Page 1


i’ve said

i’ve said i think i’m not built for this work but... but...

说 了 『觉说了 觉 得得了 我我不适 如 不合做这 果 适项工 那 合作可是 个 做・・・ 看如果 这 法那个看 项 是法是 工 正正确的 作』 确又怎样 可 的? 是 又 · · 怎 · 样 ?

what if

...what if that idea is right? right?


jesse snavlin graduate record  2013


copyright jesse snavlin

2013


题献

DEDICATION

爱并不在于彼此相对

love does not consist in gazing at each other but in looking in the same direction To Dan, whose put up with every atrocity that anyone ever living with a graduate student has ever experienced, including but not unlimited to chronic paper meltdown syndrome, projects until seven a.m. mania, can’t you draw this for me-itis, passive aggressive how-come-you-don’t-have-to-do-this disease and his personal least favorite: “I thought I told you about that? I must’ve, it’s obviously just your memory,” post-traumatic graduate disorder. And never received any thanks for it. And still hasn’t, unless he somehow reads this one day. Also to Dennis Stovall, Abbey Gaterud, Bradi Grebien-Samkow, Linda Meyer, Vinnie Kinsella, Todd Stattersten, Amanda Gomm, and Michael McGregor, who’ve all put up with me in their classes, their meetings, or their office hours and somehow still thought I had a brain afterwards. To Poppy, Alyson, Tina, Travis, Mandi, and Kat, in no particular order, for all at some point being partners in various department crimes. And to Ooligan, damn you, I’m through with you! Good riddance, thanks for zero real fish, and maybe all the memories, but only the copious good ones.


目录

TABLE OF CONTENTS

引言 系作业 课作业INTRODUCTION DEPARTMENT WORK CLASSWORK 项目管理 PROJECT MANAGEMENT INTERIOR DESIGN THECOMMITTEEBUILDING 室内设计 THE FUTURE 委员会楼 未来

1 7 11 45 49 59 73


引言

INTRODUCTION

2011年1月我在坡特兰搬家 i moved to portland in january, 2011 and ended up in a rat infested basement. The rats had died in the walls and were slowly rotting away, and for seventy-five dollars more than any other tennant in the home, I slept within their stench. This coincided with my first term at Ooligan, and I tried not to take it as an ill-omen; I didn’t know anyone, worked at the most stressful Starbucks in the state, took thirteen credit hours, and the roommates had managed to get us evicted by the beginning of March. There are more than a few things that were thrown away because the rat smell never quite got out of them. I’m not mentioning these things for the pity. Though it seems strange to open an essay in the front of a Graduate Portfolio with a discussion of putrefying rats, but to me, Ooligan began in that basement. I was in Digital group and working on a lap-top with a broken screen, and so, you guessed it, was stationary: I spent most of those months in the rat basement, figuring out in desperation anything and everything about eBooks and holding my breath. That same term, I learned that I’d entered yet another publishing situation where my director would disappear at the end of the year. Like undergraduate, like graduate, right?


引 言

2

引言

INTRODUCTION Now Ooligan is taking place on a wide-screen, purposeful desktop. I use it to run a comic business I started underneath Ooligan’s educational wing, using the knowledge I learned in Pub Management and Entrepeneurial Publishing. The marketing plan was written under Bradi Grebien-Samkow’s watchful tutelage. Vinnie Kinsella’s Grammar for Publishers class reminded me that I loved writing, and that I might actually be good at it. The Design basics used in producing this book I’d self-taught working with a publication in my undergraduate, refined when my interior for Tom Sawyer was selected for the Classics project, and continued to refine with the stricter, print-on-demand rules for Close Is Fine. The time-table for print-runs, the management of a small staff of volunteers, and the conversational etiquette with artists on various titles refined through working on RPI and Alive at the Center. Not to mention event planning. There’s a few more things that Ooligan provided: Todd Stattersten gave a particularly stirring speech once about having to risk in order to succeed, and the next day we attended our first Free Comic Book Day as guests, and the next The Committee Building was officially a thing. Being in Ooligan allowed me a free pass into Brian Michael Bendis’ class, and through an impromptu TA-ship I landed in Scott Allie’s office, in a meet-and-greet for up-and-coming writers. Thanks to students like Gayle Moffet and Travis Kremer, I’ve built a sturdy network of fiscally minded/educationally minded people to bounce ideas and structures off. Abbey Gaterud provided an excellent example of how you can still smile and work sixteen hours a day. Amanda Gomm’s no-shit attitude encouraged me when I felt like I was too blunt, rude, or callous. Linda Meyer allowed me to experiment working with Dan as a writer to his art for the first time—Batman and Kitty, my editing paper, proved to be the testing ground for what is now a functional and bountiful partnership. Let’s be clear. All of us motherfuckers here, we’re going into a career that’s rougher, tougher, and ruder than it’s ever been. The old paradigms are rolling and churning, and even TCB is already out-dated: did you know webcomic pages are being called “screens” by the cool kids? Yeah. Neither did I.


引言

INTRODUCTION But I’ve been thinking a lot about those rats, the four moves in two years, the letter-campaign to keep the program alive, the snipes with students because I couldn’t keep my mouth shut, the classwork that’s sometimes too easy, the changes the program’s about to make... what we’re doing at Ooligan isn’t preparing us for the old paradigms or the new ones, either. We’re just teaching people to teach themselves, and if they can’t learn that, they won’t succeed in the crazy mixed up world they’d like to, anyway. If we make the program too academic, then we’re losing what’s most precious about this place: that self-motivational environment. We’ll be another program with plug-n-chug papers and requirements and workloads that distract from the real value: the working on the books, the having to learn to be a big kid even though you’re supposedly coddling yourself in the academia of it all. I think when I came into the program, surrounded by rats, working on an eBook that I wasn’t particularly thrilled with, in a town where all it did was rain, the first thing I did was write it off. I spent a lot of time wondering why I kept signing up for classes. Now, after having to have a good think about what the heck I’ve done here I realize it’s all the weak points of Ooligan that’ve made me strong. The poor academic focus forced me to find opportunities. The communicational breakdown that happens between departments taught a head-strong, dare I say it, bitch of a woman to have some patience. I’ll probably never be more professional, it’s physically painful, but at least Close is Fine taught me to not be a lazy designer. The fact I can still list lessons Ooligan taught me even in its highly pragmatic, poorly organized, and practical-professional-program-certificate-as-heck form should mean something. Oh, I would be the arrogant one to talk about the future of the program in an introduction essay, especially when I actively avoided the meetings about it. You know, it’s hard enough working two retail jobs to get Mondays off as it is, but it’s even harder when you know your opinion on the program is just another voice of the aging generation, the shifting paradigm.

引 言

3


引言

INTRODUCTION

引 言

Especially when you’re the dark, cynical one who starts essays off with rats...

4

But I can’t help it. Ooligan set me up for success in its own quirky, stupid, ridiculous, stressful, back-talking, catty, upsetting, forceful, and particularly nauseating way, and I love it the way it was, and like a cautious parent I can’t help but worry for what it could be. I’m certain, more than ever, that I’d never be able to call myself publisher without such good examples in the faculty and the hands-on work provided by... well, over-work. Listen: enough of this nonsense, already. Let’s get a conclusion, but first! A colophon in the beginning, and thank you for reading. Designed 8.5” by 8.5” with the intention of balancing fengshui with the American literary-hipster-design-standard, body font is Adobe Text Pro 10/14, accent and titling Avenir Next, Chinese fonts are Adobe Hei, By-JOSSQ-DMF-in-Beijing, and STKaiti. All brush effects created by myself with a Wacom tablet and a lot of patience. A conclusion: “I was too busy to be social, too stressed to enjoy it, and too distant to be considered friendly, but I also started surrounded by decaying rat corpses; there is only so much you can ask of a wonderful thing bestowed in your life, and it already excelled further than my wildest imaginations. The lessons I’ve learned from Ooligan have helped me achieve the starting point of my dreams, and may it forever grow and evolve so all us hopeless fucks don’t end up defaulted on our loans and crying into the pages of our beloved fictions.” Jessica Snavlin 18.1.2013


系作业

DEPARTMENT WORK

这并不是说我不会工作以及与他人 it’s not that i can’t work well with others or even that i didn’t want to... ...therefore, please forgive the brevity of this section. Having worked in only one department outside of Operations, which I feel is a different animal—I’ve only got so much physical proof to show you. I’m not one for copying over e-mails, and the design work I did can safely be considered it’s own section. Therefore, I’ve but got a little testimony. Working for Operations for a year forced me to face up against a lot of things about myself I’d been ignoring, and correct some seriously bad habits. It also taught me forgiveness—I came in a period when both my superior managers generally abandoned me in the training department— and motivation to self-develop or perish. As a pretty anti-social person, it also forced me to communicate with a larger part of the press, though I’m certain most still aren’t sure what my face looks like (and in reality, I’m not sure of theirs, either). But most of all, Operations taught me that I kind of like that stuff, and that maybe being in a business of my own wouldn’t be so bad.


系作业

DEPARTMENT WORK

系 作 业

8

I want to speak a bit about the lack of department volunteerism on my part, and maybe how much I regret it. The aspect of department work that seems appealing, or at least, made me worry for my avoidance happens on a daily basis in Ooligan. When I walk in the work room these days, I’m unsure what’s going on, who’s on what, and who knows who, let alone what classes anyone’s in or where anyone’s going in life. I’m not sure I did it right, in the end—but then I end up wondering, with what time, when...? Where did everyone else get the money to survive? I spent most of my school periods working as much as possible or starving, and it seemed my classmates had much more free-time, or at least much more available time. Was it just my inability to acquire the right job? Or had I somehow worked myself into a mind-set that was unavoidable? The answers weren’t revealed in my time at Ooligan and maybe never will. Perhaps I’m just being hard on myself. After all, Rachel Pass spent a whole two terms being a Project Manager and unable to attend PrOps. Certainly, there’s room for the absentee ballot Ooligan, right? But maybe, if I could do it all again, I’d find a way to make it work.


棵作业 CLASSWORK

整晚做功课以后记住在沙发上权作一团了 i remember curling up on the office couch and dennis tucking me in after a frustrating all nighter. My group in Introduction to Publishing had dropped off the face of the Earth, one by one, leaving me with twenty-four hours of design work and skads of missing content. Not that I wasn’t used to it. I’d just finished a three year tenure of similar situations working in my undergraduate for our student literary magazine, but what I hadn’t expected was my first experience in graduate school to be so similar to the previous. Perhaps I’d imagined that we had emerged as graduate student butterflies, fluttering with reliability... Regardless, I had a Chinese final in two hours, and holding my precious cargo of an InDesign file I slipped into the office for perhaps my first time that term. I’d heard there were couches there. As I curled up underneath my coat, Dennis appeared from behind the office door with a blanket. “When’s your next final? I’ll wake you up for it.” He said while tucking me in. I felt really rested after the nap, even if it was only an hour long.


课作业 CLASSWORK

UNDERCURRENT

课 作 业

12

introduction to publishing

In Introduction to Publishing, I ended up producing a majority of the work, but what I remain most proud of is the “cobbled” design—the group’s content was so late, I had to conceive, plan, and execute in twelve hours time.

undercurrent press winter twentyeleven

But more wonderful than the lore of old men and the lore of books is the secret lore of ocean. -hp lovecraft

wr501introduction to publishing dennis stovall winter2011publication catalog

final portfolio


课作业 CLASSWORK

other oregon budget

PAGE COUNT PRINT RUN

256 2,500

PRICING/SALES ASSUMPTIONS TABLE Months of sale activity Unit cost (production) Price as multiple of cost RETAIL PRICE

12 2.04 12.00 18.00

SALES % BY CATEGORY Promo/damaged/unsold Direct mail Book Clubs Catalogues Distributor Percent actually sold

15.00% 0.00% 12.65% 22.35% 50.00% 85.00%

SALES VOLUME BY CATEGORY Promo/damaged/unsold Direct mail Book Clubs Catalogues Distributor Quantity actually sold

375 0 316 559 1,250 2,125

课 作 业

13

undercurrent press

23

introduction to publishing Undercurrent Press is dedicated to publishing fiction and non-fiction that explore the precarious balance between people and nature. We emphasize a global perspective by publishing work from the brightest voices in our own culture as well as pieces from around the world. Undercurrent aims to be at the forefront of discourse on the relationship between our society and the world we live in, fostering an attitude of harmony and coexistence.

Trim size: 8.5x8.5 Later to be recreated here, of course.

undercurrent press

1

final portfolio


课作业 CLASSWORK

the graffiti should say "Dora"

REMOVED CIGARETTE; OK?

课 作 业

boogeRs!

oh, boogers.

brAMBLES!

out of genre

14 removed drug parapheRnalia; OK?

BUTTERSCOTCH!

the alliteration will definitely appeal to a younger audience

book editing

Batman and Kitty represents an important milestone in more than just my academic career. Batman and Kitty was the first test of my partnership with my current artist partner in comics, Dan Schkade. What better than a mid-term, right?

mid -term “batman and kitty”

...momommy...

you think you're in trouble now.

ye-yes? II do sir... Batman, Sir.


wait until you meet my partner...

this is a great idea! I think it's got a lot of potential! But don't you think Kitty-Cat would work well as a little girl with cat ears?

课 作 业 evil-doer, beware! step on my turf, and i'll meow you right out of gotham!

15

Listen, all I'm saying is it's a little far-fetched to assume patriarchal standing with a tiny cat from Batman.

CAREFULLY CONSTRUCTED BY VENERABLE

delightfully described by amazing

removed cigarette; ok?

just make it a little girl and--

edited with a careful eye for middle grade fiction by

i couldn't ask for a better replacement now that robin's past.passed. WOAHWOAH left-field here! I'm thinking this might have to be a pass!

no, thank you for taking me in! not everyone accepts talking cats you know!

see, can't you just see the little girl booties? I think it'd go over for redundancy. removed splendid with audiences that still like to play pretend.

book editing

I mean, do we even have the rights to publish Batman? permissions are the responsibility of the author.

Listen, smarty-pants, just because we're somehow simultaneously thank you for considering all stepsediting to a manuscript's the same script at the same publication. instead of being mean time in some sort of weird timeto you, copyeditor, i should focus continuum-paradox doesn't mean on just being competent in my role with acquisitions. you've got to get up in my grill! corrected; ok?

fact check: In 1988's Batman: a Death in the Family, Jason Todd, The second Robin, is killed by The Joker in Ethiopia. Set in 1989?

NO! Revert changes!

Batman and Kitty was a hypothetical YA Graphic Novel pitch to Ooligan Press, with the different styles of caption lettering indicating different editors in the stages of reviewing the manuscript. Obviously, we didn’t like it.

mid -term “batman and kitty”


课作业 CLASSWORK

we'll make an excellent pairing. i can definitely make a beautiful manuscript out of this. Look, look! Look at this next panel:

taking out one hair-ball at a time!

oh, mister batmanallegory! don't you think I make a really excellent crime fighter???

课 作 业

Are you kidding? Ooligan doesn't even do comics! How would this fit with our backlist

Batman is such a popular title and comics a really profitable industry. Shouldn't we capitalize on such things? This would be the cutest title for early middle grades!

16

I do not think that audience means what you think it means.

well, everyone is a good person deep inside! He just needs to go back to school!

yay! school!

I'm t he go bat ddamne man d ! it not con in my 's t worract to k str with ays !

oh, that's right! none! They all just disappear into the night, waiting to resurface from Gotham's bowels! now,

I do c'mon! love a good Morrison joint! Morrison correct; author grant morrison, famous works include invisibles, arkham asylumn, and animal man.

What are you doing now Development?

Letting the manuscript speak for itself!

, ver e I ate Wh a. Likog bb a sl his u b ann h t w oug i n e d thr -braand d l bir aste you. w ith w

change to postmodernism ok? seems abrupt.

mid -term “batman and kitty”

a lie, mister batmanallegory? But I thought arkham was the place where everyone went to feel better!

you're just the cat's meow, cutiepatootie!

book editing

There are many reasons I don’t color my own stuff. This comic is one of them. I will also have you note I am a far better letterer now-a-days, as in, I actually understand what a pen tool can do. (I hadn’t finished Design yet!)

the night of gotham needs me. rehabilitation in arkham is becoming a lie...

what'll we do with the baddie now?

how many vermin have you permanently stopped?! interrobang warning.

you think i want to be associated with someone with a zero winrate?


you... you fucking-!

entertaining, but definitely a pass.

removed profanity; out of genre, ok?

The manuscript definitely doesn't fit the audience as-is. I'm not even sure a developmental pass will help me convince the big-wigs to back you.

课 作 业

No! We do not hurt the children, Batman! I really, really hate being the slush-editor.

From a developmental stand-point, unless the changes are made to my exact specifications I can't begin to see a chance for cohesion with Ooligan's backlist.

17

All I'm saying is that from the Acquisitions end, I can't adverbial even make head or tails of it. It's nonsense. Total pomo drivel.

clause or comma splice?

It's a real shame. I do think comics are an untapped market for we fish.

Untapped or not, we don't have the money to print glossy, color pages in non-standard cuts.

book editing

Not for this, anyway. We could get a grant!

stylistic. ok.

And when the veiled Batman-allegory is revealed to be gasp! A direct rip-off? I've read Kavalier and Clay. DC's no joke. To the rejection pile, Batman! fact-check: accurate.

While assembling this graduate portfolio I ended up giggling endlessly: after all, I couldn’t believe it, it’d taken graduate school to create the balls it takes to turn this in as a paper. Well, and some understanding, nuturing mentors..

mid -term “batman and kitty”


and I’ll break the spine a little so it’ll lay flat, and cat-eared pages are going to be everywhere, and some Fantasy book designer will put a slutty picture of Amelia on the front to make it sell. One day this’ll be a reality, and your strength and perseverance will make it so. It’s very brave to put CLASSWORK one’s work before the masses of graduate editing students, and further brave to include some of the ideas and motifs you’re setting out to imprint. If there is one thing I want you to take from this experience is how thoroughly you have done and will do this: you have written a book and had thirty-some people read a second revision of it. That’s intense. Good job.

课作业

1. Introduction 2. Characters a. Matt b. Amelia c. Bernard d. Joel e. Zahn f. Oriole g. The Collusion h. The Good Guys i. Slay and Cronies j. Characters On the Chopping Block k. Characters to Move

Now for the bad news part of the introduction: I’m not going to go easy on you. This is going to be the most direct of the letters I think you’ll receive, because I’m well-aware of your ability to handle my criticism. We’ve written together for some time, friend, and I can see you all over this book, and you yourself know how good and bad that is in a way. I’ve split this letter into different sections. I would like to ask you, friend, to set aside most of your characteristic stubbornness when you hear3.the opinions of our group and this class in general. The diverse World-Building l. Descriptions of Locations attitudes and personalities within the room along with the industry knowledge we come armed m. Map Reorganization n. Narrative Backstory with should underline our concern and passion for your work. o. Religious Narrative

课 作 业

4. Concerns for Book Ones Plot p. On the issue of Introductions 1. Dear Guido, q. Narration Suggestions r. Proposed Endings/Structure of the Book I am so proud of you! One day I’m going to read Angel’s Creed while sitting at my desk, s. Amelia and her Summoning and I’ll break the spine a little so it’ll lay flat, and cat-eared pages are going to be everywhere, and t. Proposed Subplots for use some Fantasy book designer will put a slutty picture of Amelia on the front to make it sell. One u. One last note about coincidences... day this’ll be a reality, and your strength and perseverance will make it so. It’s very brave to put one’s work before the masses of graduate editing students, and further brave to include some of 5. To be delivered at a later date because Friend, I love you, but I have other finals. the ideas and motifs you’re setting out to imprint. If there is one thing I want you to take from Chapter by Chapter analysis. this experience is how thoroughly you have done and will do this: you have written a book and had thirty-some people read a second revision of it. That’s intense. Good job.

I’ve also included a table of contents, an appendix that discusses the workings for books 2 and 3, and letter codes so you can search for notes in the digital file/pdf file if you’d like to later on. Each section has what are “big deal changes” I feel must happen and then suggestions for what could happen.

18

book editing

Our manuscript happened to be from a close friend of mine, one of those freak incidents where our outside lives and academia actually align. I spent hours pouring over his novel— and focused on a personal but tough developmental edit..

developmental edit

Now for the bad news part of the introduction: I’m not going to go easy on you. This is going to be the most direct of the letters I think you’ll receive, because I’m well-aware of your ability to handle my criticism. We’ve written together for some time, friend, and I can see you all over this book, and you yourself know how good and bad that is in a way. I’ve split this letter into different sections. I would like to ask you, friend, to set aside most of your characteristic stubbornness when you hear the opinions of our group and this class in general. The diverse attitudes and personalities within the room along with the industry knowledge we come armed with should underline our concern and passion for your work. I’ve also included a table of contents, an appendix that discusses the workings for books 2 and 3, and letter codes so you can search for notes in the digital file/pdf file if you’d like to later on. Each section has what are “big deal changes” I feel must happen and then suggestions for what could happen.

2. Characters a. Matthew Richards When you’re in tight on him, the text consistently tells the reader that everyone around him is annoying in glib and childish terms. When you’re out far from him the text continues to let you know that Matt is rolling his eyes, folding his arms, and heaving sighs. To me this is an action guaranteed of no more than a twenty-something. He’s unlikeable and unintentionally distant, and as you’ve said yourself, right now stands as the current lead in “who can be the biggest jerk.” Must Happens -> Matt’s age has to go down by at least three years and he needs to be a sergeant, tops. I reason this world is consistently at war. Why? You’ve hinted at it enough, but we’ll talk more about your world-building in second section. It makes sense that a cadet would join younger than in our world, since their education system is more rudimentary, and makes sense that young majors are potentially possible in this universe. However, Matt isn’t one of them. As a character he simply is not the sort of person to have achieved such a high-ranking position, and if he is, he needs to have his personality drastically altered. I think he works as one of the world’s biggest jerks with some tweaking for maturity, and the story hinges more naturally on him being a lower rank. -> Matt’s maturity level must be raised. Why? His responses do nothing to further the plot, and take the reader out of what should be a serious situation in every chapter. I understand this story is in general lighter than most novels on the market, but that doesn’t mean he should always be seeking the upper-hand. It’ll also differentiate him from Amelia in terms of their bickering, providing greater contrast. -> In general, Matt needs to feel more. Why? If we’re going to spend so much time in his head, it is entirely implausible that he wouldn’t react as much to all the situations he’s been in. I’m gay? Oh wait. That’s a big deal. I’m Daruma? There should be at least three chapters of angst involved in that. I think that there’s a


Think about any good book you’ve read: usually you know one great flaw and one great plus about a character within twenty pages. Here, you know a flaw and a plus but you’re unsure which is great and which isn’t. You don’t have memories to rely upon. The characters are unemotional to themselves and overtly emotional in dialog. I’d pace your placement of the characters and worry more about Book one as a book itself, and less about setting up one and two. 3. World-Building q.Narration Suggestions l. Descriptions of Locations

For Fantasy novels the world is almost as important as the characters, and you’ve got a

fascinating Just the city of Wey alone definitely really gets my imagination going. I want to runyour around book justice. You’ve got a lavish world and The wayone.you narrate doesn’t do a city built in levels! No, I’m serious! I’m really excited by the idea that they can be staring at each other over a river, unable to reach each other because of some impossible distribution of lavish characters and very little focus on any part of it. I would restructure your book in one of elevation. The problem, though, is that you’re so often concerned with the meandering of your two ways. characters that when a new location enters you don’t introduce the topography of the land. I’d suggest finding reference photos and just writing about it. Talk about colors, smells, sights, 1. Have three used ina one with the occasional off chapter (that’s announced in positions.viewpoints Introduce major inns and places. Have characterbook make a quick comment: “I spent the night in Wey, once. I got accosted by a beast-man for letting my thurgia drink out of the Now you’ve got 1 a sort of subtext forbe introducing the rivertight and what itviewpoint, looks like, along with Chapter 2 would be Amelia’s, and it’s title.)river.” Chapter would Matt’s some of the culture of the place. Game of Thrones4.Zahn. isConcerns a good reference text for thisPlot sort of thing, too. I don’t like the books to develop the internal voices of three for Book Ones Chapter myself, 3 perhaps This means you only have but what’s done right within is every location just gets two or three slabs of text describing it on the outset. Bridges leading in and out are named, and the names are repeated two or three characters specifically without wasting ink and on others. Then every so often, no more times. Then, when a major or issue something later in the series occurs by this location,time you p. battle On the of Introductions have to redescribe the fundamentals because you’ve named it and stored it. Instead, you than fivedon’t or six or seven times you can have a short one-off using Basilisk or Slay or Ismae. For can include minor details... sortokay of stone is used Wey? Are about there street vendors in you show them. Too much whatIt’s to take someintime to talk a character before Almsland? Do they sell hot dogs? is Well, showing just do as they? much of a problem as too much telling. I know it’s an addage that gets drilled The description soneed absent, I’dvery almost hasten that you justbut make set of files your each viewpoint youisinto distinct voices. the heads of people “show, not tell,” it’s acurious that for youall pull so far out of a head that major cities and write foryou a minimum aboutadequately various locations and what look You tell us things we spend 2002,000 pageswords not really introducing your they characters. Then, you can just refer to see itthird whenever characters go somewhere! clearly and avoidyour telling us things we can’t see.nobody’s I want to know emotional depth and difference but that goes in heads as much 2. Have anlike.omnipresent person that’s perspective, as well as clarity of a character, and so as an introduction to your characters it sometimes misses m. Map Reorganization the mark. as possible. Think about any good book you’ve read: usually you know one great flaw and one great I think you’ll needplus to consider, while your describing these Here, locations, how far away about a character within twentyallpages. you just know a flaw and a plus but you’re unsure on your map you’d like them D’naba is definitely not far enough away fromtoAlmsland to The be characters are whichtoisbe. great and which isn’t. You don’t have memories rely upon. as desert as it is, and Weyunemotional is not far enough north to and justify the walking time. to themselves overtly emotional in Sureloum dialog. definitely seems obscure enough as a quintessential version of Israel, definitelyand adjust your margins. I’d pace your placement of but theI’d characters worry more about Book one as a book itself, and less about setting up one and two. n. Narrative Backstory q.Narration Suggestions I think you’ve got to take a moment and write out the story of the world. I would just do some sort of personalized mythos, maybe a whole mythology, got do everything in justice. one place. The way you narrate definitelythat’s doesn’t your book You’ve got a lavish world and Then, I’d weave this through text. You’re a lot of the history did your book in one of lavishthe characters andmissing very little focus on any partofofthe it. world... I would how restructure Wey get built? The temples the valkyries, who are they/what are they? What was life like so twoand ways. that the Gods could be summoned? Doviewpoints people even believe in book magicwith or isthe theoccasional only magic 1. Have three used in one offthey chapter (that’s announced in believe in Summoners? Areit’s Summoners rare 1enough some tight people don’t believe in them? title.) Chapter would that be Matt’s viewpoint, Chapter 2 would be Amelia’s, and Chapter 3 perhaps Zahn. This means you only have to develop the internal voices of three o. Religious Narrative characters specifically without wasting ink and time on others. Then every so often, no more than five or six or seven times you can have a short one-off using Basilisk or Slay or Ismae. For each viewpoint you need distinctIvoices. Not just a boss fight. I think Book 1 needs a lotvery of fights. think it needs a lot of ribs and Have an You’ve omnipresent that’s but that vertebra and all sorts of tight2.plotting. got athird lot ofperson events withnobody’s little toperspective, no connection andgoes in heads as much possible. mostly just character building. Iasthink you can fill this void with a lot of sub-plots and main-plots,

I think #1 is probably going to be your best bet. Your characters have a lot of interesting observations that are just left to the dust... and no memories or background is provided. With the miscellaneous third it allows you a few other characters to toss around, and you can use dialog to relate memories and flashbacks who aren’t your tight mains. I don’t think your three have to be the same for each book, either. It would probably work better for book 2 to have Oriole, Ravi and book editing Matt, or Archer, Ravi and Matt or something like this. r. Proposed Endings/Structure of the Book but I think you’ve got to ask yourself a few questions first.

The book had a lot of problems. more than expected I think Book 1 needs a boss fight. A mini-boss, a sub-boss. I think it needsMany to be Basilisk. when I volunteered him for He might be a one-shot cannon, but man is that a scary shot, and if there were contractme, that theacourse—for the added could heal a character that got shot at... you know, it would be a really intense moment. problems compounded. I knew I think Book 1 needs a boss fight. A mini-boss, a sub-boss. I think it needs to be Basilisk. the guy! The experience taught He might be a one-shot cannon, but man is that a scary shot, and if there were a contract that s. Amelia and her Summoning could heal a character that got shot at... you know, it would be a really intense moment. me an important lesson about This has to matter more or not be included. working with your loved ones. The Summoning has to have a stated point... a few suggestions for Amelia’s summoning I think #1 is probably going to be your best bet. Your characters have a lot of interesting What is the point of Book 1? observations that are just left to the dust... and no memories or background is provided. With the The point is not as anmiscellaneous introduction. I think the you point is discovering Matt’s Daruma, third it allows a few other characters to toss around,and and you can use dialog to so perhaps that combined with a boss fight should be yourwho ending. relate memories and flashbacks aren’t your tight mains. I don’t think your three have to be What are the themes of Book 1? for each book, either. It would probably work better for book 2 to have Oriole, Ravi and the same It sounds like the themes 1 are love and duty. like What Matt,oforBook Archer, Raviidentity, and Matt or something this.should you do for duty? What does it mean to be dutiful? What does it mean to be religious? What does it mean to r. Proposed Endings/Structure the Book be in love? Who are you? What does it mean to be yourself as of opposed to others? I would pick events that challenge these things for your mains (Ravi, Amelia, Joel, Matt and Zahn).

that I could think of: 1. She has to have a certain amount of Summons before she can go home. 2. She has to discover one new Summon before she can go home. 3. She has to have a Summon of every element before she can go home. These are all just suggestions to give her Summoning a more integral presence in the book. It needs to be a legitimate sub-plot with hardships that reflect the major themes of Book 1, and will serve as your “cure” for Amelia. t. Proposed Subplots I’m just going to list these below. They’re ideas I had or saw potential for in Book 1. Bernard and Heather have a long feud, and occasionally they meet on the soul plane to discuss. Farahan’s troubles with being an Elf in the church. Joel’s brother consistently reminds him of why he turned his back on the Elves.

developmental edit

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课作业 CLASSWORK

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book design &production

My first assignment for Design immediately opened a door in the back of my head: I’d spent my life lying into opportunities for graphic art’s training, but avoiding the actual work it took to get better. What would happen if I just really tried?

five words five genres


课作业 CLASSWORK

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21

book design &production

While formally training myself I also decided to train my own sense of design identity, and practicing design within a brand seemed the perfect opportunity. I approached this project as if designing a new modern classics line.

cover redesigns


课作业 CLASSWORK

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22

book design &production

Why the change?: Though the poison DATURA flower is critical in the novel, I feel the crocodile Gulliver, whom has his own apartment, and the neon, nuclear world called Toxitown, better define the loud, surreal world within.

cover redesigns

The shifting ISBN in this series is a choice focused on bringing about mystery, as well as assumes the books in the series have recongizable enough authors or content to avoid hackneyed summaries. The spartan white combined with familiar items being shifted hopefully produces a different, re-energized quality to the content. The onus is on the reader to recognize the repackaged classic: risky, but hopefully successful.


课作业 CLASSWORK

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23

book design &production

War and Peace is foremost a book about history, how we remember; both our presents and our legacies. In Russian, for instance, “horse” can mean an impulsive fool? War and Peace hinges on that reality: “We are but the memory leave behind.”

cover redesigns


课作业 CLASSWORK

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24

book design &production

For Sirens, I had two choices: the inherant morality or the implication that being human, inandof istelf, needed work. “As long as I could fix that ship,” is used as an explanation for our lead’s transformation, when it’s really just humanity’s fault.

cover redesigns


mark twain

tom sawy r e

e

a dv ntur s of

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e

25

th

e

e

e

e

th adv ntures of tom sawy r

mark twain

book design &production

They said they would rather be outlaws a year in Sherwood Forest than President of the United States forever.

I honestly selected Tom Sawyer because I couldn’t stand any of the other books—and because I felt like there wasn’t a Tom Sawyer edition out currently that treated it like a scary book (which it is). I’m not sure I did any better, but I tried.

fiction/classics

I don’t even want to start on getting that burned paper effect. I haven’t spent more time on something in my life! First, taking out the pattern of the burn from a crumpled map, then reapplying the borders of the burnt paper as an overlay, tweaking, tweaking, tweaking...! Goodness. This cover as an .indd will lock up any computer for at least 15 minutes.

final project cover


课作业 CLASSWORK

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26

book design &production

I wanted Tom Sawyer’s design to accurately reflect a sense of adventure, and so I continued the map theme into the interior of the volume. I tried to push the limits of my Pen Tool knowledge—and trust me, I had Pen Tool nightmares..

final project front matter


课作业 CLASSWORK

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27

book design &production

Following my unnatural hatred for arbitrary design standards, I try to reorganize copyright pages in anything I design. I don’t believe any part of a book should have its layout taken for granted.

final project front matter


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28

book design &production

There are some bygones from failed designs that I transferred over into the classroom voted design; one of them being that silly little pirate’s hat. Though Tom Sawyer is a scary adventure book, it’s also about childhood, and its pratfalls.

final project front matter


课作业 CLASSWORK

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29

book design &production

Fonts used in titling: Moonlight Shadow, Adobe Text Pro, Platagenet Cherokee. The Es were created by flipping the text frame in InDesign and manual adjustments. With an unlimited budget, all “Es” would always be colored.

final project half-title


课作业 CLASSWORK

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30

book design &production

Layering effects are multiple text-boxes set at tint, as well as time and patience. I wanted the interior to as accurately mimic the exterior as possible without becoming cluttered or overtly feminine. I’m still not satisfied with the result..

final project full-title


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31

book design &production

The map element was used sparingly within the interior, but I tried to remind readers that they were on an adventure they’d implicitly agreed to take at page one towards the corresponding “x” marking the back interior cover.

final project chapter title *gross small- caps error is gross.


课作业 CLASSWORK

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32

book design &production

Interior is Adobe Text Pro— (which I love, clearly, as it is the font for this book, as well)— 11/14. The absence of headers is intentional. Because Classics is a low margin title, I wanted to maximize the use of real estate within the interior.

final project interior


课作业 CLASSWORK

watchmen uses several old and obscure properties from dc comics to paint a distressing picture of the future, when time and being a hero collide. moore also brings about the generation of the control-freak writer. though not an artist himself, moore controlled the design of his work from start to finish. he dictated line width, color, and panel layout, and drove more than one artist to vow never to work with him again.

watchmen is notable in design for two reasons beyond its already revolutionary (and slightly insane) parallel layout. the first is the utilization of extreme saturation and desaturation, a technique commonly avoided when using a separation guided color process. second, watchmen depicts unfit and unwell characters without exaggeration-something the imageconscious comics community had yet to accomplish.

the 80s traveled in pairs. exemplified

tumultuous decade. with it comics

watchmen debuted within this

animal man, watchmen, and

the dark knight returns had a

by metatextual storylines and

saw its first entirely symmetrical

preoccupation with how an aging

the eighties is a land best

the panicked press against all

boundaries, authors like grant

morrison, alan moore and frank miller dominated the landscape with introspective, dark, dogged works that acted more as manifestos than as collaborative deisgn.

book. pictured above, ozymandias, the

“villain,”

takes a pipe to the head

genre dies. colors, inks and letters advanced itself, and so stories

works in paired pages from this

that several new school designers

went unnoticed for months.

it finally be irrelevant?

point, matching exactly. the effect

left: after a long and bumpy road, animal man realizes he is fictional, and the tormented author turns to see his audience through the pages. animal man could do nothing revolutionary with colors or inks; it had been done, or was excessively expensive for an “art” work, and so focused on disturbing the reader from their comfort. right: the dark knight returns is also a good example of evolving panel layouts. small, low detail panels avoid cluttering a dynamic spread, accented by lynn varley’s gentle watercolors.

33

book design &production

had no where to go until technology

of a man ozymandias himself hired

to attempt to kill him . the book then

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took to explaining the quandry felt: where to? how? when will

In Introduction to Publishing, I ended up producing a majority of the work, but what I remain most proud of is the “cobbled” design—the group’s content was so late, I had to conceive, plan, and execute in twelve hours time.

final paper detail


ceased seeing printed collection

attribution and still be considered comics?

thanks to the poor narrative arcs

课作业 The 30s

of pretty girl comics, thus ending development on page layout and

placement before it even began!

secondly, the experimental days of krazy kat would’ve been eaten alive by the other major character of the

1930s....

CLASSWORK

in scott mccloud’s understanding comics, a thorough analysis of the meaning behind panel variation is discussed. the choices of an artist in both layout and articulation contribute to the comprehension of time and space within a work. in this example, the absence of line and the utilization of excess negative space implies length.

blondie. despite placing the

topffer’s originally swedish obadiah oldbuck was a best-seller and spanned four graphic novels of forty pages each. pioneering both the confusion between illustration and comics and the image/caption style, obadiah was a dark, adult story, using heavily detailed inks that wouldn’t be seen again until wally wood’s inking during the 1950s inking rennaissance.

despite being seen as the first comic by some historians due to initial use of stylized dialog attribution, outcalt’s yellow kid still found typographical anomaly despite the pervasiveness of comics, in the still forming standards of comics. one of the design specifically for the genre most popular characters of the time period, yellow remained unaccounted for. a majority kid never spoke outside his shirt, a direct satire on of early comics, such as obadiah and advertising of the era. yellow kid, and illustration, such as this panel from nellie bly’s book about her internment in an asylumn, differed only slightly in actual composition.

pretty girl strips, the organization of syndicated comics were variant panel layouts and adventurous comics like

horizontal conditions and boring, uniform lightsources. line was used with little distinction, ink the standard were encouraged to place characters and dialogs in expected formations to mirror expected content.

two’s courtship eventually lead to a blockbuster marriage.

notable advances in panel design occurred in

the thirties, fifties, eighties and nineties. authors known for their panel layouts include jack kirby,

blondie did two things for comic

design: first, blondie successfully

grant morrison, alan moore, frank miller and matt fraction. wally wood created the handy diagram to

finished newspaper comics’ redefinition as comic strips, typified by dialog

the right of various panels and their consistent utilization throughout comics as a whole.

separate consistency in emotion or

secondly, it finalized a

the affairs of jane typified a genre meant to distance comics from the look and feel of antebellumera content, but also became the design standard for comics from 1921 until the advent of superman.

of notable interest in the

panels to the left is line, used to

inks with variable line widths.

newspaper comics. through the affairs of jane and other

without much variation and negative space ignored. artists

millionnaire heir dagwood and the

balloons, horizontal, three- panel

artist named murat, that began to codify standards of

krazy kat, in were straightforward set- up, joke, punch - line

To Dan, whose put up with every atrocity that anyone ever living with a graduate student has ever experienced, including but not unlimited to chronic paper meltdown syndrome, projects until seven a.m. mania, can’t you draw this for me-itis, passive aggressive how-come-you-don’t-have-to-do-this disease and his personal least favorite: “I thought I told you about that? I must’ve, it’s obviously just your memory,” post-traumatic graduate disorder. And never received any thanks for it. And still hasn’t, unless he somehow reads this one day. spreads and detailed, black and white

by the nea syndicate in chicago with a young

was defined as a three - four panel horizontal spread. out

a flapper girl, blondie fell for

stylization not always using word

it was with the pretty girl genre, developed in

1921

final nail in newspaper comics’

coffin, blondie saw the blessed

end to pretty girl comics. originally

to block out spatial recognition.

growing trend seen in the banal

wally wood was vital to the

pretty girl comics and cemented

resurrection of line as an element

when superman blew the roof off of

previous conceived sequential notions.

to comics construction.

comic strips were for standard,

reliable, conservative design and layout; comic books, and comics proper, would be the playground for any advents in design.

inks historically have been forgotten in comics as both a design element and a crucial piece

in pacing a work’s artistic integrity.

a hist o com des

Also to Dennis Stovall, Abbey Gaterud, Bradi Grebien-Samkow, Linda Meyer, Vinnie Kinsella, Todd Stattersten, Amanda Gomm, and Michael McGregor, who’ve all put up with me in their classes, their meetings, or their office hours and somehow still thought I had a brain afterwards. it wasn’t until wally wood’s work

that the comic world realized that

课 作 业

if line could be integral to art and design, it was doubly integral to a medium that depended on line to deliver half of its meaning.

just because ink got a bad

rap in the past doesn’t mean it’s

all roses in the present, however. the bland, one - dimensional ink of the thirties and the elegant ink of the fifties-- neither of these styles became codified definitions in comic design.

34 steve ditko entered mainstream publication through ec comics and as artist and inker produced the two dr. strange pages in this column. experimenting with interior deconstruction, steve ditko followed the footsteps of classic horror comics and focused primarily on moody blacks and intense lighting when building a page. although the sixties saw little growth in any part of the comic design world, it did see ditko’s experimentation in several off-the-path titles.

the 60s

To Poppy, Alyson, Tina, Travis, Mandi, and Kat, in no particular order, for all at some point being partners in various department crimes. jack kirby continued to set the gold standard in innovation while finding himself brushed aside in both by-lines and attribution. if the sixties served for anything in comic design it was to underly how much the industry did not understand itself: it continued to see itself as a syndicate run entity, with grunt-workers producing a greater, supposedly cohesive vision that no longer existed. the tragedy of kirby’s great work is that it is forever lost, and further that its contributions to both comic and the design world at large will never be entirely realized.

ink

And to Ooligan, damn you, I’m through with you! Good riddance, thanks for zero real fish, and maybe all the memories, but only the copious good ones.

book design &production

comics’ selective memory can be seen above in tony daniel’s work on the current

batman. what was wally wood’s intention of delivering texture and the implication of light, movement, sound, and mood have been turned into unending cross- hatching and overworked white space.

as a counterpoint, joe rivera’s

pressure. utilized only on captain america,

his shield and daredevil, the blacks in this

scene draw the eye to the real issue at hand and disregard the other beautiful details in the panel . can you guess the situation even without dialog? easily, because the inks draw your eye along the right path. daredevil is stealing cap’s shield.

watchmen is notable in design for two reasons beyond its already revolutionary (and slightly insane) parallel layout. the first is the utilization of extreme saturation and desaturation, a technique commonly avoided when using a separation guided color process. second, watchmen depicts unfit and unwell characters without exaggeration-something the imageconscious comics community had yet to accomplish.

the 90s

^ esse

final paper the whole shebang

work on the current daredevil run

is not only elegant, it’s minimalist in its use of blacks to determine mood and

by j

watchmen uses several old and obscure properties from dc comics to paint a distressing picture of the future, when time and being a hero collide. moore also brings about the generation of the control-freak writer. though not an artist himself, moore controlled the design of his work from start to finish. he dictated line width, color, and panel layout, and drove more than one artist to vow never to work with him again.

THIS THING IS HUGE. It’s 48x36 inches, originally meant to be a broadside but I need to tell you I am not so good about laying out broadsides. So just put the WHOLE DANG THING in here.

animal man illustrates an unrealistic coloring process to underline the comics disregard for the fourth wall.

lynn varley’s nuanced browns in this page from the dark knight returns would be lost without high-quality digital print.

prior to the nineties, color used to have to be printed in

four successive c-m-y- k runs on the same page. the nineties

saw the introduction of efficient and inexpensive digital color and so destroyed the traditional separation color prevalent in previous comic design, along with the limits that imposed.

separationists, who’d just

managed to get a by- line for themselves in works like the

invisibles and sandman, were

suddenly out of work, but in their stead a veritable color rennaisance began. works like elektra lives again and the dark knight strikes again capitalized on

digital printing, allowing for a watercolor production.

it’s also in the nineties that artist dave mckean both flourishes and exits as a comic

creator. his multimedia, textured

col


the 50s

it occupied six to eight pages in the newspaper, giving comic strips a run for their money.

课作业 CLASSWORK

a collection of early forties titles shows exemplary creativity and conformity in what was a weekly, hand-lettered task. the hand - lettered title had

become a mainstay in comics, and thanks to the likes of kirby and eisner titling continues to be a major factor in designing a brand for comics.

the 40s )

left: jack kirby’s departure from marvel and subsequent scooping-up at dc produced some of the strangest material comics had yet to see. omac, pictured here, possessed elements of 70s appropriated funk and throwback horror with sometimes disatisfying results.

am

a tory of mic sign

the 70s

(m

ain

st

re

top right: neal adams’ batman explores the late 70s fascination with panel building and psychedelic, desaturated coloring.

mckean’s attention to color theory and encompassing bleed stitches together a potentially boring scene.

lor

the spread, and subsequently the

splash page, has no real root. its

capitalization, however, can be traced

once again to jack kirby. outside of title

pages, full page utilization was considered faux paus thanks to panel considerations and timing dynamics. it wasn’t until kirby proved a full page could be interesting regardless that they began to take hold in comics

proper. from a design aspect they provide

frank miller’s 300 is not only full of spreads, its page layout is 11x17. when a spread, like the one pictured above, does appear within the work, it’s 32 inches long! the delivery of sparse detail regardless of its size is part of what makes 300 a classic. the vast emptiness mimics the shallowness of the lead characters’ motivations.

top right: stan lee and jim steranko’s my heart broke in hollywood followed trends in 70s color design to great effect, combining the iconic, lineless look of posters and distribution in the era with flower-power color schemes and bold, blocky inks.

the most flexibility in text placement and color coordination,

while minimizing content

degredation. modern spreads

there is literally nothing that doesn’t have jack kirby’s progressive presence in comic design and the artform’s cohesion. here, kirby not only presents a classic splash, but early introduction of multimedia collage.

are utilized to easily handle great

bottom right: sal buscema represents another facet of the 70s, clinging to older anatomy and ink and pairing it with intense colors to match the generally conservative message of conan, the barbarian.

spans of action occuring in the

blink of an eye, to make a scene

feel quiet, to provide explanation and clarity to a difficult visual concept, or to introduce a new location into the story.

the spread

for what the seventies lacked in innovation it made up for in shlock, producing an

outstanding number of titles that artists,

historians, and literature buffs yawn at today. what little that is rememberable about the seventies in

comics is mind - blowing, and is the first time comics can be seen to truly follow design trends from

cross-media sources. depicted on this page is my

heart broke in hollywood, one of the first comics to directly identify itself with the art movements of its time. laymen and experienced comic readers alike saw its color scheme and translated the seventies, whereas previous decades of production had a timeless, sometimes nerve - wracking singularity to their design choices.

separation color, even in the sixties, was still capable of remarkable depth. the city’s shades are exemplory.

and now? the 00s the oughts saw the

reinvigoration of panel

exploration, primarily lead

by brian michael bendis. now

writing an obscene eight titles

for marvel, bendis cut his teeth

writing absurd panel layouts like the layout at left in the indie superhero comic powers.

a paper-clipped works cited!

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35


课作业 CLASSWORK

Ooligan Customs Profitability Book Publishing Model

课 作 业

PAGE COUNT MINIMUM BUY-IN

272 250

PRICING/SALES ASSUMPTIONS TABLE Unit cost (production) CLIENT COST

2.01 9.00

sigs

count

pp

INCOME Rights Income Other Income DIRECT TO CONSUMER SALES Donation TOTAL REVENUE PROJECT EXPENSES PRODUCTION Printing and binding Shipping Editing Prep & design Rights Contracted services Miscellaneous costs Inside art Cover art & Seps PRODUCTION EXPENSES

36

publications management

My group in Pub Management developed the Ooligan Customs imprint, which was officially adopted in Exec the following term. Though currently no Customs projects are running through the press, I feel the project was a roaring success.

ooligan customs pnl

INSERTION OF MARGINS Preferred Profitability Margin MARGIN COSTS

2,250 2,250

503 55 0 0 35 0 593

1,000 1000

MISC. COSTS Labor and supplies Storage TOTAL MISC.

500 0 500

TOTAL REQUIRED INCOME

2,093

CUSTOMS THRESH-HOLD MET?

YES

IF NOT, SUGGESTED PRINT-RUN:

N/A

PRELIMINARY PROFITABILITY GROSS PROFITABILITY

157.50 1,157.50

To find the breakeven point on sales: Set estimated percentages for all categories except Promo & 0.03825 Distributor. Use Goal Seeking to get a Project Net of zero by changing the percentage of Promo/ damaged/unsold. This calculation also changes the Author's Pay during its iterations, since that cell is dependent on the total number of copies actually sold, rather than the total of the print run.


lyza the hot-dogbitch: monolog

She looks like she’s seen the better side of an elephant stampede. Hair as fried as the onions she sells. Who did her make-up, anyway? Some color-blind asshole let her out the front door like that! “Would you like relish?” Her thick mahogany voice offends, doesn’t it? Like you’ve become a pancake, just drenched in the shit. Lyza presses her bangled hand to her lips and waves towards us, her sagging boobs bouncing underneath adorned silk. The scarf just eats her neck up, leaving a mop of graying curl and her fine-line-less face above the cotton. If you want to go over, I’ll go with you, but only if you want to go. I won’t even begin to dream about attending to Lyza the Hot Dog Bitch without a high school reunion. Of course she’s already seen us. No chance in hell she hasn’t, and she’ll talk about that shit for weeks. ‘Terese and Felicity walked right by me,’ all goddamn molasses and butter. ‘I couldn’t understand it. Have I done something?’ Yeah, you did something. You took a Harvard education and sold hot dogs. You took the football captain and sold hot dogs. You took gold hoops and boob jobs and sold hot dogs. And you still smile about it. Going over? Really, Terese? Fine. But if you think for one second... oh hi Lyza. You look amazing.

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37

grammar for publishers

Vinnie’s class was quite enjoyable in reminding me that I could write, and maybe should sometimes, as well as reinforcing ideas of rhetoric. This is one of two pieces selected for publication, focusing on dependent clauses.

writing sample


课作业 CLASSWORK

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38

writing the graphic novel

I had the pleasure of auditing Bendis’ comic class, where our final was the Sysiphean task of writing and drawing a twentytwo page comic in roughly a month. Sam Finds Victory focuses on the struggles of a trans teen in urban culture.

final comic “sam finds victory”


课作业 CLASSWORK

While working on Ink&Nail, our EntrePub pitch, I used the skills that Todd instructed the class to develop the grassroots image of what The Committe Building would become. (sorry, Travis and Gayle!)

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39

entrepreneurial publishing

Though the common conception of my group members is that we abandoned our work in Entre Pub, it actually served as an incubator, providing me valuable resource and research time as I developed my comic press.

lean canvas


课作业 CLASSWORK

MARKETING PLAN: MARKETING PLAN:

Publicist: Jesse Snavlin

Publicist: Jesse Snavlin

Title: Do Everything Ever.

Author(s): Dan Schkade, Anastasia Kraus-Marston, JD Smith, and Jesse Snavlin

Title: Do Everything Ever.

Contact info: jessesnavlin@gmail.com Site Description: The Committee Building collects web comics that determine genre rather than adhere to it. We

attempt to create a place in-between the stringent confines of the Comic Book standards, where superheroes and real Author(s): Dan Schkade, Anastasia Kraus-Marston, JDdriveSmith, JesseFeaturing Snavlin life tales are united by their to reinvent theand current formulas. the supernatural noir The Private Files of

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40

Contact info: jessesnavlin@gmail.com

The Fowl, the glamorous pop-colored superhero romp The Adventures of Stop and Go, and the neon crime drama San Hannibal, the Committee Building is driven to provide the most startling, integrative content, from crisp, individual dialog to luscious, distinctive art. Cup of Comics - Organized around talent that cooperates with each other, both storywise and advice, but is much more stapled together than The Committee Building, choosing to promote one collective rather than individual titles. These Categories: Comics, Webcomics, Art, Literature, Noir, Camp, Pop titles have hard endings, and rotate regularly. Despite this, content is closest in variation and personality to TCB. Format: Digital

Audiences: that Three Customer Avatars, and then a generalized audience list.than adhere to it. We Site Description: The Committee BuildingIllustrator: collects web comics determine genre rather Anastasia Kraus-Marston, JD Smith, Kenny Gordon, et al. - Doesn’t like to read comics from the comic shop because that makes them a nerd, but it doesn’t mean that this guy’s stopped loving the graphic novel; he just can only read Habibi or Maus or Locke&Dagger or the ever-trendy and real attempt to create a place in-between the stringent confines of the Comic Book standards, where superheroes Illustrations # (color/b&w): All color. webcomic to get by. This 20-something guy wants to be reading the newest, coolest, and most underground of comics to both satiate his lust for the campy, superhero of yore but also to help promote his newfound cool image. San Update Schedule: One new page offormulas. the three comics M-F,Featuring starting August 15th.the Mondaysupernatural - Stop and Go, Tuesday - The life tales are united by their drive to reinvent the current noir The Private Files of Hannibal is his favorite, but he thinks S&G is going somewhere. Fowl, Wednesday - San Hannibal, Thursday - The Fowl and Friday - San Hannibal. - Has been a devote follower of the superhero genre for years, but she’s angry about DC and how it handles its The Fowl, the glamorous pop-colored superhero romp The Adventures of Stop and Go, and the neon crime drama San characters, she’s angry about how women are always short-shafted, she’s angry about how comics is always claiming Imprint: The Committee Building, LLC. bankruptcy while simultaneously refusing to update its writing model... she’s angry, and she’s turning to web comics Hannibal, the Committee Building is driven to provide the most startling, integrative crisp, individual and small publishers to help validate her idea that comics iscontent, still viable. She’s from probably twenty-five or older to have Pub date: August 15th. developed such jadedness. She adores The Fowl, because “it’s Batman, except with respect.” - Spends most of their time on the internet, roleplaying, chatting, living their life isolated. They’re part of fandom and dialog to luscious, distinctive art. ISBN13: ISBN0-9999999-5-5 are looking for universes, ones that haven’t been exploited, and that can be occupied by their own characters and ISBN0-9999999-5-6 ISBN0-9999999-6-9

twisted and imagined and recreated. They want systems and structure and a story that’s strong inside. This person’s been a fan of Game of Thrones, Firefly, Harry Potter... whatever it was, this person knows everything, down to Blaise

Zabini’s lines in the seventh movie. S&G’s obsessive compulsive attention to world-building appeals to them, List Price: $2.99 per 22 page issue, $15.99 per Pop downloadable graphic novel, $24.99 per print volume. Categories: Comics, Webcomics, Art, Literature, Noir, Camp, because the characters don’t have the boundaries that mainstream superheroes do, and the world doesn’t have to be theirs. Print run: Unlimited. Digital. POD of any collected volumes.

Format: Digital

Generalized Audience List Book Code Book Title Abreviation: TF - The Fowl, S&G - Stop and Go, SH - San Hannibal (or SanHan) - 15-30. - Educated, hobby-readers. Other books by author: Dan Schkade - The Private Files of the Fowl, Volume 0 - Students or self-learners. JD Smith - Acrobat, Volumes 1-30 - Hipsters Kenny Gordon - Red Silence, Volume 1 - Otaku; otherwise known as “fans” or “fandomites” (“I’m a Noir fan,” “I’m a SuperHero fan,”) - Netizens Competition: TopatoCo - The biggest collective in the game. Takes 50% of royalties from any merchandise or books - Roleplayers sold in exchange for membership. Has an enormous platform that it can wield to do such things. TopatoCo doesn’t - Comic Professionals allow solicitations. The content on TopatoCo trends towards humorous and absurd, meaning the seriousness of TCB’s - Comic Writers and Artists titles have a leg up. - Would-Be Solicitors Act-I-Vate Comix - High quality, topical, adult-oriented material with enough humor to keep the readers from - Mostly Female committing suicide. Direct competitor. Has several writer-artist works, and authors work on multiple projects.

Illustrator: Anastasia Kraus-Marston, JD Smith, Kenny Gordon, et al. book marketing &promotion Illustrations # (color/b&w): All color.

Markets:

1

Author Resources (friends,15th. family, professional contacts): Brian Michael Bendis, Sue DeConnick, Update Schedule: One new page of the three comics M-F, starting August Monday - Stop andKelly Go, Tuesday - The Strongest selling feature(s): Batton Lash, Michael Avon Oeming, Brian Glass Though our third title San Events (Meetings Associations): Stumptown Comics Fest, Emerald City Comic-Con Noir, Crime, Fashion andand Pulp oriented work. Currently becoming an it-trend. Fowl, Wednesday - San Hannibal, Thursday - The Genre/subject: Fowl and Friday San Hannibal. Author: Dan Schkade: Friendly and good-looking, also has a growing amount of clout as a voice in Indie

Hannibal was eventually sold to a different press, the basic Imprint: The Committee Building, concept of The Committee Building was ready for launch Pub date: August 15th. in August with the help of my Spring classes, and we actually ISBN13: ISBN0-9999999-5-5 do follow our marketing plan

ISBN0-9999999-5-6 ISBN0-9999999-6-9

LLC.

Media: Comics. Anastasia Kraus-Martson: Knows nothing about Comics but EVERYTHING about Star Wars. Also a Radio: PodCastPublishing with Authors and Artists, talkingSeveral about Comic Industryin and titled “Consensus Via charming Southerner. Jesse Snavlin: degree. JD Smith: connections theProduction, web comic Committee,” airs Biweekly. world. Websites: TheCommitteeBuilding.com Tie-in with Holiday: Special holiday stories Blogs: danschkade.tumblr.com, interspacing.tumblr.com, jessesnavlin.wordpress.com, ComicsAlliance, Message to reader: We care about what you think about. We want to stimulate you, and we want to partner Newsarama with your imagination for good. The Committee Building Facebook: Value to other Writers: Examples of how to do it right, but also a friendly, communicative staff that will always Twitter: tcbcomics MySpace: NEVER. work with others. Series Information (titles, pub dates, etc.): The Adventures of Stop and Go, 12 Graphic Novels, begins August 2 15th. The Private Files of the Fowl, ongoing, no direct end, potentially four parts, starts August 15th. San Hannibal, 5 issues, 22 pages each, issue one previously published, begins again August 15th.

Key selling points: THE SHORT LIST Providing fresh content unlike anything in the market place; constructed with attention to detail, with no single-author works; full-color books; content will never be for-pay only; low-ads; attention to feminist realities, minority issues and glbt culture. SPECIAL OTHER DETAILS - Dan Schkade has been interviewed by both ComicsAlliance and Newsarama as one of the best upcoming Webcomic authors this year. - JD Smith has received several awards and professional pitch contracts for his innovative art style. - Release coincides with several Superhero movies, a prime time to introduce new comics to readers. - Launch occurs at the start of several midwest college semesters, allowing for new content for an easily distracted populace.

marketing List Price: $2.99 per 22 page issue, $15.99 per downloadable graphic novel, $24.99 per print volume. plan

Print run: Unlimited. Digital. POD of any collected volumes.

Special marketing opportunities: Due to the completely digital nature of the work, several opportunities in a more

gorilla sense are available. Interviews and cross-population are easy, as well as release of promotional art. Book Code Book Title Abreviation: TF - The Fowl, S&G - Stop and Go, SH - San Hannibal (or SanHan) Special emphasis as (X) Digital PDF STRATEGY/TACTICS: Other books by author: Dan Schkade - The Private Files of the Fowl, Volume 0


课作业 CLASSWORK

sun see hung

This toilet has attendants. Every day, toothbrushes, razors, combs, and hand soaps, compliments of our hotel, are reorganized to better suit the porcelain. There is a wicker basket, emptied daily, by its side. They have mixed our personal affects into the compliments’ ornate wooden box. They have made a presentation out of it. They have folded the toilet paper into a triangle. They have freed the blue tiled floor of any guest towels. They have politely left a note: “Please do not flush paper. It will destroy toilet.” I teach English a twenty minute’s walk from the hotel, Jinhuidafandian. At Xinjinzhongxuewaiguoyushiyanxuexiao’s, or Xinjin Foreign Language Science Middle School’s, toilets are stall-less, porcelain coated holes in the ground; Toyo brand; flushes. I’m telling you: your ass is just hanging out there, and you gotta secure yourself on the piping, facing the wall, hike your panties forward between your legs so as not to piss on ‘em, and certainly, never, and definitely don’t go on level one. The bathroom floors are uneven, eaten through; shit and piss from floors 4 through 2 coagulate in floor one’s crevices. After school, I’m sometimes offered rides by total strangers, just so they may have the pleasure of driving a Western. During school, I hide on the second floor, only go during off period, and hold my breath. Michael, our tour guide, takes us to the Jade Factory. Here, it’s apparently a four-star. We skip the cloned saleswomen and slip right to the bathroom in the back. Individual, deep mahogany stalls with pale turquoise tiles, shining white grout. No stench. Toilet paper. Hand soap. In the waiting area for both women’s and men’s a defunct aquarium with a lobster lies, poorly lit, a foot from the two hand-washing sinks. We agree, the lost star is completely the lobster’s fault. Qiba, revolutionary, creates Qibagongshi, revolutionary struggle, which is characterized by The Red Age; Qiba is also part of luanqibazao, meaning mess, and also the name of the first Chinese bar I find in Sichuan. I’m drunk off housemade plum wine and imported Laotian stout, pissing into my shoes while trying to squat over their angled, grout-soiled toilet, and maybe that’s what they all

课 作 业

41

forms of nonfiction

Our final was submitting for publication in Brevity, and just before finalizing this portfolio I received my rejection for Sun See Hung. “You made it to the final decision. I’m not sure if close but no cigar helps, but please submit again.”

final “sun see hung”


课作业 CLASSWORK

had, all the patrons who have left their photos on the walls; alongside revolutionary slogans, news articles, vintage photographs, mock propaganda, real propaganda, real printed chastisement of mock propaganda, party member portraits, hand-scrawled memories, messages, and diatribes, scribbling, looping, sliding, trickling all the way down to the beige plywood square surrounding the porcelain, shit-stained hole. I’m trying to write something: I’m too drunk, fuck—“xiexie, Xinjin, nimendoushihenhaoderen. woaisile.”—subtitled, it hardly translates: “Thank you, Xinjin, for having us. I hope we Americans aren’t too selfish” … No toilet paper here; only two bloody maxi pads in a wastebasket.

课 作 业

Our last full weekend in China, we are shown a five-star bathroom at the Sichuan Wild Panda Reserve. Japanese toilets, with buttons ranging from bidet to warmed butt-massage. Foreigners clog and queue, for these are by far the fanciest toilets in all of China—two-ply toilet paper, automatic faucets, and koi fish in monolithic aquariums.

42

(I’m certain the damn building itself is some couture fetish: bricks of marble surrounded by impossibly saturated emerald bamboo. Stalks and stalks of it, culled and straightened, held in lines by a man-made creek.) forms of nonfiction

Sun See Hung is Cantonese slang I learned while living in Xinjin, Summer 2012. It describes the phenomena of “that which is novel because it is new,” or something that is cool only because it’s foreign to us, like Chinese toilets.

final “sun see hung”

A woman scrubs her flannel shirt in the hand-sinks at The Great Wall. We watch. She is a merchant who sells Tsingtao for 20 yuan at the top of mutianyu. Smells rotting, digestive. The western toilet? Out-of-order. The squatting toilets: walls in plaster-of-toilet-paper. She wears a thin white undershirt and a wide, unraveling straw hat. Their restroom is in the corner of the bedroom, behind the kitchen; a small closet with a triangular hole. The house itself is forty miles and an unreliable van out from Xinjin. Dinner will be laoya, old duck, alive nine years and counting—alive through school, childhood teasing, friendly begging, kept alive because old duck is more delicious (duh!), and what if someone important comes?—is that me? I set either hand on either wall and steel myself, staring down the open triangle to the world of fertilizer below. It’s just me, breathing, cantonese slang and mahjong’s hearty laughter, and that duck that lived nine years for me’s incessant quacking.


项目管理

PROJECT MANAGEMENT

如果,在第一次普罗斯我来了,你告诉到我了: if you would have told me at that first props i’d end up the fool volunteering for ppp, well! My history with Project Management—(and department work in general)—has been shrugging and picking up the press’s sloppy seconds. I’ve always figured in the professional world you’re not going to get to choose what you do nor the history of those before you, and so experience is experience is experience. But I had a feeling PPP was the devil project from the moment I stepped into PrOps, and if I had even an ounce of self-preservation, perhaps I would’ve remembered that entering into my graduating year. As I lay out this graudate portfolio I’m still negotiating fires. The odd part is the book itself is a glowing beacon of community support and affection, despite this negative juju storm. And if I could summarize all that I learned from Project Management in Ooligan, I’d make this little list: 1) I’m not the best at it but 2) If you’re not the best at something it never matters so long as you actually care about the results and 3) those that don’t hold themselves accountable aren’t ever going to make it in this business, so I shouldn’t sweat them and also 4) I better start practicing because 5) pride’s got no place in a collaborative effort, ever.

(but one last idea: project management could be made more attractive if we had hr reps present on how hireable it is...?)


项目管理

PROJECT MANAGEMENT

项 目 管 理 46

rethinking paper&ink

RPI was my first attmept at Project Management, and if I could go back and change anything in Ooligan, it would be how I handled being treated as a silent partner. It did teach me my own brand of assertion that was invaluable, however.

spring twentyeleven


项目管理

PROJECT MANAGEMENT

项 目 管 理

alive at the center alive at the center

Temporary insanity reminded me that I hadn’t actually had a satisfying PM experience at Ooligan, and ATC needed help. Bad. This project, with all the effort and anguish involved, better break even. It’s the least it could do for all its victims.

contemporary poems from the pacific northwest

fall to winter twentytwelvetwentythirteen

47


室内设计 INTERIOR DESIGN

我就业了做室内设计因为我说谎 i got my first interior design job by lying, believing my photoshop experience was enough. Metro State needed someone to pick up design duties on their literary journal, and my ability to color with a mouse in photoshop convinced me, oh, naive, young little me, that I could do it. With zero training, zero design experience save for some clumsy websites, and a lot of “what the fuck did I do to myself,” I put together my first book over the course of three months. I did it three more times and caused several murmurs when I revealed my selftaught savante to the Intro class at Ooligan. I was honestly surprised. I still am, actually. But lo and behold, I’d somehow taught myself to do it, and I’d somehow taught myself to do it well enough. Without ever setting foot in the Design group I was selected as an Interior Designer, with Krys Roth helpfully fixing the things I wouldn’t be in country for to finish. Thank God for Abbey’s class (and the much more professional Krys Roth. One day, I’ll grow up. Swear.) You never, ever realize how much of InDesign is just impossible to learn without someone way better at that shit pointing it out. (the first book I ever designed was landscape layout, against my choosing. The second, 8.5x11, I was so traumatized by landscape. I stayed within common trim-sizes up until Ooligan—where whenever I’ve had a choice, I’ve picked square.)


室内设计 INTERIOR DESIGN

室 内 设 计 50

ooligan close is fine

The interior for Close Is Fine is meant to reflect both content and title. The book is often about being just narrowly good enough, and so half-titles, full-titles and front matter were positioned as just almost uncomfortable angles.

interior design half-title


室内设计 INTERIOR DESIGN

ooligan close is fine

The cover image was greatly debated during the publishing process. It was determined masculine and attracting the right audience, but too close to the uncanny valley—by chopping it up, I hoped to push it into “awkward.”

interior design full title

室 内 设 计 51


室内设计 INTERIOR DESIGN

室 内 设 计 52

ooligan close is fine

The title pages were constructed to emulate the cover treatment, designed by the quite excellent Tristan Knight. They were created really ghetto-fab, however; CIF would be my hard lesson in being a clumsy designer.

interior design chapter title


室内设计 INTERIOR DESIGN

ooligan close is fine

Close Is Fine had two different problems over the course of its design. The first was a need for it to be slim, as it would be Lightning Source. The second I created. I managed to use the real estate too well, and had to find pages for extension.

interior design interior

室 内 设 计 53


室内设计 INTERIOR DESIGN

室 内 设 计 54

freelance the fowl

When Dan approached me to collect The Fowl’s early comics into one book I was still barely figuring out how to design Close Is Fine to a professional level—but I decided to give it a shot anyway, and the following pages hold the result.

interior design full-title


室内设计 INTERIOR DESIGN

freelance the fowl

The Fowl as a comic has always been distinguished by the dramatic blacks—so when putting together a design, I aimed towards balancing the traditional negative space of my sensibilities and the black, clean lines of Dan’s noir art.

interior design table of contents

室 内 设 计 55


室内设计 INTERIOR DESIGN

室 内 设 计 56

freelance the fowl

The entirety of The Fowl was laid in Walkway, again, another experiment in limits and motif—Walkway has myriad widths and thicknesses, and I mimicked the simplicity I remembered in the black and white noir films of old.

interior design section heads


委员会楼

THE COMMITTEE BUILDING

突然我意识到了什么贝恩迪斯说是真的了: and then it occurred to me that bendis was right: if you just did it, you were “in it”—no matter what industry. While I was at Ooligan, I had the opportunity to take a course for absolutely zero credit with Brian Michael Bendis. The PSU authority only allows so many graduate audits a term, turns out, and another Ooligan/Writing Department alum had already beaten me to the spot. Never the matter—Bendis let me in gratis, as long as there was a seat. The first class I took with Bendis he began something like this: “People often come into this class asking me to get them into comics, to get them into the biz— but I need to tell you something, no one ‘gets’ you into this biz. It’s not that kind of business. In fact, no business is that kind of business. You are either in or out, and what defines you as in and what defines you as out, what means ‘doing comics’ or ‘not doing comics’ is simple: you’re either doing it, or you’re not. So if you want to be ‘in’ comics it’s the easiest thing in the world. You simply do it. Write, produce, and publish—congratulations. You’re in the biz.” And now I am both publisher and writer at thecommitteebuilding.com.

(As you’ll see, it is impossible for me to have even dreamed this venture without Ooligan.)


委员会楼

THE COMMITTEE BUILDING

the committee building

委 员 会 楼

The Committee Building is the last section in this portfolio because it is also the sum of all of my Ooligan parts. The work collected in this portfolio was selected to reflect the lessons learned towards launching this singular venture.

60 website front page


委 员 会 楼 61


委员会楼

THE COMMITTEE BUILDING

All comic lettering for the committee building I’ve done myself, which has been quite the adventure, as I was illustrator illiterate prior.

the committee building

委 员 会 楼

This was the first time in my life I hadn’t just designed myself. Being a client of a designer is hard, stressful work. Clear communication was critical—I wanted Amanda to have the freedom to create a design she loved as well as one I needed.

62 website stop&go


委 员 会 楼 63


委员会楼

THE COMMITTEE BUILDING

the committee building

委 员 会 楼

The Fowl’s relaunch as a co-written title has been the trickiest part of the creative end. In it, several levels of collaboration, and two different departments, had to be navigated—thank god for that Operations work.

64 website the fowl


委 员 会 楼 65


委员会楼

THE COMMITTEE BUILDING contract for (awesome) services rendered

The Committee Building, known as “The Committee Building” or “TCB,” agrees to enter into this contract with ARTIST, known as ARTIST on 11/23/12. For all intensive purposes, this contract applies to series The Fowl, also known as “the work,” created by Dan Schkade, written by Jessica Ann (“Jesse”) Snavlin and Daniel Thomas (“Dan”) Schkade. this agreement is based on the following provisions: 1. We are sensible people who respect our industry as well as the work we put out, 2. The Committee Building consists of three founders, Dan Schkade, Jesse Snavlin, and Anastasia Marston, but The Fowl is operated by Jesse Snavlin and Dan Schkade exclusively, and

the committee building

委 员 会 楼

Determined to take the education in Publishing I’d received and reform a broken industry, I aimed towards combining the best of both worlds. Creators have much more control and benefit in comics, but novelists get paid.

66 basic artist contract

3. This contract applies to all stories worked on with The Committee Building eight pages and under. Two-part segments (such as Segments 2 and 3, Arc 1, already published) are considered longer works, and as such require a separate contract. i. rights

a. Advertising and Marketing All work produced solely for publication on The Committee Building’s site belongs to both TCB and ARTIST. Both parties may use at their discretion for advertising and marketing. b. Print and Reprint With written permission from TCB, ARTIST may reprint any stories he has worked on with TCB, as well as submit for republication into any anthologies. Any monies awarded for such work shall be split according to royalty lines stipulated in Section II, Reimbursement.


委员会楼

THE COMMITTEE BUILDING

c. Digital Publishing TCB holds exclusive in-full serial first publishing rights to all pages upon a dedicated webpage. Stories may be reproduced in full with written permission from TCB, or upon ARTIST’s personal accounts on any and all social media. d. Miscellaneous Any unlettered art is exempt, seeing as it’s fully the property of ARTIST. TCB agrees to provide artist with high-quality lettered PDFs of each of his pages for distribution as he sees fit. In any other situation not previously covered in this contract, ARTIST may distribute his work, the pdf of any segment he has written, and the final lettered pages, however he sees fit. e. Characters & Story Rights Stories and shorts featuring the characters may be pitched to TCB at any point, and upon approval, may be produced independently of TCB with all credits given. Break from Contract-ese: Go ahead and draw whatever you want, whenever you want of any character and sell it, so long as it’s not a story. ii. reimbursement

a. Notification of Publication TCB agrees to notify ARTIST at least 30 days prior to all publication releases, both digital and print. The thirty days notice also applies to all Convention attendances. b. Royalty Schedule TCB pays royalties digitally, and pays on October 15th and April 15th for all works published prior to the September 15th and March 15th, respectively. TCB will send a digital e-mail of Royalty returns on October 1st and April 1st, and will send the money electronically to the payment method of ARTIST’s choice on the following 15th.

the committee building

Often, the assumption in the comic industry is that you work for free. Period. Currently, 95% of small presses only offer lump-sum one-time payouts on net profits, with zero other modes of compensation. When possible, TCB pays. Period.

委 员 会 楼 67

basic artist contract


委员会楼

THE COMMITTEE BUILDING

Royalties – Digital TCB will pay, out of 50% of total revenue, whatever percentage of the work is ARTIST’s work. See FIGURE attached to contract. EX: 1/7th of the digital PDF is art by ARTIST. ARTIST would receive 1/7th, rounded up, of 50% of the net revenue of this PDF. Therefore, ARTIST would receive 7% of net revenue. Royalties – Print TCB will pay 40%, following the previous algorith. See FIGURE attached to contract. EX: 1/7th of the printed volume is art by ARTIST. ARTIST would receive 1/7th, rounded up, of 40% of net revenue of this printed volume. Therefore, Adam would receive 6% of net revenue. Expected Editions Every segment will have an individual PDF worth 99cents, as well as be part of individual volumes. the committee building

委 员 会 楼

The contract is for a segment of The Fowl, which clocks in at eight pages. Industry standard for eight pagers, ink & pencil, is 240 dollars. This works out to less than minimum wage. Instead, we offer royalty shares for shorter stories.

68 basic artist contract

Convention TCB will sell any and all prints less printing cost provided to TCB at any convention, as well as market any books or volumes available from our artists. Work to be sold at convention must be sent to TCB either digitally or through snail mail to arrive ten days before expected Convention appearance. If TCB and ARTIST happen to cross paths at a convention, ARTIST is welcome to avoid paying an Artist Alley fee and occupy a portion of their table, guests of TCB. Proceeds from Convention sales belong, less printing costs, entirely to ARTIST, and will be paid within ten days of Convention’s end, accompanied by an e-mail statement.


委员会楼

THE COMMITTEE BUILDING By signing, you agree to abide by terms of the agreement set-forth. Digital Signature is agreed upon by all parties to be valid, including Full Legal Name and Birth-date.

Signed: Jessica Ann Snavlin 05/27/1985 Daniel Thomas Schkade 03/24/1990 digital

Individual Segment Minimum Royalty: 50% Formula: 1/x(1)/2 Graphic Novel Minimum Royalty: 7% Formula: 1/x(1)/2 print

Graphic Novel Minimum Royalty: 6% Formula: 1/x(.8)/2

the committee building

委 员 会 楼 69 basic artist contract


委员会楼

THE COMMITTEE BUILDING

the committee building

委 员 会 楼

We have 0$ in Marketing and an operating budget that relies entirely on carefully cultivated student loan overages and two jobs while in grad school. We market digitally, primarily on Tumblr, where the comic fans live.

70 marketing sample


委员会楼

THE COMMITTEE BUILDING

And now, a moment from our sponsor:

you didn’t ask for your flaw! It’s a fact of life! Since tender years, we have each had lives enhanced by a unique, wondrous power — and tethered to an ugly, unwarranted FLAW. What hand has the eye dealt you? Hideous avian visage? Humiliating clumsiness? Falling hopelessly, tragically, jealously in love with anyone who shows you the barest human kindness? And more importantly — do you think that’s fair?

professor-doktor emil truth says no! The most trusted name in flaw-elimination therapy is back from Re-Po and ready to help! Using highly scientific methods perfected by years of research and testing, professor-doktor truth’s treatments are safeer and more reliable than ever before. So excited and confident is professor-doctor truth in his new treatment, the first installment is free with signed mail in one year contract! Villains who recommend a friend, family member, or trusted surrogate receive an additional free installment!

the committee building

Why delay? Why live in shame and discomfort for one minute longer? say no to your flawed half-life! Say yes to professor-doktor thruth! We now return you to your sonogram.

On the TCB Tumblr we post unlettered art followed by world-building prose, as well as announcements for the website. The TCB twitter follows the same blast&viral attitude—after our first convention in April, we’ll target 4chan specifically.

委 员 会 楼 71

and so ends issue 1 of stop and go. issue 2 starts march 1st. get ready! marketing sample


未来

THE FUTURE

未来属于那些相信自己美观的美丽 the future belongs to those who believe in the beauty of their dreams - eleanor roosevelt You may have noticed a dedication to perhaps unpopular sentiments in this portfolio. I’m not the type to mince my words. I’m not sure at the stage I am in life, nor at the stage this program is in its inception, that I’ll see much success in the publishing world with only my training here under my belt. But the underfunded state our program lies in prevented me from taking on many unpaid publishing internships. I think a lot of our graduates go on to do amazing things— —and just as many end up in mid-level, low-paying jobs for quite some time, a combination of the disorganized, underfunded, and henpecked form that Ooligan is in right now, the economy, and whether or not the individual learned Ooligan’s most important lesson, self-motivation. I’m not deluded. I’m going to be the latter. But I’m going to be the latter only after failing spectacularly at every attempt to do it my own way, and I think that’s the best outlook any graduate program could possibly instill in its students, especially one as daunted as Ooligan’s. If nothing else, I’ll make 40k a year, pay off my debts by the time I’m sixty, and sometimes visit China. And I’m okay with that.


who cares

who cares? did you learn something? did you try? try?

你 尝 试 很 难你 吗尝试很 ?难吗? 是是够 够资格是 资真的好 格啊 是 真 的 好 许 诺

谁 在 乎 呢 ?谁在 你乎呢 ? 学你学到 到了什 了么?你 什尝试了 么没有 ?? 你 尝 试 了 没 有 ?

really hard?

you tried really hard? then that’s good you sure about that? enough look, it’s really okay. promise. okay. i believe you.


Portfolio du Jesse  

yes. it is done.

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