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"Generally, the good graphic novels fetch $100 - $300 per page, although professionals who have been in the industry for a long time can command as much as three times that amount. In fact, one elite illustrator commanded as much as $1,000 a page (on a 22-page comic book)! Most of the popular titles that artists, like David Cassaday, work on are monthly issues, which end up providing him with a six-figure salary. The back-end royalties on merchandise, trade paperbacks and movie royalties are also generous."
www.freelancewriting.com/artic…
"In 2008, Sean Jordan, founder of Army Ant Publishing, claimed established freelance comic book artists were paid anywhere from $220 to $4,400 per book project, which breaks down to $10 to $200 per page. Pencil and inker artists can ask for $75 to $200 a page. Colorists often fall in the range of $35 to $125, and writers and letterers make $10 to $50 a page. A lucky few dozen famous artists working for top companies bring in $1,000 per page."
smallbusiness.chron.com/much-c…
"While, I'm at it, there's a big matzo ball sitting out there. Sean gives us a pretty good idea of his page rate, which works out to about $450 a page, inking included. We're not talking about a big name star in comics (yet), but that's a lot of cost for talent, especially, when you're talking about a guy whose known work was on moderate selling Vertigo books."
ifanboy.com/articles/sean-murp…
"I highly encourage artists to NEVER charge less than minimum wage for their hourly rate when they are figuring out their prices. If you are going off the hourly as a way to figure out base prices. For the US, $7.25 is a very common minimum wage, so I suggest you round it up to $8 at least. Even at $8 an hour, your page rate should be $40 a page, assuming you spend 5 hours total on it. This method of figuring out your base really depends on tracking and making good use of your time. If your time is highly variable, you might need to use another method.
Another pricing strategy some amateurs/aspiring professionals take the base professional rate and half it as a way of figuring out their base price to break in and slowly raise their prices as they fall into more demand.
You may be tempted as an artist to under charge, and under value your skill. The fear of being denied a job because of charging a decent rate is a huge reason why artists don't get paid well. DO NOT UNDERCHARGE for your skill level. It devalues your work, and devalues every other artist's work too. Try to stay in line with other artists of your skill and resume level, and what you need to charge to cover your bills and make a living."
www.shadowsden.org/comic-artis…
www.freelancewriting.com/artic…
"In 2008, Sean Jordan, founder of Army Ant Publishing, claimed established freelance comic book artists were paid anywhere from $220 to $4,400 per book project, which breaks down to $10 to $200 per page. Pencil and inker artists can ask for $75 to $200 a page. Colorists often fall in the range of $35 to $125, and writers and letterers make $10 to $50 a page. A lucky few dozen famous artists working for top companies bring in $1,000 per page."
smallbusiness.chron.com/much-c…
"While, I'm at it, there's a big matzo ball sitting out there. Sean gives us a pretty good idea of his page rate, which works out to about $450 a page, inking included. We're not talking about a big name star in comics (yet), but that's a lot of cost for talent, especially, when you're talking about a guy whose known work was on moderate selling Vertigo books."
ifanboy.com/articles/sean-murp…
"I highly encourage artists to NEVER charge less than minimum wage for their hourly rate when they are figuring out their prices. If you are going off the hourly as a way to figure out base prices. For the US, $7.25 is a very common minimum wage, so I suggest you round it up to $8 at least. Even at $8 an hour, your page rate should be $40 a page, assuming you spend 5 hours total on it. This method of figuring out your base really depends on tracking and making good use of your time. If your time is highly variable, you might need to use another method.
Another pricing strategy some amateurs/aspiring professionals take the base professional rate and half it as a way of figuring out their base price to break in and slowly raise their prices as they fall into more demand.
You may be tempted as an artist to under charge, and under value your skill. The fear of being denied a job because of charging a decent rate is a huge reason why artists don't get paid well. DO NOT UNDERCHARGE for your skill level. It devalues your work, and devalues every other artist's work too. Try to stay in line with other artists of your skill and resume level, and what you need to charge to cover your bills and make a living."
www.shadowsden.org/comic-artis…
"Figure $100 for the writer, $150 for the penciller, $130 for the inker, $90 for the colorist, and $30 for the letterer. Those numbers go up and down depending on talent and publishers, but that's a nice round number for us to work with."
"Top comic book artists reportedly make around $500 per page; that figure varies depending on the artist's popularity and the publisher he is working for. The best comic book artists may make around $80,000 a year."
Not to sound pompous or conceited, just be confident in your work. Remain humble at the same time. You never know who you'll meet in the industry and who will be working for which company down the line. Don't burn bridges."
twitter.com/forexposure_txt
"The first rule of freelancing is that paying work comes first. Love don't pay the rent."
"Though he won't reveal what he makes, his page rate—the amount an artist charges per page drawn—is among the highest in the business. Given that an elite illustrator can command up to $1,000 a page for a 22-page comic book and that most popular titles are monthlies, a top talent like Cassaday can comfortably clear six figures annually. And that's not counting potential back-end royalties for merchandise, trade paperbacks, and spin-offs, which are negotiated separately."
"I know a lot of people say this, BUT persistence truly is key. If at first you don't succeed, try, try again. Never give up. What one editor doesn't like, the next might think is gold. Also, never let yourself be taken advantage of. Never work for free. Always require pay, never work on the promise of pay if profits are met.
When I first started, I would keep my price lower than maybe I should, but if you're going to make a living, you have to stand up for yourself and be a great agent for your work. Be proud and confident in what you do. They need your services, and you just need to decide who is lucky enough to receive those services.
"Even if you are lucky enough to get an extended run on something, you're still not making $6,000 a month. Remember those extended production times? Yeah... these days, most comic book artists need more than a month to pencil a book, much less pencil AND ink a book. Some creators can, of course, but again, they're the exception. And to come in even CLOSE to the deadlines you have to work under in comics means a lot of long hours at the art table, 8-12 hours a day, depending on how fast you can draw."matthewdowsmith.blogspot.com/2…
"For creator-owned books – which, again, do not always generate page rates – that amount ranged from $17 to $100 per page, while for-hire naturally was much higher. On the low end, publishers like Boom! and IDW paid between $50 and $150, with the higher end found publishers like Marvel, DC and Dark Horse paying upwards of $300 per page, topping out at nearly $500."
multiversitycomics.com/longfor…
"For creator-owned books – which, again, do not always generate page rates – that amount ranged from $17 to $100 per page, while for-hire naturally was much higher. On the low end, publishers like Boom! and IDW paid between $50 and $150, with the higher end found publishers like Marvel, DC and Dark Horse paying upwards of $300 per page, topping out at nearly $500."
multiversitycomics.com/longfor…
current events: web comic, web page, etc.
It's been a few years since my last group of updates to this journal. I just posted an entry about attending C2E2 (Chicago Comics & Entertainment Expo) this year (2019). In this post, I'll fill you in one what I've been up to since 2016. I'm still installing furniture into military (my day job) but I'm hoping to make this is my last year in that line of work. I still feel good doing the work but I'm getting older and I need to think about the future. I'll probably get a different job back home early next year. I live in Bloomington, Indiana.
Grateful Zed:
The image above is from a web comic I started in 2018 based on an idea I'd been ki
report: chicago comic and entertainment expo
I made it to C2E2 (Chicago Comic & Entertainment Expo) this year (2019). Along with Wizard World Chicago Comic Con (2010), Indiana Comic Con (2014) and Awesome Con Indianapolis (2014), this makes my fourth comic book convention.
C2E2 was huge. It's the biggest convention I've been to so far. The massive venue (McCormick Place) was packed with fans and cosplayers of every sort. I had no idea, until I got there, that it was the 10th anniversary of the event. It was my first time arriving to a convention early in the morning and waiting in line to get in the doors. It was my first time going on the busiest day of the convention. I had a lot
children of the shadows:
Children of the Shadows has been published after all these years! I completed this six page story, written by Sean Leonard, at the request of an editor from another company back in 2014. When the original anthology fell through, I kept my eyes open for another open call horror anthology. Children of the Shadows has finally seen publication in print (as bonus content) in Out of the Blue: A Collection of Campfire Tales from Stache Publishing. I did the pencils, inks, colors and hand lettering for this story. Thank you, Stache Publishing for accepting our submission and making this happen!
My "wendigo" pin-up also appears in this anthology -- i
restructuring: changing my focus
As it turns out, only two of the short stories I've completed in recent years for publication in small press anthologies will see print. Also, one pin-up. These are my remaining credits:
* My two page story for the Public Domain volume of The Gathering from Gray Haven Comics: Miss Masque Vs. Miss Fury.
http://www.grayhavencomics.com/comics/the-gathering-public-domain/
* My two page story for the most recent Horror volume of The Gathering from Gray Haven Comics: Paradise Lost.
http://www.grayhavencomics.com/comics/the-gathering-horror-4/
* My pin-up featured in the recent Western/Horror OGN from Gray Haven Comics.
http://www.grayhavencom
© 2013 - 2024 johnchalos
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Thank you, thank you so much this will help a lot. Flat rates is what I think is closer on making grey tones when comes with time and effort.