Creatively, What are you doing to improve Indy-books

[jimmycakes]

I was just thinking about a few things that I try to focus on any time I work on an indi book, or helping someone with their's. What are you doing, creatively, to improve the industry through the products you work on? Do you evaluate weaknesses in books and try and learn from those while working on your projects? I'll chime in with more if a conversation arises. I'll give one of my examples.

example: I've noticed that their are books who's production quality can be enhanced with a few simple things. Usually due to lack of funds to get someone to help them (that's pretty much where most weaknesses come from. we all can relate. )

[T.J. May]

The only problems I have are on books I work on with my brother.

Oh wait, that's you. So, I guess we have the same problems.

Seriously, and assuming we are leaving out the obvious issues of poor art or poor writing, lettering is where I see the most problems.

Whenever I'm giving feedback on finished work I look at the letters. Lettering is a thankless job, done well it adds that pro-polish, done poorly and it can sometimes bring the whole ship down. It's like an official of sporting event. If the announcer dosen't mention the guys name he's doing a good job.

The computerized fonts have helped the indy scene a great deal in terms of ledgibility. But few indie folks know when to bold a word, and the biggest issue I have is balloon placement. It's an artform that gets neglected I think.

[MrGranger]

Well...I've found that as the central point of contact that I'm often able to teach and learn from everyone. I try to explain all the processes that affect artists, etc. so that they understand better why I do things a certain way and not just "Do it!"

I think there is often a disconnect at certain points, you're only as strong as your weakest leak. Or newest team member.

[DomeSFX]

WAIT A MINUTE! Indie comics still exist? Last I check most SO CALLED indie comic companies are harder to get into than a crab's butt. Mostly because they get tired of losing money on new comics.

[L Jamal]

The key that I try get across to the guys that work with me is storytelling and moving the reader from panel to panel and page to page without disconnect.

With other people's books it always coloring, lettering and pre-press.

I wish more indies would just go back to black and white, so that there wouldn't be so much bad coloring out there. It's not always that colorists fault as I've been asked more than one time to add some lens flares and to otherwise shine up the page.

Lettering is a thankless job, but one I enjoy. Often if I have time, I do it for next to nothing (or more than likely for trade), just so projects look better. Often, I've founsd that people don't even know that there lettering is bad.

[spider]

What I do is try not to suck.

Many indy comics can be fixed just by sorting the spelling and grammatical errors, or even choosing the right font at the right size.
I've lost count of indy comics that are near unreadable because of the font chosen and the wrong size for it, obviously the thinner the letters the bigger they need to be though its been missed countless times.

Also, bad dialogue, I avoid this pitfall by making in-jokes.
If something doesn't sound right, read it to yourself,
re-word it until it doesn't sound stupid or out of place.

[wisper]

I study covers of the big boys...do a redraw to get a sence why I enjoy some and not others..
[IMG][/IMG]

[fizz-ed]

I'll agree with the lettering sentiments - it's something I notice a lot (probably because I'm a letterer). I got my start lettering by relettering a friends book just before he was about to send it off to press -- he'd done the entire thing in comic sans using the default Photoshop word balloons. I begged him to let me redo it because it looked really awful and he eventually relented.

Another problem with a lot of indie books is that some people seem to be more concerned about being "comic book creators" than they are with actually creating a comic book. So many books with rushed, sloppy art and weak writing - yet everyone's name on the cover is almost as large as the title. Creation before ego, please!

[Scott Story]

1) Jamal nailed it, in that indy books have to go for the gold in terms of storytelling and content. They can't get by on production values and character name recognition alone. That having been said, I know I also go all out on production values and coloring and the like, to the best of my ability. Every indy book I do with the same passion and dedication I would give it were a Marvel or DC book.

2) When you are a do it all person (aka, a cartoonist), you probably aren't going to be equally good at every aspect of the production. That is one thing the bigger companies have over you, where they can hire experts in each field to contribute to the book.

3) My point: Make every book, in terms of quality, as if it were going to the big Two. Just don't ever make it a filler book, as can happen at the big two, where they throw in an "inventory" story to let the current creative team get back on schedule.

[Mike225]

Creatively, What are you doing to improve Indy-books

I started using question marks.

[jimmycakes]

Cool, I think that will help a lot of people.

I agree. Black and white coming back into style in the indi trade would rock! I love b/w and really respect those who can do their inks and let that stand alone. Not to say I dislike greyscales.

I'd like to see more people think of their whole book as one piece of art. I see a lot of people doing title pages, back covers, logos and advertisments as an after thought. Obviously, people are into it for the story, but when I pick up a book that is tied nicely together from front to back it's fantastic. Even if the art is weak, people should put the same effort into the design, letters etc... there are plenty of free fonts, free design tutorials and more.

Awesome. Anyone else?

[L Jamal]

Logo design, graphic design and logo placement is definitely something indies need. Even the big boys don;t get is right sometimes. Nothing bothers me more than a logo that just a font or a logo that's just slapped on a cover.

This is where DWP stands out from other indie comics as the logo and graphic design elements are superb.

[joshua_garity]

All of the above! Instead of simply doing the art for the book, I'm utilizing my advertising company to package the entire series.

We've already had Ben Templesmith do the cover of issue 1. Advertising is setup for WizardWorld.com once their new site hits in a couple weeks. We are putting together a high-end promo video (I come from a professional film background) with the comic panels and live action.

Trying to do what I can to go above and beyond.

Hope everyone enjoys it in a few months!

[T.J. May]

Originally Posted by Scott Story

1) Jamal nailed it, in that indy books have to go for the gold in terms of storytelling and content. They can't get by on production values and character name recognition alone. That having been said, I know I also go all out on production values and coloring and the like, to the best of my ability. Every indy book I do with the same passion and dedication I would give it were a Marvel or DC book.

No doubt. But I think Jay was looking beyond the obvious story-telling elements, where do indies go wrong. I have seen indies with horrible production values that are still great because the story is so clever. And conversely, as you pointed out, DC and Marvel stories that are just horrid

Our books hit the happy medium at SUMM, and I think DWP is in the same boat. But even a good story and production values does not equal success. I talked at length with Matt Hawkins about our last book and he went through the everything from marketing to production value to figure out the lack of sales. His only comment as to why the sales where low were 1) the time of year we released it and 2) No NAME talents involved with the book. Everything else w did should have spelled better success.

Being horror, had we gotten a Templesmith cover for example, we probably would have achieved a greater audience.

Oh, well.

[joshua_garity]

Originally Posted by T.J. May

Being horror, had we gotten a Templesmith cover for example, we probably would have achieved a greater audience.

There are so many variables to acheive success though. Having someone like Ben doing a cover doesn't mean you will sell copies. It's just a nice cover. If you don't have the marketing and interiors to match it, you fall prey to the comic shops.

I'm hoping that our book being released starting in late September (I believe it was) with his cover will tap into the growing interest in darker stories and characters with Halloween coming. Not to mention his feature film 30 Days of Night. Our second issue will hit right around Halloween.

It all takes a lot of planning to make sure everything happens at the right moments. Hopefully Pogrom will be a big success and I can offer much more advice to everyone here!