! You were all so supportive of my first series I thought I'd share with you the sequel. Basically it's just more stories about my toxic first relationship, except it's not exclusively about times he cried. These are still great. Well done.
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Jun 14, 2016 23:24
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| # ¿ Apr 30, 2024 01:50 |
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Neon Noodle's been one of the best posters in this thread and that work is grade A+ stuff. Well done.
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Aug 21, 2019 21:15
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