This won't come as a shock to any professional cartoonists out there, but the market environment for our wares is challenging at best, and it's about to get more so. As conventional paths to success disappear and new ones are sought, one of the few remaining, but financially rewarding avenues has been magazine cartooning. While the rates and numbers of venues has been trending down, single sales still range in the hundreds of dollars for some of the premier magazine outlets. This could be coming to an end.
CartoonCollections.com, an endeavor involving ex-New Yorker cartoon editor and fellow cartoonist Bob Mankoff, is actively reaching out to cartoon editors of the premier magazine markets (and likely most others) to sell cartoons through their site. Their offerings include tens of thousands of cartoons from the top creators of the New Yorker as well as collected works from other venues. If you're an independent cartoonist submitting to magazines, you will now be competing with what might be compared to the Walmart of cartoons, thereby putting the small corner purveyor out of business. CartoonCollections.com has made some serious market moves too - they've purchased CartoonStock in the UK, which contains a library of hundreds of thousands of cartoons. Full disclosure - I have worked with CartoonStock for many years and have nothing to complain about. The difference now is that their parent company is blanketing the market space, making a major sales push and reaching out to the editors. Magazines are switching to what appears to be an exclusive relationship with CartoonCollections.com, and, as it appears now, will no longer accept outside submissions from individuals.
Where does this leave the individual cartoonist? There are still many magazine markets that accept individual submissions and will likely remain doing so. Trade magazines, private publications and sales built around long-standing relationships may also remain relatively unaffected - for now. But this appears to be a clear trend of contraction and consolidation which will no doubt affect how we do business in the future. CartoonCollections.com, as I currently understand it, accepts submissions from well-established, single panel cartoonists with sizeable bodies of work. CartoonStock also accepts submissions with basically the same parameters. If accepted, you will be presented with a contract which will include terms similar to those of a standard syndicate contract.
This brief article may have taken a negative tone, but it's unintentional. It's meant to be observational, with the hope that fellow cartoonists are made aware of these impending changes and can prepare accordingly. If you have a relationship with one of these cartoon agencies, there are reasonable prospects for seeing an increase in monthly or quarterly licensing revenue for your cartoons, now that they are actively marketing their subscription programs. For those interested in submitting to cartoonist agencies (not traditional newspaper syndicates), I don't know what their individual guidelines are or their editorial contacts, but I'll provide links to at least a partial list below in case you wish to make your own inquiries.
CartoonCollections.com - Bob Mankoff endeavor, parent company of CartoonStock
CartoonStock.com - UK's largest database of licensable cartoons. Now wholly owned by CartoonCollections.com. Regarding submissions, this is from their site: We are always interested in seeing submissions from new cartoonists. All submissions should be sent by email to firstname.lastname@example.org.
The Cartoonist Group - Described as the internet's most diverse cartoon art database. Run or owned, I believe, by illustrator extraordinaire Bob Staake.
Artizans - A Canadian-based cartoonist and illustrator group. Here's a link to their SUBMISSION GUIDELINES
Tribune Content Agency - Tribune appears to be a hybrid between a content agency and traditional syndicate. I include it here since what they're seeking is identical to the above content agencies: large bodies of work, established cartoon brand, etc. Here's a link to the SUBMISSIONS GUIDELINES
I've wanted to participate in Inktober for a while now - it was started by illustrator extraordinaire Jake Parker, and it's a way for artists to push outside of their normal work bubble. Each day has a new single word prompt, and this is what I came up with for day 1, which is the word, 'ring'. Why Lord of the Rings immediately popped into my head I'll never know, but there you have it.
So there I was, browsing through Instagram images when, all of a sudden, this short video pops up featuring a portable desk that you can configure in roughly a billion different ways. It's the Joocla portable laptop table. As is my custom, I press the 'purchase' button immediately before my mind becomes clouded with facts and important details. No time for that. The idea was, I would use it for my Cintiq Mobile Studio Pro so that I could have an endless number of possibilities in the angle of the screen, the height, the portability - the mind veritably raced with all the new and wonderful opportunities this item would bring to my art.
When it arrived in the mail, I was surprised at how light it is. As you look at the advertisement, it indicates metal in the construction, so of course, in my mind, I'm picturing sheet metal, weld lines and maybe some rivets. Actually, the only metal portion is the perforated tray that you rest your computer on. The articulating arms are plastic or composite - not metal anyway, and feel a little bit flimsy. To be fair, my idea of flimsy is anything that breaks after a hearty whack with a sledgehammer, so I may not be the best judge in that arena.
What I did like is at all the joints, there's a numerical dial so that you can move the various arms on the left and right to the same precise angle, which is handy, rather than guessing if the left and right matches. Without those dials, you could be at it for a while .
I maneuvered the arms to right about where I thought would be the best angle for drawing - sort of like an easel. I took out my Cintiq and gently rested it into the metal table surface. Uh oh. Problem. The 16" Cintiq is too big for the width of the table surface - the dials on the bottom of the left and right edges jut out so that the Cintiq slides right over the bottom lip, which would otherwise hold it really well. Shelly, my wife, controls our finances. I'm like a 3 year old - bright colors and shiny things captivate me and I must possess them. So as is right and proper, I have to justify my business purchases in order to avoid bankrupting us on things like robot waffle makers and on Floby self hair cutting contraptions for the dog. I might have stated with a slight degree of overconfidence that I was sure this adjustable table would work perfectly, and I'd researched it thoroughly when Shelly had asked if I was sure I needed this.
Rather than admit my head is functionally more suited as a brick than as the receptacle of deep thought, I figured I'd need to find a way to make it work. Off to the hardware store I went. The first problem: - I need to extend the bottom lip of the table surface so that it will hold the Cintiq regardless of a steep angle. My solution was to buy "L" brackets, bolt them through the table with an 1/8" bolt, and secure them with a wing nut for each, I case I wanted to adjust or remove them easily for whatever reason. Next, I needed a soft surface to cover the upward side of the "L" brackets so that it wouldn't scratch the points they made contact with the Cintiq, and to keep it more secure by eliminating it's smooth, slippery surface. My first thought was some kind of thin, self-adhering weather stripping. As I walked through the aisles, I found narrow, heavy duty strips that you stick to the bottom of furniture to prevent hardwood floors from getting scratched up.
The "L" brackets, as they are, needed to be modified so that that have a bit of an upward hook to hold the Cintiq, and once that's done, the excess length as to be sawed off so that it doesn't interfere with freedom of movement as I draw.
All in all, I'm really pleased with the outcome. That's what I tell my wife so that the next time I see something shiny she won't grab my arm and pull me away.
Today I finally made it to a place I've wanted to see for many years, a place close to where I grew up, and the spot where an underrated American hero made literary history under inconceivably difficult circumstances. My youngest son and I visited the Grant Cottage on Mt. McGregor in the Adirondack foot hills just north of Saratoga, New York.
As we ascended the mountain in my truck, we passed a number of boarded up buildings - large, stone buildings that seemed completely out of place. Just prior to reaching the crest, we came to the Grant Cottage visitor center where you pay a modest $6 per adult for entry. As we exited the building, I saw a walking path that sloped downward and what appeared to be something of a clearing though a wooded area. We decided to check the footpath first, and were rewarded with one of the most magnificent views of the Hudson Valley attainable.
After taking in the magnificent views, it was time to visit the cottage. I had been under the misperception that General Grant and his family occupied the cottage for its solitude and quiet so that the ailing General could extend his limited days in cleaner air and relative comfort. In truth, the cottage was part of a much larger resort called Balmoral. In fact, the General would sit on the front porch with a pad and paper working on his memoirs, and his family had hired a veteran to stand at the foot of the porch to prevent a steady flow of resort-goers from incessantly pestering him. General Grant, however, true to his honorable form, wouldn't permit anyone to be turned away. The resort, after the passing of the General, fell onto hard financial times, and burned in a suspicious fire, after which the owners were well compensated in insurance money.
As we parked the truck, we were struck by the completely out of place prison fencing and guard towers which lined the back end of the Grant Cottage parking area. Such a serene, historic site juxtaposed with a now-closed, but modern and imposing prison facility - a large one at that, now all boarded up and apparently unoccupied.
Finally, time to approach the cottage. The first thing we notice is how beautifully situated it is amid old-growth oak trees on a gentle down-slope. The cottage itself is perfectly preserved, and as we were to find out in the course of the guided tour, it is truly a time capsule as had been intended the moment the General died. Our tour started on the front porch very close to where the iconic photos of the General had been taken, as he sat in his wicker chair composing his memoirs.
The first room we entered had been used as an office by the Grant family as it conducted its affairs during their 6 week stay. The artifacts and room are original, with the exception of the documents laid out on the table, which are facsimiles of the originals. I was surprised to learn that the cottage had actually been lit with electric lights at the time of the General's stay - at least until 10:00PM. After that, the guests would have to sacrifice the luxury of their single filament electric lights as the sounds of the generator were so loud it would prevent the guests from sleeping. Interestingly, the General's beloved wife Julia, continued to visit the cottage after her husband's death, and signed the guestbook in the below photos.
The next room we visited, adjoining the office was one of the two most commonly used by the General during his stay. Due to his increasingly painful condition, he was forced to sleep on two leather chairs pushed together. These chairs are original and were reupholstered some 70 or 80 years ago. On the wall is a chest the General's eldest son had constructed to house items specific to what he knew would be an historic time and place. Within the chest are the General's toothbrush and other toiletry items, his top hat, which he is seen wearing in one of the following images, along with nightshirts and medical items used in the course of his treatments. Most interesting, an original large bottle still containing the medicinal contents used in treating the General's painful throat cancer - cocaine water, which would be sprayed into his mouth.
The next room, the last in the tour, was also the last in the General's life. This was the room in which General Grant died. The artifacts are original and poignant. The elegant clock on the mantlepiece was stopped at 8:06 by his eldest son, the time of the General's last breath, and has never ticked another second of time since. The bed in the corner is the bed the General died in - a fascinating 'cabinet bed', which, when stored, appears more like a large writing desk. The wicker chair on which he spent his waning hours on the porch writing his now famous words, sits at the foot of the death bed with an original funeral wreath on the seat. At the opposite end of the room Is a small table upon which rests a death mask of the General along with a card containing his words - what may have become an unfulfilled dream of his - a lasting national unity which, sadly, would no doubt be a bitter disappointment to all those who fought and sacrificed to bring us all together if they could witness the national discourse today.
I spent all of my adult life in the military which, shockingly, offers little in the way of art education. I've been very fortunate to have been able to gain the ground I have as a cartoonist, but realize how far behind the power curve I am when it comes to understanding basic concepts like color theory, values, and perspective, among others. To tackle that, I've purchased a number of courses and subscribed to some online art instruction sites. I can say in all honesty, from those I've listed below, the experience has been very positive. The knowledge and professionalism of the instructors has been impressive, and I've learned I great deal. Best of all, these are very affordable (ranging from $15-$150 for a course to a monthly fee averaging around $30) when compared to tens or hundreds of thousands of dollars to attend an art school. At any rate, here's the ones I've purchased from or subscribed to in no particular order:
Aaron Blaise's CreatureArtTeacher.com - I discovered Aaron Blaise via YouTube and have been an avid fan ever since. His live drawing videos are absolutely phenomenal and inspiring, which led me to checking out his website. He has a wide variety of course selections covering everything from digital painting in Photoshop, animation, watercolor, to animal anatomy and perspective. I've purchased a number of his courses, all of which have been very helpful. I also purchased some of his Photoshop brush collections and use them regularly for some of my own work.
SVS Learn - Like Aaron Blaise, I discovered SVS Learn by watching Will Terry's YouTube channel about the art and business of being a children's book illustrator. He's immensely talented and his discussions are engaging. The variety of courses available on the SVS site allows for a wide range of possibilities for those of us in learning mode. Even though the primary focus is children's book illustration, there's something there for every working artist - even licensing industry talks. As with Aaron Blaise, you can purchase individual courses or pay a monthly subscription fee which allows access to all available products.
Schoolism - Probably the most impressive, thorough, and extensive online art courses available, at least from my somewhat limited experience. Created by the immensely talented Bobby Chiu, Schoolism has a heavy emphasis on the animated film industry, but the courses are so thorough, and the instructors so knowledgeable, you really can't go wrong with whichever one you choose. I've had a subscription (about $30 a month) and it's worth every penny - a bargain in fact. The degree of detail covered is definitely university-level, and best of all, the instructors provide assignments to check your level of understanding, and critique the artwork you turn in, If you're serious about upping your artistic game, this is the site for you.
Ctrl+Paint - If you're looking to improve your digital painting skills, but your budget has no room left for any extras, this site is for you. Many of these professional-level courses are absolutely free, and those that aren't are still very inexpensive. I've purchased a number of them and have had nothing but positive experiences.
While I'm sure there are many other art instruction sites online, these are the ones I have personally purchased from or subscribed to and can speak about from experience. If there are others that you'd like to recommend, (or advise against) please leave them in the comments below.
As some of you may know, and I suspect most don’t, my path to becoming a cartoonist wasn’t exactly predictable. Least of all by me. I was a laborer, a stockbroker, an operator in the Navy’s Special Boat Teams, a special agent in law enforcement, and finally, a cartoonist.
Along the way, I learned a lot of valuable lessons that weren’t taught, at least to me, in school. I had the opportunity to work with and observe Ivy League financial wizards, Navy SEALs, and brilliant detective minds in law enforcement. My own experience as a Navy SWCC, (here’s a video featuring special forces training featuring SWCC – Making the Cut – SWCC) and the challenges encountered in making it through selection and training taught me a lot. From all of these things I found patterns and similarities in achieving success which I apply to my own career as a cartoonist. To be sure, I’m not where I want to be yet, but the key points below have brought me far closer to the goal. I’m sure there are other paths, and other truths, but this is mine, and I hope you find value in it.
Be crystal clear about your mission
It’s difficult to achieve anything if you don’t know what it is you want, and cartooning is no different. Are you seeking syndication? Is it your intention to follow the path of great webcomic trailblazers? Magazine cartooning? Animation? Humorous illustration? Self-syndication? Licensing? There are many areas in the field, and by knowing where you want to go, you can efficiently apply the most critical and valuable resources to them: time and creative energy. Be clear enough in your intent to be able to articulate it and write it down. By identifying the direction, you will more easily detect and benefit from the paths of those who have gone before you. It’s not to say you can’t seek success in more than one of the above, and perhaps all of the above, but time is a precious thing, and few of us have it in abundance. Expending your precious resources in a scatter-shot way, hoping you’ll strike something will likely result in disappointment. Know your target.
Know where you are so you can determine the distance that needs to be traveled
This is among the toughest, but most important elements. Self-honesty about where you are as a cartoonist is not an easy thing. It involves stepping outside yourself, your ego, and being objective about your art and writing. If you are moving toward syndication, does your work stack up well against what you see in the newspapers? One of the ways you can find out is by seeking input from industry professionals – both your fellow cartoonists, and those who are the decision-makers in the markets you’re trying to crack. Send samples and ask for feedback. And be prepared to receive feedback – it can sometimes be uncomfortable. But remember your mission – is it to seek accolades and adoring remarks, or are you genuinely trying to succeed? Knowing where you are and how far you have yet to go allows you to create a considerably more accurate map to success. And you can arm yourself with sufficient tools and resources to see you through.
Study the terrain
Each area of the cartooning industry has it’s own unique characteristics. For instance, if you seek success in magazine cartooning, you’ll approach it differently than you would syndication. And syndication requires focus that won’t necessarily bear fruit in licensing or animation. Knowing the terminology, history, players, success stories and decision makers will lay out the map clearly, and will allow you to avoid the impassable climbs, pits and roads to nowhere. You will be able to find the path of least resistance and move far more quickly than if you amble along, hoping to stumble on the right path. Navigate, don’t guesstimate.
Be honest with yourself, acknowledge your deficits so you can focus on them and bring them up to where they need to be
Similar to knowing where you are, self-honesty is like having a key to the supply room. If you know what you need and where to get it, you can supply yourself with it. And in the age of Youtube, Vimeo, and individual instructional sites by the thousands, there’s absolutely no reason to operate in a deficit position. If your art needs something more, there’s an abundance of help waiting for you to show up. If your writing isn’t up to snuff, the free resources out there to fix it are a click or two away.
Learn to love learning
The rate of change in today’s world is positively astounding. Whether it’s technology, society – even markets, things are dialed up to eleven. In order to prosper in a changing environment, we have to take on new information, new skill sets, and sometimes new resources and equipment. If you look at it as a burden, you add an anchor to your future that you’ll have to drag along, slowing you down to a crawl while others divest themselves of that mental attitude and seek the opportunities in learning. It broadens their creative horizons, exposes them to new capabilities and skill sets, and subsequently new markets.
Accept no excuses from yourself – discipline, discipline, discipline
This is another area where self-honesty is critical, and honestly, an area where I sometimes struggle. In today’s world of social media and infinite distraction, staying on task is no easy feat. The biggest challenge for most is time. Time to write, time to draw, time to learn, time to submit, time to market, and on and on. I’m sometimes approached by aspiring cartoonists who wish to jump into the art because they think it’s a path to easy money. They think, because the art looks relatively simple, and because they’ve told a joke or two at a party, that’s all the ingredients required to make it as a cartoonist. We know different. What we do looks simple because we’ve worked hard to make it look that way. And we’ve acquired that skill by investing the time and resources to perfect our craft, understanding that this is a highly competitive, professional vocation.
Time – it’s the one commodity that’s most precious and in greatest need of being used wisely. Every minute, if we fully appreciate its value, should be used in a way that advances our mission. Many have said to me, ‘I just don’t have the time.’ I catch myself saying the same thing sometimes, and I have to purge that thought as quickly as possible. If you want something – really want something, there’s time.
Right after my second son was born, I had to figure out how to continue to create cartoons, while balancing the needs of my family. After careful consideration, it came to one obvious answer – I just had to get up earlier, and in this case, that meant 4:00 AM. It takes a good deal of discipline to make that change, but which is more costly, changing the time on your alarm clock and walking away from the TV or Facebook a little earlier, or surrendering your dreams and aspirations? Appreciate the value of your mission, discipline yourself to do what needs to be done, consistently over time, to get you there, and hold yourself accountable – no excuses. You will own the outcome whether it’s positive or negative, so it’s worth building the discipline muscle to get you there. And that means now. Not tomorrow, or next week, or when you think things might lighten up. Now. New Year’s Resolutions be damned.
Strategic and tactical analysis
Strategy and tactics. Macro and micro. Big picture and little picture. As I’ve mentioned earlier, things change, and it’s happening at an exponential rate. Since things change, we need to step back periodically and reassess our situation, and where we fall on our strategic map. For instance, say you’ve learned new skills, which have opened up new possibilities and markets. Maybe you’ve learned vector art and have some logo design opportunities come your way. Or you’ve been approached to illustrate a children’s book. Or your magazine cartoons might make a good syndicate submission. Whatever the case, it’s wise to take a step back now and again and make sure your map remains accurate, or that the mission might need updating, requiring a reallocation of time and resources. In tactical terms, maybe you see an opportunity that requires a slight adjustment in your approach. Or you need to temporarily change directions to better position yourself for your ultimate goal. Like most things in life, success in art and cartooning is comparable to a chess game. Think about your immediate moves, step back and stay up to date with your overall strategy, and by all means:
It’s widely understood that these times, they are a’ changing. If this was a hundred or so years ago, and we were the best wagon wheel craftsmen in the world, the outcome would still be the same – our market is now driving off the assembly line in Model Ts. As conditions and markets take their own paths of least resistance, we need to take a look at where we are, what we’re doing, and our current resources and see if they still add up to mission success. If they don’t, what do we need to change to get back on track? Often, it won’t require a radical shift, just a mild adjustment.
When the going gets tough …
Success in most worthwhile endeavors will require perseverance, some fire in the gut, and the ability to pick yourself up off the ground, dust off, and move forward when you get tripped up. As most experienced cartoonists will tell you, rejection is an abundant part of your working diet. It’s not personal, it’s not a rejection of you as a human being, and it may not even be a rejection of your work – it might just be bad timing. Whatever the reason, understand that your mission is valuable enough to take the lumps when they come. In time, you’ll learn to shake them off with indifference, unless there’s a learning opportunity contained therein.
When a military unit returns from a mission, it goes into self-analysis mode; what did we do right? What did we do wrong? What can we learn from this? How can we capitalize on this experience to make ourselves better, more effective? So it is with cartooning. You made a submission and you got rejected – was any feedback included? You become aware of another cartoonist who is successful in your target market – are there discernible differences in what he’s doing or how he’s doing it that you can learn from?
This is a big one. In the military, we lived by this basic tenet – you own it. Succes is yours, and so is failure. If you don’t get what you want, the answer lies with the one you see in the mirror. There will always be outside forces that will not be acting to your advantage. That’s life. We can hang our hats on that fact and use it as an excuse for walking away from our mission, or we can embrace our personal responsibility in our outcomes and remain in the fight. I’ve heard it said that Babe Ruth, the Home Run King, was also the Strike-Out King – he swung more than anyone else, and actually missed more than he hit. But he knew that if he let the strike-outs define him, it wouldn’t be worth the effort to step up to the plate again. I believe that’s true for us too – own the outcome, learn from it, and don’t let the misses define you or your potential.
Spread the wealth
For me, this is one of the biggest rewards – getting to share with and assist those who come after me. I consider myself so fortunate, and therefore so grateful to be able to do this, to be a cartoonist, and to have people who enjoy my work. And I see how others are dedicating themselves and working so hard to succeed in this endeavor. Before me were great people who selflessly offered me guidance and the fruits of their hard-earned lessons to benefit me. It’s a great joy to be able to share my experiences and offer that same hand to those who may need it. As you stack up your successes and achieve career milestones, I hope you’ll stop to look around, see others who might be struggling and reach out to pull them back onto their feet. It’s impossible to replicate or quantify the value of that feeling in monetary terms.
To conclude, I find it most fitting to use the motto of my SWCC brothers: On time, on target, NEVER QUIT!
In Part 1 of our series on coloring Spectickles cartoons, we talked about the basic formatting and ended up with a completed black and white Spectickles cartoon. That's necessary before we move on to the next section - this section, where we discuss what layers are and how we use them in applying color to our cartoons.
First, what is a layer? The way I think about them is they're like a clear piece of plastic that you're going to lay on top of our black and white cartoon. What we do on that clear piece of plastic won't effect the black and white cartoon beneath it, which is something, as you'll see, we'd prefer. And fortunately, with the Clip Studio Paint Pro program, as with most other drawing programs, we can turn the layer on and off for our purposes. So, rather than keep explaining in words only, let's take a look at our screen and talk a bit more about where to find layers and how to set them up.
Here's where we left off in part one, with a completed, formatted black and white Spectickles cartoon.
When it comes to our first steps in adding color to a Spectickles cartoons, we need to turn our attention about mid-way down on the right side of our Clip Studio Paint Pro screen, where we'll have a look at the 'layers' section.
When we left off last time, we had 2 layers - our bottom layer which contains the black and white cartoon, and laid on top of that is our text layer. And remember too, whichever layer is highlighted in that blue/green color is the active layer, or the layer that'll be affected by anything you do in the image. In the area I've circled in red - that's where we click to add another layer, which we'll do now for our color.
As you see highlighted, the active layer is the one we've just added, which is sandwiched between our black and white layer (which for whatever reason is just labeled as 'white' - we'll change that) and the text layer on top.
As we work with our layers, we'll want to keep them straight - we want to know at a glance which one we're working on, so it's useful to label them accordingly. In order to change the name of the layer, just double-click over where you see 'Layer 1'.
When you double click on the layer, the box will open and allow you to relabel. In this case, I've changed the color layer to, oddly enough, color, and the black and white layer to - you guessed it, black and white. Next, you'll notice just above where we relabeled our layer to 'color', it says 100% Normal - we'll need to change that to 'Multiply' so the layer interacts differently with the other layers - you'll see why in the next screen.
In the screen above, you can see I've changed the layer to 'Multiply' from 'Normal'. Do you see where the little lighthouse-looking thingy is next to the blue and yellow pencil icon? Just above that is a dropdown box which now says 'Multiply'. Prior to clicking on the dropdown and making the change it said, 'Normal'. So as I'm sure you've guessed already, click on that box and make the change. The reason we want the layer to 'Multiply' is that when we color, if it's on the 'Normal' setting, it'll color over the layer beneath it, so it looks like your obliterating the underlying black and white. By making the layer, 'Multiply', it'll interact with the layer beneath, so you'll still see your line work as you color.
Now that our layers are all set up, we're ready to have a look again at the left side of the Clip Studio Paint Pro work surface and tools.
The first bit of coloring I do is laying down all the flat colors - the shading comes later. On the left of the screen, I select the pen tool, which is circled in red and labeled 2. Once that's selected, above that labeled 1. is the type of pen, and in this case, my preference in the gel pen - I just like the type of line it produces - pretty much as simple as that. 3. is the width of the pen tip in pixels. If I were drawing lines, I typically use 17, where it's set now. But to begin coloring, I start with the background and make the pen tip really wide - usually over 800 pixels since at this stage, precision isn't required. And of course, below that is our color pallet to choose from.
Because I want your eye to be drawn to the characters, the background color is usually pretty muted. As you can see where I circled on the left, I'm adding the color with the pen tip cranked up to 800 pixels and the color I chose is pretty bland.
When I color the background, I'm not at all concerned with neatness - just get it done and I'll clean up all the white trim areas later.
Next, I start adding color to the characters. Because this husband and wife team are the center of Spectickles, the colors I use, for the most part, should be the same to help make them instantly recognizable - the husband's shirt is always the same blue, and the wife's dress is always the same pink.
When it comes to coloring the characters, I need to be precise in the areas that terminate at another color - coloring within the lines, except in places where it doesn't matter, as you see at the bottom of the cartoon.
More color applied - in this case the wife's hair. See Ma - I'm staying within the lines!
Now that all the flat colors are applied, it's time to clean up around the edges. You can see encircled in red is the eraser tool. That can also be enlarged as needed - you can see here it's currently at 120 pixels.
Here the flat colors and cleanup are all done, and we're ready to start some shading.
One of the really great tools available in Clip Studio Paint Pro, and other programs for that matter, is the 'Magic Wand' tool. When I'm going to apply shading, I'll click on the tool, which is circled in red above, then hover over the area I intend to color, then left click on it. When you do that, the Magic Wand will select that area of contiguous color - you'll see a pulsing dotted line around the area when it's selected, and whatever actions you take will only effect that area. So for shading, I make sure I've got the right color selected that I wish to use for shading, then move down to the next tool we'll talk about, the 'Airbrush' tool.
Above you can (hopefully) the active dotted line that surrounds the area of contiguous color selected by the 'Magic Wand' tool.
Also, when the are you've selected with the 'Magic Wand' is active, an elongated box with show up beneath the area you've selected with a group of additional tools for manipulating the image. But since they go beyond the scope of our current topic, we'll save those for another time. On the left of the screen you can see a tool that I've circled that looks like the top of a can of spray paint - that's the 'Airbrush' tool we'll use. Below that is the spray area - just like with the pen and eraser, measured in pixels.
When you want to deselect the area used with the 'Magic Wand' tool just click on the left-most icon within the elongated box, circled above.
When you use the 'Magic Wand' tool, it will only choose the section of color that is contiguous. If it is separated by another color, it will remain unselected, as circled above.
The final results of using the combination of 'Magic Wand' tool and the 'Airbrush' tool to add a shading effect to the now complete cartoon.
No, this isn't a poorly chosen fashion statement - it's a half-glove I use to prevent the palm of my drawing hand from interacting with the screen as I draw and color. The software is actually really good in preventing it from happening, but I don't have time to discover too late that it didn't work.
Coloring on the Surface Pro 5.
The completed cartoon. Thank you again for spending time here. Up next, the step-by-step process I use in creating the now all digital Percenters cartoons.
I've been asked a number of times on social media about how I color my cartoons. In my last article, "Creating a Spectickles Cartoon From Start To Finish", I described how I drew the physical, or analog version of the cartoon using old fashioned Bristol board and a fountain pen. In this multi-part article, I'll describe in detail how I color my Spectickles cartoons, starting with the foundational formatting required.
First, a few notes regarding the equipment and software that I use for coloring. As mentioned above, the cartoon itself starts traditionally with pen and ink. Once the initial artwork is completed, I scan it into my computer with an older Epson Artisan 710 multi-function copier/scanner/printer. The settings for scanning are black and white at 400 dpi. The computer I use for my artwork is a Surface Pro 5, replacing my Surface Pro 4 which fell out of the backseat of my truck without any protective case. I chose poorly. My Surface Pro 5 is now encased in an Otter Box case, which, to my understanding will replace my Surface Pro if it breaks while the Otter Box is in use. I hope I don't find out.
The software I use is the Clip Studio Paint Pro program from Smith Micro. It's a fantastic program for cartoonists and artists, and at a one-time cost of around $50, it's far cheaper than the Adobe Creative Suite and Photoshop, and, in my opinion, better and more intuitive for our uses. On a side note, there's a free program called Krita that I'll be writing about in the future that's stacking up very well with the other professional art program, and again, it's absolutely free. As a career military man, I've found it useful in instruction to explain things in as great a detail as possible, so that anyone could pick up a set of instructions and put into action its contents immediately. That's what I've tried to do here, so even if you have no experience with coloring digitally, these descriptions will guide you through and answer questions before they're asked. For those who are experienced and skilled in digital art, you'll almost certainly know better and more efficient ways to produce these results, and I hope you'll share that with me and our readers in the comments section below.
The Surface Pro 5 tablet/computer that is the digital workhouse for my cartooning. I draw and color directly on the screen with the digital pen you see magnetically attached to the side of the Surface Pro.
The digital pen that's part of the Surface Pro creative system. At the time I purchased the Surface Pro 4, the tablet came with the pen included. For some unfortunate reason, when I purchased the Surface Pro 5, the pen was a separate cost of $99. Hopefully, they'll abandon that pricing model and go back to including it with the tablet, as part of the tablet's normal functional system.
Okay, getting into the meat and potatoes of coloring a Spectickles cartoon: first, I open the Clip Studio Paint Pro Program and as you see circled in red above, I go to 'file', then in the drop-down, select 'open' and choose the cartoon I just scanned as you'll see below.
Here's the untouched scan of the cartoon I'd drawn in pen and ink. There's a great deal of white space around the edges that I'll need to trim away.
To trim away the unnecessary white space surrounding the cartoon block, you'll see in the image above where I've circled 'edit'. When you click on that, you'll see a dropdown box with a number of editing choices. For the sake of trimming away the extra material, select, 'Change Canvas Size'.
After selecting, 'Change Canvas Size', you should see something like the image above, with a small window on the left to allow you to enter a precise number of pixels for the width or height.
Rather than selecting a pixel dimension in the small window, you'll see the small tabs on the edges of the image that I've circled in red. An alternative, and the method I use, is to 'grab' those tabs and pull them in to the area I want them, thereby cutting away unnecessary white space on the edges of the image, as you'll see below.
Once you're satisfied with the trimming of the image, click 'okay' in the 'Change Canvas Size' window, leaving the image ready for the next step, adding dialogue.
In the image above, you'll see where I circled and pointed in red 3 different areas to have a look at. First, for my Spectickles cartoons, I use Times New Roman for the gag line, and the lettering is sized at 30 pixels, as seen in the uppermost red circle. Next, in the bottom circle, I make sure the color of the text is selected; in this case, it's black. Now I'm ready to add the text, so in the middle red circle is the 'text' selection symbol. Click on that, then position your cursor at the point you wish to begin your text line.
Once your text line is typed, you'll be able to resize or position using the green tabs surrounding the text box. Just click on a tab and pull it away toward the edge of the window to make it larger, or push it in on itself to reduce the size. You can also reposition the text window itself.
When you're happy with your gag line, click on the circle I've indicated above. Once you've done that, you'll notice the text window is still active - just click on any of the tools on the left to deactivate. I usually just click on the top-most tool, the pen tool.
Now that your gag line is complete, you'll want to trim away the extra white space below it, and just as we did before, we go to 'edit', the 'Change Canvas Size', then adjust accordingly and click 'ok' to close the window and move on to the next step.
We'll cover layers in much greater detail in our next article, but for now, we need to note that the active layer, after just finishing our gag line, is the text layer. Since the next step requires us to manipulate the image, not the text, we'll need to click on the bottom layer.
Once you've clicked on the bottom layer, it should be highlighted, as you see circled above, and therefore active, ready for us to make changes as necessary.
For newspapers, I have to provide two versions of every Spectickles cartoon; a black and white version for print newspapers, and a full color version for their webpages. For the black and white version to work as a stand-alone cartoon, it needs more bold black to stand out and to give the image greater fullness. I've circled the areas above to indicate the items that typically appear in bold black in the black and white print version of Spectickles.
Since I have to create two complete cartoons every single day, seven days a week - each one with multiple versions, I have to work as efficiently as I know how. One of the very handy tools I use to fill in areas with color (in this instance, black), is the 'paintbucket' tool, which I'll explain below.
Before we use the 'paintbucket' tool, there's something we have to do first. We have to 'seal' the areas within which we intend to fill with black. As indicated by the red circles above, when I drew the hard copy version of the cartoon, I didn't extend the black lines all the way so that they connect with another black line, thereby 'sealing' that area. If you don't do this step, when you use the 'paintbucket' tool, it won't know where you want the paint to stop. Just as with real paint, if you pour it onto a surface with nothing to block its flow, it'll just keep going.
In the image above you can see (compare with the image above this one) where I used the Surface Pro pen and connected the black line, effectively 'sealing' the area I intend to fill with black using the 'paintbucket' tool.
On the left are the row of tools available in Clip Studio Paint Pro. You can see in the uppermost red circle the 'paintbucket' tool which looks, ironically, like a paint bucket. Below that, make sure you've selected black as the fill color for the black and white version of the cartoon.
Hover the paintbucket tool over the area you wish to fill with black, left click, and there you have it - the area is filled with black. It's a super important time saver when you have a great deal of work to finish.
If you've made a mistake, or forgot to 'seal' an area to be filled, the red circle above indicates the 'undo' button - click on it once and it undoes whatever you'd like undone. The nice thing about the 'undo' button in Clip Studio, is that it will undo as many things as you wish - there's no limit just in case you've made a mistake well back in your process. In Photoshop, there's a limited number of things you can 'undo'.
Very, very important - don't forget to save your work - indicated in the red circle above. As I've learned the hard way many times, save frequently, so you won't have to waste lots of time doing work you'd already satisfactorily completed.
In the next installment of this series, we'll get into the meaning and use of layers, how to create them, putting down the flat colors, then shading, and saving them. Thank you for reading this!
I've been wanting to put out a collection of my Percenters cartoons for a long time, and finally sat down to get it done and see it published. This collection is, in a way, my tribute to magazine cartoonists past and present, who've inspired me to want to be better as an artist and writer. The legendary cartoonists of The New Yorker, Barron's, The Wall Street Journal, Harvard Business Review, among others - this is my humble attempt to honor them. While I've never been published in The New Yorker, there is considerable satisfaction and joy in pursuing that aim; to strive to be better, and look to those who've paved the way as the map to follow.
In the book, "The Percenters: A Cartoon Collection" I've included 150 of the most popular Percenters cartoons, along with how they came to be, how they've changed over time, and the step-by-step process I follow in creating them. For those who decide to purchase the book, it's available in both digital and hard copy versions through Amazon.com. I hope you find value in it, and I look forward to your feedback.