Troy Winscott

We as indie artists are influenced by art that isn’t in museums or any of the traditional places we expect to find art. (Such as product consumption to purchase art).

If you drink enough Pepsi you get a decoder ring. The very definitions of how we view art and why should be looked in to.

If there is a space/place that artists have not enter into and an artist enters them, often there is a question of why the art is there at all.

I don’t see it that way at all. I see that there is a possibility to enter here… and all the spaces that haven’t been entered we should be entering them.

And there isn’t really a sell out in the aspiring to enter the space or if the artist that wants to enter that “arena” at all.

It has been suggested that we already know how to do the art of our trades; we should be looking at the study of the space in which we present the art.

Where it will have the most impact.

If are art is not being directly influenced by traditional settings (such as museums, radio, churches, corporations, etc.). Why do we feel rejected or aspire to appeal to these institutions when we submit to them.

Since people place and things in our immediate surrounding are influencing us, we should consume each other’s art, music, and literature not throw our money to these faceless institutions. This is the Art of the lowest common denominator and settled mediocrity. Supporting each others work.

It is easy for people to be bought and sold.

The 60′s revolution is a good example of this White Revolutionaries vs. Black Revolutionaries.

The black peoples revolution/social change were more invested and knew the white hope-the American dream is a lie. Always having to come full circle and reinvest in the black community. There is no illusion that you are going to get ahead because of your skin color. Not that all people judge skin colors. We all just believe the green lie, the TV eye.

Now if these institutions were to bless you with their presence and offer you millions to make you a star that’s great and you should take every red penny they throw at you. And you would spend it to benefit you and yours. However you spend it, you will spend it! And the budget line will not have changed for indie artists. The support for indie artists has to come from indie artist consuming each other’s art.

We all like to see the “brush strokes”. That way we know it’s art.

I get snubbed by gallery owners because of the method (giclee) I’d chosen to deliver my artwork doesn’t fit in their “what art is” box.

I have created these collages out of a library of my own homemade clip art. I love collage work, but most of the time it is very time consuming for me to do, looking for the right images and colors or I find kind of the ideas I am looking for. So instead of cutting out all these images I decided to use these pieces as reference and draw the images I wanted to see. So I doodled a lot and have lot of these single or random images. Piles of this work stacked up. You name the image I might have it somewhere in a stack of papers or something close to it. In the beginning I painted and drew these individual images on everything (all kinds of card boards, papers, canvass, textiles, everything) cut them out and collage them all together. This was awesome, but it seem to be limited to me. Very time consuming. Looking for the right medium the right papers and very often than not you end up settling on for something that works. Then my wife and I ran across this girls work that was a lythoprint series that was originally a collage. This printed method tied everything together and still captured the feel of the piece. I wanted this print more than I wanted to see the original. I had already been starting to get some of these effects by scanning these random pieces in the computer and printing them out. I loved print media and had been in the screen-printing industry for years. So I decided to slowly start adding these in the collage more and more. However I ran into a bunch of prejudices right at Jump Street from the educated in art and even myself. So I held back and would only slip the “technology” in every once in a while. I saw other people slipping in digital art but their delivery was much better than my approach. My problems with delivery were still eluding me and my bias was still strong on what fits in the fine art problem.

Then I fell into the comic book industry for a several years. And they love technology, anything to make the process the smoothest and quickest possible. They didn’t care how you wanted to put it together, just as long as it told the story, looked good and meet the deadlines. “You want to paint it great, you want to do it all in Photoshop brilliant just make the deadline”. So I tried to collage these pages together in different issues and no one cared, because it meets the three things they wanted.

I have a lot of respect for people in the comic industry their work is great and it always takes a monumental effort of people to put these projects together. But they get and give a lot shit load of bias and rejections to the people that don’t fit in their box (not you indie guys). Which is really funny considering how much shit Comics got for being kids stuff and how much the comic industry fought to be out of the kids stuff box. The industry wants to be looked at as an Art form.

Comics are an art movement and force that demands and is recognized as art. However there is a tremendous amount of rejection in whatever field you choose to be in. So it is only the natural pecking order that the Comic industry demand quality when you go for the job.

More often than not when I would sit through a portfolio review and I would hear “your one of those guy that likes do every kind of everything (style wise)”. That’s because that is what I do best. Anything on detained. And because my “everything” approach doesn’t fit there “finishing panicles” title of their current project that some pencilers jumped ship on or the next “this style sells” box, you won’t get the job. Which is a lot like the educated people in art world/gallery owner’s bias toward technology.

I remember going to these kick ass workshops at Comicon, and the artist would all say the same thing. Technology is a tool in your toolbox. You can’t press a button and the computer spits out art. It still takes talent. It still takes the artist foundations to make quality art. All true.

I read an article around the some time that was several years old that talked about the leap someone would have to make to digital/technology driven art to be accepted in the fine art world. It’s just a tool in the box.

I showed a gallery owner my work and he told me people like to see the “brush strokes”. I have a hard time selling these pieces. What!? Plastic sculptors sell. It’s not stone and I can’t see the chisel marks, would be my remarks to that.

This is the same kind of snobbery that you find with poster artist if the poster was printed by any other method but the screen-printing. As my brother use to say, “Some things are ridiculous and some things are Ridunclious” An this is Ridunclious”.

It’s ok for digital/technology driven art to be consumed by us and feed to us every day through the advertising media or the popularism art movement. Glamour Magazines, logos on t-shirts, Paul Frank on our lunch box. No thanks Dean Koonz, but we don’t care for it in the fine art diet, poo poo.

If consumers are buying it, then…? Isn’t that what is now the politics driving your gallery, money? Despite the dreams and hip ideas the made you form the gallery in the first place. It’s all business I get it. I mentioned the money. I like money. So loss/profit chats are what you need to see. The people that buy my work aren’t looking at loss/profit data sheets.

Are they looking for the popularity and value of my art to go up? Who doesn’t want to be told on the Antique Road show “Hey Rock star you’re the winner. This is valued national treasure that Gam’Ma’ held on to for you”.

Really I’m judged by my peers at my shows and theirs shows. People who buy my work: A.) They buy my work for a couple of reasons the color fit well in their decor somewhere,

B.) Are on the way up in this world and they are needing art to display that is like jewelry in their homes

C.) or a couple shares a moment at this art party/show and this art piece helped the moment.

Faceless Corporation or Rock star/Hot Topic galleries do not judge Art

The people who buy my work don’t have to be educated in artistic voodoos.

People want to buy art. What they don’t want is to feel like they have to be an art historian or feel stupid about buying art. Price is a factor, but people will buy, if you talk them through the purchase. The price is never right when you feel like the artist is unapproachable or treats the buyer with an “art fag” attitude.

They need a common place to approach art and artist, that’s why Arts Crawls work, bars and restaurants for art shows and parties. Trade shows/tours

Most of my pieces you see are created at the drawing board.

Techniques to choose from

· Giclee

· Cut paper (sewn together)

· Paper sculptures

· 3D decoupage

· Screen print on textile/fabrics

Screen print on paper

Trappers B Blog’n Ya’ll

I went through all 12 pcs of art that I wanted to submit to the Summer Sinfest. And try to narrow it down to 5. Only 2 pcs will really work for this event(Jade Gate Show)… so I Draw’ed 3 new pcs today. I aways end up doing just that. Working on all brand new, brand new pcs. for new shows. I guess some times 6yrs. worth of Art just doesn’t cover all your bases.

Spoke with Bryan Kings from Ol’ Bull Frog Comics and he was interested in seeing the illustrations that I have worked on after Bull Frog Comics died. Had a great conversation with him last night about everyone and everything comics.

Today I look @ the Yale St Market to see if I would like a booth.

I feel Better than I did yesterday. I slept on the print shop couch in between print runs. It was just great.

KevinHorrorfest is of the role call list do to Sean Penn encounter.

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The Price of your Comic Book Soul

Sequential pages

A

Pencil = $60

Pencil + ink = $80

Pencil + ink + Color = $95

- 2 changes per page – Additional changes: $5

- 3 days turnaround time – pencil + ink= 1.5days/pg

- 4 days turnaround time – pencil + ink + color=1.5days/pg

- Digital 11×18 inch – 450 dpis – tiff

- Hard copy = $1,50 per page

* shipping not include for hard copy

$2565 for 27 pgs= $855/3person= $31.66/(3)person/pg or $23.75/(4)person/pg

$3420 for 36 pgs= $1140/3person= $31.66/(3)person/pg or $23.75/(4)person/pg

1.5days/pg

B

Penciler $60

inker $23.75

flatter $23.75

colorist $31.66

Licening

=139.16/pg

$3757.32 for 27 pgs

$5009.76 for 36 pgs

- 2 changes per page – Additional changes: $5

- 3 days turnaround time – pencil + ink=1.5days/pg

- 4 days turnaround time – pencil + ink + color=1.5days/pg

- Digital 11×18 inch – 450 dpis – tiff

- Hard copy = $1,50 per page

* shipping not include for hard copy

C

Penciler $200-$400

inker $95

flatter $55

colorist- $100 Bite Club style

colorist-$150 over inks (it is around $150)

colorist-$200 Star Wars

Licening

=750/pg

$20,250 for 27 pgs

$27,000 for 36 pgs

- 2 changes per page – Additional changes: $5

- 3 days turnaround time – pencil + ink=1.5days/pg

- 4 days turnaround time – pencil + ink + color=1.5days/pg

- Digital 11×18 inch – 450 dpis – tiff

- Hard copy = $1,50 per page

* shipping not include for hard copy

Thanks for your interest in Hi-Fi.The Star Wars stuff is usually
over pencils and therefore runs about $200 a page, if it is over inks
it is around $150 a page.The Bite Club style is $100 per page.
These are just estimates until we see your actually artwork.

Comparative Page Rates for Comic Book Art* Original Publication Code: Writers (plot and script) $75 - 120 Painted Art 150 - 350 Layouts/breakdowns 35 - 100 Pencil art† 55 - 200 Background art 10 - 25 Ink art† 45 - 150 Lettering 18 - 35 Lettering (on overlay) 20 - 35 Coloring art 20 - 35 * Rates range from those paid by small companies to those paid by large ones, and from those paid to “beginners” to those paid to seasoned professionals. † Current data indicates that an additional 20% is added to the above fees for cover art use.

I have heard that cover rates are more in the area of an additional 50%, but I don’t have that in writing anywhere. I hope this information is helpful.

Keep in mind that most artists will likely start at the low end of the range, and if you are working for a small publisher you may even go below that figure. What you negotiate is up to you and your publisher, but at least this serves as a baseline you can use to judge how well you did in those negotiations.

1- Newcomer:-
a)- Penciler: $10-60
b)- Inker: $10-25
c)- Colorist: $5-20
d)- Cover Penciler: $40-75
E)- Cover inker: $25-50
F)- Cover colorist: $75-250

2- Seasoned Artist: -
a)- Penciler: $50-120
b)- Inker: $25-60
c)- Colorist: $25-60
d)- Cover Penciler: $100-200
E)- Cover inker: $75-100
F)- Cover colorist: $250-700

3- A pro:
a)- Penciler: $100 &up
b)- Inker: $60&up
c)- Colorist: $60&up
d)- Cover Penciler: $200&up
E)- Cover inker: $100&up
F)- Cover colorist: $1,000 &up

• There is a pay rate per page, But please note that these are only standard payments, which are subject to change by time

• - A dead line is a phrase use to determine the time limit you have to finish the comic, for example if you are working on a comic project of 26 pages. The story is already written, but how much time do you take to finish these 26 pages?
  Am talking about doing the pencil. They estimate a time and give you … let say 3 to 4 weeks to finish them all.
  That’s your “Dead line”, by the 44h week you must’ve given the director your last page. Each page you finish you give to the inker who gives it to the painter, it’s like the 3 of you have the 3 or 4 weeks dead line.

  ans in the end;Please take this piece of advice, I read this once from a magazine; an interview with Alex Ross.
  He said something that at first seemed so simple; but it has changed my entire life ((A good Artist MUST have the 3 R’s, Reading, Reference AND Research)).  For reading will give you realms of imagination,
  reference will always improve your skill and research will make you look for new ways so you’ll never end up being a typical  kind of comic artists who am sure you aren’t and you’ll never be of that kind ^_^

I finished several character studies( Ru, Clawdella, Jayson, Mae Lu, and Old Guy) for the Tokyo Pop Piolet Submission. I have no were to upload piss or post them here.

I am also interested in doing a surreal Comic in the Epic/Heavy Metal book format.

It sux

This is one of the pieces that I have cut up and pasted up to form a 3D decoupage for the Roller Derby Girls Auction. I am using a pourable Epoxy. I don’t have a link to the piece yet but I’ll keep you up to date on the progress.

Meanwhile…

http://www.facebook.com/photo.php?fbid=1402940324741&set=a.1402903603823.2053361.1569348966&type=3&theater