What makes a show though successful is not just the con’s responsibility but the exhibitors/guests and the fans as well. It’s easy to praise a show when an exhibitor sells well and it is equally easy to blame the show when the exhibitor does poorly. Now the con adds to that atmosphere, usually with placement and such, but at the end of the day the exhibitor has the power to make the show successful or not.

As an exhibitor/freelancer I know I need to cover my expenses and enough to help cover next year. So generating income at a show is important, yet it is not the end game and when I learned a few things on how change my game, I found my shows getting better and better. I also learned the power of adapting. Conventions are not just about comic books anymore. Regardless of the show you go to, you find an explosion of pop-culture there. This is actually good for creators that have figured that out. It is more opportunities for you to have a good show and up your game.

As I talk other creators, and we do chat, I listen to what works and what does not. I also listen to their attitudes. I find it interesting that there are people out there that always have a miserable show, always complaining about the con, and always seem frustrated about why there table is not moving product. It seems very easy for people to lash out at the show organizers, who gave them booth space or approved them the opportunity to sell and brought people in the door, now do they need to man your booth and sell product as well. That is your responsibility to do that.

Maybe this is where you sit back and ask yourself what I can do as an exhibitor to change and up my game? How do I make it profitable? or maybe the true question is asking yourself how do I make it better for the attendees and continue to build the tribe.

I know there are creators out there, like myself that always have a good show. They might not all be money makers, but their  experiences make the show good and because of how they look at show they become successful.  I’m not here to tell you how to run your booth, I am though going to offer a few pointers on how to improve your experience and maybe help increase your profit at a show.

1. It’s not about you. One of the biggest mistakes creators, artist and exhibitors make is that they believe it is all about them. They are a guest, they paid for their spot or it was given to them. They feel they are above the con organizers, other creators and even more sadly then the fans (the very people that buy your works). They walk around with a chip on their shoulder and feel that they need to be treated in a certain way. If they don’t sell they blame everyone else but themselves and people see that, they hear and read the rants and they eventually stop coming by the table. You are literally sabotaging your own show.

So who is the experience about… well it’s for the fans, the cos-players, the families and anyone that walks through those con doors, that is a potential contact.  These are the people that will keep your career alive. By making the show experience about them and ensuring that they have a fun time  you sow the seeds for new fan bases, new friendships and support for your works.

I have seen several artist and/or exhibitors ridicule fans from their tables, or show no interest in those that walk by because they are talking to their neighbors the whole time.  That actually alienates you.

Yet I have also seen artists – extend a hand, offer a free sketch, talk to people by actually looking at them, and making themselves very available. Their tables are usually packed. They understand the value that it is not about them – but about others. People feel that vibe and they gravitate towards that.

I do free sketches as well. To anyone that asks. It’s a two minute sketch, but in that two minutes we have a great conversation and they bring their friends back. This converts, they walk away with a piece of paper with my website on it and I have a great experience. I have met some of the most incredible people over the years. I’ve been told I am crazy for offering free sketches, but my table is always packed… how crazy am I to do a 2 minute sketch for a total stranger.

Also many times before a show starts, exhibitors usually get in an hour so early to set up, as my crew and I sit and watch, we have seen a few exhibitors chew out security for not letting them in even earlier. My favorite phrase is “do you know who i am? or I am guest?” when they are still denied entrance, they sulk back to other exhibitors and 90% of the time badmouth the show. Which is a shame, because most of the time, the show itself does not control this but convention security.

2. Con’s are changing and you need to adapt…

As more and more movies come out, and as the fantasy, sci-fi, superhero and anime worlds are embraced by more and more people. Cons will grow. Yup they are not what they used to be.  No longer the big sprawling rooms of the comic boxes and artists, but huge mash-ups of creators, artists, publishers, studios, retailers and more. Each fighting for the fan that walks by the booth to stop and hopefully make a purchase. It’s easy to blame the show, to want to go back when the artist or the indy was new and had a stronger voice, yet to me that’s not upping your game. It’s making excuses.  I know several indy’s that are flourishing and growing. It’s not because we were lucky… it’s because we are adapting to the change and taking chances. We are branding and building on our worlds. So how do we do that?

* Always have something new on the table. I exhibit at about 12 to 14 shows a year. At every show there is something new on the table. A book, a print, a puzzle, something. My inventory grows and that is important. Create a reason for people to come back to your table and visit. Fans want to see your stories continue, they bought your books and prints because they were interested in what you were creating. If you don’t have anything new, they will come back for a little bit, but eventually they move on.

* Make your work marketable. This is understanding who you are selling to. I have talked to creators who show me their children’s book, which they sit next to another of their book full of images that are offensive to be people and they wonder why parents won’t buy their children’s book. Even when they explain it’s not like their other books.  If you want to sell to kids or all ages… than make sure your table or booth represents that. Kids are the browsers – parents are the one’s that make the buying choices. I’m not talking censorship… i am talking about learning how to market. Learn what to have on your booth and table and what your audience is.

* Step up your booth presentation. Appearance is everything. A table with a few stapled ashcans or zines, will not have the same success as someone who printed a book semi-professionally. Even print on demand offers opportunities for you to have a good professional looking product. Also make the booth or table inviting, you need to be approachable, which means that you need to become approachable.

* Stop hiding behind your sketchbook or sketch pad. Yes people like seeing you draw but when you hide and do not  interact you are creating exhibitor suicide. Start asking questions when people come by your booth. One of the most influential people I have ever seen, will always shake hands and asks them their names. He makes them feel important. He creates an experience for them.

* BRANDING – and I am not talking about tattoos. I am talking about learning to create an image of you. Something people will always remember about you. What is the experience that you will create for the fan that comes by. Branding does not have to be expensive either. A simple table cloth, a couple of nice banners and a fun experience.  Some people like 19xx, little vampires, Steam Crow have this down to a tee.

* Be your own artist… meaning start selling your own work, rather than superhero head shots. Seriously if you can stand and be apart be different you will do better than the artist that draws like everyone else.

* You can’t hide anymore. Understand that due to the internet, kickstarter and webcomics fans have much more personal interaction with creators. Some creators cannot handle this. You can’t hide behind your publisher like before. So learning a few interactive social skills will go a long way.

* TREAT IT LIKE BUSINESS AND NOT A HOBBY! Indy’s, artist, creators if you want to be successful at a show, treat it like a business because that is what it is. If you treat it like a hobby, you will never be able to put your full attention towards your dreams.

* Broaden you shows Ok this important- In AZ Phoenix alone there are over 30+ shows and events a year this is way too much. Though I would love to go to all of them- I personally only hit 3. I find when you saturate your own neighborhood, you stop growing. You need to travel a little. You need to hit shows you can drive too out of state. Stay with family or friends, cut your expenses as you can, but get out of your hometown at times. Your audience will grow. The first show or two will be tough in new cities but as you return and you return with NEW STUFF your audience grows. This is important.  It allows you to find new clients and sell material that your neighborhood has already seen for the last 5 years.

* THE WINGMAN Take someone to work the show with you. Pay them in food and lodging. It makes travel easier. They sell for you and you can be the artist/creator that you need to be. The wingman takes a lot of stress off you as they help with setup. If they are talker as well it will help with sales. Just remind them they are there to help you. Plus it is great to have a second pair of eyes on your booth.

3. The kids are your future…

One of the saddest things to watch, is creators ignoring kids or people that cannot afford to buy. Parents pick up on this right away. They are literally pushing away their future fans. I remember an experience I had with an artist I admired. I just wanted to thank him for his work. I was a supporter of his books and had bought many of them. He must have been having a bad day… but the negative experience was enough that I stopped buying his works and even stopped visiting his table. His attitude completely turned me off.  These kids might not have money, but they will one day. Treat them well and always be friendly and they will return and eventually they starting collecting your works. You don’t have to give things away… you just show interest in them. Appreciate them and you will influence them.

Since I give away free sketches… I see kids come back to my table each year. I am usually one of the first places they go to. They have thought about an idea all year long. Some of these kids I have been doing sketches for for the last 15 years now have kids of their own and are adding my works to their children’s rooms.

Because we make the experience about them, they in return support us. I am grateful for those opportunities, those simple interactions and the lasting friendships that have been created.

4. Everyone is important that stops by the booth. 

Notice a trend… it’s about putting others first before you. It is amazing how a little kindness, a little interaction will go a long way in making a show successful for an exhibitor. Even the comic stores and retailers could learn from this.

5. Cos-play is actually helping the cons… have a little fun with them

Todd Nauck (Nightcrawler, Teen Titans) taught me this. He loves them and enjoys them… takes photos with them. The cos-players bring the convention to life. They add a little element that is very needed. They are artist in their own right and they have really made my shows a lot more fun. Think about it – the cos-players bring your favorite characters to life and they help create a buzz for the show.

6. Remember it’s still not about you.

When exhibiting just remember you are there not just to create income (that is still important but if it’s the sole reason you are there it can make for a miserable show). If you create an experience for the attendee’s, if you reach out to them, and make them feel important… they will support you. When you make it all about you… when you put yourself above everyone else and start demanding, it just shows how shallow you are and you miss out. To some this might not be important for. It’s a choice they make, yet I have found that by putting others first my show experiences have become incredible.

You would be amazed by what a little kindness can do for your business.

7. Understand the con organizers are people just like you…

The con is not out to get you, I promise.  Those that run the con cannot always take your personal call. THAT IS OK, they have enough to worry about (city policies, attendee/exhibitor safety, high-profile guest, logistics, etc…) your personal phone call to complain why your booth doesn’t have an extra chair, needs to be handled with the people in charge of that. The con has responsibilities to make sure that you have the info and resources you need to exhibit. Yet at the end of the day… you are in-charge of making your booth successful.

Con-organizers try to do just that, organize a show. They try create an infrastructure that is effective for both attendees and exhibitors. Sometimes it does not always work right. But it doesn’t help your cause as an exhibitor when you yell, name drop or treat these volunteers like garbage. In fact it just makes the experience bad all around. You just need to take a deep breath and let them figure it out. They usually do. The kinder you are – the more likely you will get your issue solved and rather quickly.

To badmouth a show right there and not give them a chance to improve during the day doesn’t help the cause.  Now the volunteers need to make sure they have the information available as well. Yet at the end of the day we are all just human beings trying to do our best.

Problems arise – but most problems will not ruin your show. Your personal attitude will ruin a show.

You make the show fun or not…

Honestly you are in-control of how you react at show to the experiences that are thrown your way. You make it fun or not. If you put the attendees first, if you make the show enjoyable for them – they make it enjoyable for you. They best shows have been because of this mentality.

There is so much more to talk about for exhibitors. I’ve only scratched the surface, but the goal is that exhibitors have a successful show, that conventions organize a successful show and that attendees have an incredible time.

So the next con you exhibit at… change your thought process and make the show about them. If you make about the attendees you will almost always have a successful show. Find ways to interact and get out of your comfort zone. Be mindful that you are one of many exhibitors all trying to do the same thing… grow your business. What will make it work for you is how you will be able to stand apart and make the experience incredible for someone else.

Keep creating..

Trav

It’s been a long year of shows and I have 3 left before the year runs out. Each show is unique. Some are really well run, some are struggling with finding their identity and some are just plain greedy with the focus of “it’s all about them” (you know who you are). Each show creates a reputation that as artists and venders learn about, helps us decide whether we go back or not.  As I have said before what makes a great show is when the exhibitor/artist and the con both contribute to make it an incredible experience for the community they have their show in. They make it worth while and the attendees, when content, make the show incredible for exhibitors/artists.  Yet it really lays on the shoulders of the con itself and the exhibitors to reach out.

With that being said. Let’s talk about Long Beach. This is a show that is growing. It is figuring things out. They really try to focus on the artists, by placing artist alley in the center of the hall as well as trying to get place artist exhibitors around them and then the shops on the outskirt. They value the artist and many times I was checked up on to make sure I was doing well (much appreciated).

Yet if you are a vender and you are looking at trying to make huge amounts of money at the show, than you are at this show for the wrong reason. Exhibitors with high travel expenses and overhead might want to wait another year or two and let the show grow and develop some more. In fact this show feels more like a celebration to an audience that has never experienced a show, which is a good thing. I find that they are being introduced to an incredibly fun world of pop culture and comics.  I met a lot of people, who told me this was their first time. They said they had a good time and didn’t what to expect. They are more cautious with their funds though – as cons get bigger and bigger this is something that exhibitors need to take into account the curiosity factor of attendees, who do not know what to expect. Yet they were gracious, polite and had a great time. Which means they will most likely come back.

There are though a few things that need to be improved upon… There were a few deadzones, this happens where the layout stops flow or pushes movement in odd directions. Also it was mentioned many times about how hard it was to find people and they got lost with the numbering system. Something that many cons struggle with.

I think they need to do away with kid centered panels. I was on one and it was just 4 people (two were related to me) we still had a great time. There are many other ways to involve kids, but panels are not one of them. Phoenix has a great way of  creating kid specific areas. In fact my wife mentioned that LBCC had the right idea with their section but they just were not there yet. Most cons don’t cater to a kids section, with things to do. Phoenix in fact is one of the few shows that actually nails it on head and makes that area really wonderful. So I would suggest to have a dedicated team and volunteers to make that area fun ( a happy kid area, makes parents a lot more content which in turn translates to more interaction with exhibitors and artists).  I was though really excited to see my coloring pages put to good use, and will be happy to donate more images to this show in the future for them.

Load in and load out was smooth for us, except for the opening. There needs to be an exhibitor table with badges down by the loading area. A lot of shows do this and it makes it so much easier for exhibitors and artist checking and being able to unload. We got there early enough and I have a crew so they waited, while I took the long walk back and forth to get the badges.  By the time I got down there the back log was growing which put a strain on a lot of exhibitors when they opened the floor at 9. (I wasn’t thrilled about that either. I wish they would have waited til 9:45 or 10. The rollups were still up and it made for a very unprofessional look to those attendees that came in at 9 am while people were still trying to set up.

Honestly this show is still growing. Yet what makes them unique, compared to some shows (including the one that shall not be named) is that they are willing to listen and adjust. They are trying to make the show fun and balance out the attendee/exhibitor/con experience. I had a great time, I loved taking pictures with cosplayers (the mario/lugie guys were awesome), and getting to socialize with a several creators that I do not usually get to.

It’s a very laid back show and sometimes, laid back shows are needed. As they get the word out and maybe spend a little more on advertising to get other communities near by (buena park, huntington beach, laguna, redondo etc) interested and excited about coming to your show, I think you will have a winner. A show to be really proud of.

This is a show with promise, they just need to work out a few bugs, and build up the audience for the exhibitors more.  The show had a nice vibe to it. I want to see this show succeed. I will be back and I will do their spring show, because I enjoy the effort and the humility that the organizers bring to the table. They honestly feel like they are trying to put a good show together for both the long beach community and the creator community (who need to be a little more gracious at times as well.)  It would do some other shows good to look at their own egos and maybe focus on building a great show for their community rather than brag about numbers and how great they are. Shows become great by how they are received and what others say about them and not what they say about themselves.

Here’s looking forward to the spring event.

trav-

]]> https://www.beanleafpress.com/comic/the-bean-574/ Mon, 21 Apr 2014 07:01:00 +0000 http://www.beanleafpress.com/?comic=the-bean-574

hi all – just back from wondercon- it was a good show- more on that later… once i get settled in- Right now its the last day (meaning monday and part of tuesday  if you want to be a part of my new book- Tanner Jones and the Quest for the Monkey Stone.  Just click the picture to check it out.

]]>

Behind the table at a con-
One of the greatest things I have learned from doing shows is the importance of interaction. Especially with the kids. There is a reason I do FREE “Quick” (that’s the magic word) sketches. Not masterpieces, just sketches and that is because it allows me to take a moment and talk to people. Especially the kids. They are our future fans, our future creators and our future supporters. There is power in the quick sketch… it is a door way into the imagination of others and the ability to foster communication between creator and fan. I find that these moments are incredibly special.

People have said i should charge for my sketches or not do them at all because i take money opportunities away from other pros (yes, really), but i wont. I can’t, because it takes away from the moment, the opportunity to create an incredible connection. Every year i am given ideas from small and old that range from kittens to princess to ponies to zombie robots to dragons to hippos dressed as storm troopers. The sketch is very very simple, nothing more than a quick doodle, yet it is the smile that I enjoy. The eyes that light up, the laughter of joke, or the fact that a pro took a moment to create something special just for them.

That’s what it is all about. I do do commissions at shows, but they are secondary – the quick free sketch will always come first. Always. I have found that over the years, that sketch has made some wonderful friends, created some beautiful memories and have brought me to tears at times as I learn some of their stories.

I have watched more shy, timid little sweet kids come out their shells, when I ask them what they want me to draw, and then follow up with questions directed just to them. About what they like, what they want to do, and that they are important. I have seen it in adults as well. They stand a little taller with a smile a little broader as they leave the table with a little piece of paper that was their idea and that i just drew.

That is why i do it. It’s not about the sale or the money. That comes on it’s own. It’s about creating a connection, building a relationship and strengthening a bond that in many cases has lasted for 15 years.

If more pros understood the value of a quick 3×3 free sketch- and how it builds a nice connection with an audience, which builds up a fanbase, who are very willing to support the creator that takes a moment just for them.

Some people will not get, some people want to rush it, some people wont wait which means they miss the opportunity for the possibility of a little magic. To those that visit the table and ask…. you already know what the magic is all about.

So all those that have stopped and asked for a sketch (I have done about 20,000 in the last 15 years) I say thank you. Thank you for hanging out with me. For sharing a little bit of you and making me realize that there is much more to being an artist and sitting behind a table than i originally thought. To those that support my art thank you as well…. I know many of my supporters have come from the simple question of “hey would you like a Free sketch?”

There is a lot of power in those words.
Keep creating
trav

Shop Talk: Adding the Little Things….

I am a picky reader, especially when it comes to webcomics. In fact it takes a lot at times to keep my interest. Usually that lack of interest is based on a few things…. Lack of story, lack or strong art and then there is the lack of the little things. Lack of the little things you ask? Yup lack of the little things.  These are really enhancements to a story, that when added are not really noticed at first, but in the end can have a lasting impact on good story telling. This not just applies to comics, it applies to books, poems, and movies. Yes every know and then, one needs a little mind numbing adventure…which I am a fan of, this is all good. It satisfies me for the moment and I realize I don’t have to come back and that is still ok.

Then there are those pieces, which seem simple, but in reality they are far more complex. This is usually due to the attention to detail and this attention to detail makes it fun. So how can one apply this to their own works?

A little planning helps first.

Yup that’s right a little planning. Now you don’t have to go overboard with the planning. Too much world building can kill a story quick. That in itself becomes an excuse on why you can just seem to finish your tale.

My suggestion. Get the basic gist of the story done, than start your first act. I break “Bean” into chapters of 38 pages each. This allows me to build the story and the world at a reasonable pace and not try to have one finished before the other. In fact I focus on the characters of the story in the beginning and the setting. This allows me to focus on what is important, and that is making sure the story stays on track and stays  focused.

Once though I am happy with the script, then I start to take a look at the world and the environment. Many people know that I treat the world as a character in itself. I find this to be very helpful as I go from one location to another. Especially when I am dealing with writing and epic. I realized I would be in one spot for several hundred pages. This allowed me to localize the world and not have to worry about far off places just yet.

That’s a pitfall. Focusing on the area not relevant to your current story location. When doing a webcomic, you need to realize that things tend to move at a slower pace…so there is plenty of time to add to your world.

Yet it also allows me to really build on the current location as well. This is an awesome tradeoff for a webcomic. I can really play with style, customs, and do the proper research in putting my world together.  In fact, in the long run it will enhance your story even more.

So, like I was saying, once the script is done, I go back and take a little look on how I can enhance the world that my characters are dealing with. There is always some interaction with elements, and plant life. Yet here is an opportunity to make it so much more. Too often plants, buildings and animals are looked at as card board elements.  Sort of like an old 20’s movie with cardboard props. The world we live in though, is far different. Animals and plants constantly move in and out of the picture. They embed themselves into our lives and many times we don’t even realize it.

I took that approach with “Bean”. I might show a critter in one panel and yet not in another. This is due to the fact that they are always moving and as my characters don’t always see them, neither does the reader.

Just make sure that you do not over do it. There needs to be some balance and many times there is no need to put things in certain panels, but on establishing shots or layout shots that help create mood, it is very ok.

The main thing is to just take a chance. Stop and look around you before you draw a location or a room. Ask yourself how can make this a little more believable. Does is need weeds, are the bottles or trash around. If I am digging a hole does dirt and rock slide back in. Even better does my dirt have texture are there rocks and pebbles in it. Are my trees rooted to the ground and do they have variety. You gotta ask yourself this and then sketch out ways to sneak those things in there.

If you go back and look at some of the best comics you will see the artist did not just focus on characters, he focused on everything. They hid stuff, they gave their work depth. They found ways to get you to look at a page for a long time especially when they were at a lull moment in their comics.. That is a goal I have, what can I do to help keep looking for clues.

It’s honestly more than just eye candy. It’s a way to pull people into your world without having to explain everything. People become familiar with it and it allows them to pick up on things that normally would not have been there. It also frees you up from having to lay it out.

So I add stuff all the time.

And by adding stuff all the time, you never know what hidden gems might lie within the story. You might be amazed on how much you miss. In fact, I give hints all the time about things that might happen a year or so down the road.

So don’t be afraid to add the little things to your works. Your readers will appreciate it.

trav-

Here are a few webcomics that really get it about putting extra details in their works. Go look, go see what they hide and enjoy getting lost in their incredible worlds as well.

]]> https://www.beanleafpress.com/shop-talk-keeping-focused-with-an-epic-webcomic/ Tue, 05 Nov 2013 08:08:19 +0000 http://www.beanleafpress.com/?p=3401

Staying Focused

The other day,  I had a conversation with a fellow creator of mine. He was struggling with a few things that to him seemed to inhibit his ability to finish any project that he has been working on. He told me of all the many ideas that he had in head and all the great and fantastic stories that were needing to come out on paper and be expressed. Yet every time he started a project it was doomed to fail and the ever growing frustration that he felt seem to pull into that dark abyss that can consume a creator.

As we talked, I thought about this quite a bit and have found myself in similar circumstances. Not many people realize the emotional and mental struggle that creators go through. It can be quite hellish, yet there are a few things we can do to help us get our stories out there.

Bean is nearing update 350 with many more to go. To those that know me, this is a milestone. In fact as I read older posts on forums about bean from years ago, the comments towards me were uncertainty that I would even finish the tale. This was harsh to hear, yet I have learned a few things in my medium old age that have helped get my story on the right path and keep going. Some of these I have talked about before, while others are things that I have only begun to learn. So to the webcomic creators, take what you need. You might not agree with it all, yet sooner or later, you will find there is truth in what I am about to say.

1. Show me, do not tell me ” you want it bad enough.” I am a strong believer in this philosophy. People talk about things all the time, yet talk is just that, talk. If you want to accomplish something bad enough you will find a way to make things happen.

2. Pick one story and stay with it. As an artist and creator I realize that my head is full of different stories and ideas. There is nothing wrong with this, and if you just want to write short stories, you will be fine. Yet for those of you with “epics” in mind, you will find that there are times you get bored with your tale. We all do. Working solely on one project for years at a time can be quite draining. This is were the temptation to switch gears hits and start another project or tale. Then we become involved in that project and forget our original idea that we started on…. yet we also find ourselves unable to finish the new project.

Well this angers our fans. They are there for what you started and if you break away from the tale, you will lose them. You can slow down on updates, but you need to also be true to them. When you switch and switch and then switch again you will find a growing disconnect that is not always repairable.  Now if you end the story that is different, but you can’t just switch gears… well you can if you want to risk readership. The more you do it, the more control damage you have to do.

3. Staying focused. So I mentioned the realistic fact that creators lose interest in their projects. Usually this happens for a variety of reasons. Lack of instant results (big one). Mundane moment in the story. Shinny Objects… or the desire to switch for the “better” idea. Failure or perceived failure. Critical commentary from fans. Those moments of depression or feeling stuck.  All valid reasons and can really slow one down.

I once heard a great cartoonist say that the only way to be successful is to work when you don’t want to work. It can be hard to stay focused at times, it is these times that you have to push yourself the most. I believe that and some of my biggest breakthroughs have been when I pushed through my lowest funks. Is it easy? no not really. It is worth it though.

I have tons of other story ideas that I want to do. So what do I do? Well I write or sketch them down and then put them away for later. I have found that I am so involved in the Bean that I cannot stop. I am too invested in it and deep down now I have to see it through. Which brings me to my next point…

4. Stay true to your original vision. Stay true with that original thought. Had I learned that 13 years ago, Bean would not have gone through so many phases. What you see is my original vision and layout. It was a super strong impulse that once I returned it, I found out that it was the correct one. It was only when I returned to it that my story became successful and took off. So when you feel that you need to go off and do another book, take a moment and “reset” and remember what made you start your tale in the first place.

5. Anchor it! I talk about this a lot. Give it an anchor an ending of sorts. It will make a huge difference in your ability to keep going. It gives you a finish, than an un-ending story cannot. Stories with no ending tend to send the creator into the realm of boredom rather quickly as well as the fans. Fans can tell if you don’t have at least some sort of direction. Even with the ending set in stone you can still have the inspiration to change and adapt the middle anyway you like.

6. stop comparing yourself so you can create your own feel and style. This is a tough one, especially since we all love to compare ourselves to other comics and artists. Yet we forget that every artist is at a different stage in the game. If your draw like everyone else than you also disappear. You have to figure out a way to stand out in the crowd, so you need to figure out your own unique feel. Learn from others, but dont copy them. Influences are very important in art and if you use them right influences will help you create a unique feel that is different from everyone else. This also takes practice, I was about 30 when I finally learned how important it was just to be and do my own thing.

7. Patience That’s tough, yet something to be learned. I understand that most webcomic creators have many many other responsibilities. Myself included. If I could do bean full-time, I would be jump at in a heart beat. Yet, I cannot, and I had to figure out how to get creative on when I work on the bean. I draw everywhere, from the doctors office to jury duty. I am constantly finding ways to make it work. I also realize that this is a long-term project, so I plan my life as best I can accordingly. With that in mind and being upfront about my needs to others, patience grows. Do I ever get frustrated, yes, but that is part of deal. My frustrations are now when I have to redo a page rather than losing interest in my works.

8. Remove Distractions- Turn off the tv or put the video game away for a bit. If you are serious about this and want to succeed, you need to turn some things off so you can create.

9. Have “outs” –An out is when you need a break. I need them many times and my outs are prints and commissions. This does two things for me. First it allows me to satisfy my need to draw something else rather than bean. I get to play in science fiction, fantasy, and realism. Second, it releases stress. My outs come at the finish of a chapter and my commissions help fund my webcomic. I am though careful to make sure my outs dont become my 2nd project. There is a fine line and if one is not careful your “out” can highjack your story.

10. you are not alone. Honestly you are not alone out there. We all struggle with staying focused. Yet it is possible. When I learned that my inspirations struggle at times with their stories, it reminds me that they are human too and as I watch them push through it, it strengthens me to do the same.

The key is to help you stay focused and though the your comic project might seem huge and overwhelming, it is still possible. In reality it all comes down to  “how bad do you want it and what are you going to do about.” Once you figure it out you will see some incredible things happen.

So Keep Creating

trav-

The other day I read an article about how backgrounds are really not needed in webcomics or comics in general. I was rather shocked by the attitudes and perceptions that backgrounds were unimportant in the story telling process and that head shots and just character figures could make a story or comic successful.

Truth be told, Backgrounds are more than just a luxury or eye candy I find a that backgrounds and strong page layouts are crucial to effective story telling. That the elimination of these elements completely from a comic is kind of a cop-out by the artist.  I hope as we chat a little today you will see the need and the purpose of the background and how it can be such a powerful tool in the story process.

Now some strips honestly, and I will be the first to admit it, don’t always need backgrounds in every panel. Each part of layout plays an important part in telling a story, it’s learning how to use each element successfully that can determine a strong storyteller. There is a place for the headshot, the character without anything behind them in a panel or maybe one or two props, that help establish a bit of realism or perspective of the room they are in.  Yet the backgrounds have the power to remind us of where we are at, and reduce the need to sometimes spell everything out in text.

Now I blur the word environment and background. I find them to be virtually the same when I am working on the Bean. I build my backgrounds into my layouts and I am not afraid to bring them into the foreground when needed. I have found that the more I use them in my storytelling – the stronger I see that the story becomes.  Also mind you I am working on a full epic story (530 pages posted), yet I have found these rules also apply to small stories, one shots, and general illustrations.

Treating your background/environment as it’s own character.
Huh? When I first created the Bean, I found that the more I added detail to my world the more it became alive. It literally became it’s own character. It made the world I was creating believable and alive. Pulling the reader into not just the story I created but the world itself. I found this to be extremely helpful in establishing cultures,  personalities, and even story elements.

If the character, I was drawing was a slob, his room or area needed to reflect that. It made the character a little more believable. The trinkets and trash had to have meaning to him and by adding elements that I believe he would have consumed or tossed around it added to his personality and character.  Yet is the character was a collector, than his room needed to feel like an overstuffed museum. His history on the walls and the floor, each item telling their own story.

If my characters were outside and wandering (which they are doing now) I needed to make the world around them alive. Which takes me to my next point…

Backgrounds have the power of establishing emotion…
Really? Yes, really.  Going back to my wondering characters, a good strong background allows the reader to feel the emotions my characters are going through without  one of them having to explain it to the reader. Just the barrenness of the landscape and your group pushing through, can give the reader a true feeling for what the experience is. It allows the characters to become more alive, to look at things and feel more than just paperdoll cutouts on a white canvass. It even allows you to convey the power of a characters personality… childlike characters stop and look and touch – while the more focused characters of the scene might just be pushing on ignoring the world around them.

It can create dread, worry, happiness and most important the feeling that one truly understands the world your characters and people live in.  It also serves a reminder at times for the emotional experience you might be trying to convey in your story… for example… Two characters enter a ruined village and began a conversation… which drifts here and there, by adding environment and background… not even detail you can create subtle reminders that they are still in a ruined village and that they might even possibly be in danger, without having the characters even explain to the audience what is going on. That’s because the audience already sees it. They know it and your backgrounds act as that quiet reminder that something might happen.

Establishing realism through background and layouts
This is really important for the comic creator that wants his world, imaginary or not to feel real.  Even some of the best cartoonist pushed themselves to have a sense of realism in their works. Gary Larsen, Bill Watterson, Jim Davis (when he drew the strip), Bill Keane… etc. They understood the purpose of perspective, layout and the importance of building a believable environment for their characters (just look at the sunday comics).  Most comic book creators understand this as well.  Keen readers pick up on the fact that the artist takes the time to make a room believable. Dressers always in the same spot, lamps that don’t move positions, desk layouts that stay the same… store shelving that helps establish location. It can make a room feel small.  This is also the bane of many illustrators, myself included at times as I try to remember where I left the sword or the dagger. Is the backpack on otter right? etc… But it sets you apart as a creator when you do these things.

Making your backgrounds feel like they actually belong.
This is important. Just throwing a background into a piece or throwing things here and there can actually take away from a strip. Things need to belong, they need to feel like they are part of the environment and not just standard basic illustrations put there to fill space.  William Stout, pointed this out to me many years ago – the need to make things feel like they belong in the backgrounds, and that they were different from each other. Meaning not all trees or bottles look alike. That by adding a little personality to the background, your world stops being mundane and becomes a realistic possibility.

Backgrounds take work and practice.
One of the truest and most honest reasons people do not put backgrounds into their works is because they hate drawing them. They are a challenge, and can be quite frustrating.  In fact they can be a huge source of aggravation, felt it myself many times.

So what do you do? well start researching things out. Actually take a moment and look at your script and plan a little. Work with your writer if you can, find out what belongs in the background and why and then you go out and learn how to add that into your world. One of the hardest things for me was learning how to pull my horizon line up a little more and draw things smaller to give them distance. It was a test of my faith and honestly one of the biggest and most frustrating things to learn in my career. Yet it was worth every bit of aggravation and I am still learning on how to improve my craft. Yet what most people do not realize is how much time, practice and patience actually goes into learning how to actually draw and layout things correctly using perspective.

I have found google images, national geographic and magazines a god send in helping me learn to draw different backgrounds, props and actually placing people to fit in the environments correctly. It has also improved the layout and feel of comic. Which helps the story.

Backgrounds can make the mundane interesting.
Ok lets be honest. There are moments in every strip that seem to just drag. They are important to plot and explaining a crucial thing, but the easy way out is to just draw the characters explaining something and looking off into one direction or the other… Nothing else to look at on the page, and if you have several updates of this due to the complexity of the joke or story… it can actually put off readership a little. The background gives them something else to look at. It allows the camera to pan back, go in another direction or help establish a location in creating a mood.  It also allows you to change up the layout. It gives you more creative control and feeling and it can really help these slower parts flow better, PLUS it sometimes gives characters things to play with when they are just talking.  Watch people talk to one another, most people are fidgety, they are doing something.. they hey… wait for it… interacting with their environment. This is noticed.

Some of the best comics I have ever read where by creators who truly understood the value of the background and environment. These are the stories and books I still read. These are the ones I admire and strive to be like, these are truly the master story tellers.

So before you get ready to dismiss the need for a background, stop and look at the comics and artist you look up to and enjoy. Look at how they value the importance and need of a background. (if they don’t that’s ok) But I will tell you – your credibility will improve as an effective story teller if you can learn to utilize and adapt backgrounds into your works.

Keep creating
Trav

Shop Talk- Scripting the Bean.

Let’s talk about my process, and mainly focus on scripting the bean. There are many ways to script and not everyone will have the luxury of being able to script their own work. Since I write and illustrate everything about “The Bean” I am able have a little more creative freedom when I script and I do not usually follow the industry standard for comic book scripts.

So what do I do?

The first thing I do is build or create a dummy book. Even though “Bean” is shown on the web, my final goal is to create a printed book. I know that book printers work in sets of 8. This is why comics are usually 24 or 32 pages. 24= 3 sets of 8 pages, 32 = 4 sets of pages. By building on this principal, you can build almost any size graphic novel. Bean is built to be a 152 pages of story with extras. So when I am scripting I know that I have to find some closure of the book in 152 pages. You can leave it on a cliff hanger, but the book needs to have some resolution. Books 1, 2 & 3 each have their own story arc, even though they are part of a much bigger and longer tale.

I used to build my dummy books with copy paper and staples. 20 sheets stapled equals a 40 page book (I work on front & back, but more on that in a minute). This method is fine, but you will find that you use the dummy book quite a lot and the staples start to fall out and then you end up fixing the book all the time. This frustrated me after 12 40 page comics like this. I was determined to not let that happen for book 4.

One day at a local office supply store, I found a compilation book for engineers. It is a 76 sheets of graph paper that is bound together, it is also 9 x11 in size so it is bigger than most notebooks. This is what I needed to help me in my scripting. Why graph paper you might ask, well as we talk about my work model further, you will see how important graph paper has become to the process.

I have chosen to draw my comic book landscape or widescreen. I do this because it translates perfectly for the web and looks fantastic in print. Just like a Calvin and Hobbes book. I also like the freedom landscape gives me as I work. The eye moves easier from left to right than from up to down. Plus no scrolling it’s a nice feel. (Only drawback is comic book stores cringe at this because they are set up for traditional style books . So a good portion of my sales come from online, which is better for me)

So back to scripting. When I am ready to start my next chapter I pull out my book and map out two pages. The graphing makes mapping and panel layout so much easier to block. You have instant guidelines. I also like how it works with perspective. Since I draw vertical I can fit two pages to a page. Which means with a compilation book of 76 pages I can map out 152 pages of story. That is 4 chapters of a 172 page book. See it fits perfect for the bean.

Now I gather my notes , scrap papers, sketch books, plug in my music and begin plotting. I work each page individually and at times with it’s opposite, drawing how I would envision them to be. This is a quick sketch as you notice from the pictures. The goal is so I understand. I try to use a pencil, so I can erase and move stuff around. I have used pen, but that gets messy at times. There are times though that I get a little more detailed in the sketch process, especially when I world build or need to see detail. The graph paper also helps me to change camera angles and figure out quick perspective for the pages. I do not write a description of the page I actually draw it. This is what I will use as a guide (key word here: GUIDE) when I start working on my actual page. I can change, add or take away at will.

I also try and limit my panels per page. I have found with this size that 4 or 5 panels should be the limit. Anymore than that and it becomes jumbled. Since Bean is an graphic novel I do not feel that I have to spell it all out either. Many pages are just one or two panels. Visual for me is just as strong as the written word.

It is here that I also lay the text out for the story. I treat this as a guide as well and there have been times that I have completely changed the text as I began to lay the book out in indesign.

I use my script as starting point. The visual aspect combined with only what the characters say create a very clear picture on what my comic is about and how it will end up. Sometimes I am detailed about it and sometimes I am not, because I get in a really powerful groove and need to just get out. I will return and flesh it out later if I must or as I am actually penciling a page. Sometimes I realize that the layout just doesn’t work on a page, since I script/draw in pencil, I can erase the page and re-sketch it out, until it looks right.

The most important thing was to make it easy for me. I need to see it visually and these thumbnails make it possible and the bound together, so i don’t have to worry about loosing pages. It also makes it fun, scripting should not be complicated and by drawing it out like this for artist/writer it allows you to see if something will work visually or not right at that moment.

So that’s it. Maybe next time we will approach more on how I tell the story. Today is a tech day, and that is good too. By seeing how others tackle their goals might give us an idea on how improve or maybe just push through a rough creative block. The most important thing is find what works for and keep going forward.

keep creating
trav-

Also if you have any questions or comments, please share.

Everyone has been endowed with some sort of talent or another. Some are visual, others are not. Not all talents though are easy to be found in one’s soul. They must be looked for and to do that means one must be willing to try something new, something different and something unique. They must keep trying until they find the talent that clicks and then continue to practice, nurture it and cultivate, until that talent becomes a skill.

To often people excuse themselves from finding talents, with the lie that they just have none, that there is not enough time in the day, or that they are just too old . There is no drive there, no motivation to try something different and it’s a lie that can really deflate the moral of a person’s spirit.

So that is the challenge. To stop making excuses and start experimenting. Try something different, something unusual. The age-old adage of “you don’t know if you like it, til you try it.” is true. You will never know what your talents are, until you get out there and try and then try again. This might even mean making some changes in one’s lifestyle and surroundings.  It means turning off the zombie machines and to start actually doing something, as hard as it might be.  It means to start meeting people and surrounding yourself with others that are supportive and also exploring their own gifts and talents. There is something to be said to phrase “creativity breeds creativity.”

Every artist, musician, cook, dancer, singer, writer, jump-roper, crafter, etc… started by trying something new one day, and then doing again and then again and then finally again. Finally finding something they truly enjoy and that they were good at. Yet it came down to trying, failing and trying again. Learning that before you can truly appreciate the gifts inside you – you must first work to seek them out, to stumble at times, and even be a little frustrated. I will tell you though if you become persistent and patient, you will find something incredible things about you.

So take a moment and get up and go try something new. Try something you have never done before, if you have troubles with finding something, than it’s time to watch a documentary or two… I personally learned how to make a fancy cake because I watched cake boss with my family. My daughter wanted to do are own, so we researched it out and then did it. I had blast, it was mess,  yet we learned something really really cool and more importantly we did it. By the way buttercream oreo frosting filling made from scratch is incredible. Now go out there yourself and maybe build a model, give a talk,  learn to can fruit, build and fly a kite or even just learn to be a good listener and you might find some of the unique and incredible talents that are locked deep down inside you. The misconception is that talents have to be visual. That is not true, there are many talents and gifts out there that are not visual but emotional. Each is powerful in it’s own way.  The important thing is to keep exploring and keep enjoying where those gifts can take you. Then when you have figured something new out… go out and share with it someone else.

Yet it all comes down to one thing….

and that is you and you alone have the power to unlock the gifts hidden inside you.

Keep Creating,

trav-

The other day I was asked by a young creator on what they should exhibit at their first comic con. Should they focus on Pop Culture Icons and Lic properties (of designs they do not own or have not paid the fees for) or should they try and establish themselves as their own artist?

To me pop culture icons and lic properties items (prints, toys, etc…) are nothing more that a fast easy buck from an established audience of that property. It is an audience focused on the next big thing and not the creator.

To those that have gone through in obtaining the lic rights and fees to sell pop culture icons, i tip my hat off to you. You are doing it right. You understand the importance of honoring those that hold the rights. To those that just do it and don’t care about lic rights and fees i would hope you reevaluate that and set your self up right to sell lic material.  In the end it will be better for you. Especially as some of these companies are beginning to crack down on un-licensed merchandise. So get your license and you will do fine.

For me I found it more important to establish myself as an artist rather than a pop culture creator. I want people to remember my work and who created it. That is really important to me. Yet that road is a lot harder. As a creator you find yourself as a tiny island in a huge sea of current glorious pop-culture. It’s a daunting task at times to create your own tribe.   Yet in the end it is worth it and far more rewarding.

When I started 15 years ago, I was a very lost fantasy artist. I did not have direction, connections, or a skill level that was marketable at the time. What I did have was drive and that I was willing to learn and listen when advice and council was given to me. I still have drive, I am still learning and listening and I now have direction. The skill level is always growing and the connections… well they are building. Yet, I decided at the beginning, while I was looking for my direction, that I wanted to create my own works, do my own thing and tell my own stories. It has been the best and one of the hardest decisions I have ever made.

What I learned as I went to shows was that people remembered my art and that they remembered me. While fan art and pop cultured pieces got put away, my pieces still remained on their walls. It was shared with friends. Conversations at shows were no longer who are you, but so what’s the next adventure you are working on.  Which to me is pretty awesome. I love the relationships I have built up over the years with fans. Who love pop culture, like me, but are also looking for artists that are willing to do their own thing and make the experience enjoyable.

The next thing is learn to be marketable. Doing your own thing is fine, but you should learn the audience you are going for. Even zombie babies can be mass marketed if done right. There are boundaries though and some creators as they begin to establish their style end up pigeon holing themselves, because they refuse to see the bigger picture. Bloody, mutant, scary clowns have a limited audience, it’s hard to make that audience grow due to how specialized the work is.

I found that audience for Bean is limited. I understand that and I am very cool with that. Bean is a B/W fantasy comic. It has an old school feel to it. Because it’s not in color the audience, which is strong, is still very very concentrated. My color work and prints, which have nothing to do with Bean but just the randomness of what is in my head created a much bigger audience that is growing rather quickly. It’s like planting seeds and if you nurture the plants it grows and grows strong.  I realized how important it is not to limit yourself to one group, yet I keep the same standards I set for all my works.

When establishing yourself with your works and ideas, time management becomes essential. If I spent all my time on pop culture icons, I would never get my own work out. My ideas would always be on the back burner because I would be in the trap of trying to figure out what’s the hottest pop culture items out there and how I could earn a fast buck or two.  Now being contracted for a job is something else. Your being paid for it by the company that owns the right so that is ok. I am more than willing to draw for big name companies and work on their properties. Yet my down time is devoted to establishing my own name and my own stories.

Don’t be afraid to start small, but always have something new on a regular basis. One of the biggest traps for new creators is they produce a book and then thats it. Nothing new comes out. Each year goes by and they still have the same book on the table, by itself. Your fans will notice this and once they realize you are not producing anything else, they look for something else. Always try to have something new out. It is super important. Sketch book, prints, or most importantly if you are producing books have NEW books. The key to being successful as an artist is to always be creating, always adding to your works. Give people a reason to return and visit your worlds. With all the crowdfunding going on there is no reason, if you are willing to put the effort in to making it look good, to have a new book each year.

The drive. Yup you got to have the drive. You need to remember this is not a hobby, it is an actual job. Make it your business and learn it. What are you willing, of your luxuries and social life, to give up? The poorest excuse is I don’t have time. You need to create time. I don’t have time means

it is not important, especially when you are willing to talk about all the movies and tv shows you watch. Make the time. Pull the sketchbook out and start doodling.

As for creating something new all the time, remember you will hit lows. These are temporary. Creativity is a powerful mental force not understood. It is an adrenaline rush that has a low after it. Learn to recognize and prepare for it. Durning my lows I switch gears and work on other projects to keep me going. I also keep a quote from an old creator who said, “It’s when i am tired and don’t want to draw, that I need to push myself to keep going” (he was a daily strip cartoonist).  I believe that-Drawing for me is important. Don’t get me wrong I love doing gigs and commissions. I love drawing fan art (though i would never make prints of my fan art). I love drawing pop-culture icons as well… but in the end it is more important for me to establish my style and my stories. It’s a building process that is growing at an incredible rate and it’s based of my works and not someone else.

Your original work competing against your pop culture work. Not many people think of this. I have friends who do both fan based pop culture and original works. They say that their original works and ideas don’t sell that well at shows but their pop culture works sell out. It’s because they are competing against themselves. They have built an audience that, even though some of them enjoy their original works, it is just just an audience that mainly enjoys somebody else’s proprieties that you just happened to draw. That’s what they expect and when you do that it is really easy to stop believing in your own ideas because you have to rely on someone else to make a buck at a show. Then when you want to focus solely on your own work you can’t because you are not drawing what the masses have expected you to draw.

I cant tell you what to do or what direction you should take. Only you can do that. Yet you need to decide what you want to be in the end. It might take some soul searching and such, but it comes down to you. For me, even though the road has been long and hard, it has been worth it. I am my own artist now. I have sooo much fun playing in my imagination and I know many others that have gone down the same road as I. They say the same thing…. they draw their own stories and their own ideas and they feel free doing it. The road is universally tough for all of them, but they are making it and they are examples to others trying to do the same thing, proving that it is possible to be an indy and be your own artist.

So go produce a book, than produce another, and do your own prints and build a strong following… just be aware the road is a rougher, a little longer, but far more rewarding.

Keep Creating

Trav!

hunting rats ($4500 promised piece) – It’s groggle obsession with getting rid of the rats that starts our young dishwasher on his quest.

For every $250 raised with our kickstarter project I do a specialized piece for the bean and post it. We started this at the 4000 mark. I will post one at a time for people to enjoy. If you want in on book 3 visit me at My Kickstarter site!

The Forest Walker ($4250 promised piece) – (I have a bunch more to add- we will add one snapshot at a time. To get the books before anyone else and help us print a special book of snapshots come here

Please Share, the more support we get the better the rewards for everyone.

Keep creating-
trav

Check out my new imagination cartoons. A series that deals with how important it is to live in your imagination. I will update these on off days. There is no set dates, since I am just doing these for me and my kids, but I felt that it is important to share.

To see the first one just click Living in your Imagination. As more are added you can just click the living in your imagination category to see more. The goal is to remind people that you can literally do anything you set out to do and that life is meant to be enjoyed.

Also just finished up chapter 11 and I am now starting on the artwork to chapter 12. I am really excited how things are progressing and I am looking forward to starting the kickstarter project in a few weeks. Gonna be a fun time.

Well keep creating and keep enjoying the grand adventure-

trav