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Viewing: Blog Posts Tagged with: Digital, Most Recent at Top [Help]
Results 1 - 25 of 548
1. A Bear and a Bug

This image is part of a two page spread that illustrates the change in hibernation patterns of Spanish bears in the Cordilleran Mountains. They are waking up too early due to warmer winter temperatures and often no food is available for them to eat.

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2. Bears Galore!

I've been drawing LOTS of bears lately. Fun to do -- as usual -- and this particular arrangement (for example only) feels a bit like a Richard Scary page... Bride Bear. Groom Bear. Burly Bear. Policeman Bear... :)

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3. Honk! Honk! Honk!

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4. Flood Water

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5. Hoarding Squirrel

The quail agree, squirrels are the WORST.

Another all digital experiment.

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6. Cougar Bay Crane Barge

Cougar Bay Crane Barge

Trying out some new techniques. This illustration is all digital, using the excellent Photoshop brushes made by illustrator Kyle Webster to replicate my analog paint-on-paper style. I used several of the big wash brushes and the gouache and detail brushes. I did modify the brushes that used a multiply mode in order to more accurately mimic how paint on paper would react. Looking forward to playing with these brushes more and experimenting with the flexibility that all digital allows. 

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7. Illustrating a Picture Book: Finishing Touches

Last week, the scans of my Jungle Grumble illustrations came back from the repro-house. Things have been a bit fast and furious: I've had just a few days to get all the 'finishing work' done, then Dropbox the final digital artwork back to the publisher, ready for everything to be put together and sent off to the printer. Phew.

There were three 'finishing' jobs for me to do in Photoshop / Painter: 

1 - text overlays

Children's illustrators never draw text onto their actual artwork, because of translations. All text, even wording that is part of the actual picture, is added afterwards, digitally. Unfortunately, because of the pastel texture of my work, ordinary, typed text 'floats', so I make my own text overlays, using Painter, which look like they are drawn in black pastel. Luckily there wasn't much intrinsic text in Jungle Grumble, only one lion roar and the Swap Shop sign, though that does appear a few times: 

2 - legibility issues

To keep things as clear as possible, it's easiest when a story's main text falls over areas of sky. That wasn't always possible in Jungle Grumble: in several places I had to use trees or bushes as backgrounds for text. But it was tricky to be sure precisely where specific lines of text would need to sit and, because of my style, it was hard not to include undergrowth textures which might be visually distracting behind the words. Once my designer got the scans, she was able to layer the two together so we could spot any places where things were slightly too busy or too dark to be sure of maximum visibility. I then used Photoshop to make subtle changes. Spot the differences to the bush bottom right:

3 - vignettes

Not all my illustrations are full spreads with illustrated backgrounds. Some pages feature smaller vignettes: characters against a plain background. My biggest digital job is cutting vignette characters off my pink paper. It takes ages because of the pastel edge, especially where the pastel colour is close to the pink of the paper, like Lion's roar:

He looks so much better on green, don't you think? For anyone who wants to know how I do the cutting out, here's a detailed 'masterclass' (though my version of Photoshop is old, so many things may be slightly different on up-to-date editions).

Most illustrators don't do this digital stuff themselves, but I prefer to, as the pastels make it quite a bit more tricky than usual. It's possible that I'm being a bit of a control freak, as usual, but after all that time spent getting the drawings done, I like to be sure that these final alterations are exactly right.

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8. [PR] Viz Manga Titles Coming to a Kindle Near You!!

{Ed. I’m excited about this.  It’s so much easier to click the buy button on Amazon, compared to over at Viz.  One click, and there’s your manga.  How simple is that?  Probably too simple for my wallet!} 



The Largest And Most Diverse Digital Manga Collection, With More Than 1,500 Volumes Across 160 Series Is Now Available!

San Francisco, CA, October 1, 2013 – VIZ Media, LLC (VIZ Media), the largest publisher, distributor and licensor of manga and anime in North America, has announced the availability of its entire digital manga (graphic novel) catalog for Amazon Kindle devices, including Kindle Fire tablets and the new Kindle Paperwhite, beginning today. Users of the world’s best-selling e-reader now have instant access via the Kindle Store to an extensive digital library featuring over 1,500 manga volumes constituting more than 160 different series.

Volumes are available for purchase and immediate download in the U.S. and Canada from the Kindle Store for generally $6.99 (U.S. / CAN) each. New series as well as updates to numerous ongoing titles will be added each week. VIZ Media has also synchronized its digital publishing schedule so that future Kindle Store manga titles will have near-simultaneous domestic digital release that coincides with their print counterparts.

The launch list features the latest digital releases of ongoing fan favorites such NARUTO (rated ‘T’ for Teens), BLEACH (rated ‘T’ for Teens), BAKUMAN (rated ‘T’ for Teens), and ONE PIECE (rated ‘T’ for Teens) as well as recent bestsellers such as DEMON LOVE SPELL (rated ‘T+’ for Older Teens), MAGI: THE LABYRNTH OF MAGIC (rated ‘T’ for Teens) and many, many more. Kindle users may check out free previews for every series available.

“We are strong advocates for the continued growth of digital manga content, and are very pleased to partner with Amazon to bring the world’s best titles to millions of avid readers and fans in North America,” says Gagan Singh, EVP and CTO, VIZ Media. “We invite Amazon Kindle users to explore VIZ Media’s extensive offerings, one of the most current, diverse, and also historically deep manga catalogs available anywhere.”

For more information on VIZ Media digital manga titles on the Amazon Kindle, please visit http://www.amazon.com/gp/search/ref=sr_adv_b/?search-alias=digital-text&field-publisher=Viz+Media.

For more information on VIZ Media manga titles, please visit www.VIZ.com.

About VIZ Media, LLC

Headquartered in San Francisco, California, VIZ Media distributes, markets and licenses the best anime and manga titles direct from Japan.  Owned by three of Japan’s largest manga and animation companies, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media has the most extensive library of anime and manga for English speaking audiences in North America, the United Kingdom, Ireland and South Africa. With its popular digital manga anthology WEEKLY SHONEN JUMP and blockbuster properties like NARUTO, BLEACH and INUYASHA, VIZ Media offers cutting-edge action, romance and family friendly properties for anime, manga, science fiction and fantasy fans of all ages.  VIZ Media properties are available as graphic novels, DVDs, animated television series, feature films, downloadable and streaming video and a variety of consumer products.  Learn more about VIZ Media, anime and manga at www.VIZ.com.

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9. The Diamond Street App

Rachel Lichtenstein is an artist, archivist and writer. She is the author of Rodinsky’s Whitechapel and co-author, with Iain Sinclair, of Rodinsky’s Room.

Diamond Street is the second in a trilogy of books by Rachel on London streets. On Brick Lane was the first and both will be followed by a volume on Portobello Road, also to be published by Hamish Hamilton. Find out more about Rachel by visiting her site.


After receiving the fantastic news in 2012 that my application to the Arts Council to produce a digital app to coincide with the paperback edition of my latest book Diamond Street: the hidden world of Hatton Garden had been successful, I have spent the best part of a year working in collaboration with an amazing team of experts in the digital media, film, design, literary and historical fields to produce this new media project. 

The development of a digital app may at first seem like an odd choice for a non fiction writer with absolutely no experience of or skills in this type of medium but from the first time I heard about GPS technology being used in locative apps, I immediately recognised what a great tool this could be for me. I have always worked in a very multi-disciplinary way, having trained as a sculptor before becoming a writer. My creative practise currently involves writing of course, alongside walking, intensive archival research, photography, audio recording, painting, site-specific art installationsand making short films. The multi-media capabilities of a digital app seemed to offer a good way for my readers to experience my work not just as a printed text but also through digital space, new media and in real time.

Before starting this project I spent a long time imagining what a digital app could offer that a printed book could not and how new technologies could be used not to replace but to enhance and support a book.

I wanted the app to offer new insights for my readers into both the stories in the book and the places and people I have written about. I’m really pleased to say that after a lot of hard work I really do believe this has been achieved. Mainly due to the exceptional team I have been collaborating with who have made this magic happen.

Work on the app began with paper plans, budget discussions and meetings with Simon Poulter, Metal Culture’s digital arts officer who was co-producer of the project. We brainstormed on my original idea: ‘to pick up on traces of the history of the place as you wandered around, with images, audio and text being activated by geo-technology.’ We literally ripped the printed book apart and imagined these pages being scattered around the Hatton Garden area, transformed into different digital media, which would then beactivated as users passed by specific locations. The idea was to develop an experimental drift through an area, rather than a guided, chronological linear walk. 

Ripping the book apart
Ripping the book apart – September 2012

From paper designs formulated during this process we developed the rough outline for a design for both the virtual (armchair version) and the GPS on location versions of the app.

The next stage of the development involved intensive meetings with Phantom Production who produced and mixed the extraordinary sound files for the app. Phantom consist of an amazing team of audio producers headed by the multiple-award winning sound artist Francesca Panetta, who runs the Guardian’s audio team. Francesca was one of the first to work on this type of GPS activated app (Soho Stories App). Her knowledge and expertise has greatly enhanced the project and through Francesca I was introduced to Calvium, app developers based in Bristol, worldwide leaders in the field of GPS activated apps.

Before working on the back end of development I spent a considerable amount of time storyboarding the app. I found this a painful process, after five years of researching the area and its history and a book’s worth of material gathered and more, it was hard for me to cut this down. I eventually decided on 12 different story zones, which take you through the story of the historic quarter of Hatton Garden, from its time as a medieval rural monastic landscape in the Fleet Valley, to its transformation in the nineteenth century into a jewellery quarter and the contemporary story of the place today. 

Even though I had already conducted hundreds of hours worth of audio recordings of people who work in the Hatton Garden jewellery trade, it was decided these needed to be re-recorded. The quality of my recordings was just not high enough for the project. So I contacted a number of people who had been involved in the book, from Iain Sinclair, to geologist Diana Clements, to orthodox diamond dealers and sewer flushers and then BBC broadcaster India Rakusen re-recorded my interviewees. These recordings were then mixed with bespoke soundscapes and music to create 12 beautifully produced and extremely high quality sound files, which really form the core of the GPS experience. As you walk around with your smartphone in your pocket and your headphones in your ears the secrets of the streets around you are revealed. Have a listen to some of the sound files we used on the Diamond Street App here. 

After spending a lot of time in different archives, deciding on which images to use in the app and editing down some of the text from the book, we had all the content ready to go. The next stage got a lot more techy! In November 2012 Simon Poulter and I attended an intensive training day with app developers Calvium learning how to use Calvium’s specially developed platform for GPS located apps.

In collaboration with Phantom Production and Calvium we decided on location zones and then placed the sound files and images within these zones. A period of intensive testing ensued, with extensive notes on any issues on site (such as leakage of sound files from one zone to another, or places where sound files overlapped) being taken and then reported back to Calvium who made continual adjustments to the back end of the app. There were many small problems to iron out and a lot of testing was needed before the app was working well. Most of the testing took place throughout the coldest winter on record and I can’t say it was all an enjoyable experience, but hearing those stories come to life in place as I wandered around was undeniably really exciting, a very contemporary way of conducting pyschogeography in place.

I really did jump into the deep end with this project. I had to learn a whole new language fast, as developers and digital artists asked me questions about ‘front ends’ and ‘back ends’, ‘story zones’ and ‘location zones’. To try and explain what I mean, below is a screen shot of the ‘back end’ of the app in development.

Appfurnace build (back end), showing the sound and location zones of diamondstreetapp. The diamond icons represent sound files

Alongside intensive testing on location we began to develop the designs for the armchair version of the app, which eventually became a swiping timeline through the stories in the book, with embedded text, images, films and sound.

I’m delighted to say the Diamond Street App has now been published and is available as a free download both in the iTunes store and for the Android market. I’m really excited about the project, which I hope has achieved its aim of giving readers a much deeper, interactive, dynamic and live experience of the locations, people and stories described within my printed text.

For me, working for the first time with these new mediums has completely altered my outlook on digital publishing and the potential of using new media to connect with new readers and audiences. I’ve found the collaborative multi-media way of working both really exciting and really challenging and whilst I’m looking forward to some quality time alone with my computer, cracking on with my next book, I can certainly imagine working on more digital app projects in the future.


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10. Library Mural: Designing the Layout

A while ago I mentioned a mural project that I am doing, based on children's drawings created during an illustration workshop, focussing on characterisation and movement. The wall I have to cover, at Wakefield Library, is over 13 metres long, but only 2 metres high - very long and thin - so the idea is to create a chase scene along it, as if the children's animals are running through the library.

I let the teachers take the drawings back to school with them, for the kids to finish off. Unfortunately, instead of posting them a couple of days later, as promised, it took them 6 weeks and repeated hassling, so I am only now getting down to it.

I am currently spending my time on Photoshop, trying to work out how to lay things out. It's so massive, and such a weird shape, I'm working on a one-tenth, low res mock-up, into which I have placed scans of all the animals, so I can move things around and re-size them, until it looks OK. Then I'll re-scan everything at the right size, as the final artwork will be created digitally (in sections and at one quarter size, so my computer doesn't blow its brain).

Although my initial chase idea sounded simple, I soon discovered that, if I don't want to end up with just a 'procession' of animals, in a long, uninteresting line, I will need to draw in incidental props, like bookshelves for animals to climb onto, or chairs for them to jump over. I might need to do some graphic things will colour in the background too (like I did with the cover of Swap!), to divide up the space. Not sure yet.

Right: back to it...  

6 Comments on Library Mural: Designing the Layout, last added: 4/26/2013
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11. Swap! - Text Overlays for Foreign Editions

When it comes to the digital 'finishing' work on my books, it's the cutting out that's the real chore but, once that's done, I feel as though I have finished. Not so! There's the final, fussy job of doing the text overlays. Sigh...

All text has to be created separately from the main artwork, because of translations: you can't have English words embedded in the illustration and then hope to sell the book for foreign editions. This goes for all wording, but I am not talking about the regular text you can see above, but the little, incidental details: can you see the word 'DOG' on the bowl? 

There are quite a few more on the spread below:

Most illustrators don't have to worry about the text overlays - the design team at the publishers sort out all that, when they place the other text. However, because I am daft enough to create my artwork in pastels, the bits of text which are intrinsic to the images don't work very well if they too are not in pastels: the wording sort of floats above the illustration.

It's not practical to do the text overlays in actual pastels, so I do it digitally, in 'pretend' pastels, using an old version on Corel Painter, which does a pretty good job of emulating the marks of my pastels, particularly after I have scanned in a sample of the actual paper I draw onto, so the texture matches. This is the text from the classroom door.

It's a boring and fiddly job, but looks much better. Of course, when it comes to the foreign translations, I have no control, so they just bung on ordinary text. Hey-ho - there are times when you just have to let go... 

For the children's dance studio below, I've done the whole sign as an overlay, including the little drawings of the kids, because foreign translations can take up more space than English text. This way, it allows for the little figures to be removed if necessary, to fit in a more wordy name - clever eh?!

Anyway, I am now done, done, done (hurrah!) and a DVD of all the finished artwork has been sent back to my Art Director, who will be busy this week, dropping all the text into its final position and sorting out the final bits of design work (spine, title page, dedications, blurb, bar codes...).

The next stage should be the colour proof. That's the truly exciting bit, when it all looks real!

8 Comments on Swap! - Text Overlays for Foreign Editions, last added: 5/8/2013
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12. Gemma Robinson Illustrates For Educause Review

US based Educause Review commissioned me to illustrate three stories in their March/April issue. Educause Review is an award-winning magazine which takes a broad look at current developments and trends in information technology and how they may affect colleges and universities. All three stories were in some way linked to the impact technology has on higher education.

Disaggregated Accreditation by Gemma Robinson
The first story was about accreditation and the need to view higher education institutions as fragments rather than a whole in our rapidly changing world.

We Love E-Books by Gemma Robinson
The second story was titled 'We Love E-Books!' and focussed on the need to increase the availability of e-books at libraries.  You can read the story here.

Gateway To The Universe by Gemma Robinson
The third story was about the disruptiveness of technology within higher education which, if embraced, can expand the classroom beyond the limits of four walls to encompass the whole known universe. Full story here. 
Check out more of my illustrations on my website or Behance portfolio.

0 Comments on Gemma Robinson Illustrates For Educause Review as of 4/9/2013 9:14:00 AM
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13. Endpapers: Now in Glorious Technicolour!

I finished off all the digital finishing-work, on the inside illustrations and on the cover for Swap! before the Easter holidays. It felt like I was nearly done. I thought I would be able to rattle off the endpapers and be ready to send it all off to the publisher pretty soon after getting back to work this week.

I don't know why I thought that: it was very silly.

front endpaper illustrations

I wasn't really taking into account the fact that, not only are the illustrations different on the front and back endpapers, but there are six independent illustrations on each, every one of which is fiddly. Also every illustration features Lucy, whose head is a very similar pink to the pink of the paper I use, making it a bit of a technical nightmare to cut free.

back endpaper illustrations

The illustrations will be put into a spot repeat pattern across the double spread of each endpaper:

I thought that, because the illustrations needed to be different - a sort of 'before and after' - I would use the same lilac coloured background for them both, to give some unity.

You can follow the progress of Swap! (as well as Baby Goes Baaaaa! and Bears on the Stairs) from my first sketches and plotting sheets, through pitching the idea to publishers, creating artwork, as well as all the miriad issues that have arisen during the book's life so far, by clicking the Swap! label, or other relevant label, on the right of the posts.

You can watch me create a piece of the original pastel artwork from Swap! in a short film here.

1 Comments on Endpapers: Now in Glorious Technicolour!, last added: 4/5/2013
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14. Swap! - Front Cover Design

I drew the 'rough' for the front cover a long time ago. You might remember how I worked through a range of different possibilities before deciding on this:

The diagonal line through the illustration is there because I wanted to use two different colours, partly to assist the design, but also to underline the idea of there being two sides, like the two sides in the story, which are going to swap over.

To help to make the cover as punchy as possible, I didn't want the two background colours to be drawn in pastels but to be dropped in digitally. However, even at the point when I was colouring the final pastel artwork, I didn't have much idea of which colour combination I wanted to use for the background.

But this week, once I had cut away the pastel paper in Photoshop, I suddenly had to decide. I wanted to stick to the colour palette from the inside illustrations, so I tried out some alternatives. My first thought was the pink and blue above. It's nice and rich, but felt a little heavy. The yellow and turquoise below seemed more lively and threw the characters and text forwards more:

I ran both alternatives by my Designer at the publisher. Luckily she agreed with me, so yellow and turquoise it is (at least for now...).

2 Comments on Swap! - Front Cover Design, last added: 4/4/2013
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15. Swap! - Choosing Colours

Part of the Photoshop work I have been doing recently on Swap!, has involved designing the colours for the book. Some pages have fully illustrated backgrounds, but the ones that don't - the ones I have been cutting out - need my pastel paper replacing with a bold, flat colour.

To give the book an overall feeling of unity, the designer and I have to decide upon a colour palette: a limited range of colours to which I then restrict myself:

The trick is to distribute these colour backgrounds reasonably evenly throughout the book, whilst still making sure that each illustration has the best colour behind it, a colour that shows it off to best effect, but that also compliments any illustration on the opposite side of the page.

Quite often in this book, I have used two different colours to suggest a room, without actually illustrating one, as with this spread of the ballet class:

I like the contrast the technique creates between the textured pastel work of the characters and the smooth, bold colour behind. 

3 Comments on Swap! - Choosing Colours, last added: 3/31/2013
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16. 'Swap!' - Dingyness Stops Play!

This week I am glued to my computer, doing the Photoshop work on the 2nd DVD of scans of my Swap! artwork, cutting away the pink paper backgrounds, as you can see on the illustration below, and also creating text overlays where needed. I know, it's AGES since I worked on it last - I bet you thought it was all done and dusted.

Raw scan before any work

You might recall, there was a rush to get my book mocked up for the Frankfurt Book Fair in October so, in early September, I sent about 2/3rds of my pastel artwork away to be scanned, then carried on, rushing to finish the rest in time for my publisher to take that to the fair as well.

A DVD of scans from that first batch of artwork came back to me with just a few days to do all the Photoshop work by the deadline, ready for the publisher to create the mock-up. It was all very last minute, as is often the case around the big book fairs. 

Finished illustration: pink paper replaced by yellow ground

But - DISASTER - there was something wrong with the scans! They were very dingy and I wasn't happy, but I had no chance to even tell anyone, as it was the weekend and I had to work on them straight away or I would miss the deadline. 
So I did all the usual computer work then also used Photoshop to fiddle around with various settings, until I thought they looked better.

It all went to Frankfurt OK and I explained about the duff scans. My publisher said they would talk to the repro people, but were happy for batch 1 to use my tinkered-with versions. So, I was expecting to get a DVD with the 2nd batch of scans sometime in November, once the fuss of the show was over. But nothing arrived. It turned out the delay was to do with worries about the dingy problem. Christmas came and went. Then my publisher had a bit of trouble and went down to a skeleton staff, which delayed things further.

So, here we are in March. Actually, the new DVD arrived a few weeks ago, but I had to get all my school visits out of the way before I could do anything about it. Apart from whitening-up the children's shirts a bit, I haven't tinkered with the values in the image above and I think it looks OK, so they seem to have got the problem sorted.

If you want to read more detail about how I cut away the pink paper background, check out this post from when I was doing Baby Goes Baaaaa!

7 Comments on 'Swap!' - Dingyness Stops Play!, last added: 4/9/2013
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17. What I'm Working On

I've been playing around with different black & white techniques. I did a few straight gouache pieces, but I'm really enjoying this pencil and digital combo. I like how the simplicity of the process and how the freshness of the sketching comes through.

12 Comments on What I'm Working On, last added: 4/9/2013
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18. Botanical Knits

I recently finished working with Alana Dakos on her newest book, "Botanical Knits." The patterns are inspired from plants, trees, leaves, etc. I love the designs (as always when looking at Alana's stuff) and once again wish I had the physical dexterity to knit. 

Working with Alana (see also "Coastal Knits" and "Annie and the Swiss Cheese Scarf") is really great because there is a lot of room for exploration. For example, she gave me several photos of her knits...

...along with images that inspired her to create the patterns. Then essentially said, "here is what I created, now you create something." So I did.

If you have the book you could play a fun "Where's Waldo" trying to find where some of the illustrations ended up. The interesting thing for me is to see what made it into the book (of course not all do) and where. 

Alana also asked me to design the title. Always a fun challenge. She wanted something natural, rustic, with tall letters, almost like they are growing. So here are some examples I came up with.

But ultimately this style was the winner (see above cover).

Another interesting request was for the resource page. She knitted little leaves out of the fabric she used for the knits in the book, and used those as reference for where she got the yarn. Photos of the knitted leaves were eventually placed onto an illustration of a tree branch. You can get an idea for it from the color studies. You will have to buy the book to see how it all really comes together.  :)


Color Studies.

Final Illustration.

 That's it! Thanks for reading.

2 Comments on Botanical Knits, last added: 2/24/2013
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19. My Digital Photography

















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20. My Digital Photography

Malibu Canyon Horse shot from my Album "Roadography"

Malibu Canyon Horse shot from my Album “Roadography”















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21. The money model again: digital and the web and what works

201212071414 The money model again: digital and the web and what works

In a follow-up to his hit post on the economics of print comics, Jim Zub is back with a look at digital comics metrics, including the percentages taken by each step in the pipeline complete with PIE…charts.

A lot of people have talked about the need for cheaper digital comic prices to drive impulse buying in casual/new readers. Right now most of the digital comics available are selling at a similar price to their print counterparts. Outside of sales and special promotions, a $2.99 print comic is selling for $2.99 digitally. People assume that digital content should be much cheaper because it has no physical component, but there are development and infrastructure costs that go into creating and maintaining a digital platform. It’s hard to say whether they’re equivalent, but right now the pricing is relatively equal.

After running through the equivalence, Zub even mentions the unmentionable, his digital sales…as a percentage of print.

The only remotely solid numbers I have are my own. I’ve done quite a bit of promotion about my comic Skullkickers being available on comiXology, iVerse and Graphicly. We have a free zero issue and we’ve had a couple 99¢ sales, so some of our early issues have sold quite well digitally but, if you count 99¢ copies as a 1/3 sale money-wise, we’re selling at about the 15% range of our print sales on early issues. Later issues are sitting at around 8-10% of print sales right now. Admittedly, the 99¢ pricing has expanded our audience much faster and that’s nothing to sneeze at. They’re not blockbuster sales numbers but at least I know that as our exposure increases back issues will keep selling without any fear of ever being out of stock.

201212071417 The money model again: digital and the web and what works

Meanwhile, here’s another equally seismic piece by Dawn Griffin of Zorphbert and Fred called Open For Debate: Ditching the Webcomic Business Model

I followed the rules. Where’s my success?

Instead, I see a plateau. I have kept the readers I have made over the years. I have a handful of very passionate readers whom I deeply appreciate. I want more of those, but just can’t seem to find where they are hiding. They certainly don’t seem to be the general “webcomic readers” demographic: men & women(to a lesser degree) in their late teens, 20′s and early 30′s. My demographic seems to be mainly.. well… everyone else. Preteen boys, men 30-50 years and men and women 50+. Whu-oh.

It’s a pretty thorough rundown of why the webcomic model hasn’t worked for this particular comic.

To her credit, Griffin also addresses the fact that maybe webcomic readers just aren’t that into her. She goes on to propose a new model based on boosting print sales, and opens it up for debate.

I haven’t read the strip in question, but at a quick glance we field it under a certain demographic on our brain. As we’ve mentioned here many times, comics are the most inclusive industry on earth, and the bar to entry is unbelievably low. Put up a tumblr and get a table at a con and you’re in the club. But not everyone is a superstar, a star or even a “veteran creator.” Sometimes it isn’t just the business model.


11 Comments on The money model again: digital and the web and what works, last added: 12/10/2012
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22. Warm Up: Fox in Snow

Not feeling all that able to draw today. This is kind of what it looks like outside presently, minus the fox.

fox in snow 1_72

0 Comments on Warm Up: Fox in Snow as of 12/18/2012 10:08:00 AM
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23. Claire's Valentine's promo

Get ready for our new IFK promo postcard! This time the theme is Valentine's Day. I just finished my artwork today. As you can see... they're on a date.

0 Comments on Claire's Valentine's promo as of 2/3/2013 10:12:00 PM
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24. Paula's Valentine's Promo Illustration

Just like Claire (below) and the others, I created an image to represent my work for our latest postcard promotional. We chose a Valentine's Day theme so you will see lots of love and hearts and pinks and reds in our images.

Please take a look at our bio's here and visit our personal sites to see more about us! Thanks for visiting!

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25. You should buy this: Farel Dalrymple’s It Will All Hurt

Tweet I’ll hold my hands up and admit I’m not a digital reader at all- there are a few web-comics which I love and keep up with and that’s it. I’ve tried reading comics on an e-reader but as idealistic and romanticised and dinosaurish as it may sound, the experience is simply too impersonal for [...]

4 Comments on You should buy this: Farel Dalrymple’s It Will All Hurt, last added: 2/28/2013
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