This is a good set of links and interpretations about rates for comic book artists.
Generally, the good graphic novels fetch $100 – $300 per page, although professionals who have been in the industry for a long time can command as much as three times that amount. In fact, one elite illustrator commanded as much as $1,000 a page (on a 22-page comic book)! Most of the popular titles that artists, like David Cassaday, work on are monthly issues, which end up providing him with a six-figure salary. The back-end royalties on merchandise, trade paperbacks and movie royalties are also generous.
I tried my hand, this weekend, on a particular technique for digital inking using Illustrator. I started with a pencil sketch by Jack Kirby (published in one of the Jack Kirby reader books).
I scanned the image and popped it into Illustrator, then saturated it with blue, to make it easier to differentiate the pencils from the inks. I downloaded a specific Illustrator template from Cartoon SNAP, and tried out their inking brushes. Here’s an image in progress:
I’m continuing to practice different things related to constructing comics. As a simple lettering exercise, I decided to re-letter my final assignment from my cartooning programme.
In this case, I’m retaining the original hand-drawn caption boxes, but I’ve whited-out the original uneven hand-lettering and plopped in some new lettering. I’m using a 12pt font — specifically a font called Digital Strip by Blambot. 12pt is closest in height to the original hand lettering. (To be clear: that’s 12pt on the original art size of 11″ x 17″) I’m also using a bit of Engravers MT on page 4. In almost all cases, the computer lettering is more compact than my hand lettering, so the caption boxes are sometimes a bit empty-seeming.
There are things about Illustrator that I find irritating and more complex than necessary. Like, why do I use different tools to add path points and remove path points? Inkscape feels ever so much better at this to me. But whatever. A tool’s a tool.
I’m currently on vacation. Which, y’know, is pretty awesome. I spent a coupl’a days in do-nothing mode, sitting on my couch and watching movies. Which is about all that I’m capable of when work has drained me somewhat.
But now I’m in pet-project mode: I want to focus on something interesting. My pet project has been about going digital on the cartooning stuff. None of the instructors I’ve had have been terribly positive about computer-based art. Anthony (my primary instructor during my cartooning programme at George Brown) didn’t quite poo-poo digital art, but fundamentally believed that one had to learn how to draw using traditional tools before learning digital art. He also felt that most of the computer-produced art that he’d seen was very flat and lacked expressiveness.
Ty hasn’t taught us anything related to computers — he seems to draw and ink using traditional media, but he uses tools that Anthony would have turned his nose up at (markers! Pen brushes! Oh noes!) Ty also seemed to think that it was pointless to learn hand-lettering because nobody hand-letters these days. (I notice that Bechdel’s Are You My Mother? seems computer-lettered, whereas Fun Home looked hand-lettered). And Ty’s Bun Toons often include digital colouring and probably a bunch of other computer tweaks. So he seems more pragmatic about the use of computers than Anthony ever did.
I must have really turned a corner on my apprehensions of my Writing class because I’m really excited about tomorrow’s class and I CAN’T WAIT.
What do people think of the Writer’s Workshops that take place at WisCon? Has anyone on my friends list tried one? Impressions?
I bought this last month, but I only just now got my hands on the actual picture because it was part of a gallery showing that recently ended.
I’ve been following Michael Cho‘s blog for a while, and have quite enjoyed his “back alleys of Toronto” series of paintings. I got a print at TCAF a year and a half ago. But now I own an original. w00t!