Deadlines and pricing

I have a few options with my latest book, all of which are driven by the WonderCon Deadline this year.

I made it into the show, that’s not the problem. I wrapped up my last days on the show I was working on – they day job – and took on a freelance job which put me a full two weeks behind the much more comfortable schedule for delivering Pages of Eight 3 at WonderCon this year.

Since getting my Ultimaker 2, I’ve been trying to have a cool new printed project every year – something to have at the table that starts conversations. This year is no different, but with barely enough time to finish Pages of Eight, I might just print out some older projects instead.

I did think I would print out something else from another show I worked on. I got to build and animate a fun horror comedy creature sequence in the Sundance premiere of Snathcers from some fun UCLA alumni.

Hopefully, they can sell the series and I might get to work on it again, but I like having something at the table which represents a broader swath of what I do. Printing out the Snatcher creature itself would be a fun way to show that.

I might even be able to print it out life size – the actual creature was barely a foot long. Crouching over a skull – that might be pretty cool looking. Though I’d need almost as many weeks to print and paint it as I have for Pages of Eight. And I can’t sell the Snatcher, really. I have no rights to its design. A lot of work for a showpiece.

SO when I make up my mind, the show will have ended already, HAHA.

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Getting ahead of the page count

How do you think indie comic artists with full time jobs get work done? Often slowly, often in pieces, very often in bursts.

I had a good burst while working full time on the Netflix comedy – coming to a netflix login near you. I would get home from work, fire up the Surface Pro and munch on dinner intermittently while trying to pick up where I left off the night before.

I spent every night – with one exception – working on as many panels as possible, writing an re-writing in the two or 2.5 hours before going to sleep. I never wanted to let the sleep thing get out of hand.

I am actually more than week behind my realy ambitious schedule but considering it took me the better part of a year for the last issue of Pages of Eight, I think I am so far ahead of the page count that I can’t help but celebrate a little.

For me, that means I can grab a burger or some pancakes … then get back to it.

And that’s a half truth – let me explain … to the three of you that give a shit.

I don’t tend to draw for long periods of time. I can burst through certain tasks, for about two hours and then need a break. Often I spend that break doing anything but drawing – looking over copy, checking the next tasks on the upcoming pages, thinking about light and lines (spoken lines, not just drawn ones).

It’s a nice way to manage the demands of being your own editor – whiile I am primarily an artist, I write this book as well so I have to give a lot more time to that side of the process which I feel is the far less labor intensive part of it all.

Even so, I manage to write myself into corners – the crowd shots, the weird angles, lots of times. But I know what it’s worth to me, I know what the way it works.

Off to the drawing board (or Surface in this case).

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Going “George Lucas” on my comics

Or at least one of them. Redoing an entire issue the way I want it to look. On the left is the redux, on the right the original.

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I did Trouble, Guts & Noir issue 4 years ago on a personal dare – can I make an issue in less than a month? That was the challenge – everything from writing, art and marketing were factored in and while I completed the task I was never really happy with the result.

It was also one of the first comics where I used substantial CGI aids in order to leverage my skills in that arena.

Up until this issue, those paths didn’t cross and it was a personal choice – the challenge used to be more about getting AWAY from CGI. I got a little precious about the process and it was an interesting change.

This was also a beginning to a broader storyline – I wanted to play with one of the tropes of noir in my own way. Ever hear of the “dead girl” trope? I am sure you have if you are a fan of noir.

But the redux is going well – considering I finished the original issue’s art in two weeks (I wrote it and did layouts in less than a week). I am sure it will be finished in time to upload to Comixology. And then I can wait six months for them to wade up to it. Sheesh. It takes them longer to approve single comics than it takes to make WHOLE comics.

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