Jim Zub's Blog, page 124

Zub Calgary Expo Pin-Up 2015 – Step by Step

As part of the Calgary Comic & Entertainment Expo each year there’s a special artbook that includes pin-up illustrations from many of their guests. This is the show’s 10th anniversary and I’m proud to say I’ve attended each and every show and have a pin-up in every artbook they’ve produced so far.

Thankfully, this year is no exception.

The theme for 2015 was “Time”, as appropriate for an anniversary celebration, so I put together a piece using a time traveller with a nod to the H.G. Wells classic story “The Time Machine”. Here’s a walkthrough of the digital process for my piece:

STEP 1: Rough - After trying a few different thumbnail compositions I settled on this gesture drawing. It’s pretty loose but set up the key staging of the characters and the proportion of the dinosaur versus our happy time travelling protagonist.

STEP 2: Work-Up - Working digitally, it was easy to separate each part onto its own layer so I could focus on construction and expression, tightening up details while trying to keep the energy of the original gesture.

STEP 3: Line Art - A third pass nails down the line art, including fine details on the time machine and thick to thin lines to help visually separate forms.

STEP 4: Color - I wanted to keep the rendering animated-looking and simple across the board so I stuck with mostly flat colors and a simple light source. Some of the line art was also colored/lightened to help blend it in more with the rest of the scene.

Here’s a close-up of the time traveller and his machine. I had a lot of fun getting his expression down and building the golden-tubed time machine at the proper angle. I can’t wait to see the piece in print.

Here’s a series of links to all my previous pin-ups for the Calgary Expo artbooks. Collect ‘em all

2006

2007

2008

2009

2010

2011

2012

2013

2014

Jay Runham Interview

I chatted with Jay Runham about writing comics, working in the creative business, teaching, and attending comic conventions. Give it a listen.

Talking Conan-Red Sonja With the Maniacal Geek

Sam from Maniacal Geek interviewed me about Conan-Red Sonja at Emerald City Comicon and has transcribed our conversation. Lots of good stuff in there about working on the two fantasy legends and teaming up with Gail Simone. Give it a read!

Conan-Red Sonja #3 Reviews!

Conan Red Sonja #3, the penultimate part of our epic team-up, arrived in stores on March 25th. Let’s see what reviewers thought of it…

• Comic Crusaders: 4/5 “It’s hard to combine elements of two different books, let alone two different companies without stepping on any toes. The fact that Sonja and Conan are similar does help this, but it is the talent on hand that makes the whole book work.”

• Fandom Post: “The next issue ends this mini-series, and I’m looking forward to seeing how our heroes get out of this mess.”

• Fangirl Nation: “Conan Red Sonja is a book fans of either series should read.”

• Geeks of Doom: “This is not a ‘wait for the trade’ book. This is a ‘have to get it every month’ series without a doubt. Now go grab it!”

• The Planetary Pull: “Yet another recommend book. A very good team-up here.”

• Rock! Shock! Pop!: “Simone’s and Zub’s script makes for a great read whether you are a fan of either character (or both) or just looking for some good-time barbarian hijinks.”

• TM Stash: 10/10 “This series has delivered everything one could hope for and more from these iconic characters.”

• Unleash The Fanboy: 8.5/10 “Once again delivering a fluid, and immersive narrative, the writers make it easy to enjoy this tale.”

Wayward Panorama Process

Comics Alliance posted up an extensive run down of the panorama illustration used for the 5 cover second arc of Wayward. Lots of great information on how we put the ultra-wide piece together as well as step by step views of the roughs, line art, and colors. Click here to check it out!

Conventional Wisdom – Part Two – The Experience

I’ve talked about a variety of different subjects related to creator-owned comics- writing craft, networking, promotion, and economics, but one of the areas I haven’t focused on (until now) is a big one: selling at conventions. Last time I covered getting prepared, now let’s talk about interacting with people at the show.

I’m happy to report that the past two years at conventions have been my best in terms of sales. Part of that is because I have a lot of books at different publishers going at the same time, but that’s not the only reason I think my sales are up. Doing well at conventions is an alchemical mix of visibility, product, fan base, price point, and salesmanship… and it varies from show to show.

Each convention has its own feel. If you want to make the most of the convention ‘circuit’ you have to figure out which types of shows work best for you and try new ones to expand your reach and engage new readers. Convention culture changes, it evolves. Unfortunately you can’t do the same thing each time and expect the same results. With the growth of fan culture and the expansion of conventions all over the world, a very large and different crowd of people are now attending and if you’re not a major creator doing high profile work you’re going to have to adjust with the times in order to succeed.

Everything is changing quickly thanks to technology and the nature of our collectible culture (of which comics are smack dab in the middle of) is undergoing massive upheaval. It alters the way we consume media and you need to understand that when you’re sitting behind a table trying to sell your wares to strangers.

When we were younger, having a collection was a big deal: music, books, movies, whatever. It was part of our geek identity. Now we all have massive digital movie, book, and music collections at our fingertips and it’s changed the way we value and obtain media. Some people still collect whole hog, but many fans are far more focused/selective than they used to be. Selling entertainment is tougher than ever because it’s plentiful and cheap.

What cuts through all of those difficulties is the value of an experience. People in 2015 don’t just want to buy “stuff”, they want something special. They go to prestigious restaurants with unique menus. They throw elaborate theme parties. They travel to far off places and make sure they snap a photo to prove they were there. More than ever before the experience is just as valuable (maybe even more valuable) as what they purchase.

If people can buy things cheaper online (or for nothing if they pirate it) or more conveniently at their local comic shop, you have to give them an experience and offer something unique they can’t get anywhere else in order to consistently make sales at conventions.

Here’s how I do it: I offer me; the interaction, the signature, and my genuine appreciation of you, the reader. The experience is enthusiastically getting a comic from the person who makes it. I do everything I can to make that connection and give people a positive convention encounter.

When someone comes up to my table, it’s not just a cold “purchase and go” scenario. It’s a social interaction and it has to be genuine. They might buy something but they’re also having an engaging conversation, something personal and hopefully memorable. I have a handful of seconds to make an impression and, if it goes well, they might be a loyal reader from then on.

Whatever you do, don’t just talk about yourself. Ask people about their day, where they came from, what they’re most excited about at the show. Listen just as much as you speak. If you see that they have an Exhibitor or Pro badge, ask about their work or how the show is going for them. Make it a two way interaction instead of a one way sales pitch and you’ll be surprised how much more receptive people will be to hearing about what you do and possibly supporting it with a purchase.

Don’t stereotype the people looking at your work. Some of the most enjoyable conversations I’ve had at shows were with people who you wouldn’t peg as “fans” in the typical sense. The convention experience is broader and more inclusive than ever before and with shows like The Walking Dead doing record numbers on TV and movies like The Avengers crushing at the box office people are more open to reading comics than they have been in a long time. Talk to everyone and you’ll be surprised how many might be receptive.

Does that sound obvious? Sure, but I still see dozens of creators, new and old, putting their stuff on a table and ignoring people unless money is coming out of their wallet. They make the whole thing commerce first, and it’s a real turn off for most attendees. Worse still, if sales are poor at the start of a show their attitude worsens as the weekend carries on, creating a negative feedback loop that’s almost impossible to pull out of – People suck because sales suck and so the show sucks.

For me, interacting with people is part of the joy of doing conventions. I get to leave my solitary workspace at home and meet people who enjoy what I do while also encouraging new readers to jump on board and read the stories I create. That enthusiasm carries through in how I interact with the people who come by my table and it’s helped me do well at conventions near and far.

When I finish a day at a show, my throat is hoarse and my brain is fried. I push really hard to be ‘on’ at conventions. Ask anyone who’s met me. I genuinely love it, but it can be exhausting. I totally understand if that approach is not for everyone, especially if you’re not normally socially gregarious. I don’t have a foolproof way of generating sales for everyone, just a bit of advice on engaging the audience that’s worked well for me.

If you have something of quality and want to make an impression, think about the people you’re selling to and make it an enjoyable experience for them instead of focusing solely on the monetary transaction that benefits you.

Going to conventions has proved to be a big boost for my career. Many of the comic projects I’ve done can be traced back to the wonderful people I met at shows and the conversations we had there. A great convention reminds you about the energy and excitement that comes from this industry and, ideally, puts a few bucks in your pocket at the same time.

In future articles I’ll talk about setting up your table, pricing, and travelling to other countries for shows.

If you find my sales and tutorial blogposts helpful, feel free to let me know here (or on Twitter), share them with your friends, and consider buying some of my comics to show your support. Thanks!

Conventioneering – Part Two – The Experience

I’ve talked about a variety of different subjects related to creator-owned comics- writing craft, networking, promotion, and economics, but one of the areas I haven’t focused on (until now) is a big one: selling at conventions. Last time I covered getting prepared, now let’s talk about interacting with people at the show.

I’m happy to report that the past two years at conventions have been my best in terms of sales. Part of that is because I have a lot of books at different publishers going at the same time, but that’s not the only reason I think my sales are up. Doing well at conventions is an alchemical mix of visibility, product, fan base, price point, and salesmanship… and it varies from show to show.

Each convention has its own feel. If you want to make the most of the convention ‘circuit’ you have to figure out which types of shows work best for you and try new ones to expand your reach and engage new readers. Convention culture changes, it evolves. Unfortunately you can’t do the same thing each time and expect the same results. With the growth of fan culture and the expansion of conventions all over the world, a very large and different crowd of people are now attending and if you’re not a major creator doing high profile work you’re going to have to adjust with the times in order to succeed.

Everything is changing quickly thanks to technology and the nature of our collectible culture (of which comics are smack dab in the middle of) is undergoing massive upheaval. It alters the way we consume media and you need to understand that when you’re sitting behind a table trying to sell your wares to strangers.

When we were younger, having a collection was a big deal: music, books, movies, whatever. It was part of our geek identity. Now we all have massive digital movie, book, and music collections at our fingertips and it’s changed the way we value and obtain media. Some people still collect whole hog, but many fans are far more focused/selective than they used to be. Selling entertainment is tougher than ever because it’s plentiful and cheap.

What cuts through all of those difficulties is the value of an experience. People in 2015 don’t just want to buy “stuff”, they want something special. They go to prestigious restaurants with unique menus. They throw elaborate theme parties. They travel to far off places and make sure they snap a photo to prove they were there. More than ever before the experience is just as valuable (maybe even more valuable) as what they purchase.

If people can buy things cheaper online (or for nothing if they pirate it) or more conveniently at their local comic shop, you have to give them an experience and offer something unique they can’t get anywhere else in order to consistently make sales at conventions.

Here’s how I do it: I offer me; the interaction, the signature, and my genuine appreciation of you, the reader. The experience is enthusiastically getting a comic from the person who makes it. I do everything I can to make that connection and give people a positive convention encounter.

When someone comes up to my table, it’s not just a cold “purchase and go” scenario. It’s a social interaction and it has to be genuine. They might buy something but they’re also having an engaging conversation, something personal and hopefully memorable. I have a handful of seconds to make an impression and, if it goes well, they might be a loyal reader from then on.

Whatever you do, don’t just talk about yourself. Ask people about their day, where they came from, what they’re most excited about at the show. Listen just as much as you speak. If you see that they have an Exhibitor or Pro badge, ask about their work or how the show is going for them. Make it a two way interaction instead of a one way sales pitch and you’ll be surprised how much more receptive people will be to hearing about what you do and possibly supporting it with a purchase.

Don’t stereotype the people looking at your work. Some of the most enjoyable conversations I’ve had at shows were with people who you wouldn’t peg as “fans” in the typical sense. The convention experience is broader and more inclusive than ever before and with shows like The Walking Dead doing record numbers on TV and movies like The Avengers crushing at the box office people are more open to reading comics than they have been in a long time. Talk to everyone and you’ll be surprised how many might be receptive.

Does that sound obvious? Sure, but I still see dozens of creators, new and old, putting their stuff on a table and ignoring people unless money is coming out of their wallet. They make the whole thing commerce first, and it’s a real turn off for most attendees. Worse still, if sales are poor at the start of a show their attitude worsens as the weekend carries on, creating a negative feedback loop that’s almost impossible to pull out of – People suck because sales suck and so the show sucks.

For me, interacting with people is part of the joy of doing conventions. I get to leave my solitary workspace at home and meet people who enjoy what I do while also encouraging new readers to jump on board and read the stories I create. That enthusiasm carries through in how I interact with the people who come by my table and it’s helped me do well at conventions near and far.

When I finish a day at a show, my throat is hoarse and my brain is fried. I push really hard to be ‘on’ at conventions. Ask anyone who’s met me. I genuinely love it, but it can be exhausting. I totally understand if that approach is not for everyone, especially if you’re not normally socially gregarious. I don’t have a foolproof way of generating sales for everyone, just a bit of advice on engaging the audience that’s worked well for me.

If you have something of quality and want to make an impression, think about the people you’re selling to and make it an enjoyable experience for them instead of focusing solely on the monetary transaction that benefits you.

Going to conventions has proved to be a big boost for my career. Many of the comic projects I’ve done can be traced back to the wonderful people I met at shows and the conversations we had there. A great convention reminds you about the energy and excitement that comes from this industry and, ideally, puts a few bucks in your pocket at the same time.

In future articles I’ll talk about setting up your table, pricing, and travelling to other countries for shows.

If you find my sales and tutorial blogposts helpful, feel free to let me know here (or on Twitter), share them with your friends, and consider buying some of my comics to show your support. Thanks!

Another Castle Interview

I was interviewed by Tom Speelman from Another Castle about a bunch of different things I’m working on, including Wayward, Samurai Jack, Skullkickers, Conan-Red Sonja, and teaching at Seneca. Check it out by clicking HERE.

Wayward on Space Channel!

Innerspace, SPACE Channel’s pop culture new program, ran a short segment on Wayward last week. It was filmed during our trade launch at the Silver Snail here in Toronto. Click on through to check it out.

Wayward Vol. 1 Reviews!

Wayward Volume 1: String Theory arrived in comic shops last week and the response has been incredible. So, so proud of our whole team on this and am overjoyed that current and new readers alike are picking it up and enjoying it. Here’s the response from reviewers so far…

• Amazon.com: “★★★★½”

• Comicosity: “Writer Jim Zub and artist Steve Cummings go above and beyond, in terms of their research for this series, ranging from Tokyo architecture to Japanese ghost lore and history.”

• Forces of Geek: ” Wayward emerges as a coming of age tale about finding one’s own identity as an outsider and adapting to a new world through non-cultural similarities with others, creating a relatable narrative for anyone who has ever had to adapt to a new environment with other people who also are new and/or don’t quite fit in.”

• Geeked Out Nation: 10/10 “Wayward is a fantastic series and this trade is absolutely something you need to pick up. It’s for fans of manga, magic, Japanese culture and kick ass female leads. It features beautiful art and thoughtful back matter. “Wayward” is a winner and easily deserves the title of ‘trade of the month’.”

• Geeks of Doom: “These first five issues do an excellent job of setting up some good ongoing mysteries as well as an interesting cast and a unique setting for everyone to play in.”

• Good Reads: 4/5 “I really enjoyed the first volume of Wayward. It has a lot going for it with an interesting narrative, cool characters, and gorgeous art with even better looking fight scenes.”

• It’s Super Effective: “If you don’t read indy comics and you want to start, read Wayward. It’s my favorite series at the moment. It’s absolutely perfect.”

• Maxx’s Super Awesome Comic Review Show: “They’re really outdoing everyone now. Crushing it.”

• Moar Powah: “the art is fantastic on all fronts. The action is always clear and easy to follow, which works out well for someone who sometimes get confused when it comes to reading panels”

• Starburst: 8/10 “Cummings’ art is pleasantly detailed, right down to the background kanji, which gives Japanese speakers hints and clues on the plot.”





Wayward Vol. 1
String Theory
(issues #1-5)
Rori Lane is trying to start a new life when she reunites with her mother in Japan, but ancient creatures lurking in the shadows of Tokyo sense something hidden deep within her, threatening everything she holds dear. Can she unlock the secrets of her power before it’s too late?

Amazon.com

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Book Depository

Chapters-Indigo

comiXology

Midtown Comics

TFAW