amazing works, my compliments!!
Those Punishers are great!!
Been a while since I posted here.
Here is a pinup I did for fun.
I’ve also made a process video on my YouTube channel if you want to check out.
These are amazing Armin
Thanks, appreciate it!
Love this! Having fun is what this is all about. Did you write the fan fiction too? I also recently wrote a parody of The Big Two’s Big Dogs duking it out to the last man standing in the finale of a six issue mini-series. Did it as a parody so I can self-publish. Can’t beat this kinda fun. You can check out some of my work on geecomics.com. I’m adding more every month. Oh, and your work is solid, brother. If you ever want to collaborate, let me know!
Really cool work. Best of luck to you! I can’t wait to see all the cool things you do next.
Thank you very much!
Wow. That is an awesome Wolverine.
So, are you working on anything for a publisher at the moment? Anything we should be looking out for?
Have you had any luck with American publishers yet?
I’m working on a graphic novel but not for a publisher, I’m hired by the writer.
Still no luck with any of the major US publishers.
What have you been doing to break in with a publisher? And which publishers? I mean, you’re clearly not lacking in talent, so what approaches have you been taking?
I’ve been sending emails to few publishers who accept submissions, and I’m periodically sending emails to a few editors I got contact to(DC, IDW, Dynamite)Some don’t respond at all and If i get a response they always tell me work is good, but they got nothing for me at the moment.
What more you think I can do?
Well, there are a few things.
Option One. The most obvious are Talent Hunts. Now, the only one currently still running that I’m aware of, is the Top Cow Talent Hunt. Which I’m a big fan of, given that I was a Runner-Up, so please excuse my slight bias.
If you’ve never been professionally published, it would be worth entering next time it rolls around, which should be in the latter half of 2018.
Matt Hawkins usually announced the properties that are going to feature in the Talent Hunt in the middle of the year, so it’s worth following him on Twitter, as it allows you time to research the characters you might have to draw and even get some practice in before the Talent Hunt officially starts.
Darby Pop and Millarworld were running their own Talent Searches, but for now, they seem to have stopped. Hopefully they make a return eventually.
I did recently start up a thread called Creative Opportunities here on the board, as a place where people can share opportunities to break into the comic book industry, when they come across them.
Option Two, is to build your web presence. I know writer Kate Leth got picked up because an editor read her web comic. Also, the artist I worked with at Top Cow - Jim Towe, is now the artist for Youngblood. This didn’t happen because he was an Artist Runner-Up in the Top Cow Talent Hunt (although I doubt that hurt) but because he tweeted his Youngblood fan art to Rob Liefeld right around the time that Liefeld was thinking of relaunching Youngblood.
Option Three. Don’t wait for an editor to give you work. Create a project yourself which you can pitch to a company. Image Comics, Dark Horse Comics and Heavy Metal all accept submissions for comic book series. And there are smaller companies out there as well, such as Alterna Comics and Markosia. If you’re a good writer yourself, write it, if not, team up with a writer.
Now, you may already be doing option three, since you mentioned that you’re working on a graphic novel for a writer. But how helpful that is will depend on how high profile the writer is. Are they a professional, semi-professional or gifted amateur? Where is the project going to be published? Is it going to be pitched to a major publisher? Is it something the writer is just working on for themselves? Is it a small press or indie project which is going onto Kickstarter? To be clear, I’m not asking for an answer, these are questions you should be asking yourself.
In others words, is the publication of this graphic novel going to raise your profile as a creator or not? Sorry to be blunt, but you should be asking yourself if you’re drawing the story because you believe in the story and the writer, or just for the pay cheque? If it’s the latter, that’s okay, like all of us, you have bills to pay and food to put on the table, but you need to be doing things which help your career as well.
I’ve always found it somewhat odd that some artists agree to work on stories they don’t like and expect it to advance their career. Not saying that is the case here, but I have seen it with other artists.
If you take a job just to earn some cash, then accept that while it’s good to be earning money, that you probably shouldn’t think of said project as something which will be helpful in breaking into comics.
There are writers on the Millarworld board. I’m a writer. Mark Abnett who posts on here is a writer who was published in the Millarworld 2016 Annual. We’re not high profile professional creators, but we have professional credits and some professional connections. You’re likely to meet other writers on other boards and at Comic Cons.
Again, there is probably some bias on my part here, since I am a writer. But I genuinely do believe that an artist and a writer have a better chance of succeeding if they work together. Now, if you do decide to seek a writing partner out, do your homework. Type their name into Google, see what they’ve had published, if you can track down any of their work, do so. See if you like it. And have a critical eye. Is it good? Does their writing style suit you? In other words, is working with this person going to help your career or not?
There are drawbacks of course. For instance, as a writer, I look for collaborators. I’m not looking to hire an artist. Which means a lot of artists aren’t interested in working with me, because while I might be talented, I’m not going to pay them. I want to create properties to pitch to publishers and if a publisher picks something up, well, then an artist might get some kind of advance from a publisher, but it’s mostly going to be back-end pay split between creators, because that’s how professional comics work.
I use myself as an example purely to illustrate that seeking out collaborators is going to be different than taking a paid gig from a writer. Every writer is different, of course, with their own way of working with artists, but it is something you should factor in should this be a route that you’re considering.
This is only my personal opinion, based on my experience, but editors are more likely to want to work with an artist if they have picked up a comic book series or read a web series, and enjoyed the experience. They will associate that positive experience with both the writer and artist, as they should. Plus, the more actual work you have out there, the more likely you are to be considered a ‘name’. And publishers like Marvel and DC love to poach ‘name’ creators.
The way you’re going about things at the moment, that absolutely can work. You certainly have a shot at succeeding the ways you’re operating at the moment. But you need to remember that there are probably a hundred other artists submitting to the same editors that you’re submitting to as well, and they are probably just as talented, so unless you find a way to stand out from the crowd, you’re relying on luck.
Now, you could try one of the options I’ve suggested or all of them. Obviously the first worked out for me. The second, well, I’m not into web comics but I maintain a Twitter account and a blog, so I do have a minimal online presence, still I’m unlikely to get work because of it. For the third option, I am teaming up with a number or artists to pitch series to publishers. I’m currently waiting on an editor getting back to me. I obviously believe that I can succeed this way, but time will tell.
Anyway, apologies for the lengthy post, hopefully I managed to tell you something which you will find useful.
Thank you for this elaborate answer.
Some of the stuff you’re suggesting I’m already doing.
I did partake in this last Top Cow talent Hunt. I believe the results are not in yet?
I actually applied for the first one as well (In 2013 I think) but didn’t win.
I have a small following on Instagram, facebook and deviant art and post regulary.
I’ll check out your thread too.
I have a minie series published from Darby Pop called "The living Finger"
I alsso have 6 issue minie series self published by the writter. as well as few one shots and single issues publihed by some indie publishers and writters looking to brake in. Also did quite a few pitch packages and antologies.
The prioject that I’m working on right now is by a talented writter who once was published by Marvel but is not a big name by all means. He’s piching the gn to some publishers.
To be honest I do take only paying gigs, and sometimes they don’t do anything for my chareer as large amount of them never get published and some of them are just not good quality stories. As much as I would like to brake in to some of the major publishers and make a more confortable living, the most inportant thing for me is to be able to make a living from drawing comic books and devote all my time into the craft. Which I was able for the last 5 years.
I did get discouraged a bit lately but I trully think combination of these efforts will get there one day.
Again, trully appreciate the valuable advice!
Oh, I have heard of ‘The Living Finger’.
Nope, results aren’t in for the Talent Hunt yet. Ryan Cady has gone through the submissions and thinned them out. They have been passed along to Matt Hawkins now, who will make the final decision.
Darby Pop is a professional publisher, a smaller one, but if you’re able to put out a few more limited series out with people like Darby Pop (or Alterna Comics or Markosia) then a larger publisher might take an interest. They will certainly be more likely to pay attention if you do pitch something to them.
However, if you want to get a job with someone like Image or Dark Horse, then the best way is to directly pitch to them.
Don’t worry about Marvel or DC. It’s pointless. They will only approach you if you’re enjoying a lot of success elsewhere. You focus on doing that and one day they will come to you.
I would say, just make sure you’re putting out something worthy at least once a year. Something which is well written and stands a shot at getting published.
I’m not saying don’t take on paying gigs that you don’t believe in, because you need paying gigs, but make sure you balance them out with projects you do have faith in.
If you can do that and get paid (as is the case with your current graphic novel) then power to you. You don’t have to choose between advancing your career or getting steady pay. You can do both.