How much Money does a Comic Book Artist make?
HTML-код
- Опубликовано: 2 сен 2023
- Hey gang, a Work in Progress is back! In this episode I share how much money you could potentially make as a professional comic book artist. Page rates in the industry vary and the numbers I share are both from personal experience and knowledge gained throughout the years. That said, rates most certainly could be lower and higher than the prices I've shared. Use this as a guideline to help you understand how much you could potentially charge a client. Hope you enjoy this episode!
WAYS TO SUPPORT MY WORK:
CLEAR is in stores now!
READ CLEAR digitally for FREE (with an amazon Prime account): www.amazon.com/dp/B09HMZQW2Y?...
BUY ORIGINAL ART! Available for purchase at
www.kwanchang.com/ArtistGalle...
WHERE I GET MY MUSIC: artlist.io/Francis-490487
Quick addendum on the video since finaces in comics is a very nuanced topic and I think a longer video in the future would be helpful. That said here are some quick notes:
1. Cover rates are usually rate and a half of your interior rate.
2. It's very possible for artist to unfortunately be stuck at any of the stages of page rates.
3. Its also very possible to be in the top tiers rates and go down as you may become priced out of some projects or as your popularity declines.
4. Its not a linear upward trajection based on years in the industry and is more directly tied to how much money you could make the publisher.
5. This last one is really more in the creator owned arena rather than the work for hire rates i mention. When you work on creator own the standard split should be 50/50 ownership and in this scenario i think its ok to work for free since you have future equity of the property.
I know talking about money can be tough and at times make you feel pessimistic about the industry. I just wanted to share my experiences and hope to make things less scary.
Thanks again for being here!
I'm curious. Pls. make a video sharing to us your personal comic collection. Do you own key comic books, graded comic books, are you a comic collector yourself, who are you a fan of, etc.
thanks mate for your words!
No idea who this man is, but I respect him so much. I'm gonna subscribe and I'm not even an artist.
I wish he did interviews though.
This was really helpful. I remember stumbling on your New 52 run on The Flash and being in total awe and looking forward to every book you ended up on. Now? Well, I'm now a comic artist at an indie studio and I can't wait to see how it all turns out. Fingers crossed, it turns out amazing.
Thank you!
That's amazing! Wishing you all the best on your journey!
Thank you for the video. This is something alot of experienced artists seem to be afraid to talk about. This seriously helps. The industry is so tough for begginners right now. Also love your video style. so satisfying lol
Glad it was helpful!
Wow, has it been 20 plus years? Followed most of your professional career. Amazing to see your face and hear you talk. You are very well spoken, and honest opinions and experiences.
Do you have any creator owned comics? At this stage that is where most artists are once they make a name and worked on a few dream projects?
Glad RUclips suggested this. I was not aware you had a channel and posted videos.
Hey thanks for sticking with me for that long! And yes I do have a creator owned book, the comic I'm drawing in this video series is called Clear :)
This is definitely excellent information that I wish they would have taught me back when I was going to art school. Good job , man! Keep on shedding light on the illustration industry.
Thanks so much for watching!
Lot of thanks for this videos, Francis ❤. Please keep making them, i learn a lot and i enjoy all the effort and creativity put into them. Hope you have a good day :)
Glad this was helpful! These take forever to make but I really enjoy the process so definitely more to come!
Funnily enough, your artwork was the reason I started picking up Legion of Superheroes. Even though it was cancelled, it brought you at least one new fan!
Hey thanks :) luckily the higher ups had faith in me past that book so it all turned out alright in the end 😀
Great video. Loved it! I like how you framed your shots and how you did the transitions... real cool stuff. Not just a talking head...
And the page you drew was great... I hate working from a loose sketch but how you ended up transforming that into a finished piece was inspiring!
Hey thanks! Yeah it took some time to ink from something so rough, and this is one of the benefits of working digital is that nothing is permanent.
Didn't know you had a RUclips channel! Great to see you on here.
As someone working on Indies, this has been of great help. Looking forward to more videos from you!
Thanks! More to come!
Love your art Francis. Just stumbled across this video. Really well put together, great vibes!
Thanks so much!
thank you for this video! answered a ton of questions, and i know these are a ton of work alone! u da man
Thanks! Happy to help!
These videos are incredibly well produced and insightful. I'd always wanted to draw comics, but my limited skill and geography had always held me back. It's cool to see that people can make it. Also, I dig the cinematic narrative x reality style of the video. More please!
Thanks so much! Hope you're still drawing even if for fun.
These videos are super helpful. Thanks for your insight on the industry.
My pleasure!
Hi everyone, this is a great video and a great explanation for behind the scenes of comics. Good video, Francis! Working in comics is very seasonal, some jobs pay great and some you have to sacrifice to get to the next stage in life.
Thanks so much, Ryan! That means a lot!
I’m so grateful my music career affords me the luxury to be able to learn while doing my own thing. Every record is under the gun, but that’s only every couple of years. Living under a dead line has to be brutal and you all have my admiration and respect for having the discipline rise to the occasion on the reg. My drawing table and book are a break from stress. Not the hot seat. I absolutely adore your videos. 🙏🏼🙏🏼🙏🏼
Thanks Jackson! Ironically enough making these videos are my break from the stress of the table :) But honestly on most days it's not that stressful. This series just happens to focus on a particularly tough deadline that thankfully I haven't had to repeat since then.
@@FrancisManapulArt your videos are your break from the drawing table like my drawing table is a break from touring and recording. Breaks are essential to a long career.
Love this video series! I enjoy every one
Hey thanks so much for watching them!
Amazing stuff as always!
Thanks again!
Great video! Very inspirational, Instant subscribe. I live in Germany and the market here is very small. I just got my first short story published by local company. This publisher is giving me cool jobs but it is basically for sysmbolic payment(not even at the Indy rate you described haha). It is an uphill battle but at least I will have something to show when I try my luck in a different/bigger market. Thanks man, your words gave me hope.
Thanks so much! You have a great outlook on it, and I share those thoughts with you! By the end of these projects you'd have learned and leveled up so much and I think that gets you one step closer to whatever or where ever your goals are. Best of luck!
I just came to say that seeing your name on cover art is a great way to get my money 💯. I wouldn't have even read Robin if not for you on the B covers and your covers plus Ram V's writing is what attracted me to Swamp Thing
Hey thanks so much! Really appreciate you grabbing those books!
heh, youtube suggestions doing good today. happy to have found your channel!
Awesome video , subscribed !!
I thought this is one of those videos that I wish I saw when I was just starting out. But it turned out to be more than just that. I learned a lot after from video. 🍻🍻🍻
Thanks! I definitely aim to share more universal experiences and knowledge with these vids.
When I started, I pencilled and Inked the pages for $48 per page. Every year I tried to push my rates a little and started focusing on coloring jobs than drawing. These days the rates are kind of stuck between $70 to $110 per page and even the publishers I have worked with for the basic page rate 4 years ago comes back to see if they can get me to color another book for the same rate. It’s frustrating but I think I gotta keep pushing. Watching this video made me sit and email some of them with a hard NO. I know you are talking about your journey but it really helps ♥️
Hey thanks for sharing! It's definitely tough out there all we can do is keep pushing our art and hopefully the rates come up with it.
Damn! I've been working and paid in 'shingles' less than you mentioned for more than a decade, yet I am still hopeful. Thanks for the inspiration, sir!
Hey I hear ya. I love this industry, although I know how tough it can be.
Fantastic video and insight behind the curtain. Thank you again for your work on the Flash. It truly is the best run of the Flash, hands down. The story telling of those books really highlighted what makes Barry a great character. The art stands heads and shoulders above everything before or since. Glad I found your channel!
Thank you so much, I really appreciate your kind words!
Always great seeing your videos, keep up the good work. We may be old, but we're middle-age now
12:33 Awww, I know who those handprints are, hope everything is going well
Good eye;) hope you and the fam are doing well!
I've been a fan since the Legion days so its hard for me to see that run as a failure. This channel was an easy subscribe.
I don't know... I have seen a couple of videos like this where an artist with 10+ year in the industry talk about page rates, but they all seem a little off form reality, page rates seem to be declining each year, it's very different for an artist that have been around for more than a decade and have published with know companies than someone who is just starting. I now how much I should charge for my pages, and I know how much I wish to get paid for my work... BUT if I only followed those guidelines I would work maybe a third of what I actually work, I have been working for years with Indy and midsize publishers and they are willing to pay maybe half of the amount you mention... I know I sound like a troll or that I want to argue for the sake of arguing, but to someone who is not a know name those values are unrealistic, I would love to get $200 a page, but it is simply not happening and I know of Indy publishers that won't bulge from their fixed $20 per page ... Maybe a more realistic way to find those page rates is not to talk to artist friends (that have been in the industry for a long time), but to reach to artist who are actually starting in the business to see what companies are offering as real page rates.
No not trolling at all you have a very valid point. The rates I mention are pretty singular and based on my experience. I literally started my career during the crash of the post Image boom and i was fully expecting to always have a "real world" job and comics would always be a side gig since all my early work was for free. Ive been fortunate to have been able to get over that hump. That said from what I've learned, years sometimes don't affect peoples rates as much as value of the artist to the publisher. I have many contemporaries whose been around as long if not longer making less, and I know of others who have fewer years behind them who make more. Unfortunately you're correct there is no standard floor for rates and it has been on the decline as most publishers know there is always someone waiting in line. Its definitely a tough industry and rates rise as much as your valued by the publishers as a known quantity who can sell books. It's not unrealistic to be stuck at any of the stages I mention and be even lower as mentioned but it's not unrealistic either to be on the top tier and have your rates go even higher or fall. It's a very nuanced topic and I feel a longer form video would be beneficial but this particular one unfortunately just focuses on what I know. I hope to get back to the topic and delve in with a much more nuanced discussion.
@@FrancisManapulArt Cool I appreciate when creators open up about the financial aspect of the medium, and I really admire work and really like your videos 👍
Self publish!!!! Name your own rate! QUIT trying to work for a publisher. $20 a page, might as well just get a day job! Drive a bus! Make $5000 a week driving a bus!
Wow! You’re very talented, you shouldn’t accept $20/page! If those editors and publishers don’t value your work, why work for them?
@@rudak6718 Oh, I'm not accepting 20 dollar a page gigs, I'm just saying that I know some small press and independent publishers that has that as their page rate.
Cool Vid, Francis! Gained a new subscriber.
Thanks for the sub!
AWESOME VIDEO!!!
these videos are so good
So happy to hear that! These take forever to edit lol
That's a nice Johnny Bravo hair style.
There are a few comic book artists i seen with the Johnny Bravo,
Loved that show!
I'm telling you, if you keep making video's like this and show more awsome drawing processes like maybe Ross Draws, Ethan Becker do, you with your absolutely BEAUTIFUL art style could get so RUclips famous! I really love to see more great art process, tips and tutorials and fan art! 😍 You already have a big name in the industry so I'd love you to try to collab with some famous youtubers to get your name out there. You deserve the fame! 😭 I'm such a big fan of your FLash comic and SUper Boy was my first comic crush 😭❤
Hey thanks so much! Those guys do great work! Right now I make these just for fun since it's been difficult to balance these with my schedule. That said I LOVE filming and editing and it gives me the same butterflies as I did early in my comic career.
@@FrancisManapulArt acutally a simple talk over with just focus on you creating art and talking bout your inking techniques would be lovely. I do see your other videos so will check those out
@@cetriyasArtnComicsChannel thanks! I was thinking of doing that perhaps for longer simpler edit videos. Currently I'm kinda weird in that I enjoy editing the videos and find them somewhat relaxing to create.
I'm surprised and disappointed to see that the comic book landscape hasn't really changed since I was last (sort of) involved in it over 20 years ago. I was hoping that payment would be more standardized, pushing out predatory practices. That is, perhaps, too much wishful thinking on my part. Good to know you're getting to do what you love, though.
Usually the cautionary tales are on the indy end of things since starting a company on a shoe string budget really just requires a will and a way along with creators looking for their first break. Luckily once you get to the established players the starting rates are more reasonable. I'm pretty fortunate to get to do what I love and be well compensated so no complaints on my end.
Different career (VFX artist), but I did some free work maybe 3 months i worked my butt off made some great stuff I was glad I was able to do it I learned a lot I had an amazing portfolio piece and it helped with getting an actual job. On the flip side the 1st paid job I got in the industry was minimum wage tied with having to travel over 2 hours a day I felt more taken advantage of in that job than I did working for free. Thanfully now I have a great job (Still in VFX) but I honestly dont think Id be where I am without interning for free, my key piece of advice is the intership is for you, not for who youre working for make sure you have a portfolio piece by the end of it
This.
Hey buddy love the video. I’m a writer and love stuff like this. I’m 30 and still haven’t made it. I’m prose writer mostly but I’ve been rejected and given AI coming out chat gpt for example people are starting to tell me to just give up since publishers will just use AI to do everything
What’s your take on that AI in the entertainment industry?
It sounds cliche but if you enjoy writing regardless of how old you are or whether you've "made it" you shouldn't let those metrics rob you of doing something you enjoy. I think most of us in the industry would probably still be drawing or writing on the side even if we hadn't made it. As for the reality of it, I also don't think there's an age expectation from publishers for new talent. That said I totally understand from a larger scheme of things as an adult planning a career it can feel like it's late. I've heard of artist and writers breaking in when they're in their 40's so I really don't feel it's a factor. I think your ability to make stuff that editors or fans want to read is really the larger metric to factor in.
My initial reaction is definitely a pessimistic one, but lately I've been trying to see how this will affect us moving forward as this technology isn't going away. My opinion is that I'm still processing it lol
Fantastic video! Always love these. Very fascinating
thanks again, Joe!
01:16 🖋️ Working for exposure or for free can be a hot topic for artists starting out. It can provide exposure but may also lead to exploitation, so set limits.
03:38 💸 Rates for comic book artists vary. Independent companies may pay anywhere from $50 to $100 per page. Big publishers range from $125 to $1500 based on experience and reputation.
07:53 💰 Getting paid can be tricky. Be cautious about working with companies with a history of delayed payments. Networking with experienced creators for insights is crucial.
13:48 🗃️ Early on, you might not get to choose your projects. Delivering quality work on time can lead to better opportunities and eventually, the ability to choose your projects.
17:30 🔄 Switching up projects and genres keeps your work diverse and helps you avoid being pigeonholed. Transform the project to fit your style and storytelling preferences.
21:48 👥 You'll encounter a mix of people in the industry. Some may be difficult to work with, while others will be great collaborators. Learning from both experiences is part of the journey.
Hey thanks for taking the time for this synopsis. Super helpful for anyone skimming through.
It would be pertinent to make the equation between the salary proposed, the intellectual property at stake (weither or not the authors can dispose of their own work) and the evaluated profit, even the part of profits left to the authors (story, text and especially dwawing in all the steps combined), in proportion of the editors.
This video is interesting and informative, so not to ask anything more, it is just to mention an interrogation, wishing for a fair appreciation of the work done by skillful drawers.
It's quite an expansive topic for sure. This one focuses on work for hire but definitely down the road I'll get into those.
inspiring me alot. thnx
Happy to hear!
This may prove very useful as I am just in planning stages of assembling a substantial anthology (especially since I can't find that brass tacks Brian Bendis book about these same matters). As a writer I would just say that I think if an artist is not a particularly good writer then actually collaborating with talented writers on spec proposals (likely for free) should not be frowned upon. A good collaboration can just start with perhaps 8-10 pages of sequential art and story to pitch to publishers. If no one bites on it and self-publishing is not an option, the artist still has a great addition to their portfolio. I remember a number of years back when I posted a solicitation on some forum for an artist to work on a creator-owned project there was vehement pushback from a number of highly inexperienced artists who had been indoctrinated into the belief that anyone not paying them up front was taking advantage. But the truth is that writers are even poorer than artists (as we can't make money on commissions or selling original art) and there's even more competition (because everyone thinks they can write) and even fewer opportunities (again because everyone thinks they can write). I did see your posted addendum below about it being okay to work for free on creator-owned properties split 50/50. I would add that assuming a writer (or whoever is creating the work) can afford to pay page rates, I think it's also fair to suggest that the artist can either take a flat page rate and perhaps some small percentage of potential royalties in the future, or go 50/50 if they are willing to do the work for free. One final potentially confusing permutation is what if a character designer is hired to do character sheets to the descriptions of the writer, but a different artist does the sequential pages? Presumably the character designer is considered the co-creator and the sequential artist is just doing work-for-hire.
That said, your videos are as polished and professional as your artwork. It's a little depressing that you've only made 52 videos and you're already this great at it.
Hey thanks so much, I really appreciate that. Honestly I just try to apply the storytelling techniques I've learned through comics. As for your previous comment, I 100% agree with you. In my How to get a job in comics as well as my Corporate artist vs. Indy artist videos, I do mention the points you've made. I broke in by working for free with writers who were trying to break in as well, and together we had a portfolio we were able to bring around to publishers. As for creator owned stuff and having part ownership in lieu of payment or deferring payment down the road, I also agree with you as that's what I thought my creator owned journey would be but luckily we were able to secure financing. All this to actually say I agree with everything you've said LOL! Unfortunately this video had a narrower view point in that it mostly focused on the sole question of how much artists get paid. I do feel that a longer more nuanced version is on the horizon.
@@FrancisManapulArt Hey man, I'm never going to complain about an artist agreeing with me 100% ;) I was probably just trying to work it out in my own head but it's nice to get pro confirmation. I think you explained really well and I don't know if RUclips is ready for more nuanced views, plus you have more info in other videos. I'm guessing those $400-$500 page rates (*gasp*) are reserved for when Alex Ross agrees to do interiors. I think it is a really great point of emphasis that, as you stated, rates don't simply rise with seniority or experience. It's very much a meritocracy of hotness (which of course, doesn't always or even often have much to do with quality). I'm just wondering if I can get a Barry Windsor Smith or Mike Kaluta ;)
Any idea of what sort of page rates comic writers get?
@@lordd794 Probably about $80-120 per pg for the Big Two. Search this Vice article from 2021 titled "It's Impossible To Make Money for Most Writers and Artists in Comics."
great video :)
You are Old. But you look mighty Fine and Young! Keep that up Superhero!
:)
Do you think that once AI gest good enough for sequential art there will still be career opportunities for people who actually draw? I know that there are still people who pencil and ink traditionally despite digital being the norm, so I'm curious how this is gonna affect the industry. I was set on becoming a comicbook artist since I was 5 and now I'm entering my 12th year drawing full-time, so it's like my whole life has been about comics and comicart, the thought of AI killing the art industry makes me feel like end of my life lol.
Dope
new role model unlocked
hey thanks!
i have a real question. what if you want to self publish your own work and you already got a team just need more drawing assistance how would i go about it,
I'm not fully sure I understand, but I guess if you need an assistant of quality level you'd have to hire and pay them. Searching on social media you should find a lot of talented young artists.
I skip anyone pointing at anything, but this subject is interesting
I am prolly about your age and things were not as transparent back in the day with no social media. So figuring out payment for any creative job was tough. I get you. I am in the creative field, not comics but I worked for free for 2 weeks (spec work) one time and never did it again. They basically stole my ideas and didn't pay me for it. I felt like I got taken advantage of. But I was young and I learned my lesson. Today is different though. Because of social media and so many resources online (like youtube), the newer generation can build their reputation without the backing of a company. They also have insight and networking capabilities that our generation just didn't have. Now I advise all creative people out there to not work for free. It devalues artists work as a whole and encourages companies to take advantage of artists. As creatives, we tend to be unto ourselves, in our own creative world's. This trait is even greater amongst the newer generation because of the pandemic which is not good. The country is currently battling loneliness. But I would encourage young creatives to learn to network. This skill along with building your work online can take you much further than working for free. Thanks for sharing.
Totally agree. I remember going to the library back then and going to the section "C" to look for anything comic book related. I did find some books on older creators and I devoured their interviews looking for insight into how they broke in. From the hodge podge of information I gathered I figured it out. That said, having a community that shares this type of knowledge would have been invaluable, so I'm hoping to pay what I've learned forward.
Here is the main thing have integrity, Do not do the horrible things that have happened to you to others. That will make things better for everyone. Too many creative people do not really have integrity they are just creative but not really better people and treat young versions of themselves the same way they were treated.
Totally. Always leave the door you walked through open behind you as they say.
DC and Marvel page rates that came out recently: 250/page for interiors - 400/cover.
Sounds about right for starting to mid. Covers are usually whatever your rate is plus 1/2.
Yeah that what my cousin said apply to publishers as a first jab encounter lol
Where you got that huge drawing tablet? I want to get myself one
It's called a cintiq 27 qhd. I got it from a local computer store but you should be able to order it from anywhere.
7:00
The majority of new comics sold less than 10k pre covid and most that sold over 20k were Big 2 and almost all were Big 5.
The implocations for an artist that is not in the top 25% is pretty grim given the time commitment for a 20 pahe comic.
It's definitely a tough business and the importance of trade sales and expanding in the book market is an important part of keeping it healthy.
With the way the comic industry is these days, are you still able to make enough for a decent livelihood? I have read that comics sales are in a deep slump and a lot of comic stores are shutting down. And those that don't, they sell more manga than western comics.
Fortunately, yes. Comics is like other entertainment industries in which pay can vary wildly depending on your standing. That said from experience it's pretty easy to make 6 figures in comics contrary to the negative narrative.
I've heard some artists say that page rates across the industry have stagnated over the past 30 years. Is this your experience? Are some publishers better at keeping up with inflation than others?
Speaking only from my experience my rate bumped up with every contract extensions. But it is my understanding that starting rates unfortunately have remained relatively the same.
I still what to be an artist. I work retail and am a college grad. I would like to draw a marvel comic and have my own manga publishing company.
Just keep at it! I'll see your work on the stands soon!
It's not a well paid job, but hey, the king said Comics Will Break Your Heart. Of course there are better paid professions and a lot of comic book artists were professionals in other areas, but there is something about the medium, once it captivates you, you are in forever even if no-one paid you.
Yeah definitely depressing as hell to hear that. It was a real inflection point for me when the industry crashed as I was trying to break in. Stupidly I still wanted to do it even when the money left so this entire ride has been a happy and lucky surprise for me.
I just got your Black Manta #1 1:25 cover.
thanks! Loved drawing that cover.
What's the currency for the page rates? Canadian/US dollars?
USD.
@@FrancisManapulArt Thank you very much for the quick response!!!
Nice video.
Thanks!
Holy shit I didn't know you had a channel
Yep... this. I can personally attest to every point made in this video and it's pinned comment.
1. usually being the operative word... I get the same rate for a cover as an interior page.
2. I have been on the same rate for the last 10 years... not a complaint to be honest, thats just the way it is. (Not a complaint as I do know people technically more popular than me, though newer, that are on a lower rate.)
3. Thankfully this didn't happen to me, as I was never in the top ier rate. But my rate has and does put me out of certain projects, as I can't really afford to drop that rate given where things are at.
4. This again, I had a starting rate, and then my current rate. My starting rate was adjusted when my popularity increased and so the books I worked on were better, but then I never broke ground in to the top tier and so that rate stuck. There was no gradual, I went from one to the next and that was that.
5. Again this. I wouldn't work for an actual publisher for free, without some guaruntee on future return. Which is technically the same as working creator owned as you work based on the idea of making more (or less) based on the success of the project. I think the difference is I would want some minimum guaruntee from a publisher if I was looking at a similar project, where as creator owned you can't really have or expect that. (and when I say publisher, I do not mean a creator owned publisher like Image, i mean a company that publishes what would be considered thier own work)
Great little video on what I think is an important topic...
(Hope you're well fella :)
Hey thanks, Neil! Big fan of your work since the bazooka days!
#RippaVerse is quickly making a name for itself as a quick growing Comic Book empire that pays top dollar to its creators.
I have not seen the video yet, but i'm sure an artist in general make very few money from their arts. As a non artist i think the problem is the expensiveness out of the world of arts. Every artist value their art at price that few people can afford, for a quality a lot of time debatable (also the best charge too high price) I know the work need to be paid, the rhetoric artists use every time, but they often forgot they work in a competitive space, a very competitive one, and there is always a better artist that probably (thanks to globalization) charge lot less.
it's so crazy, as someone that looks this world from outside, how much artists complain about their living, but charging hundreds of bucks for works that millions other can do better.
A very hearted advice: stop thinking you are Picasso and charge less, lot less, or you'll be one other artist that complain don't have the possibility to create cause no one wants to pay for them. I have seen and read a lot of them, hungry with writer, entreponer or creatives for not hiring them.
Artist say to creatives "ideas worth a dime", and now in a full globalized world, also art, and very good art, worth's a dime!
I agree, there is always someone faster, cheaper, and better. Or sometimes all three. This can be said of any and all professions. Comics is definitely a very competitive business. This video focuses on page rates to help give newer artist a guide to the industry rather than assign a value to the art itself and in most cases page rates are determined from the value you bring to the company as well as the creators ability to help sell books. We're not fine artist but commercial artist since our work's ultimate goal is to sell books and I've been fortunate enough to have helped move a few books for the companies I've worked for and in return they've compensated me for the value and sales I help bring in. It won't last forever, nothing does, but till then I'm happy to draw and keep telling stories.
@@FrancisManapulArt
I've seen your work and you help to new artist is very appreciated, I was a little bit too salty cause these days i was lurking around the "worldbuilder and storyteller community" and I was a little bit upset to see the same picture every time: lot of creatives that can't afford to pay drawers cause price are unsustainable (and again, as someone who don't make art for work, there is also a very "confuse" pricing, that looks dictated in part by the same high standard pricing, but the most by the perceived quality of the work by the same artist that produce it), leaving writers with the choice of not create a comic or use sub-par cheap artist that doesn't do justice to their work. "why you writer don't use Kickstarter, why don't make an entire raw chapter as a pitch... like this things doesn't take lot of effort and money. This looks to me a double standard for artist, an elitist form of see and works in art. An artist who pretend to be paid and one that need to pay.
And of course in this picture, the most of artist with drawing skills struggle to work cause the reasons we said, so don't get payed but they also can't create something interesting for them and for the audience.
So, in the end we have a type of creatives (drawers, inkers, colorist) that have price set at a very high standard and cannot be afforded by other artists, whos works is lot of time underappreciated; "ideas doesn't worth a dime", "every artists have their own world to create" and in general looks to me there is a sense of "words doesn't value like other type of creative arts (and this reminds me the old "c'mon, my friend with drawing skills can do it the same" said time ago when was the visual art to be underappreciated e undervalued. Cycles).
As a pure consumer I wish will be soon a way to meet supply and demand inside the creator community, cause this can lead to more art created and shared in the way the creator envisioned, leading to more "words creatives" and "paint creative" to collaborate in a more equal way for the better of the medium.
@@SilverHaze89 fair enough, I understand how that could be frustrating. As I've said in the past, I've worked for free for many years with other writers who were trying to break in and our plan was to team up so we could help each other out and it was a process that helped me break in.
Damn i did a few pencilling jobs for DC and Marvel in 94 and was paid 100 per page.
Whoa.. and 94 was during the boom right?
Gotta know what your set-up is - what tablet, what software...? You really have it dialed in!
is this price range per page?
yeah, the top line are the price ranges per page and the second line was me adding up the total for 20 page books.
I would suggest another point though. In my experience the "exposure" trick is a scam most of times....I think it depends what the other part can bring to the table. If the other part just offer "exposure" I wouldn't do it. I would do a work for free only in some exceptional cases if the other person or publisher has a really good idea or writing/script to work on, or give me amazing team, like colorists, other people to work with, or they have an original idea which would potentially make me reknowned in the field.
But some people suggested me even to use MY OWN script for the story (I invented) or to do an ANIMATION for free. All these people are trying to take advantage. Another problem I encountered is writers who want to work on projects. If the writer is just asking you to ADAPT a STORY (novel or short story) into a comic: YOU NEED TO GET PAID most of the times. Since these "writers" are basically using you as a slave to adapt their book. In real life if the writer is actively helping to write the scripts and adapt it into a comic, we could speak of working for free. If the writer is just sitting down waiting for you do everything and then wants a huge parts of profits from the sales.....NAH that's a bad sign....
To these people I would politely tell them NO. They will suggest they will give you EXPOSURE, will they are basically taking advantage of your art to get exposure for their channel. Don't be fooled.
Is all of the artwork done on a computer?
Does any artist actually draw on paper?
A good number of artist still work traditionally. Digital is just very efficient. That said I've recently returned to working traditionally.
@@FrancisManapulArt Can you tell us what work you are doing traditionally as opposed to digitally?
@@casey_lau These videos are still at my digital stage. I just switched back to traditional about a few months ago after trying it out on some covers and am doing an unannounced project traditionally.
@@FrancisManapulArt Thanks Francis - as you can imagine I am asking because I would love to own some of your original art and happy to hear you are returning to traditional.
@@casey_lau Ah thanks much appreciated. Kwan usually have any and all pages I part with.
its not difficult to put a price tag on doing what you love.
at least he can draw, lets hope he has a writer that can sell
Digital yuk I like your art work but pencil and ink brings respect and praise. The more we move digital the less real things get
I have all tools back then little a bit into the search engine free or had to pay for it to search lol and MySpace and RUclips born was like today you can get to be a nurse as an humorous sample. Like nobody cared until views and collection of yes and no those that hate social media boom at some this in middle of the time line. Lol well I never showed my material finally I have same way you think is the way I was on til now I am still of just staying out of sight but then well seems scams and other is to be careful. Would be a fast going into the but I didn’t have the heart and as you said run away lol
Why is picture of the Artwork being jerked around so much ?
Ah yeah, that annoys me too. I rotate the digital canvas a lot so I could keep my strokes somewhat horizontal since that's more natural for my hand to do. Unfortunately when the video is sped up, it becomes too apparent and jarring. I eventually figured out how to record the screen without the rotation, but not before I finished filming this entire series lol
I have pretty much accepted I won't make comics as a job. I don't think it would even support my level of debt slavery.... i will just keep making on my terms...
Wow, comicbooks are lucrative.
It can be. It's not as linear of a progress. It's pretty similar to being a musician in that some could make it big and others continue as working musicians.
Ok, but we need to talk about that salt and pepper brush you're using...
splatter brush from Kyle Webster.
@@FrancisManapulArt Legend. Thank you.
I wanted to like this video but it's very little about the wages. I got the impression it was more ramblings that sometimes do not offer any new knowledge (for example, and I'm paraphrasing: you'll meet good people and bad people). I think if the video was shorter and if it stuck to the topic it would be more successful. I also think a separate video to show the differences in your work on Flash and Batman would be interesting. Don't cartoonists often say "show, don't tell"?
Great points and I'm afraid you verbalized all my insecurities about this video lol I literally recall thinking I should have gotten additional footage in order to show not tell. I create these in my spare time and continue to learn this process so I'll definitely keep these in mind.
@@FrancisManapulArt I've watched a few videos after this one and they all seemed to be vlogs rather than videos about a specific topic. However, I also watched your decade old interview with Bobby Chiu and you were brutally honest, so I figured I could be also ;)
@dvhstudios hey wow! But yeah actually these are essentially vlogs with droplets of sharing bits of what I've learned. Unfortunately a straight up tutorial doesn't excite me to create although I know that's what people want. I literally described to someone today that my videos are kinda like my new version of LiveJournaling if you're old enough to remember that reference 😅
@@FrancisManapulArt unfortunately I am old enough :l Some of my criticisms aren't valid anymore given that you are going for a different type of video than I expected.
@@dvhstudios Still valid, and I can already see how editing the video to properly inform viewers what the format is could be helpful.
this is your style so dont change it, but I'll be honest, the music was a bit much :)
Fair point. I enjoy the music parts since I think the songs sounds great lol which I understand may not be everyone's cup of tea.
Cooking your own meals saves a lot of money. Pick one day when you will not cook.
Just go work for walmart. You'll make 2 times more money per day plus benefit than doing a page of comic.
There's no future in comic cuz everybody want free stuff or is more into gaming. Unless you're super duper good, there maybe a future. But if youre that good, why woild you do comic anyway?
Dont forget, if you're great, there's always someone willing pay you, but if you're mediocre, the competition is fierce and you're skrewed.
lmaooo $2.50 a page for 20 pages pencilled or even inked paneled art work is insane. the minimum should be $25pp at least.
Ah I think you misread 2.5K for $2.5 for 20 pages on the indy end of things.
@@FrancisManapulArt lol yes I see, had to watch again. thx for the reply, and awesome content
@@lawrencetateartI would have jumped off a bridge if those were the rates 😂
My comment is being deleted... Just wanted to give some constructive criticism, so you can improve, thats all.
Strange. I haven't deleted any comments. I know there is a general filter on that i think automatically hides profanity or something along those lines. Feel free to comment again here. Always open to criticism.
Broooooo, Wtf, until you mentioned your age i thought you was like 26 😂😂😂
Asian blood lol
@@FrancisManapulArt lol
It's crazy... you'e a successful commercial artist and you can't draw hands?
Unless you are a creator of the book, being a hired artist is fucking thankless labour. Getting paid is good, but those people then go out and make a good buck selling those books, me want some of that money too! Not mention it's very easy for people, if you work in indies, to screw you over behind your back. I am done with this comic book bullshit, only way I am ever working on a book is if I'm a creator or if someone decides to give me % of the profits. Fuck that shit otherwise.
not a day in the life video at all
Fair point. Not in a traditional sense but I did share my day at the studio from the beginning to the end of my day.
I have all tools back then little a bit into the search engine free or had to pay for it to search lol and MySpace and RUclips born was like today you can get to be a nurse as an humorous sample. Like nobody cared until views and collection of yes and no those that hate social media boom at some this in middle of the time line. Lol well I never showed my material finally I have same way you think is the way I was on til now I am still of just staying out of sight but then well seems scams and other is to be careful. Would be a fast going into the but I didn’t have the heart and as you said run away lol