Tuesday 29 January 2013

Making books:8: Printers II

Still doing some research on this, with the unfortunate problem that each printer has something specific I would like [sewn signatures/ short print run/ ideal pricing to budget], but none of them have it in combination. Bit frustrating.

2nd in low cost- sent me a lovely paper sample book which contains printing on different papers by their colour and greyscale digital paper which is great! [All printers should make this booklet. REALLY] Only thing is their hard back binder is a different company and it costs £4.75 per book to be bound.

Most expensive so far which gave me their short run wibalin and jacket cost, not a printed paper case cost, so trying to get a second estimate off them. Then it'll be wrangling samples time.

3rd has the problem of being the 3rd in terms of cost, but containing all the mod cons except- the lowest print run is 250. I don't think i could do these numbers unless i have at least 150 pre-orders. I also have this one earmarked for another print, so it would be nice to test them out really.

Not heard back from my first printer [if you remember my FLIPDESK from the other day- it's for more complex reasons than printing... but still from my side of it, it's not going well.]


Anyway- well, so far, sorting out a lot of print and postcard/bookmark printing and did a load of photo ref printings, and sorting out a few comms.

I've really been a bit too busy otherwise to do much drawing.





Just as a feeler, who would be interested in a 200 page hardback of my sketchwork from 2008-2012 [it's black and white with colour cover] for £40-£50 in limited edition [either 100 or 250 at this stage] ? Please comment if you're interested :/ 

Friday 25 January 2013

Making books:7: Printers

I've researched my fair share of printers, and there are MANY. There are advantages to finding ones in this country [You can communicate! Shipping is ok and usually included in the price!] and advantages to overseas printers. [They do so much more stuff without going >H< at your specs.]

Most of my contacts are in the UK, and actually I have a number of printers depending on the item I print. Each has it's own advantage and disadvantage, and I build up a working relationship with each one.

At the moment, I'm looking into hardback books. Unfortunately all of the printers I use are either too expensive or don't specialize in it. I'm researching both short and long[ish] run printers for different projects. It's a long process. I've just spent weeks trying to work out if I could work with one, and I'm getting to the point of going back to the beginning and  having to research other printers.
Ok, as a client, I'm nit-picky, so part of the blame is mine, but having cut down my ideal book printing specs [A4 landscape with a few colour pieces] to A4 portrait just plain black and white [they could only do either the full book mono or full book colour], I'm starting to go with the gut feeling I had at the start about the printer which is- I'm not sure we click.
So, I'm starting to look into more printers and see what is available, and maybe get something that might be able to work with the preferred specs I wanted.

Anyway- you spend a long time doing this sort of research, and it's worthwhile finding ones that work exactly right for you. It's different for each person. Also- it can be frustrating. Be aware of this if you're one of the people [Who I may not know very well at all] who flippantly ask me what printer I use and will I tell them so they can use them.

I'm not kidding, I'm generally holding back the urge to punch you. -H-

I know you're just asking for advice, but from my point of view, you're asking for a shortcut I've spent time looking into and gambled money on... I'd not get anything back from you for doing this. Most people I've talked to about this - NEVER SPEAK TO ME AGAIN. I don't get thanks- I get competition.

All the same- this is what I suggest- look up stuff on the internet- find out the sort of books you would like to make. Google the printers who do them. Spend some time contacting them for estimates [make sure you ask if delivery and VAT are inclusive for any sort of printing, VAT is sort of there or not there depending on the printed item.]  and get sample printing sent to you. you'll simply eventually find something that works for what you need.


Anyway- I LOVE making my own books. It's why i spend so much time and effort on it, even though a publisher would take a lot of the work doing this off me. But it's something I'm passionate about, and I feel disappointed if you say you WANT to make books, but you don't spend the energy and time working out how to do it yourself. It's a process I think is necessary to really produce nice stuff.

Wednesday 23 January 2013

Making books: Part 6

I spent some time the last few days choosing images and placing them to the number of pages I had specified to my book specs.

200 A4 pages to play about with.

Anyway- it's been a long job as I'd whittled down to about 400 images all different sizes and subjects which needed organising and paired up to fit in groups on a page or singly.

I decided to print them out and do this by hand. Even though it's fiddly, I can just do this bit so much faster by hand and eye than digitally on a comp.



Printouts of thumbnails of all the images I'm going to have in the sketchbook.
These are set up in date order by years. 2008-2012



Cut out and sorted into different subjects-
Mephistos/ Comics/ Original/ Fanart

Similar times and subjects are paired up stuck onto a post-it so I can swap them around later when I start setting up the page order format.



Roughly paired up. At this point I may still have to swap images around if they don't pair up well on an A4 page when I start making the pages in photoshop.



A large chunk of all the page thumbnails!

I managed to get up to  176 of these today- I'm going to spend some time later working out what inbetween/ content/ empty/ title pages i need then start seeing what i need to fill out. As a sketchbook, I didn't want to have too many big one page images as I want it to feel a bit more crowded.




Tuesday 22 January 2013

Making books: 5: Books for printing


This is where my print reproduction education started- I'd been asked to submit a comic for an anthology, but the publisher had had trouble with the artwork they were being sent from people so the guy [Thanks Jamie] who was being our wrangler sent us this: A guide to reproduction, as a way to basically stop us from sending him horribly unusable files. At this point, the Print Geek began it's reign of terror over printers in it's path.

Reading through it again, there are only a few bits really relevant to what I want from my printer- mainly how to print really good clear black and white linework, and if necessary- with greyscale included. It's not actually all that technical, and there are actually several methods to achieve the same thing. [I use an overly labour intensive method and create super huge files which make my printers weep when they receive them, but I KNOW it works.]

In general I draw my linework at 600 dpi. I keep my greyscale and tonework on separate layers to my linework.

When it comes to printing, and I have my page set up to the size and bleed I want, I drop the whole lot in as layers and shift them and resize them in a block. Then I resize the page up to 1200 dpi [In greyscale.]
This is the important bit- I apply threshold to the line layer [If you have a tone layer made of only black dots and lines, do this to it as well- greyscale, you can leave alone] this turns the lines into JUST black and white pixels. This is important because if you just leave your linework without clarifying what is black and what is white, it will contain grey pixels of different levels of grey- when your black and white printer starts printing- it will automatically decide for you if that grey is dark or light enough to merit being printed. And then you get furry looking edges to your line work. You get mucky looking printing. This isn't your printers fault- it is what is already in the file you sent in. So clean up your line work, clean up your tone before you go to print. The more you sort out on your end, the less they can get wrong.

Incidently- the above will work on any linework- but is a little dodgy on washes, if you work in washes- just print as normal, it'll greyscale out. You'll probably get away with 600 dpi - 800dpi for this- as the grey will tone out depending on the printer linecreen anyway.

Colour images don't even have to be that big and will survive at 300dpi [push 600dpi to be safe] simply because of the way the ink dots combine.


I also have these books to help me out- it's more to understand the printing process as I use Litho for slightly larger runs, and the process is slightly more complicated depending on what sort of thing you want. The non-designers scan and print book may be a little dated [It was out of print when I was searching for a copy] but the basic necessary processes of getting stuff sorted so it's considered good enough to use is still there even if the technology is different. I believe Amazon still have a few copies hanging about 2nd hand. Print and finish is my Print Geek Bible. It's printed on a number of different papers with diff inks and contains a bunch of process info as well as examples of print possibilities [most of which will get you a stern look off your printer. ] But look at book info. I pick and choose what fits with my necessities, but they're handy to have about if you ever make books you want to be proud of. Also, you'll get to understand printer terminology. Sometimes, it's like speaking a totally different language with those guys. This will help translate a little for artists.

Sunday 20 January 2013

Making Books: part 4

I still have a delay on getting a quote at the moment, but my current approx. choice of specs for the book are A4 200 page hardback. It's likely to be monochrome with an idea for a possible extra hardback planned later on when I do more colour work as a sister book to this one which will be a collection of my linework from 2008 to 2012.

Still waiting to see how much the project will cost,so can't really even start formatting the pages yet -_-;;

Printing is sometimes a long process.

Saturday 19 January 2013

Vodka and Tiger

Haven’t drawn for days so redrew an old pic. I’ve been going through all my old drawings to work out what to put into a ref book, and realized that I’m pants at doing delicate linework. Hamfisted spazzline from now on.

Friday 18 January 2013

Making books part 3: Oh yeah, I'm a total book geek by the way... -_-

So this will have relevance to the book making progress thing-
I collect books, not only for content which is important in my job as an illustrator. Although it's easy enough to get image ref online these days, I still have a large library I use for day to day stuff. In with that is a large collection of both professional and self published books.
The thing about these is that they're often examples of what is possible in print. Sometimes, only when you get huuuge quantities made, but sometimes you'll only get a certain effect by hand making them. Having examples will go far in helping you choose and decide what kind of book you want to make. The other half of your decision will be affected by budget and the printer giving you the EYE and saying firmly "No, that's stupid."

Anyway- there are 2 FULL shelves of self published books in that pic. A lot of them are beautifully made. And some of them SUCK. Some of them I'd bought because the artists have beautiful work, but when I got them, the print was CRAP. Generally- this isn't the printer's fault. The more you get right at the file production phase, the less will go wrong. Oh- and ask your damn printer for samples of work similar to what you have in mind. If you go in blind, you deserve to have crap print.

Making books: 2 content

The book I'm going to concentrate on is the limited Sketchbook. I'm actually really interested how this form of hardback book will turn out as the company I've chosen doesn't make it with sewn signatures- just glued. (Bear in mind a few of the Archaia Hardbacks are made in this fashion, so hopefully it's ok.)
I'll also have to have a good think about the cover as the groove left by the binding process is now something you have to keep in mind  during your cover design process for designing around, or including. I've decided in this case it'll probably have to be a non centered image- or the groove will probably make the pic balance look off.
[The way to get round this is probably to have a dust cover- this covers the groove.]

I was reviewing a lot of my pictures last night (from 2008, I'm halfway through 2010) and it's only around 2010 that I feel that I'm truly starting to like the elements in my work. (I spent years trying to get Maria's face right and only just hit that point of satisfaction recently.)

A lot of things online tell you not to go back and revise your stuff.

A lot of advice is to bare all and accept your old work...

And I really don't want to. :p
This probably reveals a huge flaw in myself as an artist, but I've always felt that I should be true to myself in doing things. But don't be like this if you aim to be published for real, people won't let you get away with it. You have to be a hardworking lucky-ass bastard to get away with it.

A lot of my 2008-2009 work is mainly me trying to work out how to draw humanoids again after a long hiatus drawing anthropomorphic animals [In children's books I may have to clarify] and being told "NO! Don't draw manga." If you want to be taken seriously as an illustrator, yeah, don't do what I did- which is go back to a style I'm happy to do, but which is INFINITELY unpopular among the professional artistic circles. I did, and most people don't realize I work full time as a professional illustrator for my day job.

 As well as the jump from traditional media to using Wacom, I'd say most of that time was spent coming to grips with just getting used to multiple changes.  All it shows was the sheer volume of drawing I was doing to get used to a medium. (Of the saved files in yearly folders, it works out about 1 or two drawings a day. Then I also had professional gigs running side by side. I never really STOP drawing.)

When I looked through 2008-2009 I realized something- I rarely every did any colour drawing during that period. The idea to do a separate colour book including work during that time was laughable.

I had to revise my thinking on the content a little, I have estimates for the current book up to 100 pages [I'm going to need 200 at this rate though], and it's a fairly high price for each book so far. But given that I'm not intending it to be commercially available, I may decide to choose images as if I were making a portfolio, keeping stuff that is mnemonic, and anything that reminds me to draw a certain way because the original concept of it was for a reference book for myself.

In any case, I have a ton load of considering to do before I get to the next step- laying out the pictures into the page formats, which will actually be a technical bit I'll go through properly in my next blog.


No- I'm not a pro at this- so I'm looking at making books in a very artists POV, but somewhere between technical and artist is a space where you get to design really awesome books with your hybrid know-how.

Thursday 17 January 2013

Making books

This post is probably going to get bits and bobs added to it over the next few days.


I'm working on another set of books to be printed, thought I might put some of the process up.
I have a few book projects going on this year, but unfortunately in this section of the year, I've had to put back my major drawing project [M5] as I'm working with a few other illustration clients, and it's too hard to write and draw something in between drawing and tweaking other projects for people. So instead, I decided to see if I could collate as much of my sketchwork since 2008 to 2012 in a limited set of hardback books.

I've done some of the research for printers already when I was making my mind up about making the collected edition of Mephistos, and I wanted the Sketchbook as a flick through reference book. Working in digital means no paper everywhere, but at the same time, it makes it hard to refer back to something, or remember forgotten ideas. In terms of printing, it's always better to get more than 1 book made as the more books you make, the lower the per book price goes. I'm likely to go with a digital printer for the Sketchbooks, and probably not make more than 100 (I'm considering closer to 50 at the moment. Lets just say in the industry- 50 is considered a monumentally small print run.)

At the moment, I'm still running through quote and book size options in proportion to what i want the book to look like and what I'm prepared to pay per book. I've been doing this for about a month and a half so far.

The printer I'm likely to work with at the moment I'm still working out the book sizing vs price with at the mo, but the hardcover samples I was sent were a nice quality and I considered good enough for what I needed in this case.
I'd have to check their printing standard with my files as well to see their mono and colour quality.

Unfortunately I can't get a combined mono and colour book made because of their process, but this gives the option of an accompanying colour/mono 2 book set, which is quite exciting to consider.

Anyway, waiting on quotes. :3

Monday 14 January 2013

Private commssion rate.

I've just been asked about these today, and thought I'd pop them up even if only so I can find this again if anyone ever asks!!


These are my private commission price rates- private commissions are not for reproduction or reuse in any form. Please ask for Commercial rates if you intend to use the artwork in any way other than for decoration or to have and own!

Commissions start from £10 [about $16 dollars] and upwards.


*From A5 up to B4 size monocolour 1 character bust or full body, no or minimal background
Pencil sketch or digital black and white printed on good paper- £10 ($16)

*Single character minimum background digital colour image up to A3 size printed or sent as a printable digital image. £20 ($32)

*Up to A4 watercolour painting 1 character minimal background  £40 ($64)

*Complex. Multicharacter black and white digital drawing with background up to A3 size £40 ($64)

*Full colour multi character drawing with background £100+ depending on commission requirements! ($161+)

Contact via naniiebimhbd(@)hotmail.co.uk


Thursday 10 January 2013

Chrysanthemums.

Felt like doing chrysanthemums again to try and test my ability to focus. I'd recalibrated my Wacom pen so have a firmer pressure as I had it oddly calibrated after starting on my new PC at the start of last year, and couldn't quite work out if it was a new comp and new photoshop or the pen that was acting out of sorts. I've got it quite close to the way i used to have it now, so I'm playing about and trying to get used to it as much as possible now.



Possibly needs more flowers for a bigger impact.


Detail drawings.

Tuesday 8 January 2013


Thranduil on stag, as requested by Mr Kirkby.
If you have a War stag, it might as well be a badass semi-tree giant stag.


Naniiebim Illustration mascot.

It's the size of a thow pilllow by the way. If it sat on your lap, You'd KNOW.

The characters are the chinese side of my name, but probably only Japanese people get the Naniiebim joke.

Saturday 5 January 2013

Naniiebim





Naniiebim is a Professional freelance illustrator and comics artist.
Contact via naniiebimhbd[at]hotmail.co.uk for commission queries.
Please provide a clear idea of your project brief, illustration requirements and budget if possible.
I have experience as a working illustrator and designer since 2003. My
rates are negotiable to briefs, both rates per project and rates per
hour are negotiable to client.

I draw, write and self publish comics which are for sale in my shop or at conventions.


 SHOP: http://www.etsy.com/shop/naniiebim
 
READ mephistos comic at MangaMagazine
http://www.mangamagazine.net/read-manga/Mephistos/1585/0/0?lang=en 




Tumblr: Naniiebim-here be demons
Twitter: Naniiebim
Facebook: Naniiebim here be demons
DA: Naniiebim


Illustration site: www.naniiebim.co.uk



CONVENTIONS! 2013



2013
FEB

 
16th Feb Midlands MCM, Telford CONFIRMED
23rd-24th Feb, London Super comic con, CONFIRMED


 
MARCH

 
2nd-3rd March, Cardiff con, CONFIRMED

 
APRIL

 
7th April 11.30am-4.30pm  Scunthorpe S-con, CONFIRMED   

[Taking place at: Baths Hall, Doncaster Road, Scunthorpe, South Humberside DN15 7RG]
 

MAY
 
11-12 May Bristol comic expo, CONFIRMED
24-26th MAY- London MCM- TBC


JULY

 
5-7th Jul LFCC CONFIRMED
20th July Manchester MCM TBC


Aug

31st Aug- Scotland MCM TBC

SEPT


7th-8th Nice, Kettering TBC
21st Sept, J-con, Derby, BOOKED


Brum zine fest 
 
OCT

 18th-20th Lakes international comics art festival
26-27 OCT- London MCM- TBC
Birmingham Zine fest- TBC


NOV

 
9th Nov Doki Doki Manchester, BOOKED
16-17th Nov- Thought Bubble TBC




 
COVENTRY
THE ASTRAL GYPSY, Workshop 7, Canal Basin, St Nicholas Street, Coventry, CV1 4LY. TEL:  024 7655 1912

MANCHESTER
TRAVELLING MAN, 4-4a Dale Street, Manchester, M1 1JW. TEL:  0161 237 1877

LEEDS
TRAVELLING MAN, 32, Central Road, Leeds, LS1 6DE. TEL: 0113 243 6461


NEWCASTLE UPON TYNE
TRAVELLING MAN, 43 Grainger Street, Newcastle upon tyne, NE1 5JE. TEL: 0191 2614 993





MEPHISTOS REVIEW : http://forbiddenplanet.co.uk/blog/2012/review-mephistos-just-a-tail-of-a-boy-and-a-girl/
JELLYFISH AND ORANGE REVIEW: http://forbiddenplanet.co.uk/blog/2012/review-jellyfish-prince-and-orange-wordless-little-beauties/