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How DC contacts work... By Mark WaidIf you're working for a publisher and wondering how the payments work then this by Mark Waid is pretty good --> http://thrillbent.com/blog/how-dc-contracts-work/
Basically what it boils down to though is that things are paid pretty much as a work for hire which means you get paid a once off flat rate, and then whoever paid you can do whatever they like with the final picture and not owe you a cent extra. Only if you're very good at negotiating contracts, and remember you're up against some of the best in the business with Marvel etc, or have such clout and "cred" in the industry, that you can cut your own deal. Which probably also means your name is Stan Lee...
This sort of deal ranges from a private one off pinup you do for John Doe to the big leagues such as DC and Marvel. Personally I'm fine with it as I get the money and then get a personal kick about seeing the final product in print. I usually ask if I can ge
Premium Content PublishingSo DA has gone and launched a new feature called Premium Content Publishing.
Basically it allows you to sell your artwork and products such as brushes, stock photos.. well whatever, via DA using the points system to earn real money ... eventually. Along the way DA takes a 20% cut of the sales price. (Hey - gotta finance that private island somehow!! --> http://browse.deviantart.com/?qh=§ion=&global=1&qA+island#/d1wlypl)
So, the way it goes is that you upload your high res art file via sta.sh and then offer it for download. A person who wants to buy it, pays you in DA points for which you can then get converted into paypal money (after 14 days) and eventually you can access via paypal into real money in your bank account.... sounds great huh?!!
Ok, now lets consider the fees and costs of this thing..
First off a 20% cut is VERY VERY high. I've done some looking around and other art sales sites take a 3 - 10% commission... not 20.
Secondly DA also makes more money by making people
Greed is goodAnyone who's worked freelance knows that one of the hardest things to do is decide on a suitable rate for your efforts and time. It doesn't help things when what you might consider a good rate would be regarded as a pittance in one country but enough to live like a king for a month in another.
The way I've always seen it is like this. If you can get more per hour flipping burgers at the local Macdonalds, then that's what you should be doing. That's your baseline. After this it depends on what you think your time is worth and add on accordingly. Of course, that's not what the client thinks you're worth, which is going to be peanuts, but then thats the fight that all of us face in order to convince them otherwise...! You're on your own in that one I'm afraid...!
I'll open up and state what I get paid from Zenescope for colouring covers for them. It's $US120.00 a shot regardless of the lineart complexity. They initially offered me $US80.00 a pop but I negotiated upwards to something
The Mark of the Beast - Clients from HellFrom the "Clientsfromhell" website...
The best way to avoid a lot of complaints that come with freelancing is to screen clients. However, not every client from hell has a pair of horns sticking out of their forehead. Here are some signs that you may be making a deal with the devil:
Ambiguous expectations: A client is employing you because they lack the skillset or resources to complete a project themselves. However, the client should have a clear idea of what they're after. Failing that, they should be eager to help you help them figure it out. Clients who fail this test have project scopes balloon overnight, or they react with anger and confusion when their idea of what they wanted doesn't match the freelancer's blind attempts to give it to them.
Unappreciative: A client's expectations may not be explicitly tied to the project itself; they may expect behaviour, time, or discounts for no other reason other than they think they deserve it. Unfortunately,
Hell to Pay...If you're a freelancer, there will come a day, that you get shafted by the client for the money. (and it *will* happen *cough* Dabel Brothers *cough*) so this article from the clientsfromhell website has a few worthwhile pointers to keep in mind.
Create a contract. Contracts should exist for every project and every client you work with. It should include a description of work, payment information, and the explicit (as possible) obligations of both client and freelancers. Make sure it's signed by both parties and that everyone's contact information is accurate.
Do down-payments. I don't know a single professional freelancers who doesn't insist on down-payments. Most suggest 25-50% of the final project cost, with the remainder paid out on delivery or as progress is made. Not only does this help with the feast-and-famine style of payment that comes with freelancing, it shows the client intends to pay (at least a portion of) the freelancer's
Freelancers Guide 2012The website "Clients from Hell" (http://clientsfromhell.net ) has put out a Guide for Freelancing - The do's and don't's and other general advice.
Well worth the read IMO
The link (a 35 page PDF file but just read the dang thing!!! ) --> http://cfh.s3.amazonaws.com/Ebook/FreelanceGuide2013.pdf
Tools of the TradeHey guys. I figured I'd go ahead and do a FAQ journal entry. Just a basic list of the tools I'm currently using for my marker work. I have a new tutorial for my markers that I'll post when I'm able to share the art I used for the progress shots. Feel free to fire away with any questions and hopefully, this can be a go to guide for basic info on my tools. I'm not going to talk about oil painting materials as I'm still figuring all that out and I doubt an answer I give today will hold up in the future.
Ok Here goes...
Markers: Prismacolor Cool and French grey markers. I think "Copic" has become another word for "marker" these days, so it's assumed that I'm using Copics for all of my work, but I actually use Prismacolor for all of my figures and detail work and only use Copic markers for backgrounds. I use to use "Warm" greys but I like the sepia look of French more now. I also occasionally use Copic color markers when I'm doing a full color marker piece. Why do I like Prismacolor markers
The Three problems with how we learn art: pt.3I've been thinking about how and why we learn to draw for a few years now. I started self-analazing my own drawing and character design thought process when I began writing my first art instruction book, "Creating Characters with Personality". It was harder than I thought to verbalize how I've learned and how I process drawing. This has led me to start looking back at my artistic life and how I learned art. What made me learn the most? What drove me to draw and stick with it? What led to others I knew as a child to stop drawing? I think I'm ready to present some of those thoughts here on DA and hear what you think. This is part 2 of three in a series. I'm not sure where this is leading, but step one is my establishing an online art instruction school called Taught ByA PRO (http://www.taughtbyapro.com) that will (in phase one) concen
The Three problems with how we learn art: pt.2 I've been thinking about how and why we learn to draw for a few years now. I started self-analazing my own drawing and character design thought process when I began writing my first art instruction book, "Creating Characters with Personality". It was harder than I thought to verbalize how I've learned and how I process drawing. This has led me to start looking back at my artistic life and how I learned art. What made me learn the most? What drove me to draw and stick with it? What led to others I knew as a child to stop drawing? I think I'm ready to present some of those thoughts here on DA and hear what you think. This is part 2 of three in a series. I'm not sure where this is leading, but step one is my establishing an online art instruction school called Taught ByA PRO (http://taughtbyapro.com) that will (in phase one) concentrate on drawing instruction for all forms of media. Here we go:
I believe there are T
Top 5 Mistakes (I've made over the years)To many people in comics, I only arrived a few years ago with Joe the Barbarian. Then came Hellblazer (completed in 2008 before I began working on Joe), American Vampire: SOTF, and finally Punk Rock Jesus. Once in a while someone will mention Off Road (an OGN I did with Oni back in 2004), but for the most part it seems like I've been published only these last few years when in fact I've been published professionally for a decade now.
This isn't a plea to have everyone go back through my previous work--in fact, I'm glad that a lot of the books I've done over the years aren't on readers' radars. I'm proud of it all, but the books above are a nice, tight group of titles to be associated with. They're all in a similar brand, they're all recent, they all have good creators/publishers associated with them, and the artwork is mostly consistent. Go back further than that, and you'll see artwork that looks nothing like the stuff I'm doing these days. (Although Off Road still holds up to some de
The Three problems with how we learn art: pt.1 I've been thinking about how and why we learn to draw for a few years now. I started self-analazing my own drawing and character design thought process when I began writing my first art instruction book, "Creating Characters with Personality". It was harder than I thought to verbalize how I've learned and how I process drawing. This has led me to start looking back at my artistic life and how I learned art. What made me learn the most? What drove me to draw and stick with it? What led to others I knew as a child to stop drawing? I think I'm ready to present some of those thoughts here on DA and hear what you think. So, this is part 1 of three in a series. I'm not sure where this is leading, but step one is my establishing an online art instruction school called Taught ByA PRO (www.taughbyapro.com) that will (in phase one) concentrate on drawing instruction for all forms of media. Here we go:
I believe there are T
5 Art Selling TipsWhile I used to see "art sales" simply as bonus money coming in on the side, over the past few years it's become enough of an asset that it justifies an art dealer, record keeping, insurance, and taxes at the end of each year. It's currently 25% of my total income, and that has a lot of impact over my work. And just like storytelling, design and page flow--abstract principles that keep my career afloat daily--art sales also deserve to be studied, theorized, and understood.
These are guidelines, not rules. And while most of them usually work for me, they might not all work for you, so keep in mind that my market might be different than yours. Because not only do we not draw the same, we probably have different sorts of buyers.
1. Don't stay on a book for too long
I find that doing mini series of 4-12 issues is optimal for selling art. If you spend a year doing one-shots or 2-3 issue minis, you'll be hard for buyers to keep track of because it's too infrequent. And it's hard to make an i
Drawing Inspiration- Have a directionMyself and some of the other instructors at Taught By A Pro are starting to write monthly "Drawing Inspiration" blog posts at Taught By A Pro. These are blog posts/articles about things we've learned from being in the animation industry for some 25 years. Today's is by me (and my bro, Tony) and its about "HAVING A DIRECTION" in your drawing/art. Check it out: http://taughtbyapro.com/drawing-inspiration-in-animation/
Don't go to Art School!I have not been brave enough to utter that sentence- until today. Today is the day I read THIS GREAT ARTICLE by Noah Bradley: https://medium.com/i-m-h-o/138c5efd45e9 I have been more and more bothered by us artists paying for art schools that cost as much as Ivy League law schools (or more) only to come out of said schools not able to find art jobs to pay off the mounds of debt that has left school with you! This article also mirrors my own feelings: its not about the instructors (or very rarely). They are underpaid and under appreciated. Some don't have the proper art training but have replaced that with Master's degrees, which is a pet peeve of mine as far as the costs the students are paying for that instruction. But, again, that's not the instructor's fault. They were able to get that job because only those with Master's degrees can fill those positions. They worked for that degree, so good for them. Art schools are not d
All you need to know to get crisp FlatsIf you want to know how to get flats with perfect separation, no floating pixels, and are easily selectable. This is the sum total of what you need to know:
It's all in the TOOLS.......and their SETTINGS
Set the feather to zero px, and uncheck anti-alias on the Lasso tool.
Set the tolerance to zero, and uncheck anti-alias on the Wand tool.
Set the Opacity to 100%, and set the tolerance to zero on the Paintbucket tool.
Use the pencil tool to do any fine detail color work, and make sure it's set to 100% opacity as well.
***Do not, under any circumstances, use the Brush tool for flats. Ever.***
These are your must have settings and tools, may they take you far
Give me a break (into comics...)Pro comic writer :iconzubby: Jim Zub has a blog where he's written a few entries on how to break into the comics industry. Well worth a read IMO!
The links -->
Part 1 - How do I break in? --> http://www.jimzub.com/?p=1725
Part 2 - Find an artist --> http://www.jimzub.com/?p=1767
Part 3 - Comic Writing --> http://www.jimzub.com/?p=1068
Part 4 - The Pitch --> http://www.jimzub.com/?p=1511
Part 5 - Pitch Critique --> http://www.jimzub.com/?p=1882
Part 6 - Comic Q&A --> http://www.jimzub.com/?p=1813
Part 7 - The Realities of Creator-owned Comics --> http://www.jimzub.com/?p=1953
In addition he links to Charles Soule's blog articles about Freelance work and Contracts called "Agree to Agree"
Here's the links -->
Part 1 --> http://charlessoule.wordpress.com/2010/09/30/agree-to-agree-part-one/
Part 2 --> http://charlessoule.wordpress.com/2010/10/06/agree-to-agree-part-2/
Part 3 --> http://charlessoule.wordpress.com/2010/10/26/agree-to-agree-part-three/
Part 4 --> http://charlessoule.word
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Bluefley has a gallery filled with artwork that whisks you off in to a Sci-fi daydream, and keeps you captivated for hours. Marc has been a member of our community for over a decade and has achieved nothing but success with his astounding commitment to interacting with the community, sharing a prolific amount of video tutorials and generally being an all round rockstar deviant. It is no joke that we are absolutely delighted to award the Deviousness Award for April 2014 to ... Read More