Krakencon 2016 Pre-Con Commissions are OPEN!

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It’s been a while, but I’m still alive!
Actually, my computer broke, and the image files I want to attach with those blog articles are in that computer ||orz

Anyhow, I’ll be at the Fall Krakencon, 2016!
I’ll be at the indie artist alley section, table N7, next to the very awesome Mewblood, whom I met in person for about 5 minutes in Seattle two years ago. Check out their super duper cute comic!

To make things less stressful for myself, I’m opening up commissions today for EVERYONE reading this, and will be closing Krakencon requests next Wednesday, and online commissions on the 20th.

For those who are going to the convention, you do NOT need to pay shipping; just come to my table, pay, and pick it up. For those that don’t know, I do not do most of my commissions at conventions anymore–they’re mailed out, because I don’t like to be rushed by pulling all-nighters or distracted by attendees, and would rather put my best effort into my work. By preordering, you don’t need to wait for me to mail it to you.

For anyone on the internet, I am opening up commissions as well for you too! The only catch is that you need to pay additional shipping. Online commissions close on November 20, at the end of Krakencon.

Here’s some stuff to think about for these commissions:
These are ALL TRADITIONAL ART commissions. I will provide a scanned image if you want, but the thing HAS to be mailed you you.
You can also order anything in my online shop too, which will be cheaper because you would not have to pay additional fees for the item, and combined shipping would be cheaper (but you would still need to pay the necessary shipping). I will consider discounts, depending on what you want to purchase.
-I can write or paint something in blacklight ink for no additional cost. Blacklight ink is invisible in normal light, but bright blue when under a blacklight–I refuse to write anything bigoted, racist, or offensive in that matter.
-I’m okay with some nsfw, but no heavy R-18 stuff. Don’t be shy to ask, I’m not going to disclose your name and your fetish to the whole world.
-I’m not drawing anything that involves politics and presidential candidates. That’s for someone else to do.
-I’m okay with drawing someone covered in gore and blood, but I am not okay with drawing someone in the act of killing someone else.

Okay, now for a few samples.
Because the commissions vary so much and can be customized, here are some samples, what they represent, and the approximate price range. a2016-10-30-23-38-57
above sample: Card sized commission,monochrome with a hint of color, color paper, no round corners, and chibi: $8

Card Sized Commissions, 3.5″x5″-great for Christmas  and birthday cards…or cards for any occasion. I can make it folded, or cut it to a small rectangle.
$8 each, and if you go to Krakencon to pick it up, there is a $1 discount off anything on the table when you pick it up!
-Will be drawn as chibis on default. If you want it to look more realistic, you will need to indicate that, and no additional cost for that.
-Order more than one card sized commission, and each one will be $7.50
-Default color is Monochrome, with a hint of color. I can add more color, or keep it monochrome on request.
-Additional character or two for no additional cost
Shipping within US: $0.60
Shipping outside of US: $1.60
Pickup at Krakencon: Free!
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above sample: Medium Size Commission, color, color paper, with rounded corners: $15
Medium Size, 5″x7″
$15+
-Optional Rounded Corners, no additional cost
-Color or Monochrome, no additional cost
-Random Color paper, or you can choose brown paper or parchment/cream paper, or white, for no additional cost
Shipping within US: $1.50
Shipping outside of US: $2.50
Pickup at Krakencon: Free!
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above sample: Larger Size, Brown Paper, monochrome, $25

Larger Size, 8.5″x5.5″
$25+
-Brown Cardstock (but you can request color/parchment cream/white paper for no additional cost)
-Optional Rounded Corners, no additional cost
-Color or Monochrome, no additional cost
Shipping within US: $2
Shipping outside of US: $3
Pickup at Krakencon: Free!

To order, please email pennydox@gmail.com
Commissions will be completed 1-2 weeks after the convention
Please include:
1) If you are picking up at Krakencon or if you live inside or outside the United States
2) Size of the commission
3) Color or monochrome (or monochrome with a hint of color), and rounded corners or straight corners
4) If you follow a fandom I draw/follow–I might leave something extra…if I feel like it.
6) I post these online, but if you want to keep it a secret, please indicate that, or if you don’t want me to post it until a certain date (such as christmas). If you want me to tag the image when I post it via instagram/twitter/tumblr, please indicate the screenname.


Thank you, and I hope you will enjoy your commission! :3

 

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Sweet Meats! Kickstarter Campaign :D

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I haven’t posted in a while, because I’ve been working on…..
SWEET MEATS!

.

*applause*

..okay. Anyways, what the heck is ‘Sweet Meats’?

Well, the predecessor was a full color zine called ‘Sweet Treats’, published by Dapshow. I was one of the artists who contributed a short comic in there, and then our second anthoogy, ‘Sweet Meats’ is the next in line–another full color anthology, all about meat!

I’m contributing a full color 5 page comic about HOW TO COOK A CRAB. No seriously. It’s a cookbook comic. With a crabgirl :D
prev2_Jackie_LoIf you look down the list of artists, there are some real crazy awesome talent, like Doug Harvey and Brendon Tapper!

Anyways, There’s less than two weeks left, and we’re in dire need of support! Please support the kickstarter, or share the kickstarter with “http://sweets.dapshow.com”

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Angry Artist Alley: My First Time Making Acrylic Charms

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Note: This article isn’t about ‘Artist Alley’ per se, but more of an article about something many artists make at artist alley. I put it in Angry Artist Alley because it could possibly be relevant to some people.

Chilly Pig Creations
is an independent company that prints acrylic and wooden charms. This article describes my first experience with making acrylic charms, and working with this company.

THIS IS NOT A PROFESSIONAL GUIDE TO MAKING ACRYLIC CHARMS. I REPEAT. THIS IS NOT A PROFESSIONAL GUIDE TO MAKING CHARMS.

It’s a beginner’s perspective on making charms. If you’re a noob who wants expert advice, go ask an expert on it. Heck, if I wanted expert advice I’d be asking my other friends on this (which I did). I’m just writing this article based on my very first experience making them. I just have a LOT to say. I’m sure someone on the internet probably wants to read a personal article about me struggling and crying in agony. Here you go. 

I couldn’t find a good article that puts making acrylic charms into a beginner’s point of view. More like an expert’s point of view, that describes quality, perks, and etc. with these things. This is more like the process of making them. If you’re looking for expert advice, I’ve just warned you now, this isn’t the article you should be basing all your opinions from.

Continue reading

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‘Arquebus Dance’ Anthology: The Conclusion of the Project (and KrakenCon Photos)

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Aye! And so, this is the part 3, the last part, of my 3 blog article revolving around my ‘Arquebus Dance’ collaborative project with my friend Kayu. And a photoshoot.

At this point, both Kayu has completed the layout and the book was sent to the printers. We’re both crossing our fingers that it will turn out great.

I thought it would be a bit unfair for every artist who contributed only to get one free copy and preorder bonuses, but in addition, I’ve printed every artist five quality prints for their own use, and a framed one to hang on their wall as a special gift. Not much, but so far the best we can manage, since this is all privately funded with barely anyone interested in preorders.

Layout design took a little over a week, which involved nightly conversations on Google Hangout, lots of file transfers over gmail and dropbox, and a crapton of swearing at the monitor.

There were some serious issues though. We expected the layout to be B5 sized (typical doujin size), but the printer we had our eye on suddenly made a note saying they aren’t picking up any more orders, so we had to find an alternate. Eventually we decided that printing on regular comic book size and trimming the bottom would suffice. I’d like to thank RA Comics for putting up with our shit, because we honestly weren’t sure what the hell we were doing. Thanks for your patience and troubleshooting!

Anyways, PREORDERS FOR THE ANTHOLOGY END AT THE END OF THIS MONTH! HURRY!

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Last weekend, there was a convention called KrakenCon, and IT WAS ON A FLIPPIN AIRCRAFT CARRIER SHIP HOLY SHIT. Like…I could go on about how it was one of the most amazing convention experiences I had in my life, but you can just ask anyone who went, and they’ll just flip out as much as I did.

In Nobunagun, Sio was a military fanatic, and it was appropriate to have this photo shoot with her admiral outfit (not featured in anime, but later in manga). We visited all sorts of places all over this ship and snapped a ton of photos. This photo shoot is pretty much like the conclusion to our project. Hope you enjoy it!

Let’s kick off the celebration off with a photo shoot of Sio when she [INSERT SPOILERS] :D

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‘Arquebus Dance’ Anthology: The Process of a Doujinshi

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This is a followup to this article, part 1 (part 3 will come up after preorders are over for this project)

This article is about the process of making ‘Arquebus Dance’, and what some of the experiences were. I’m sure it’s different for everyone who has made an anthology before, and no, I wasn’t the main person running the entire thing, but I did put a huge helping hand in it.

What was the project? It was an anthology zine that had Nobunagun fanartists around the world contribute some art to create a zine. Kayu created the project, and I helped with the production of it.

Prior history: Before this anthology, two were made, and each one was dedicated to another character from the series. My partner, Kayu, chose to take on the third anthology and the character was Sio Ogura/Nobunagun, the main character. This would also be the first to feature a female as the main theme (as opposed to ‘William Tell’ and ‘Adam Muirhead/Jack The Ripper” This would also be the first one run by someone who isn’t from Japan either. In fact, this would also be the first one that was printed and run by someone not from Japan, a ‘gaijin’.

Fun Fact: The term ‘gaijin’ means foreigner. Kayu kept telling me that we were ‘gaijin’ and I scratched my head for a while. It’s quite an oddity when foreigners can’t quite read the comic they’re looking at (well I can’t, but she can).

I think what made this project very interesting was that the main audience was for Japanese fans (since the manga hasn’t even arrived in America…yet?). I read the manga, but I ask Kayu to translate some of the pages for me when I don’t understand what’s going on. There’s an incredibly heavy language barrier between me, and them. But I guess the best way I can ever respond with anything are emoticons. They are pretty universal for the internet ^_^;;

Like I said, the doujinshi’s main audience are Japanese readers. Which meant the binding would be on the right side, and everything would be read from right to left. That even includes the comics!

And it was a great fun challenge well spent for a few months. I can now say I made a short comic in Japanese. If you just recalled in the last few paragraphs though, I CAN’T READ JAPANESE. Now how did I get through this doosie?

Well, it’s simple. Well not really. Maybe? First, I wrote the dialogue and all the sound effects in english. Then I emailed it to my friend who would translate it. Then I drew the comic oriented right to left.
2015-08-18_originalNext, I took the sound effects my friend translated, and I drew them into the comic. (I needed a little bit of practice before I could get so-so at making the characters correct and legible)

Here are samples of some of the sound effects I popped in the comic:
sfxThen lastly, my partner took all the english text, translated all into japanese, and did the lettering for my comic. I can’t believe we pulled off that stunt, and I hope it turns out alright!
Below: Kayu working on typesetting and translating. Photo courtesy of Kayu

But WAIT–the doujinshi will have an ENGLISH version too! So guess what? Even though when it was translated into Japanese, I did the speech bubbles in english for my own comic! But there were some other comics that were written originally in Japanese, and had to be translated into English. What a doosie! But Kayu was prepared for this.

I wish I could show you samples of the comics, but of course, that’s a surprise for the people who purchase a copy of the anthology! Also, currently they’re on preorder, and preorders come with extra swag :3

Preorders end at September 30, 2015.
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And since there is preorders for Japanese version as well, here’s the Japanese ad:
promo_2_jpnThank you Kayu for all your hard work translating EVERYTHING (even the credits, letter to author, title, etc) from English to Japanese, and Japanese to English! I hope this is an amazing experience for any reader to know this much extra effort was put into it <3

Check out more thumbnails, progress, news, etc. about the project at the tumblr!

Conclusion to this comic project:

This project has showed me how to overcome the language barrier. Kayu and I had quite an adventure working on it. The Nobunagun manga series just ended last month, unfortunately, but I asked Masato Hisa (the author of the series) whether or not he was thinking of a spinoff. I am pretty sure he can understand english, to some point, and he responded (and probably jokingly) that I should make one. My friend and I are tempted on taking this challenge, and make a whack spinoff to the ending….entirely in Japanese.

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‘Arquebus Dance’ Anthology: PREORDERS OPEN!

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So if you’re wondering why I haven’t had a new blog update in over a month, it’s because I have been wrapping up this project, and now we’ve got preorders open for it!

I’ve never spent so much time and effort in a comic in my life, and hope the results show. I contributed two comics (one one-page, one ten-page), one page illustrations, two collaboration pages, designed the ‘bonus postcard’ and made additional drawings scattered around the anthology. I also helped manage the project, and my partner and I are crossing our fingers that this goes smoothly >.<

Some history before the project: I originally watched Nobunagun to see how whack the series could be, and ended up enjoying it. I mean come on, that main character has a giant gatling gun on her arm. That’s so badass.
Anyhow, details aside, I made a friend at Artist Alley when she saw a Nobunagun fanart. Fast forward months later, and we decided to make an anthology zine for the artist, Hisa Masato.

Why did we make it?
Despite how fun and whacky the anime is, there’s also a manga. And it’s not even in America yet. In fact, this series isn’t even that popular. The artist’s art style is quite unique, and every chapter’s pacing is as fast as an episode of Kill la Kill. I am not kidding–i read the japanese manga updates but I can’t read a spit of Japanese at all. I ask my friend to help me translate some of the pages when I can’t understand it. And I love it. But man…wouldn’t it be great to just buy the translated book in America?

The entire process of making the anthology is to bring awareness of our love to the manga. Seeing as we’re foreigners compared to the fans in Japan, I guess it makes it even more special. We both want it here. We spent many, many months on this. Our goal is to show that the anime is worth the watch and if this book ever came to America, it’s worth the read as well :D
(also, please make season 2 of the anime. It answers so many questions for viewers who have already seen the anime)

So we decided to make an anthology zine contributed by the fans of the series, and then distribute it. Even the artist himself is contributing!

sio preorders

Preorders for the Sio Ogura Anthology, ‘Arquebus Dance’ is up, and includes TWO limited edition prints and an exclusive sticker set that only comes with preorders.
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(credits: far left and right: Celebistar, middle two: me)

This is a fanzine dedicated to Sio Ogura, the main character of the anime and manga Nobunagun, by Hisa Masato. It’s made by fans from America, Japan, and other countries around the globe!

If you haven’t seen Nobunagun, it’s available free on Crunchyrollwww.crunchyroll.com/nobunagun

special-goods_original

It includes both color and black and white illustrations, on quality 80lb paper, and is currently at a 40 page count (which means by the time preorders are over, there might be even more pages!)
We also have a Japanese version available as well.  

[Preorder here]

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CCA MFA in Comics Presents: An Evening with Mike Mignola

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I was fortunate enough to see Mike Mignola’s lecture at the California College of the Arts on Friday and video record the entire thing!

Many, many, MANY years ago I first heard of him when I watched the Hellboy movie, and then I found out about how he came from my college, the California College of the Arts (‘and Crafts’ back then). When I was in CCA, I had never heard of any alumni who walked out this college and made a big break in comics, so this was REALLY inspirational for me. I did research on him, saw his art, and instantly fell in love with the style. Although my work doesn’t look anything like his, it was definitely born from reading my first Hellboy comic religiously. Such an opportunity is really a gift from the comic book heavens. I left work early just to get to this lecture on time. Maybe a little TOO early in anticipation, as I arrived around 4:30pm (the event was at 6).

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Seats were getting packed, FAST. 

This would be the very first time I use my brand new Olympus EM-5 to video record, and recently, my camera lens was repaired and I’m back in the game. I also brought my mini tripod to see if it could help with any future projects (it doubled as a mini monopod because of its weight). I decided to use this lecture as a ‘test run’, and it seemed pretty good, in my opinion.  The only thing lacking was my ability to record videos. Although the beginning of the video was a little shaky, I eventually figured how to work the camera (sorta). Practice makes perfect.
2015-07-02 22.35.55 Anyways, enough with the chit chat, I know why you clicked on this link, so, enjoy!

What struck me the most about this lecture was how Mike had many, many failures in his earlier works, and admitted to a lot of his flaws, and just found methods to adapt to his flaws. It goes to show that not every artist is as perfect as you think they are ;)

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Note: there is a deaf student in the MFA Comics program, and the lady in the front is the translator

Like any show at CCA, there was always an ‘after party’ where we all got to hang out with people, drink alcohol (responsibly hopefully), and eat all the salami and cheese until it’s gone.

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Above: Chris Koehler, one of the teachers in the MFA Comics Program, and Owen Smith, Chair of the CCA Illustration department.

Mike still didn’t get a break during the after party, as people gathered in a line to get their comics signed, photos taken, and talk to the big man.

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By the time I got to the front of the line, I got really nervous, had absolutely no idea what I was saying, and exchanged what must have been twenty seconds of words, a hand shake, and a photo. *facepalm*
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It was a good moment while it lasted.

Still, I have a long way to go. Coincidentally, I too came out of the CCA Illustration department without little direction, only with the determination to work towards comics. The future is still uncertain, but after listening to this lecture, at least I know that I’m not the only artist in the comic world who doesn’t enjoy drawing cars!

For more photos, check this out: https://www.facebook.com/media/set/?set=a.986129918104734.1073741843.180444828673251&type=3


…and speaking of a big break, a bunch of friends and I collaborated to make a full color anthology zine called ‘Sweet Treats’ containing comics and illustrations revolving around all things sweet! Like any artist, we’re all trying to make our big break, little steps at a time. We’re not a Mike Mignola, but I’m sure you’ll be impressed with some of our work. Please support our awesome project!

The 48 page color physical zine is only $5 and the digital pdf version is ONLY $1! Please support and give it a peek :D

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Rose

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Just to let my readers know, there’s a huge imbalance of blog articles about artist alley without me actually showing my own artwork. So expect more recent projects or photography here. But don’t expect them to update every week :P

I didn’t get in the Capcom Tribute, but I submitted a piece I really like and wanted to talk about it a little. The Udon crew had an insane amount of competition, so I’m not surprised I didn’t get in (heck, a lot of people who got in that book were veterans or creators of the series). So without further ado, it’s Rose, from Street Fighter!
ROSE_mockup I’m actually really bad at the game, and there’s not a lot of fan art of her, so I was happy just making the piece for myself anyways. She is one of the few characters in the game that I can sort of get a handle on (i can’t do a Z movement on the game stick, and I don’t really know how to handle charge characters, so her limited moves help me out on that). The original illustration is actually markers, but the background, textures, and glowing are done in Photoshop. The piece took about two days to complete, and I currently have them available as a mini print in my store :D

I’m a very late bloomer, but one of the earliest arcade fighting games I’ve ever played was Street Fighter 4. When I first played, I used a game stick, and so when I begged my brother to buy the game for me, I couldn’t figure out how to use the controller, and begged him to buy a game stick for me as well. Best big bro ever!
I really fell in love with the art, and the comics that come with it are AMAZING. I want to give props to the writers of the comic series, the flow is superb.  A lot of my current work was inspired by the game. When the characters pull out their special moves, and the scene changes, it’s so dramatic, and the comic is like watching the game unfold with different characters! I love the sumi-e ink washes that happen when the characters use a focus attack. Anyways, I’m just in my own little world with this franchise.
One of my dream comic jobs is to work for Udon to make a short Street Fighter. That’s such a long shot, but I’ll keep practicing, and hey, who knows! This is my first attempt, I’m sure one day I’ll make more fan comics. 

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Arquebeous Dance: A Sio Ogura Fan Anthology

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So I’m walking out of conventions for a while to work on this project, which is called ‘Arquebeous Dance’. It is a fan-tribute anthology for a series called Nobunagun by Masato Hisa, which has a VERY small fanbase, but very dedicated fans nonetheless. Which is why I decided to join this project and contribute a small comic for it.

The project is dedicated to Nobunagun:

You can check the anime out here, but I recommend skipping episode six and seven when watching the first time around, which are filler episodes.

Also, you can’t deny this is an awesome opening for an anime:

[You can read chapter 1 and the three most recent chapters in the manga here]

Anyways, a large reason for participating in this project was that the manga isn’t sold in America! A friend lent the Japanese volumes to me, but even though I can’t read anything, I just look at the illustrations over and over to understand (although my friend does clarify some things for me). So I hope, when I finish this project, some of you would be interested in spreading the word around, and if there’s enough of a fanbase, some company might consider translating it :D

Arquebeous Dance is a fan anthology that revolves around the main character SIo Ogura. Since the anime was accurate enough to cut off at around volume 4, I decided to make my comic the branch between what happens at the very end of the volume, and what happens in the beginning of the next volume. That way, it’s not quite a spoiler, but a bridge to understand what the outcome for the future of the series will lead to.

These will be the only two ‘preview pages’ of the nine-ten page comic, but I will also be including 4koma comics, and other illustrations in it too!

(comic is right to left, and no text)

set1_finalA set2aIf you’d like to participate, please check out our tumblr for more information on guidelines, deadlines, and contacting us to be on the list! Deadline for open call of artists is June 1, but completion of art is in September! Also, please only participate if you’re a fan of the series. When you pour your heart into something you love, the work always shows, and we want our anthology to be all about that! Support the series, support Masato Hisa!

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Angry Artist Alley: Partnering at a table

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**I’d like to thank Ashly Tahilan: [Tumblr] and Terri Litz: [Deviantart] [Livejournal] for their excellent input on this topic. Thanks you two!

One of the best ways to reduce your convention costs is to have a table partner. Usually sharing a table allows you to share transportation, housing, and tabling costs. It’s amazing, but the downside is that you’re cutting your selling space by half (and sometimes thirds).

Still, depending on what you sell, these are great outcomes and sharing tables can lead you to buying more costly tables at bigger conventions, knowing you’re likely to be sharing hotel/housing with your tablemate.

But just having someone else at a table isn’t the ONLY thing you need to be concerned about. This part flies through peoples’ heads very easily, and you really won’t get it unless it’s happened to you–you walk out of your table, and suddenly people are walking at your table. Can you handle it? Can THEY handle it? WILL they handle it?

I’m egging at the fact that SOME TABLE PARTNERS ARE NOT GOOD TO PARTNER UP WITH. Don’t get me wrong, I don’t mean bad as in their drawing art skill, I mean bad as in they’re not interested in helping you out. By bad, I don’t mean they won’t do your money transactions either–that’s easy peasy. I mean bad as in they are trying to sell their work and their work only at your table. Or take it a step further, and sometimes just not enthusiastic about selling anything whatsoever. And well, standing at a distance, you can tell if they’re doing it or not.

First off, choose your partner carefully. Please consider these questions:

1) Can you get in contact with them? If they can answer your emails every two days or earlier, than it’s okay. And make sure you get their number.

2)What’s their work look like?

Be honest. If your work isn’t amazing, and you’re sitting next to an insanely talented person, where do you think all the business will go to? You want to have an artist who is struggling as hard as you trying to get better. Or at least, a balance of skill between both artists. Or you both mutually understand the situation and accept it.

3) Is your work going to COMPLIMENT theirs, or CLASH with theirs?

One thing you want to avoid is selling the exact same stuff the same series. If you’re selling stickers and pins from one series, and your partner did the exact same thing, it’s going to CLASH. It’ll feel like a shitty competition of whose will sell better.

“OH YA. if anything avoid selling the same things as well. It’d be total butts if both of you were selling charms of pokemon.. THE SAME POKEMON. DOING THE SAME CUTE THING. AS CELL CHARMS.”-Ashly Tahilan

One trick/tip when doing tables is to sit next to someone who isn’t selling your stuff. For example, if you’re selling prints, try and get next to someone selling crafts.

Also, I sound like an ass, but if the convention gives you the option and asks for your seating preference and you know there are some artists that kind of bang on your style or you don’t like them, just leave a note saying ‘I don’t want to be seated near [insert artist’s name]’ Better safe than sorry. On the contrary, if you don’t have a table partner but trust another artist who also has a table, consider asking the convention to seat your table next to theirs so when you leave you can entrust your money to someone you know.

It’s all on judgement of the artist’s style whether or not it compliments your work. If you have something that’s very vivid and colorful, maybe you should consider tabling next to someone with very dark moody artwork. If you’re selling headbands, maybe you should table with someone selling hair clips.

4) Do you know the person?

At least talk to them a few times before immediately trusting.  Also, it MIGHT NOT be a good idea to partner with someone you know who is very attached to you as a friend without considering it very hard. This is because if for some reason you don’t want to partner with them (either because they just ruin your business, art is bad, or attitude), and you tell them you don’t want to partner with them anymore, it can feel very very bad. So you want to have a mutual understanding with your partner that neither of you are obliged to share ever again if you ever do it in some other convention. A good table partner won’t feel butthurt if you tell them you want the table for yourselfor are sharing tables with someone else.


 

So, what constitutes as a good table partner?

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(left, Louie Hidalgo (http://leadapprentice.deviantart.com/) and right is me, Jackie Lo (http://www.jackieloart.tumblr.com).  Photo taken by BlizzardTerrak. While his work is amazingly well rendered from the computer, my work is almost entirely drawn by hand. It’s hard to compare completely different styles of art. 

-You inform each other what you’re going to sell/prepare AHEAD of time. Not at the convention. If you’re going to have a stand or prop, you tell your partner that or you’re going to have some conflict the day it happens. If you brought a red tablecloth and they brought a black, you better be able to settle for either splitting the color in half or fighting over one.

-You know your limits to your space. Don’t just shove as much as you can on your side to the point where people can’t see your face, and you’re going to be squishing yourself sitting next to them on their side because of that. If that’s the case, it’s likely that table sharing may NOT be the best option for you. If you don’t have a lot of stuff then let your table partner put some of their stuff over the other half of your side.

Don’t be annoying. They bug you? Tell them politely. You bug them? You better stop it.

Don’t ignore them. Dude, you are standing next to them for eight hours. But don’t bother them too much if they’re drawing or you see that your talking is distracting their commissions.

You guys know how to deal with food. Seriously, if only one of you just get food for yourself that’s selfish and too much work. Get food for both of you at the same time, and know where you’re getting it. Also be aware of your friend’s food preferences and allergies. For tips on food, check out my article ‘how to do the food’

-if you think there’s something they can fix up, like helping you sell your work, or something like that, feel free to tell them. They may or may not do it, but at least telling them will inform them of your concern. If you get butthurt because they told you something, it’s probably not a good idea to table with them if you couldn’t handle the criticism.

They don’t jack your money. Stealing your partner’s cash is a no-no. If you’re anxious, take some of your money with you.
In some instances, they might not have change, and you will have to give out the change. It’s your judgement whether or not you want to do the money transaction and tell your partner later.

And here’s one of the biggest flaws in table partners….

-If you or your partner walk out the table, that does NOT mean you lose half the work on the table. That means you work hard and help them with their side of the table while they’re gone! I don’t mean go commando and only sell their work, I just mean that if someone looks at their work you keep their attention at the table and if they want to buy something then you should know how to exchange money. That may sound ridiculous to some, but imagine if someone walks at your table but only looks at your partner’s work but not yours. I bet you that if you just made light conversation with them, they’d at least take a glance. If you just sit on your butt and ignore the crowd, no one is coming to look at EITHER you or your partner’s stuff. So there should always be someone actively trying to engage with customers. Engaging customers is a very important key to good business! Even if it’s their work people want to look at, sharing tables is a team effort. Also, ignoring their sales with customers is not cool.

Here’s an instance of why you need a table partner that will help sell your work when you’re gone. Imagine you leave to go to dealer’s hall for half an hour. Your table mate says ‘okay’ and sits there. Then, when you’re done, you come back and your table mate tells you, “oh yea, three people wanted to buy some of your work but I didn’t know what to do, so I told them to come back.” What if they forgot and don’t come back? You just lost some business there because your partner didn’t know what to do. Having a partner you can trust with handling money and knows all the prices of your work will help you out a LOT.


 

Tips about sharing tables:

-At least one person is trying to engage customers. That usually means one person always standing and waving their hands at the art. The other person can be drawing a commission or out shopping. But always one person is getting people to the table. If your partners leave, don’t just sit lazily on your butt; that rarely attracts customers. Stand up and engage.

-You both know exactly how/when to get to the convention, and you know exactly how you’re getting food. No conflicts or problems. If you both take the train, it’s a good idea to meet at the exact time so if you plan to take the taxi, you can share the fare getting there.

-If someone buys your partner’s stuff, you know where to get the change from, and write down what you sell to inform them. Forgetting to do so or being unable to handle money is not a good idea when sharing tables.

-Don’t take your sweet sweet time outside the table. Don’t leave all the work to your partner. That’s not cool. For me, one hour is tops. However, at bigger conventions it could be longer. But don’t leave for half the day and not tell your partner.

-If you can’t do a commission or something, why not tell them your buddy can? That’s a plus!

In the end, if they’re friends, strangers, lovers, or family members, if you think they’re not helping your table when you’re sharing tables, just tell them no; no hard feelings, not everyone is good at it, but it really does suck when you feel obliged to share because you did it once. Do you have a story about a positive or negative experience sharing tables at a convention? Please share by leaving a comment below!


 

Featured Artist(s):

Rachael Ann Miller

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At Fanime, I was standing in front of her table staring at a picture because it seemed familliar. I asked her if it was on tumblr at some point, and she said she posted it a while ago. I told her it looked amazing and recognized it and she gave me a postcard print (it’s the black on on the table), and on the back she wrote ‘thaks for tumblr creepin’ LOL. No, she meant it in a good way, because she was really happy to see a follower recognize her art. I feel the same way when people come to my table too :3

site: http://rachelannmillar.com/illustration

tumblr: http://rachelannmillar.tumblr.com/


 

 

 

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