I work a lot. I’ve always worked a lot. I’ve worked at least a 40 hour work week since I was 19 years old. I think it’s safe to say that in the last two and half years since I started working at CASH Music I work at least 20 hours more per week than I did at Kill Rock Stars. The good thing is I…
Check these guys out and toss a few dollars in the tip jar, huh? They make open source tools for musicians so they can successfully support themselves with their art.
We’re looking to fund a series of gorgeous, full-color art books for several of our members. Check out the covers here, and see our Kickstarter page for more art and details!
When I’m not drawing smutty comics, I also do these iconographic multi-media collage-y paintings of people treating vegetables as sacred objects. I’ve been doing them for about four years now and for the first time they’re being collected into one full color art book.
Or, they will be, if my workplace, Periscope Studio, can raise enough funds to print it and five other members’ books through our Kickstarter.
There’s a limited tier option where you can get both of my DAR! books signed and sketched in, in addition to a copy of my artbook for $75.
Even if you don’t have any extra money, you should still check out our super cute video which gives you a peek inside our studio— expertly created by one of my favorite human beings, Anne.
"It’s important to tell your child ‘no.’ I want him to be prepared when life tells him ‘no.’"
“When has life told you ‘no’?”
“I’m an African-American female raised in Harlem. Life has always told me ‘no.’ It tried to say ‘no’ when I wanted to own my own business. And now I own three.”
The power of “No.”
Since Bad Houses is the first full-length graphic novel I’ve written, it’s likely to be some comics readers’ first experience of my work. If that describes you and you’d like to know more, a while back I had a great conversation with Sara Zarr on her This Creative Life podcast about…
It’s difficult to negotiate with people who you don’t like or who intimidated you, but it’s not impossible. Here’s what you can do to get the best outcome possible
Before you sign that publishing or freelance contract, make sure you understand the difference between a copyright assignment and a copyright license.
I hate reading stories about someone getting screwed by a crappy publisher. A publisher that promised to take care of the art or swore up down and sideways that they needed the artist to give up certain rights if the artist wanted to be successful.
It’s depressing and frustrating to read these stories because with a bit of education I feel like most artists could avoid signing these stupid contracts with these jerky publishers and save themselves a lot of grief. But when I look around for good, accessible, easy to understand resources, I come up short.
Which is part of the reason I write my blog. And it is the reason that this week I’ve written about how to understand that difference between a copyright assignment and a copyright license. There are tons of different ways these things can work and you should understand what they are before you sign a contract.
This is just the tip of the iceberg; there’s a lot more ground to cover. But this is a good and important place to start.
If you make art or care about people who make art, please share this post with them.
Hey, all. This is a comic I started on 24 Hour Comic Day, but I only managed to complete 12 pages on that day. That makes it a technical failure, but I decided it was worth finishing regardless of that.