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Mar 29

I do everything myself, but I’m not sure what I would want a teammate to do even if I had one :thinking: I want to write the story, draw the characters, and color them, so idk maybe a background artist? Probably not. I want to learn how to make backgrounds myself. Maybe just having someone to bounce my ideas off of would be enough. Whenever I talk to my sister or my friend about my stories they sometimes give me good ideas that have made my stories what they are today.

Of course if someday I had the opportunity to make a tv show or something big I would definitely need a team to make that happen. But for my current projects I’ll do better by myself. Besides, the people with the right skill level for me to want to work with would probably be adults, and I’m still a minor. So it would feel kind of awkward for me to lead the project.

Thank you. Many of those OCs already have stories ."Kattar" (it's not an r, my hand writing is weird) is the male lead of my novel "Damsel in the Red Dress" which is available here on tapas. Texas and Chili are from my comic strip "Sketchy Business" also here on tapas. Some of the other characters are for upcoming projects, and others are random OCs who may be included in something some day, but nothing is set in stone for them yet.

I'm also on my own for my personal tapas comic, but I'm also paid to be on a team as a storyboarder, sketch artist and lineartist, and there's about 5 of us on the project, so it's quite a big team for a comic. The solo one is a huge amount of work and I have self published in hardback form and the crowdfunding for that was one of the hardest things I've ever done because I'm really bad at self promo and get easily overwhelmed. Like I know my art speaks for itself a lot so I put a lot of my energy into actually making the art and forget the promo.

From the workflows I've seen teams are usually organised by specialities and skills, so here's a couple of options for typical team jobs:

1) Divide by production step:
- Writer
- Storyboarder
- Sketch artist
- Line artist
- Colourist
- Letterer

2) Divide by speciality
- Writer/Storyboarder
- Character sketch and line artist
- Decor sketch and line artist
- Colourist
- Letterer

Some of these jobs can be fused or adapted, like I'm not the best at backgrounds and in my personal comics my backgrounds actually have no lineart, but I'm fast to line so I work well as the liner on the team I'm on. Also the writer even if they're not an artist can be the first storyboarder and then give that over to the sketch artist to do a kind of "second storyboard" with an artist's eyes. Basically work out who you've got and play to everyone's strengths.

Sidenote: the bigger the team the more "organising the team" becomes a full on job in itself, so once you have over 4 people in there it's a good idea to cut some slack to the person who's organising the team and deadlines and stuff because that takes up way more time than you'd think. Over 5 and i think it's worth it to bring on a dedicated organiser if you can.

I think you'll find most people here are doing a solo project, including myself.
After all, this is mostly just an unpaid hobby for most. A thing we do out of passion, not for monetary gain.

It’s me and my editor, who’s actually just my mom. In exchange for calling her regularly, she corrects all of my mistakes, gives me a second opinion on creative decisions, and makes sure what I write makes sense.

I'm a one man army. Like in solo leveling. :laughing:

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I don´t believe in comic collabs without payment.
It´s hard for me to imagine people working for free on one person´s vision.
Or to find 2 or more people who develop exactly the same creative vision.

That´s the reason why I work on my vision alone.

I work in creative teams as a musician since 35 years and it´s always a
struggle

Totally fair — full control can be a huge advantage, and yeah, asking for free work is always tricky.
Really admire your dedication!
Have you ever thought about doing a short collab just for fun, or are you more into keeping things fully solo?

Haha, that was awesome! True Solo Leveling energy :sunglasses:
Honestly, it’s clear you’re handling everything like a pro.
Ever thought about doing a mini project just for fun, or are you fully immersed in your own universe?

Really cool stuff — I followed your world!
If you’re interested, feel free to check out what we’re working on. We’d love to hear your thoughts!
https://www.instagram.com/joyfulnib

Totally agree. In our team, I’m both the creator and the producer, and I also write the scripts — it’s a lot, but it’s a deeply inspiring experience.Finding a true creative soulmate is rare, and I get why you'd rather build your vision solo.That short collab you mentioned sounds like a great experience too — sometimes even a small project with the right person can leave a strong impression.Do you think you’d ever consider doing something like that again, or are you fully focused on your solo projects now?

That’s super insightful — thanks for breaking it all down so clearly! Your experience with both solo and team work really shows. Totally feel you on the promo side — it’s hard to juggle making the art and getting it seen.

And yeah, managing a team really becomes its own job. We’ve got a small crew — just 4 people:

I’m the worldbuilder, producer, scriptwriter… and the one who pays for everything, haha.

Our artist does all the visuals.

A second writer shorts comic strips and the story bible.

And someone helps us with Instagram and promo.

We’ve made solid progress in the last 4 months, and there’s a lot planned ahead — expanding the universe and hopefully doing crowdfunding soon too.

Have you found anything that helps make promo or crowdfunding less overwhelming?

If you're curious, feel free to check out what we’re working on — we’d love to hear your thoughts!
https://www.instagram.com/joyfulnib1

Fully immersed in the ADB universe... whether I like it or not. 24-7 / 365 :laughing:

This is me.

I've done them back in the day because I really liked the work of the writer. But you need to be on the same page for it to work and they all fell through because we weren't.

That having been said: If someone isn't willing to let their partners have control over the final product, they don't have a partner, they have an employee. Then they better pony up some cash.

Do everything myself.
My stories are ones I hand wrote back in highschool in the 90s during boring classes. XD
Now I break it down to raw storyboards, then line art then full colour rendering.
Then plop it into a premade template I made which covers the volume, episode, page plus logo info. I do that extra part for online postings.
For me its a way to help with brain injury recovery (relearn hand, vision and cordination skills) + a hobby to learn how to improve and develop that style. After doing it for about 5 years now. Ive noticed a big change.

Later on if I ever get fianances, I plan to hire someone to redraw it all.
As for animated shorts. I do have a friend who has had multiple voice acting gigs on many anime shorts. Willing to voice one of my characters as a collab to build his portfolio and exposure.

Thanks ^^
I've had a look over what you've put up, the artstyle's pretty cute and gives me Charlie and Lola nostalgia, and I like the episodic format of it where you can kind of hop through the episodes to get little snapshots of the character's lives.

For the crowdfunding the thing that really helped me sounds obvious but:

  • having a fanbase. I'm not huge online, but the people who like and read the comic are pretty invested and were willing to give some money to get the book and perks. That's in part thanks to having been publishing the comic online for 2 years at that point PLUS I'd been talking about it to people around me and at conventions, some people who use social media but don't like reading on screens for example.
  • Preparing A LOT. I wasn't just selling the book, I was also selling extra goodies with the higher tier donos and personnalised illustrations inside the book to a quality that I won't ever do outside of the crowdfunding campaign (full colour portraits). That got a few people to up their pledge to get the extras. In general planning to have a good amount of time to make the goodies and the promo material is a good idea, I rushed everything in 50 days and I do not recommend for anyone's mental health, I was exhausted during and after the campaign even though it went as smoothly as humanly possible.
  • Knowing why your comic should be in paper format. My entire comic was, and still is available online for free and I have no intention of taking it down because I don't want to lock this story behind a paywall, so I had to know WHY it would be worth it to buy the physical copy. In my case the answer is simple: I do really detailed pages with a bunch of details that just don't pick up on such a small jpeg on the screen, and that's not even my choice, it's a limitaiton of online webcomic hosting platforms. I also work in A4 page format so vertical scroll isn't the ideal format to view my comic, so all round it's better and nicer to read Petrichor on paper. Plus of course all the people who were interested but don't read on screens.

If you want to see what my crowdfunding page looked like, you can see it archived here as it was, the main difference being that the "buy stuff" buttons don't work anymore. It's in french but even if you don't speak it you can get the gist with the visuals.

I hope this helps!

I really don't have the time as my comics is a weekly comics and with other paying projects it would just get in the way.

I have a co-creator who created the story with me and designed some characters, but all af the practical work, writing, storyboarding, illustrating, editing, publishing and marketing, is done by me.