Would you be comfortable with me machining a replica of the "Debit Card" Key? If so, is there a coloured version I could use for reference and would I be able to have some information on scale? If not, entirely understandable. Awesome work!
Absolutely. Anything that’s labeled as being part of my “Symbiosis” project is licensed Creative Commons (requiring only attribution and no commercial use) I’ll see if I can get a colored and scaled version up shortly.
Thank you for your answer! To follow up (and please forgive me if I'm being bothersome), I would assume the CO deal would also involve ownership. One writer, one artist, I would assume the ownership split is 50/50. But in terms of payment for that initial work, and ownership, how do percentages break down when you add in a separate letterer, or colorist, or inker, or all three? I understand this may be case-by-case, but any advice would be much appreciated.
Yeah, that’s where things tend to get a bit messy. I think the standard practice is that colorists, inkers and letterers are considered to be work for hire, and those are people you have to pay out of pocket, period. If you have an inker or colorist who is willing to work for back end, that’s awesome. I’m afraid I’m not quite sure how to break down their payment as a percentage of either back-end or the IP, though, as I’ve haven’t done much coloring outside of my own work. So, yeah, like you suggest; there I’d have to point you to a case by case solution.
It would be easiest and likely make everyone happier all around if it was just paid for up front, and getting an artist who can ink and ideally color their own work is a definite bonus. That way you can just pay the letterer, as they are usually pretty affordable.
To follow up on your question about setting page rates: Your answer advised for the most part working with established writers. What about new writers/artists looking to team up for their first comic? I'm a writer looking to work with an artist, and setting a fair page rate is definitely something I'm stressing over. I don't want to insult an artist, but I also don't have much in the way of disposable income. Would it be better to put together a ten page story to get our names & idea out there?
Yeah, this is a common problem. Regarding creator owned work where both people are starting out, (or CO where one or both are known but the cash just isn’t there) what is usually done is that it’s paid on the back-end. Either 25/75 writer/artist, or, the artist gets 100% of back end until their desired page rate is met. The writer gets money after that.
Always, always, always get contracts for this. Don’t depend on people being nice. If something happens to blow up, people can get very greedy and nasty very quick, and it’s just a good idea in general.
Of course, this assumes that the book will make money at all, but that’s a whole other problem.
Another option is to pay for (or ask nicely for) a 5 page intro, and do a Kickstarter for it. But, that again is a whole other problem.
From @wheeler on twitter: “Established comic artists! A question for your Tumblrs: What advice would you give emerging artists on how to set their page rates?”
This is how I approach it.
A: Ask the client/author/whoever what they are offering. Too low? Pass or try and haggle it up. If you haggle it up, definitely deliver on your work. Nothing leaves a bad taste in the mouth of a publisher or editor like paying extra money for work that is either late or sub-par.
B: If they don’t know (this is usually a warning sign to me, to be honest) then the standard way of doing a page rate is to set yourself an hourly rate, and figure out approximately how much time it takes you to do a page. Do the math from there. I tend to want to charge ~$25 an hr for comic work. If it’s commercial/ad work, it’s $100, because that’s more or less the industry standard.. (Makes you reconsider working in comics a bit, eh?)
That said, unless you work for Marvel or DC (or maybe Dark Horse, but I’m not sure) you probably won’t get a $25 an hr rate (assuming 8 hrs to do a page of pencils or $200 a page) unless you can really crank out pages. Lots of places are lucky to offer $75/page for penciled and inked work. So you have to decide how hard up for cash you are and how likely it is that more work will come your way. I’d try to avoid working for low rates as much as possible, as it tends to devalue your work a bit.
But whatever you do, I would avoid taking jobs on the cheap, and then turning in rushed and sub-par work. (Basically, try to avoid doing sub-par work, ever. :D ) Main reason is that if you are having a lull in work, getting more good looking work out there can get you back on editors’ radar. So you can view the occasional low paying gig as a potential jump start to your stalled career. I’d pick these jobs carefully, tho. Try and get a fairly well known author, and a project that seems like it might make a splash.
Issac Woodard, Orson Welles, and the Zimmerman trial.
In 1946, a black member of the armed forces who had just been discharged, had, through a series of incidents outlined here, been blinded for life by the beating from a while police officer. Orson Welles found out about this, and took to the air to find the officer. I find his commentary to be kind of inspiring in the face of the Zimmerman decision.
We will not forget Zimmerman and his crime. Orson Welles is more stirring than I am, so I’ll leave the rest to him.