Questions for Stan thread!

[Maka]

Yeah I read that but I figure that might be a bit old and creators change their minds often so I wondered where Stan was at at this current moment

Hello Winghead,

Stan said at the SDCC panel that he knew where the Usagi story will be in 5 years but he doesn't know what it would be next month. I hope he gets to issue 300* but the man has to retire sometime.

Peace, maka

*300 Dark Horse issues is preferred.

[Mayhem]

If my calculations are correct, then by DH #243, Stan will overtake Cerebus

(#242 if Yokai is counted in the equation)

[Dregory]

Stan, are there any recent samurai movies, books, or comics that capture your imagination in the way that Kurosawa did?

[johnnyjagwani]

I've always wondered what size paper or board as you call them, that you used while drawing.. And as I am european, I wondered how much one of those meassured in centimetres?

Many thanks for reading -

[Stan Sakai]

I've always wondered what size paper or board as you call them, that you used while drawing.. And as I am european, I wondered how much one of those meassured in centimetres?

Many thanks for reading -

I use 11x17 inches 2-ply 500 series strathmore bristol paper. Looking at my centimeter ruler, it is approximately 28x43.25 cm.

My image area (that is, the actual drawing area on the paper is 10x15 inches. That is approximately 25.5x38 cm.

American comic books are proportioned differently than most European albums, though there is a lot more cross-over now. Also many European artists draw on a much larger paper than Americans. But then, they may do maybe one album of 48 pages a year, whereas I do up to 10 issues of 24 pages, albeit in black and white.

[Lubidius]

Rather naive question, but I assume Dark Horse has a high-end photographic scanner that they lay the Bristol in to take a very high dpi "scan" of each page? Just curious. That's been one of my issues, is trying to crop together scans using a home scanner, which at best is 8.5 x 11". Always wanted to see what type of scanners publishers use. If you happen to have a photo, it would be cool to see one in action taking a shot of your bristol.

[Mayhem]

Technically standard Bristol that a lot of artists use, including Stan, is equivalent to A3 size. And there are a number of A3 sized scanners out there...

[johnnyjagwani]

.. That cleared up a bit for me.

I'd love to do my own comic somewhat in the format you use for your collected editions and also in black and white. Now I know where to go from here.

Thank you so much -

[coolray85]

hello sensei!

I know the usagi yojimbo series has never been self published and that your friend sergio aragonez over time tried to convince you of self publishing it;)...but I am planning to self publish my stories in near future....and I wanted to ask you what advise you could give a young still motivated guy who hasn't got real experience in the scene.....what would you suggest me or yourself 25 years ago knowing what you know today?
any information will be of help and be appreciated....

thank you in advance
marcel

[Stan Sakai]

hello sensei!

I know the usagi yojimbo series has never been self published and that your friend sergio aragonez over time tried to convince you of self publishing it;)...but I am planning to self publish my stories in near future....and I wanted to ask you what advise you could give a young still motivated guy who hasn't got real experience in the scene.....what would you suggest me or yourself 25 years ago knowing what you know today?
any information will be of help and be appreciated....

thank you in advance
marcel

Hi coolray85
I assume you already know the physical aspect of putting a comic book together--writing, thumbnailing, penciling, lettering (hand or computer), inking, etc. If not, here is a brief overview:

http://www.wikihow.com/Make-a-Comic-Book

There are other resources online from which you can learn specifics--what paper size to use, pencils, pens, etc.

You might want to start small, making mini comics to gain experience and recognition. Hit the convention circuit to gain exposure and network with others in the field.

If you are thinking of self-publishing a comic or graphic novel, I suggest applying for a Xeric Grant. Only a few receive a grant each year, but it will cover all your publishing costs, and it's free money.

http://www.xericfoundation.org/


Good luck.

edited: I'm sorry, I just realize you live in Munich (Germany?). The Xeric Grant just covers North America. I do not know if there is a similar organization in Europe.

[coolray85]

thank you for the advise!unfortunately, I really live in Munich, Germany, but I will look out for a similar organisation...
yes, I meant the printing and publishing part in particular, you are right...forget to mention that;)...
anyway, thank you very much, I will try to do my best...I even contacted a comic book artist here in Munich and he hinted the advantage of a publisher concerning the printing costs and parts of the marketing of one's work...now, the main reason for me to try self publishing is that I will own every right to my creations....but I figure there are creator-friendly publishers out there who seem to support young artists and there might not be any interest of whatsoever from the publisher's side to behold any rights to characters.....
well, I am just standing at the beginning of a very long journey but one that'll be worth all the troubles along the way...
so, thanks again for your time and concern, sensei!also for all the links.....
marcel

[Logan Myrddin]

Mr. Sakai-- I just bought your latest sketchbook, and in going over all the ones I have previously bought (all of them, that is) as I do at least annually, something hit me-- Looking at the story of you and Sergio making up Sukanku in Spain, I have to say I am really taken with the way you draw humans.
Now, I know there is a "real life" section in the galleries area, and I have perused these very thoroughly, but what I'm actually referring to is the way you draw humans when you're still drawing "Usagi-style". If it were possible in the future, I would really like to see more of these, and, personally, with as much variety of pose and people as possible! Even if they're just doodles! Maybe in a future sketchbook. I know it's a really obscure request, but I'd like to hope that we might get more of a glimpse someday at what it would look like if Stan Sakai were to do a human based comic in the style of Usagi that we all know and love.
Whatever the end result of this request, thank you for considering it, and thank you very much for all of your hard work and the extra little things you do for your fans.

~Logan Myrddin

[Steve Hubbell]

Hey Logan, have you read Stan's non-anthropomorphic samurai story "The Soul of the Sword" in Shi: Kaidan #1?

CRUSADE ENTERTAINMENT, LTD.
SHI: KAIDAN
issue: 1 Oct/1996 b/w comic
The Soul of the Sword (6 pages)
non-anthropomorphic samurai story


Also, sometime in the near future, Stan's Samurai Hulk story will finally be published by Marvel, which will also be a non-anthropomorphic samurai story.

As far as his story about his trip to Spain with Sergio Aragones, he has published several other similar "biographical" stories over the years.

WITTY WORLD (International Cartoon Magazine)
issue: 1 Jul/1987 magazine, 48 pgs.
Cover Art (1 page)
Cover illustration of Stan Sakai at his drawing board.

FANTAGRAPHICS BOOKS
AMAZING HEROES
issue: 187 Jan/1991 comic size magazine
Portrait of the Artist as a Young Cartoon Character (8 pages)
eight page story explaining Stan’s process of creating a new story from concept to finished art.

THE COMICS JOURNAL WINTER 2002 SPECIAL EDITION
issue: 1 Dec/2001 square bound magazine
It Begins (2 pages)
Stan Sakai shows "how he does it" during a typical day in his office.

CHAOS! COMICS, DARK HORSE COMICS, IMAGE COMICS
(WITH ASSISTANCE FROM ONI PRESS, TOP SHELF PRODUCTIONS, AND OTHERS)
9-11: ARTISTS RESPOND
book: 1 Jan/2002 trade paperback
The Last Time I Was In New York (2 pages)
Stan Sakai, vividly recalling his last visit to New York City.

DARK HORSE COMICS
DARK HORSE MAVERICK 2000
issue: 1 Jul/2000 b/w comic, 48 pgs, annual
Norway (2 pages)
Stan Sakai provides a tour diary of a trip to Norway with Sergio Aragones.

AUTOBIOGRAPHIX
book: 1 Dec/2003 Trade paperback
France (6 pages)
Stan Sakai's story of his trip to France.

USAGI YOJIMBO
issue: 100 Jan/2007 b/w comic, 24 pgs.
Centennial Issue Celebrity Roast
Stan Sakai is honored by his friends and peers (with cameo appearences by various Dojo members).

RADIO COMIX
ART OF USAGI YOJIMBO
issue: 1 Apr/1997 b/w comic, 48 pgs
How I Create an Issue of Usagi Yojimbo (12 pages)
Revised and expanded version of the “Portrait of the Artist” story, with 4 new pages.

issue: 2 Jan/1998 b/w comic, 48 pages
Welcome to my Studio (2 pages)
Stan's illustrated tour of his office.

STAN SAKAI PRODUCTIONS
USAGI YOJIMBO SKETCHBOOK
issue: 3 2006 5.5 X 8.5 b/w sketchbook, 24 pgs.
Introduction (1 page)
Granada (3 pages)
Stan describes a trip to Spain with Sergio Aragones as well as the plot creation for the Usagi Yojimbo story “Sukanku”

issue: 4 2007 5.5 X 8.5 b/w sketchbook, 24 pgs.
Introduction (1 page)

WWW.USAGIYOJIMBO.COM
USAGI YOJIMBO DOJO: the Official Usagi Yojimbo website and online fan club!
issue: n/a Summer/1997 b/w, on-line story
San Diego Con (4 pages)
Stan Sakai's Adventures at the 1997 San Diego Comic Con

[Logan Myrddin]

Whoa, cool. I'll do my best to check these out. Thanks a bunch, Mr. Hubbell.


~Logan

[Stan Sakai]

the main reason for me to try self publishing is that I will own every right to my creations....but I figure there are creator-friendly publishers out there who seem to support young artists and there might not be any interest of whatsoever from the publisher's side to behold any rights to characters.....

It was my understanding that European publishers have a long history of just buying publishing rights and letting the creator own all other rights, including ownership of the characters. So Herge owned Tin Tin, Peyo owned Les Schtroumpfs, and Hermann owns his Bois Maury series. The publisher may or may not act as an agent to broker deals with other publishers or for merchandising, but it would still be up to the creator to accept or reject any offers. This may still vary from publisher to publisher, so make sure you read and understand your contracts. You might need legal representation to make sure you get what you want.

The concept of creator ownership is relatively new in the US--about 30 years or so. The first creator owned comic book property was Sergio's Groo the Wanderer.