This is a very general start point and articulation of things I have found and seen to be useful. There are many fine smart people out there and I encourage your comments, questions, thoughts and corrections. I have further blog posts stewing that approach this question and related aspects from different angles. Mike Luoma wrote an interesting post recently on how to get an indy comicbook out into the world that includes a section on how to find an artist within a broader context. There was also an interesting discussion of Mike’s post in the Comic Book Business for Creators and Creations in LinkedIn, with many views worth taking in.

Future posts I have percolating include “the targeted approach” and “how to get an electrician to work on your house for ‘free’”.

How to find a comics artist 1 – the general callout approach

Recommended prep: go to comic creator hangout spaces. I recommend you find a few comics places you will enjoy participating in, there are lots of them. Participate in the forums and learn about the industry/community from a variety of places. Do not accept any one voice as gospel. If you do not have time to do this sort of thing you may need to hire an editor/project manager/comics consultant as going in blind could be very unpleasant. Industry knowledge is important.

1) Pitch your idea and ask for quotes. Digital Webbing is an interesting place to start, it has many job ads you can look at to inspire your own ad. Look at the ads you like and consider why. Look at the ads you dislike and consider why. Once you place your ad it is a bit like drinking from a firehose as you will be swamped by more applications than you can poke a stick at. Generally the more thoughtful your pitch, the more seasoned pros you will get in the mix.

The process of putting together a good ad is a valuable, clarifying experience. Think about what the important things are, the critical components (project must be completed by 1 April, or must be able to draw detailed backgrounds and convey subtle emotions), the things you like (eg artists or artistic styles you adore), the things you don’t want (eg if vector art gives you convulsions). I recommend you mention things that artists might not enjoy (eg detailed art direction and lots of revisions) it’s important to warn potential artists up front. Mention how how rights will be managed (or if you’re open to a number of scenarios). Be prepared to pay more if you are not sharing rights and be aware that asking for all rights in exchange for a small amount of money is offensive to some people. If you have a maximum amount you can spend make it clear in your pitch so you don’t waste people’s time.

Other places to put ads include LinkedIn and Ronin Studios, but there are many others (put your favourite places in the comments). All these places have interesting conversations in them and are good places for your prep work anyway. You may wish to ask for feedback on your proposal before placing the ad proper. Drawing on the knowledge of your peers can be a very useful thing.

I also have a small list of artists I can forward job ads to (paying gigs ONLY). Drop me a line if you want me to do that and we can discuss.

2) Go through the many applications you receive and put together a shortlist. Don’t be shocked that some people ask for real money. This is reasonable. A new creator might be happy to be paid less, but comics are a really difficult art-form and it might be worth paying more for experience. You need to weigh up what will work best for your project. Look through the range of applications to get a feel for what is out there and to help you decide what is the best match for your story and working style. If you are new to the game I highly recommend going with someone that is either supported by a studio or someone who has done commissioned/collaborative work before. Sometimes cheap costs you more in the long run as projects have to be ditched and restarted. Like anything where money is exchanged, expensive does not guarantee quality, but it does increase your chances of getting quality. Take time to look through samples, ask questions, look at previous work and poke around their website.

3) You have a shortlist, now it’s time pick someone. Advise people if they are shortlisted, advise people that they did not make the cut (this can be time consuming, but good to do if at all possible). Follow up questions to the people on the shortlist can be handy and help you get a feel for their voice, responsiveness and work style. Some people ask for test pages, if you have the budget to pay for that it sounds like a rockin’ thing to do. If you are asking people to do test pages for free you will probably discourage seasoned comic creators from working with you.

I also recommend running a search on the artist’s name. If you find lovely posts by them, interesting artwork, joyous clients you know you’re onto a winner. If you find angry interviews, unhappy clients and ditched projects you may wish to flee!

3) You’ve found your artist/studio. Talk to the artist in detail about how the process will work (for negotiation and communication tips check out Katie Lane’s Work Made for Hire). Discuss milestones, hopes, ambitions, expectations, rights, preferred communication styles, preferred methods of payment and so on. This is a great opportunity to get a stronger feel for who you are collaborating with and identify any problem areas before they become major issues.

4) After discussing the process write up an e-mail that articulates what you’ve agreed on and check in with the artist that this is ok. This e-mail will form a baseline to return to.

Make a comic over 8 pages and be eligible for prizes (people’s choice, probably only Aussie residents for prizes).

Make a comic 24 pages or over and be eligible for a Nintendo Wii Console plus 3 games (Judge’s choice).

Make comics this Queens Birthday long weekend.

Going off previous years there will be people participating that have never made comics before and there will be seasoned veterans…. I won’t be making comics, I get to look at them later as one of the judges and I can tell you now everyone who gives it a go is awesome, rockin’ and has my admiration.

Go to the Comicaze Website , register, participate and have an amazing time.

Message ends.

As always, I didn’t attend most of the panels I intended to go to. Instead I wandered from interesting thing to interesting thing and like a jellyfish followed the currents that found me. There were times when I was juiced up on the best drug of all (ideas), mind and mouth rambling and brain sparking off in all directions from good company.

There were some times when I was asked some really hard questions about my own work, discovered some deep emotions and subtext to my graphic novel script that I had never realised. I felt confused, sad, struggling, lost and around my own writing – going back to my hotel with a laptop full of mud… And built a bridge, got over it and wrote important words. There is still some difficult work to be done (and dusted before Clarion), but I’ve made an important breakthrough… now I just have to hold on to it.

If I do something with 10% of the ideas I’ve had at the festival it shall be a good year. I got up at 5am this morning, with three articles bubbling in my head. Dragging myself up before the morning light I ignored those concepts completely and wrote a comic script instead. I thought it would be a good fun fluff piece (if slightly disturbing) for Tango’s new anthology Love and War. But as I wrote it, dammit, I realised it had a deep and meaningful subtext directly relevant to the theme of the anthology. Ben Hutchings would be the perfect artist for it if he’s available and willing. The working title of the comic? Love and Spandex.

I am once again talent scouting for an educational comics company, pencillers only this time round. If you have sent stuff to me previously keep drawing, but please don’t submit to this round. My client does not want to see any names he has seen before.

Style must be DC/Marvel realistic, tight clean pencils that can go straight from pencils to colour. Must be professional quality (of the two that got through last time both have done pro work for major players). Must be able to commit to doing 24 pages over a reasonable period. Must be able to work from photographic references and depict people from diverse backgrounds. Must follow artistic direction well, there will be a lot of corrections at storyboarding stage (storyboarding is paid for).

Please pass on to anyone who might be interested.

Submission info:
Please do not attach samples of artwork, send relevant url that shows your mighty awesomeness. As a general note please don’t make your website so wanky I do not know which links to click or have to click through outdated stuff you did in primary school before I get to the good stuff.

Final decision on who gets gigs will not be made by me. If I think your stuff has potential I will pass it on to the man who makes the decisions. Depending on the number of submissions I may be slow to respond. Follow up e-mails to see how things are going are fine.
Tips on what I’m looking for here: http://lizargall.com/2008/12/artist-search-over-for-now/

e-mail liz@lizargall.com

What do you think? Does it interest you? Does it inspire you to come along to something I’m running? Does it inspire you to employ me?

Bio:

Liz’s stories often take people to dark places and then bring them out the other side. Stories about hope, strength, survival and change. Never one to hang out in the dark too long her stories can also be playful and delicious. She writes across many media and genres, but comics are her major passion.

In June 2008 she put the management of Warehouse Circus into new hands and plunged into the life of a freelancer. She works in educational comics as a writer, editor, project manager, talent scout and artist liaison. She has run creative workshops for a range of organisations, including the National Museum of Australia, U-Turn and the Young Music Society. She even gets paid for writing creative works and essays, on spec or by commission. She has worked on and off as a Life Model for nine years. Prior to taking the plunge she has worked as researcher, union organiser, refuge worker, circus manager, consulting and supporting for not for profit organisations to have better practices and be more prepared for emergencies.

Her comics have been published in an array of publications, including Meanjin, The Girl’s Guide to Guy Stuff, Eat Comics, Something Wicked and in the collection Songs Dreams and Nightmares. She has supported lip magazine since its inception. Her work is often psychological, poignant and she loves gritty urban fantasy. She’s even has won an award or two. On Boxing Day she appeared nude in the Canberra Times to support the Parisian Life Model Strike and in January 2009 her musical Comic Book Opera, written with composer Michael Sollis, was performed for the first time.

If you want to find out more check out www.lizargall.com , drop her a line or say hi.

Here’s the lowdown on how I use my various social networks:
Myspace – I call it radio myspace, I don’t like the interface, I don’t like the ads, but it is the best place to collect musicians! I am hopeless at remembering the names of musicians I love, so this serves as a useful way of capturing them. By looking at who musicians I love friend I also expand my acoustic horizons and find new and interesting bands.

Facebook: A great all-rounder. My website (this post right now) is syndicated on it, my twitter account posts to it. I like the clean look, it feels nice checking in folks, gives me a good sense of connection and has an open airy feel.

Linkedin – Really helps me put my business head on, makes me think in a business-like manner and is a different sharing environment. There are interesting posts from the groups I’m in and I get to see how other people frame themselves. I don’t hang out regularly (perhaps I should), but I get stuff out of it every time I do.

LiveJournal – this website is syndicated on LJ and I have another LJ account that has been going for over nine years. It’s not a secret account, but I don’t publicise it as it is my most intimate space on the internet.

Making Comics – writing, drawing and scheming!

When: 2.30 – 5.30 Tuesday 24 February

For: People aged 12-25

Where: U-Turn
Corner Chandler Street and Swanson Court
Belconnen ACT 2616

This workshop is free, thanks to the great folks at U-Turn who are all about:

Supporting young people aged 12 to 25 years, through recreational, educational, and health promotional activities, programs and community-based projects.

U-Turn organise a whole range of activites for young people in the Belconnen region – http://www.bcsact.com.au/

Serious, silly, gritty, funny, bizarre or poignant. One panel to 300 page sagas and beyond. Stick figures, photo realism or crazy collage. The world of comics is an amazing place.

An informal comics creation session for experienced hands and those who’ve never tried it before. Liz Argall will tailor the drop in session to what you want to learn and where you’d like to take the craft – draw, doodle, write and where to after that? Lets make some awesome comics.

When: 2.30 – 5.30 Tuesday 17 February

For: People aged 12-25

Where: U-Turn
Corner Chandler Street and Swanson Court
Belconnen ACT 2616

This workshop is free, thanks to the great folks at U-Turn who are all about:

Supporting young people aged 12 to 25 years, through recreational, educational, and health promotional activities, programs and community-based projects.

U-Turn organise a whole range of activites for young people in the Belconnen region – http://www.bcsact.com.au/

It’s been rewarding to challenge confident students to new levels and have shy students develop confidence and skills.

I’ve learned a lot as well and my teacherly folder of handouts has more than tripled in size over the past few weeks (first teaching every day at the Young Music Society and then at the Australian National Museum).

If you would like me to bring a workshop on comics, storytelling, writing, the art of collaboration or being a funky creative humanbeing/funky creative workplace please drop me a line. I love tailoring workshops to specific groups and happy to travel (please note, I am currently based in Canberra, Australia).

• Managed Warehouse Circus for 6 months
• Freelance creator, project manager and educator, and breaking even! A lot of this was through my work in educational comics
• In terms of educational comics, conducted two major artist searches and worked on eight projects, engaging with issues ranging from safe sex, drug use, sustainable hunting and land management practices and support for starting or managing your business.
• Wrote a musical with Michael Sollis, Comicbook Opera
• Attended Australian Circus and Physical Theatre Conference, Emerging Writers Festival, ACT Writers Festival, Comicon, Worldcon and Conflux
  
• Attending Comicon and Worldcon meant a month in the USA and has inspired me to return to that far shore (supported by a grant from ArtsACT).
• Was co-mc at Conflux, ran a workshop on the comics industry and during the Great Debate smooshed a cream pie into Gillian Polack’s face!
• Wrote some articles for Ozcomics.com
• The Making of the Scientist, comic & essay published in December Meanjin
• I carry you in my heart (comic) published in Ronin Illustrated 3
• Snake Skins (comic) reprinted in lip issue 11
• Songs Dreams and Nightmares, a collection of my works printed and warmly received, only a dozen left and considering a reprint.
• Found a lovely artist to collaborate with on The Long Road a gritty urban fantasy
• Was a guest teacher for an Open Arts program which was thoroughly enjoyable (thanks Gillian!)
• Reworked my website and got my very own domain!
• Co-wrote and ran The Group, a Triptych for Phenomenon Roleplaying Convention
• Increased the number of submissions and query letters I sent to publishers (although this needs to be increased further next year)
• Had time to enjoy life on multiple occasions (although mostly in the second half of the year)
• Resumed regular work as a life model! A joyful, integrating form of ephemeral performance art and inspiration. I discovered I enjoy work outside the house as too much time hunched over the laptop freelancing gets a bit lonely and bad for the back.
• Started casual work at the new National Portrait Gallery Bookstore, for similar reasons as above, with less nudity and art theory and more shelving beautiful beautiful books and getting new insights into the publishing industry. I love my colleagues and I love that I get to work with books. I enjoy having a mixed model of employment. The casual work provides me with enough for a safety net and takes the edge off lean times, but keeps me hungry and motivated.

I think that’s it in very broad strokes!

I hope you all have a lovely festive season and new year