The Disney Channel 2014 calendar just arrived in the mail, did two pinups for it…
Here’s Star Wars…
And Hulk and the Agents of S.M.A.S.H.!
(I’ve no idea why there’s a Red Hulk and a Grey Conan in there :p)
A couple of Sense & Sensibility Reviews. Get yours here! 🙂
Read, Rant & Raves: http://readsrantsraves.blogspot.com/
For those wondering about Money and Comics, this is a pretty good guide:
The gist of it:
(caveat: the rates I think can go up much higher for the really big names :p)
1. Mainstream comics (Marvel, DC, Darkhorse)
Pencil Page Rates: US$ 100-250
Inking Page Rates: US $ 75-200
Painted Art: US$300-400
Cover Art: +20%
eg: “A pencil artist would earn from $2,400 to $6,250 for a 24-page issue of a comic book.”
Note that the rates are cumulative, so if an artist both pencilled and inked a comic, he/she would recieve, say, US$200 (pencils) plus US$150 (inks) for a total of US$350 per page.
2. Independent Comics (Fantagraphics, Top Shelf Productions)
Book Publishing Model, Advance against royalites.
8 percent of the cover price up to 5,000 units sold
10 percent of the cover price paid for sales above 5,000.
eg: 24-page comic book retailing for $3 with sales of 10,000, the artist would earn $3,000.
3. Freelance Comics Illustration
Advertising and editorial comic illustration earn top project rates.
eg: “Comic book artists such as Robert Crumb and Bill Griffith earn from $1,000 to $1,700 to create a page of comics for the New Yorker magazine. Top comic strip artist Lloyd Dangle earned $4,000 for a two-page project advertising a shaving product.”
“Self-publishers shoulder the risks of publishing, but may do well if their book sells.”
From cover price, deduct printing costs. Distributor typically pays 40% of cover price. (Other sources indicate that 60% of Cover Price goes to Distributors and Book Stores (typically 20-25 % for Distributors, 35-40% for Bookstores)
eg: With a $10 cover price book that $2 per book to print “… With sales of 1,000 books, the artist would make $2,000.”
The Image Comics publishing model is close to the Self-Publishing one; Image stumps up the cash for printing and marketing/promotion, but the creators don’t recieve income till those costs are covered, along with a flat fee of about US$2500. An upside is leveraging on Image’s reputation and distribution network, and of course creators get to retain all the rights.
Closer to home, rates at Malaysia’s Gempak Starz are as follows:
“The page rate for new artists is RM70 per page. This may increase according to the level of skill involved and the comic’s popularity (we will pay more if a new contributor’s comic quality is really good) For color pages, new artists are paid RM120 per page.”
For more info on Gempak’s submission policy etc (provided by Saulim)
Another useful reference:
A review of Sense & Sensibility from the Guerilla Librarian 🙂
“I loved this one–a triumphant adaptation of a classic tale into a new format that loses nothing in the translation. Buy one for the Austen-ite in your life, one for the cynical closet romantic, and one for the teen who can’t be bothered to read anything published before 2007.”
do make a bid if you’re keen, its for a good cause 🙂
The 3rd Singapore Toys Games and Comic Con (STGCC) is coming this weekend, organised for the first time by Reed Exhibitions, who I think are also behind the New York Comic Con. There’ll be lots of Singaporean and Malaysian Comics creators there at various booths, some of us have pitched in together to do up a guide to which ones 🙂 You can see/download a PDF of it here. The Liquid City Booth is at G26.
We’ll be holding a Lucky Draw at STGCC, with Original Art, prints and other prizes to be won; just collect the autographs of the comics creators listed in the brochure; Draws will be conducted at 8PM on
Friday and Saturday , and 7pm on Sunday at the Liquid City Booth (G26). So do go come to the event, and buy books from everyone from Dave Chua and Koh Hong Teng, Drewscape, Ken Foo, Troy Chin, Stickgal, JC Wong, Shawn Yap and many more!
The amazing Tan Eng Huat and myself will also be on the so-called Walk fo Fame thing at these times:
Saturday, 11 December 1100 – 1145hrs
Sunday, 12 December 1730 – 1800hrs
What else…. a whole bunch of panels (all held at the Panel Room (Level 4, Halls 401 – 402)), including the below:
(Saturday 11 Dec | Time: 1230 – 1315 hrs)
Local: Asian Identity in comics in the midst of Manga and Superheroes
Panelists: Tan Eng Huat, Sonny Liew, Otto Fong, Lim Cheng Tju
(Saturday 11 Dec | Time: 1400 – 1445 hrs)
MARVEL – East in West: The appeal of Asian elements in Western comics
Panelists: Alex Maleev, Leinil Yu, Esad Ribic, Sonny Liew, Harvey Tolibao, Salvador Larroca, Giuseppe Camuncoli
(Sunday 12 Dec | Time: 1200 – 1245 hrs)
Merchandising of Comics into Toys
Panelists: Tan Eng Huat, Sonny Liew, Jason Siu, Tim Tsui
Last and very least indeed, I talk about somethings and others with CNNgo here.
Marvel’s Sense and Sensibility HC Trade has been up on sale for a bit i think, available at Amazon here.
“Award-winning writer Nancy Butler, adapter of Marvel’s best-selling adaptation of PRIDE & PREJUDICE, returns to Marvel with another Jane Austen classic: SENSE & SENSIBILITY! Alongside incredible artist Sonny Liew (MY FAITH IN FRANKIE, WONDERLAND), Butler brings to life the world of Elinor and Marianne Dashwood, two daughters without parents or means, forced to experience hardship, romance, and heartbreak, all in the hopes of achieving love and lasting happiness.”
A couple of reviews of the single issues here and here, and a short one on the trade here. There were some editorial issues with the singles though, which I think we’ve managed to fix for the trade, so do get a copy today! :p
“Nightmare Commute”, a short for Marvel Adventures, written by Roger Langridge, collected in the vol 13 trade. Mostly a visual homage to Steve Ditko, from the 9 panel grid to the Ditko faces on page 6 🙂
Finally got hold of a copies of issue one this week; always a little nerve-wrecking waiting to see how the actual comic turns out. As it was the colours by Sotocolors were quite nice indeed 🙂 some issues with word balloon colours and placement but hopefully something we can fix for future issues. Another tricky question is whether readers will get the switches to a chibi/cartoony style in some sections. Was hoping the formal switch would be reinforced with a different colouring style (screen tone effect to emulate old newspaper strips or pre-digital comics?) but i guess team productions do involve everyone making their own aesthetic choices :p