Exclusive Member Benefit: Busy Beaver Button Co.
I am pleased to announce that Busy Beaver Button Co. has renewed its exclusive member benefit with Webcomics.com.
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I am pleased to announce that Busy Beaver Button Co. has renewed its exclusive member benefit with Webcomics.com.
The content you are trying to access is only available to members.
Last week, I asked you to share how many conventions you were planning to exhibit at this year. It’s the same poll question that I asked last February. Remarkably, the responses are almost identical.
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The Harvey Awards ballots are now available at their Web site. The deadline for submitting ballots is April 16.
As a working webcartoonist, you are eligible to submit a ballot.
Download .txt Nomination Ballot (for email)
Download PDF (color) Nomination Ballot
Download PDF (b&w) Nomination Ballot
E-Mail submission to harveyballots@hotmail.com or mail them to the address provided on the PDF downloads.
Our own Scott Kurtz will be emcee-ing the Harvey Awards once again, which will be part of the Baltimore Comic-Con, Sept. 8-9, 2012.
1) BEST WRITER
2) BEST ARTIST
3) BEST CARTOONIST
4) BEST LETTERER
5) BEST INKER
6) BEST COLORIST
7) BEST COVER ARTIST
8) MOST PROMISING NEW TALENT
9) BEST NEW SERIES
10) BEST CONTINUING OR LIMITED SERIES
11) BEST SYNDICATED STRIP OR PANEL
12) BEST ANTHOLOGY (ANY MAGAZINE, COMIC BOOK, OR BOOK WITH WORK BY THREE OR MORE CREATORS, AT LEAST 50% OF WHICH IS NEW)
13) BEST GRAPHIC ALBUM – ORIGINAL
14) BEST GRAPHIC ALBUM – PREVIOUSLY PUBLISHED
15) BEST SINGLE ISSUE OR STORY
16) BEST DOMESTIC REPRINT PROJECT
17) BEST AMERICAN EDITION OF FOREIGN MATERIAL
18) BEST ONLINE COMICS WORK
19) SPECIAL AWARD FOR HUMOR IN COMICS
20) SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION (ART DIRECTION / PRODUCTION)
21) BEST BIOGRAPHICAL, HISTORICAL, OR JOURNALISTIC PRESENTATION (ANY BOOK, MAGAZINE, FILM, OR VIDEO THAT CONTRIBUTES TO THE UNDERSTANDING OF COMICS AS AN ARTFORM)
22) BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS
One of these days, I’m going to re-name this site “Being Dumb So You Don’t Have To Be.”
Here’s what happened. I offered a recent storyline to my readers as a digital download (PDF and MOBI versions) to test the waters for an idea I’ve been knocking around in my head.
Remembering Rich Stevens’ impressive success with a free iBooks offering recently, I rushed to my Web stats the morning after I launched the project, eagerly looking for the section in which I could find stats on the downloads of those two files — onlt to find that no such section exists. No worries, that’s what Google Analytics is for, right? Nope.
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Recently, I offered a post answering a question about formating a comic for print and the Web. And I shared that, in my next book, I’m filling out the layout in key areas with extra panels to smooth out bumps in the reading experience. That has required me to draw extra panels at a predetermined size — so I can “fill the holes” on the page (like the one below).
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Calibre, a free app from Centresource Interactive Agengy, is intended to allow users to process the files their e-book library so they can be uploaded to any number of readers/tablets the user might have. So if they have an entire selection of EPUB-formatted books that they’d like to read on their new Kindle Fire, it’s a small matter of using Calibre to convert the EPUB into a Kindle-friendly MOBI file.
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We did this last year and it was very informative, so I’d like to put the question out once again this year. How many conventions do you plan to attend this year?
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As I’m researching digital-download possibilities, I’ve come across Kindle’s Personal Document feature. I’m looking into whether this could potentially be used to deliver comics to a user while bypassing the Kindle store. If I determine that this is a beneficial pathway, I will be posting more. In the meantime, here’s a quick primer on using this Kindle feature.
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Q.: I find humor often works better when something is absent or uncomfortable. For example “Life in Hell” or “Chainsawsuit” often work because of what’s not there. The imagination has to fill in the details. Just like when the audience has to connect the dots to get the punchline, the laugh is greater.
On the flip side, drama works better with details and mood. For example most superhero comics are highly illustrated and noir pictures use shadow to create danger.
The main question is, how do you color so as not to kill a joke?
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Q: You mentioned before your opinions on formating comics: that different mediums demand different layouts. I agree, but I spend a lot of time drafting flexible layouts. What has been your experiences with the Evil Inc. books? How do you maintain an efficient process? What pitfalls have you encountered over the years?
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