|The original designs|
I had no idea how to do either.
Finding Some ArtistsThe first problem was relatively easy to solve. I know that if I tell everyone I know what I'm trying to do, SOMEBODY will have better ideas than me. So that's what I did; I told everyone I knew that I was looking for an artist. And sure enough, a couple of folks referred people THEY knew to me, and so I was building a list of candidates.
They all had sites where I could look at their work (if you're an artist and you don't have some sort of online portfolio, well, good luck with that), and it was easy to set up quick coffee-shop meetings with them, just to make sure they weren't obviously crazy people that I was going to hate.
They weren't. So now I had to solve my second problem: how to choose among the bunch.
Choosing One Among Many: A Paid AuditionThe artists' portfolios weren't going to be sufficient for me to make a decision. It's impossible to tell from pre-existing art if an artist can deliver images to my own specifications, my own scripts, and I have no way of knowing how long it took them to do the work, if it was delivered on time or six months after the due date.
So I wanted to audition them, but I knew from working with Claudio and other artist friends that a professional artist doesn't exactly have a lot of free time. I wanted to be respectful of that time.
I decided to pay for an audition.
At that first meeting, I pitched each candidate my audition idea: I would give them two pages of script and they would deliver inked pages, at a date of their choosing, and I'd pay them $100.
$100 seemed like a sufficient sum for that level of work. I wanted the artist to know how much time they could spend on the audition pieces. And it was worth it to me to pay a few hundred dollars if I ended up with a great artist who could meet a timeline.
So the process was in place. Next I had to decide how I was going to judge the entries.
Choosing Part Two: Judging
|Pole-vaulting is, well, about as hard as it looks.|
They were both challenging pages (in very different ways), and I expected artists to struggle with them. I also made it clear that I wanted them to follow the existing character designs, and I expected them to keep my up-to-date on their progress.
So now I had some good criteria for judging candidates:
- could they draw what was in the script, and keep to the guidelines?
- if they couldn't, would they reach out and ask for my help?
- could they meet their own timelines and keep me posted on their progress?
Having those simple questions to answer made me feel like I could judge the candidates with some sort of confidence.
And I got fantastic stuff back. Not everyone got their stuff in on time, however, and that was a good lesson to learn early on. Not everyone was able to exactly picture what I'd asked for in the script -- some people asked for help in solving what were admittedly tough illustration challenges. Some folks didn't ask for help, and then didn't do what was asked, so that was interesting to learn, too.
It Worked!And in the end the choice was clear: Dave Knox, who's now the artist for REFORM SCHOOL NINJA GIRLS. His style was very different from what I'd originally pictured, but we had so much fun talking about the book, and he hit his timelines, talked with me all through the process, and followed the guidelines perfectly.
He also watched dozens of pole-vaulting videos so he could nail the five-panel sequence of Masayo's awesome triumph over Shima. You can see the final version of that in the online prologue: New Girl.
So in the end, despite not knowing really anything about art or artists, I was able to come up with a reasonable process for finding a good artist, just using basic networking and some simple criteria up front. It was actually kind of fun! And sure, it cost a few hundred dollars, but given that I intend to sell this comic book to make money, I ought to believe that it's worth investing a little money in it up front.