From September 28 through November 30, Millarworld will be accepting artist and writer submissions for a chance to contribute to the Millarworld Annual 2016 comic
A shortlist of six writers and six artist will be selected and paired up. Their work with specific Millarworld characters will be published in Millarworld Annual 2016 and they'll be paid the going rates for DC and Marvel starters.
The Copyright Law is in danger of being changed in a bad way.
Do you want you live under a law that says, “Nothing an artist creates would be protected at the moment of creation by copyright?”
That law hasn’t been written yet. So we need to rise up now and make our voices heard. It’s not even a bill, so now is the time to cry out.
The Copyright Office is submitting suggestions to Congress that suggests that the public interest in your work is more important than your right to make money off of your work.
Under new proposed provisions
Nothing an artist/creator/author creates would be protected at the moment of creation and you would have to register everything you’ve ever done and will do. The registration will no longer be with the copyright office, but the private sector. They will be for profit registrars. You will have to deal with at least 2 registrars.
One company to register the art. And the other company to register the meta-data; contract with client, sketches, etc. A form must be filled out for each individual creation. Since this is created in the private sector there may be more hoops to jump through.
You will have to do this for every piece of work you’ve created and will create in the past, present and future. That’s every single piece of art, writing, music and photography individually.
The Constitution states in Article 1 Section 8 (among other things) The Congress shall have the power…: To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.
Exclusive rights to your art is in the Constitution. Do you want to lose that?
SUMMARY: The U.S. Copyright Office is
reviewing how certain visual works,
particularly photographs, graphic
artworks, and illustrations, are
monetized, enforced, and registered
under the Copyright Act. The Office
seeks commentary on the current
marketplace for these visual works, as
well as observations regarding the real
or potential obstacles that authors, and,
as applicable, their licensees or other
representatives face when navigating the
digital landscape. This work builds
upon previous studies and public
inquiries in a number of areas,
including small claims, the making
available right, resale royalties,
registration, recordation, and the
interoperability of records. As always,
the Office is interested in the
perspectives of copyright owners as well
as users of these creative works. This is
a general inquiry that will likely lead to
additional specific inquiries.
DATES: Comments are dueJuly 23, 2015.
Reply comments are due August 24,
2015.
ADDRESSES: All comments should be
submitted electronically using the
comment submission page on the Office
Web site at http://copyright.gov/policy/
visual works/. To meet accessibility
standards, submitters must upload comments in a single file not to exceed six (6) megabytes (MB) in one of the following formats: The Adobe Portable Document File (PDF) format that contains searchable, accessible text (not an image); Microsoft Word; WordPerfect; Rich Text Format (RTF); or ASCII text file format (not a scanned
document). The form and face of the
comments must include the submitter’s
name and organization (if any). The
Office will post all comments publicly
on the Office’s Web site exactly as they
are received, along with names and
organizations. If electronic submission
of comments is not feasible, please
contact the Office at 202–707–8350
2. Submit a letter before July 23rd letting the Copyright office know about your observations regarding the real or potential obstacles that you face when navigating the
digital landscape:
Here’s their official request: The U.S. Copyright Office is requesting written comments on how certain visual works, particularly photographs, graphic artworks, and illustrations, are monetized, enforced, and registered under the Copyright Act. The Office is specifically interested in the current marketplace for these visual works, as well as observations regarding the real or potential obstacles that these authors and, as applicable, their licensees or other representatives face when navigating the digital landscape.
3. Read Sample Letters from other artists:
http://tinyurl.com/artistletters
4. Sign up for an Artist Alert, so you are not caught with your pants down wondering what happened to your rights.
http://tinyurl.com/artistalert
Watch this video with artist Brad Holland talking about this matter.
Like, share and comment about this to other artists:
Remember... Just create!
If you are interested in further expanding your knowledge, then I recommend these books.
When you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.
First Black Female With a Nationally Syndicated Strip
Black History Month
Barbara Brandon-Croft is best known for creating the comic strip, Where I'm Coming From and for being the first nationally syndicated black female cartoonist.
Brandon-Croft was born on Long Island, New York, to Brumsic Brandon Jr. (1927 to 2014). Her father was a cartoonist who created the comic strip Luther which was in circulation from 1970 to 1986 from the Los Angeles Times Syndicate. She and her father are the only known father-daughter newspaper cartoonists.
Where I'm Coming From began in 1989 in the Detroit Free Press. The comic strip is about the experiences of about twelve Black women and the challenges of being a Black woman living in the United States. The characters are based on Brandon and her real-life friends.
Basic writing rule #1. Write what you know!
Where I'm Coming From went into national syndication in 1991 with the Universal Press Syndicate making it the first comic strip by a black woman to be syndicated in mainstream newspapers.
Jackie Ormes’ Torchy Brown comic strip was not in mainstream papers.
The comic strip was featured in more than sixty newspapers between 1989 and 2004. It appeared in newspapers throughout the United States, including Essence, The Sacramento Bee, The Atlanta Journal-Constitution and The Baltimore Sun, as well as in The Gleaner in Jamaica and the Johannesburg Drum magazine
Mickey Mouse appeared in Steamboat Willie in 1928. The cartoon was directed by Walt Disney and Ub Iwerks. It was produced in black-and-white by Walt Disney Studios and was released by Celebrity Productions. The cartoon is considered the debut of Mickey Mouse, despite appearing several months earlier in a test screening of Plane Crazy.
This is the first cartoon with synchronized sound, including character sounds and a musical score. Steamboat Willie was the first cartoon to feature a fully post-produced soundtrack which distinguished it from earlier sound cartoons such as Inkwell Studios' Song Car-Tunes (1924–1927) and Van Beuren Studios' Dinner Time (1928).
Before some of you get your panties in a knot. Readers of this blog already know about blacks who passed for white. Go ahead. Check it out and come back. I'll wait.
Back? Yeah, that's right. Just keep looking at the picture below. You'll see it.
See Steamboat Willie and other shorts with this historic black character.
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Jackie Ormes is the first black woman cartoonist who created the Torchy Brown comic strip and the Patty-Jo 'n' Ginger single panel strip.
The Pittsburgh Courier, a weeklyAfrican-American newspaper published on her comic strip, Torchy Brown in Dixie to Harlem from 1937 to 1938. Torchy Brown was a humorous depiction of a Mississippi teen female who found fame and fortune singing and dancing in the Cotton Club. Ormes became the first black woman to produce a syndicated comic strip. Torch Brown bore a strong resemblance to her creator.
She created Patty-Jo 'n' Ginger, a single-panel cartoon in August 1942, which ran for 11 years. It featured a big sister-little sister combo, with the precocious, insightful and socially/politically-aware child as the only speaker and ta beautiful adult woman as a sometime pin-up figure and fashion mannequin.
Ormes contracted with the Terri Lee Doll Company in 1947 to produce a doll based on her little girl cartoon character. The Patty-Jo doll was on the shelves in time for Christmas and was the first American black doll to have an extensive upscale wardrobe. As in the comic strip, the doll represented a real child, in contrast to the majority of dolls that were mammy dolls. Patty-Jo dolls are now highly sought collectors' items.
In 1950, the Courier began an eight-page color comics insert, where Ormes re-invented her Torchy character in a new comic strip, Torchy in Heartbeats. This Torchy was a beautiful, independent woman who finds adventure while seeking true love. Ormes displayed her talent for fashion design as well as her vision of a beautiful black female body in the accompanying Torchy Togs paper doll cut outs.
Friday Foster is the first American nationally syndicated comic strip to feature a black woman as the title character. Friday Foster debuted in 1970 and ran in newspapers until 1974.
It was created and written by Jim Lawrence and illustrated by Spanish cartoonist Jorge Longarón and syndicated by the Chicago Tribune Syndicate. The strip focused on the glamorous life of its title character, a fashion model.
Dell Comics published one issue of Friday Foster as a comic book (October 1972), written by Joe Gill and illustrated by Jack Sparling.
Friday Foster was adapted into a blaxploitation feature film of the same name, starring Pam Grier in
1975.
My favorite Aquaman villian is Black Manta. He has a unique look and is pure evil. His evilness was enhanced to me because he never removed his helmet. (And he killed Aquaman's son.) The character first appeared in Aquaman #35 (September 1967).
It was quite a surprise when he did remove the helmet and was revealed to be a black man. His little speech was stupid, but still a surprise.
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George Joseph Herriman (August 22, 1880 - April 25, 1944)
Geroge Herriman was light skinned Creole who passed for white.
Herriman's early strips include Major Ozone, Musical Mose, Acrobatic Archie, Professer Otto and his Auto, Two Jolly Jackies and others.
The Dingbat Family began as two strips in one; the main story with the human family taking up the top each panel and an unrelated storyline involving a cat and mouse underneath the family's floorboards taking place in the bottom part of each panel.
This strip was renamed The Family Upstairs. The cat and mouse strip was then spun off into another strip in 1913, originally Krazy Kat and Ignatz and then Krazy Kat.
During its 31-year run, Krazy Kat was enormously popular with the public, as well as influential writers, artists, and intellectuals of the time.
Read more about him in Krazy Kat & the Art of George Herriman
And check out the start of the acclaimed comic strip in Krazy and Ignatz 1916-1918 (Krazy & Ignatz)
Clarence Matthew Baker
(December 10, 1921 – August 11, 1959)
A black comic book artist who drew the costumed crimefighter Phantom Lady, among many other characters. He was possibly the King of Good Girl Art. One of the earliest black artists during the Golden Age who worked for the Iger Studio. He also penciled an early form of graphic novel, St. John Publications' digest-sized "picture novel"It Rhymes with Lust (1950)
Waayyy back in the Golden Age it was okay to exaggerate the human figure, especially females. It was pretty much okay to do anything you thought of at that time.
That is until Fedric Wertham published Seduction of the Innocent in 1954. He whined about gross and implied depictions of violence, sex, drug use and other adult happenings within crime comics. Gangster/murder-oriented titles of the time were not the only thing he considered "crime comics." He lumped in superhero and horror comics as well into the category. His book asserted that reading this material encouraged similar behavior in children and caused juvenile delinquency. (Yawn, how many times have we heard this fish oil since then?) Because only boys read comics.
Well he brought the industry to it’s knees (no homo)! Everything was toned down, except for scantily clad and well-endowed women, much to the chagrin of feminists everywhere.
How can it stop when guys enjoy drawing over sexualized women and boys do enjoy looking at the tatas?
Also, how did DC Comics miss snapping up Matt Baker to draw Wonder Woman? Can you imagine his Wonder Woman with the bondage overtones?
Discuss below.
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There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
ArtRage Artists. How to Have Better Point Control with Your Pencil
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
Tilt your stylus when using the pencil tool and it will appear on the canvas as a thicker line. This improvement helps to add the more natural touch of the pencil tool.
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
The tool system allows you to control which properties of the tool are affected by which
properties of the stylus. ArtRage 4 supports Wacom's Stylus ID System, so it can track each unique stylus that you use with it and the new Stylus Control Center allows you to allocate specific tool settings to specific styluses.
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
Provides on-canvas 'mirrors' that generate symmetrical strokes as you paint; with control
over the number, angle, center point of the axes and the type of symmetry (rotational or mirrored).
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
There are quite a bit of drawing and painting software out there. Some very expensive and some not so good. Some very inexpensive and are great to use.
I will take some time to focus on them. First, we will start with ArtRage.
ArtRage is drawing and painting program built from the ground up for artists. It very closely, simulates natural drawing and painting tools. It also has a very short learning curve. And costs less than $50.
