Oct
29
2013

Karalyn and Company-Breaking Into Comics with Jamal Igle Part 3

 "I love networking. But I learned to love it"-Jamal Igle

Part 1, Part 2

So why do so many artists find physical networking so hard?(Besides the fact that living in NYC as well and/or traveling to cons cost a lot of money, of course.)

Theres a pervasive stereotype that artists (especially SciFi/Fantasy artists) are weird introverts that do all their work at night, chain smoke cigarettes, and don't venture into the light of day.Now while there's certainly the cases that prove the stereotype, in fact, artists are some of the most social animals I've ever met.  So let's go back to the actual definitions of extravert and introvert. It's not as simple as shy or not. These are terms created by Carl Yung and further codified after him by Myers and Briggs. IF you look these personality types up on the Myers-Briggs chart, you'll find these profiles:

Extravert(outward-turning): "I like getting my energy from active involvement in events and having a lot of different activities.I'm excited when I'm around people and I like to energize other people. I like moving into action and making things happen. I generally feel at home in the world. I often understand a problem better when I can talk out loud about it and hear what others have to say."

Introvert(inward-turning): "I like getting my energy from dealing with the ideas, pictures, memories, and reactions that are inside my head, in my inner world. I often prefer doing things alone or with one or two people I feel comfortable with. I take time to reflect so that I have a clear idea of what I'll be doing when I decide to act. Ideas are almost solid things for me. Sometimes I like the idea of something better than the real thing."

We all have aspects of both in our personalities in different amounts, and that gives us a greater leaning towards one or the other. Think of it this way: You go to a con. You spend the entire day introducing yourself to so strangers, showing your work to strangers, having random conversations with strangers. When you retire back to your hotel room(or bathtub) that night(or morning), do you feel relieved that you have some time to yourself to recharge(introvert), or do you feel recharged by having those interactions(extravert)? I think most artists swing radically back and forth between extravert and introvert, I don't think you can create without having introverted periods, but the truth of the matter is, it's the extravert side that you really have to activate when it's networking time.

Jamal doing some Physical Networking.

I definitely fall on the extravert side of the scale naturally, and that's why you find me running around cons talking to everyone. I enjoy random conversations with people I don't know so much that I subconsciously gravitate to wearing things (like Lord of the Rings leggings, or tentacle necklaces, for example) that are easy conversation-starters. I love networking. But I learned to love it. A lot of people find networking in person really stressful and awkward . You might be shy, you might be an introvert by nature, or you might just be a young artist just overwhelmed and nervous in the presence of a crowd of people more accomplished than you. I realize I'm at an advantage because Im naturally an extravert, and I'm also an Art Director now, which means people are more willing to overlook the times when I'm awkward and weird and consider it a job quirk, but I wasn't always this confident in a crowd. 

Heres some advice:

  • Fake it till you make it.

This is a public speaking trick that seems trite but actually helps a great deal. If you aren't comfortable starting up random conversations with people, or walking up to an artist you admire and asking for advice, then spend a few moments before you enter the room visualizing a new character for yourself. You are confident, you have interesting things to contribute to conservations, you have no reason to be shy. (Bathroom breaks are great for self-coaching sessions.) Eventually you will automatically adopt this more confident persona in social settings without thinking about it. 

  • Practice opening lines.

The hardest part of networking is starting a conversation with someone you have decided you want to talk to(Art Director, Famous Artist, Cute girl, etc.). Once a conversation gets past the first 10 seconds it usually takescare of itself. Try to have a few lines ready for each of the type of people you want to talk to:

Art Directors:"Excuse me, Lauren, I really love the books Orbit publishes and I would love to work with you. If you have some free time now or later would you be able to look at my work?"

Artist: "Hello Boris, I've admired your work for a long time, and I was wondering if you minded telling me a bit about your technique for painting lighting effects."

You're on you own for the cute girls. This is an art blog, not a dating advice column, ha. 

  • Power through the awkward.

Everyone is awkward sometimes. A joke falls flat, you freeze up, the conversation dies...you feel the awkwardness level, and tension, and stress ratchet up ten degrees. Just ignore it. Awkward moments happen. Push past it and either keep talking or make a joke or excuse yourself politely and everyone else will be more than happy to ignore it because they were as much responsible for the awkward moment as you were. Do not retreat back to your hotel room to hide. Do not replay the awkward moment the whole way home on the train.

  • People are judging you less than you think they are.

Most people who are networking at a social event are so concerned with not looking like an idiot themselves they don't have time to notice your hands are trembling and you're sweating through your old spice.

Spider-man by Jamal Igle

  • Networking events are the easiest place to network. 

Cons are big and crowded but people are there purposefully for networking. That means ADs are expecting you to awkwardly break into their conversations. Other artists are expecting you to walk up and gush at them and push your book at them. If they hated doing these things they would not go to a con at all. Thus, the atmosphere is much more forgiving.(Just remember the golden rule. No networking in the bathroom.) Whether you're an extravert or introvert, virtual networking is easy and necessary, and physical networking is harder and more expensive. But it's also a hell of a lot of fun. Don't rob yourself of the joy that can only come from con-induced sleep deprivation. Oh, absolutely, be honest about your situation. That's a huge relief for ADs actually, because the first few seconds of any conversation is figuring out what the person approaching you wants. I'm thinking in my head "Is this someone who is clearly not ready to work yet wants to know when I can hire them and I'll have to do my diplomatic acrobatics to tell them no truthfully without hurting their feelings?"

If you walk up and say "Hey, I'm David. I know I'm not ready for Orbit commissions yet but I'd love some honest feedback and maybe some direction," that would be like the best and easiest thing ever to respond to.

-Jamal Igle

 

Oct
22
2013

Karalyn and Company-Breaking Into Comics with Jamal Igle Part 2

Networking- It is your responsibility.

Part 1

As many of you have seen across various social media channels, Illuxcon(the premiere show dedicated to the art of the fantastic, or imaginative realism) was a couple of weekends ago(and was the best one yet in my opinion), and it's a really great opportunity to talk about the importance of networking, and the differences between Physical and Virtual Networking

Supergirl cover art by Jamal Igle

By physical networking, I mean going to conventions, having your portfolios reviewed, office visits, going to lectures, sketch nights, gallery openings, really any events, including just hanging out and socializing informally with peers.

By virtual networking I'm talking about emailing and social media-mostly Facebook and Twitter because those have the most interaction. This is going to come as a surprise to no one: In today's world you must put time and effort into virtual networking. You must make your work available online, even if it's via the most basic website. You have to target clients and Art Directors by email and keep them updated every so often of your new work and your website. I'll even go out on a limb and say you must be on Facebook, even if just as an artist fan page rather than a personal account. I think you can take or leave Twitter as an artist, since it's not a visual medium, but there's an interaction style on twitter that is really different from Facebook and works well for some people. You all know by now that I love Instagram and Pinterest, but we'll consider them bonus activity for this post, along with Behance, Deviant Art, CG Hub, and all the art-specific networking sites.

You don't have to be everywhere, but pick sites that mesh with how you work and the devices you use the most, and then keep them updated. Third-party manager apps like iftt.com are amazing, just remember the idea is to not make the auto-posting feel like a robot is running all your social media interaction.

Why is it so important to keep a steady presence online? Well, for one thing, most Art Directors spend a giant portion of their day online and on social media, keeping tabs on artists, keeping an eye on fresh talent, gossiping about artists(anyone who was at Illuxcon will agree: ADs gossip like fishwives). Also, the art world is changing. There's a world of opportunities online to sell your art and personal projects directly to fans via sites like Etsy, Society6, Kickstarter, etc. Building an audience of people who love your art just because they love it have no business motives is a lovely self-confidence (and financial) cushion when that evil AD keeps not calling you for commissions. 

Look at artists like Tara McPherson, who was fabulous enough to come to Spectrum this year and talk about how to diversify your art career and audience. She sells prints and merch, does gallery work, and still takes commissions for bands, comics,  and book covers. (Book Cover below by Tara McPherson)

 

While online, just remember these rules:

  • No tagging people in your artwork just so they look at it.
  • No posting your work on AD's pages.
  • No Facebook-messenger stalking or twitter-stalking. 

Just be as polite online as you would be in person and you'll be fine. 

Okay, now lets go on to the harder of the two: Physical Networking.

Physical Networking

It's more expensive, its more work, and it's potentially very uncomfortable.

Artists ask me all the time, how important is living in NYC (publishing and editorial) or California/Washington (film and games)? Is it mandatory to go to cons? Do you have to meet Art Directors in person?

No, physical networking is not mandatory. I work with a lot of artists who don't go to cons and who live in remote places- thanks to high-speed internet. And while I think it is critical that you establish a network of people who can give you honest critiques; that could also occur in a virtual network. Relieved? Well, let me add this caveat: One hour of physical networking is worth 100 hours of virtual networking. Im not exaggerating. In fact, Im probably underestimating. There is no real substitution for meeting someone and having a conversation with them. 

As a human being, you take in so much subconscious information about a person when you meet them that it makes an impact you just can't replicate virtually. Skype and Online classes come close but not close enough. Meeting someone is a giant leap towards trusting them and starting a relationship with them. And as an Art Director, you're asked to put your job in someone else's hands every time you hire an artist- the more trust you have for a person, the more you feel like you know them, the less risky that feels. Again, you can establish strong connections virtually, but it's like walking while physical networking is like driving a Ferrari. You know that world-famous artists you've admired since before you ever picked up a wacom pad? At a con you can walk right up and meet them and show them your work and get feedback. You know that Art Director who never answers the phone and doesn't have time to answer every email from artists they don't know? At a lot of industry events you can sign up for a portfolio review with them, and if you miss that you can walk right up to them and ask them to look at your work (just remember the bathroom solicitation rule, don't talk to anyone in the bathroom!), At sketch nights and gallery openings and lectures, you can meet other artists up, down and at the same place on the career ladder as you, and get an infinite amount of perspectives on your art. These kinds of interactions only happen in person. THere's no replicating them virtually. Late night ichat conversations and Facebook posts just aren't the same as being up until 4:30 AM debating art with other artists in a Holiday Inn lobby or a dark bar somewhere.

Next time, we'll go more into depth on these interactions and how to use them to the fullest to make it in the comic book industry.

Oct
15
2013

Karalyn and Company-Breaking Into Comics with Jamal Igle Part 1

 

For every free gig I do, I usually get two paid gigs just by knowing how to market myself -Jamal Igle

Jamal Igle is a professional comic book artist, editor, art director and animation storyboard artist. His work can be seen in comics such as Supergirl, Firestorm, Green Lantern, Martian Manhunter, Superman, Zatanna, Iron Man and his newest series, Molly Danger.

 

Zatanna Pinup by Jamal Igle

"One thing I believe I should say is that making a living as an artist is about as likely as getting hit by lightning, then again there is always going to be a market for your art. You know, I see a lot of people out there just to break into the comics business that are making no money doing it, yet they don't always want to take a chance on working for the possibility of money. Some have been burned,(I think we all have been there) some feel that shouldn't have to do "the leg work", some feel that they are already a credible and sought after resource and someone should just come up and dump a big pile of money in their lap. 

The truth is, the greater your talent, the greater your tendency to lean on it. It becomes a crutch and an excuse as to why you're not succeeding rather than being a tool to help you do so.

Jamal at the NY Comic Con 2010

If you've been hemming and hawing about whether or not to do something for free or for backend pay, ask yourself a simple question..."Will I be better off, worse off, or the same, from doing this a year from now?"

If the answer is better off, or the same, or even "I don't really know", chances are you should probably give some serious thought to doing it. Maybe it doesn't work the same for everyone but for every free gig I do, I usually get two paid gigs just by knowing how to market myself. So why not do free gigs all the time? Well simple, if I got two paid gigs let me get those done, and if I get two more...and so on.

Right now I have enough commission work to last me until about Christmas time I think, which isn't that much. But I'd like to get done sooner in order to get more work. 

That being said, I hope that you do make a connection of some sort here and you do work on something even if you make little or no money off it. I guarantee the end product WILL contribute to your growth as an artist in one way or another. Unless of course you take the easy route and your end product is nothing. Breaking into comics means more than just drawing some things you like or think are cool and hoping someone will buy them. 

Nightwing 132 Cover

An average writer working for the big two (DC Comics and Marvel Comics)... and I'm saying AVERAGE writer...makes about 2 grand a book. The average writer has one book, and maybe at times gets a second title if lucky. Break that down to 500 bucks a week...before taxes. So lets go as far as saying they have two books a month...and remember, 90% of writers make no royalties...this person makes about 48 grand a year...before taxes. Not working for the big 2 and it's MUCH less. We also pay our own medical coverage, because the companies don't. After taxes, medical and so on, this person makes around 32 grand a year writing 2 books for the majors. Does this make sense or just plain scare most of you?

Writers, the writing part is easy. It's the struggle that will define your career. Keep on truckin."

-Jamal Igle

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