The Comics Industry: Get Hired With A Winning Portfolio | Marty LeGrow | Skillshare

The Comics Industry: Get Hired With A Winning Portfolio

Marty LeGrow, Graphic Novelist

The Comics Industry: Get Hired With A Winning Portfolio

Marty LeGrow, Graphic Novelist

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12 Lessons (1h 7m)
    • 1. About the Class

      2:15
    • 2. Determine Your Focus

      2:40
    • 3. Get Face-time With Editors

      4:26
    • 4. Tools of the Trade

      7:09
    • 5. The Core Art Categories

      7:36
    • 6. Getting Ready For a Review

      3:50
    • 7. Sticking In the Editor's Mind

      4:19
    • 8. Most Important Lesson Ever

      7:27
    • 9. Ending Reviews and Following Up

      6:27
    • 10. An Encouraging Storytime

      13:34
    • 11. Class Project: Leave-Behind Book

      6:57
    • 12. Closing Thoughts

      0:43
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About This Class

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Is your comics portfolio keeping you from getting published? Is it out of date? Unbalanced? Totally non-existent?

If you've struggled with trying to get published in comics and don't know what you're doing wrong, or want to get started but have no idea where to begin, then this class is for you! Comic industry veteran Marty LeGrow brings a fun, relaxed approach to building your most successful art portfolio from scratch. We'll cover exactly what editors want to see and what to avoid, as well as how to tailor your work for individual publishers. We'll take a look at how to get interviews with publishers, how to dress, what to say, what questions to ask, how to further promote yourself and how to follow up afterward.

So if you need to have more confidence in your work or your personal approach, or just want to stop wasting time trying to guess what editors want to see, check out this class and find out just how easy and fun creating your best portfolio can be!

Meet Your Teacher

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Marty LeGrow

Graphic Novelist

Teacher

Marty LeGrow is a freelance graphic novelist with fifteen years of experience in the comics industry. She is the creator of Bizenghast, Tokyopop's longest-running OEM manga.  Bizenghast has been translated into over a dozen languages for fans all over the globe.  Her new monthly series, Toyetica, is published by Action Lab Entertainment and is currently being adapted for an animated series.

Marty has been featured in Teen People's "What's Hot" list, The Gothic and Lolita Bible (US), Newtype Magazine and in various other publications, including the HarperCollins book Manga-ka America: Manga By America's Hottest Artists. She has also appeared on NPR's "All Things Considered" and is a regular guest at various anime and comic conventi... See full profile

Related Skills

Illustration Creative

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Transcripts

1. About the Class: Hi, My name's Margiela grow, and I'm a professional comic book artist and writer. Now, if you're watching this video, you probably have more than a passing interest in putting together a winning portfolio. That's really going to get your foot in the door of the comics industry. And you may be a little nervous thinking. I don't know where to start on that. I don't even know what they want. You know where to take my stuff, Where to get evaluated. How to get evaluated. Baba lovable. It's not as difficult and scary as you think it is. Trust me. I have been working in the industry for almost 15 years now, and I've been on both sides of the table. I have been sweaty and nervous, showing my art to publishers and editors hoping they'd hire me. And I worked for publishers and editors evaluating other artists and watching them get sweaty and nervous. 2nd 1 better for me, but much better, So I prefer the 2nd 1 But I'd like to share with you everything that I've learned in the last decade and 1/2 about pitching yourself to publishers. No matter what kind of project you want to work on it. It could be your publishing your own story. And, you know, you really want to pitch that or you want to work on an existing property or you just don't know exactly. You just really want to get the attention of that company and let them know that you're available to draw for money. That's OK. It doesn't matter. But what does matter is that you have the single best weapon in your arsenal, which is an absolutely rock solid portfolio. And I am going to take that entire thing of our piece by piece, and we're gonna go step by step and learn every last little thing about that. And at the end, we're also going to talk about meeting people in person, talking to editors, talking to publishers, that sort of thing, getting a one on one review and I'll be there to help you out. With all the confidence issues you may have, not knowing what questions ask them, not knowing what questions they ask you, all that stuff will get covered. So if you're interested in really committing yourself to getting into this industry and you got a little time to watch some videos, then I'm here to tell you that you can improve and you can have a ton of confidence in yourself and in your heart, So let's go ahead and get started. 2. Determine Your Focus: Now, before we get started on actually assembling a portfolio, need to ask yourself, what is my focus? What do I hope to accomplish with this eventual portfolio review? For most people, the end goal is just getting a job, obviously, But students can also benefit from portfolio reviews, and I strongly encourage you to take advantage of any local reviewers or seeing the Met conventions and that sort of thing any time there available, because you will get just the most honest. And the most professional critique from editors and critique is so important for growing and learning as an artist. And once you're out of college and you're not going to art school or anything like that anymore and you don't have a teacher or fellow students, it can be really hard to get honest criticism. I mean, as much as your friends love to tell you that you're the best artist they know they're not exactly in the industry or they are. But they don't want to hurt your feelings and that sort of thing so they'll just tell your great no matter what. And yeah, your mom puts everything on the fridge free with those little magnets. But you know, No, that's okay. Just just let her put the stuff on the fridge. It makes me feel good. It makes you feel good. It's fun to get your art on the fridge, but it's not an honest critique. So before you start trying to put together a portfolio, visualize what your end goal it's, You know, what kind of job do you want? If you are, in fact looking for a job right now and then focus on that accordingly. If you know perspective isn't your strong suit and you want advice on it, include some of your best portfolio working with perspective and show it to the editor and say, Here's what I've got Can you please tell me what I should be doing better, that sort of thing. It's even if you're going for a job on you know, you're saying to the editor, I'd like work. You can always ask for their advice, and they're happy to give it to you. And you can't ask for a better and more professional review setting that's going to give you really honest critique that you need. And just because you admit that you're not the best on something doesn't mean they're not going to hire you. In fact, they may actually appreciate your honesty. In fact, I will say that, like 100% of the time, they will appreciate your honesty. I know I would if I had you in a review. No matter what your goal or your skill level is even your your professional looking for a job or you're just a student looking to get better, Everybody can benefit from a good, honest portfolio review, And putting together a solid portfolio now is an absolute must. Best of all, it's easy, and with a little help, anybody can do it. 3. Get Face-time With Editors: Now, a lot of people aren't really sure where or how to present their portfolio to. Companies were like, Well, can I Do I just mail it to them? Or do I like email it piece by piece and risk ending up in their junk mail and never heard from again? There's a much easier way to do it. Almost every comic book convention out there across the nation across the world is staff to the gills over the bunch of editors who want to see your work and who are most likely doing portfolio reviews. You know, if you don't know where your local comic book convention is, just look it up online and you'll find it and then ask yourself, Why are you going already? Cause they're Superfund. Do just check it out. But if you haven't yet checked them out and then go for the day, don't have to get a whole badge for the weekend or anything like that. Just get a day pass and go meet them. There are a lot of conventions that have special portfolio events where they'll have a bunch of editors all together from different companies and, you know, like like San Diego Comic con has the portfolio pavilion out there and it runs all weekend . And you know, they got a whole schedule of when each editor from each company is going to be there. You just sign up for a slot, go there, you wait your turn and then you meet with them and show your portfolio. And if that's not available, it is a well known fact that any publishers Booth has at least one editor loitering at it. And by lording, I mean probably pressed into working by his boss. I've done that a lot on. Do you know the my friend Nicole, who works for action Live entertainment as well? You know, she's one of the main people. You would pitch your work. Teoh. She also works the booth of May. So when somebody comes along with a portfolio and says, Hey, you know, I noticed you're not really doing reviews here, but I have this portfolio. Yeah, we'll look at I will totally look at it. And there's almost never going to be a new industry booth for a publisher where nobody there knows who you're supposed to talk to. There will be somebody so stop by their booth and just say, Hey, I had an interest in your company. I have my portfolio with me. Do you have a moment to look at it? And we'll get more into depth about exactly what you should say and how you should approach company. Isn't that something? We'll talk about that later, but just be aware that that's an option as long as they are at that convention and you will know if they are, because you can go to their website and find out from their con schedules where they're going to be. You know, as long as there there, you will probably have a chance to talk to them. It's important to cast as wide a net as possible with publishers. You don't want to get stuck with your one dream publisher like I love everything else that they dio and I gotta work with those guys because, you know, I've always wanted Teoh. I did that on my very first Siri's, and I got rejected from my dream publisher. Then I got hired by another publisher and I got an eight volume Siri's so you know what it worked out anyways, and it worked out for the best. As a matter of fact, it did a lot better. And my newest Siri's toy, Attica, You know, I was pitching around and pitching around. I'll talk about this later, but the company I'm with now Action, live entertainment they they were actually like one of my last choices for editor reviews. I hadn't actually heard of them at the time and says, Well, you know, I I'm here, I'm here and I got my portfolio. Let's do it. And that turned out to be an awesome idea. So, yes, sometimes it's just being in the right place at the right time, and I'll just get lucky. But I am a firm believer in the idea that the harder you work, the luckier you get so cast as wide a net talk to everybody. You can't take every opportunity to talkto any editor publisher now be aware of what they publish. Certainly don't walk up to like Lucas films and ask him if they want to see your original Mongo because they're probably not going to care. You should actually have something to do with what they publish, and we will talk about researching different publishers and that sort of thing. But just get out there and try as hard as you can. It's not as hard as it seems. Editors are. They're used to it and they welcome it. That's that's the best way for us to find new talent. You know, we can't go door to door and beat it out of people. You have to come to us. So try your hardest and talk to you every single person you can at that convention. Get your money's worth out of that day pass and then come home, hopefully with a pocket full of business cards and think, Wow, I did a good job. 4. Tools of the Trade: now the most important piece of your physical portfolio is this just unordinary portfolio book like you can get at the craft store very, very cheap. I have used these for years and years and years, and they're an industry stable. You don't need to make a fancy little book. Just pick up one of these. You can get the man Michael's Joan's Hobby Lobby, like where I actually use this one Teoh pitch to the SciFi Channel when I got on the show caused a melee. So when they wanted to see some of my work, I just threw together a little costume portfolio. Stuck it in one of these, but not before taking out all the other comic book stuff. You know, they're they're just so useful, and this is not the only size. You could get him 11 by 17 Get smaller, bigger, whatever. They're just black books going a little slot for putting your name in them, and then they have blank pages on the inside with a little piece of black paper. Teoh, divide up the That's it in there. Not a big deal. And these are just industry standard, you know, they're durable. They're cheap and, no, they're not impressive, but they don't need to be. That's what your art is for. Your art is what's going to impress us. And I know a lot of people tend to kind of want to go overboard on their first portfolio. They want all the bells and whistles. They wanted to have a hard cover, like a little satin ribbon bookmarks. For whatever reason, you know they wanted Teoh Glitter. Whatever interactive video presentation of a level. If your heart isn't good enough, all the bells and whistles in the world are not going to save it. On the other hand, they will massively distract from it. I've had portfolios handed to me where I can't even remember what the art was inside. But I could tell you that there was, ah heck of a lot of glitter on the cover her and like a bunch of little ribbon designs and like somebody's name, spelled out in pain. And like some collage stuff, I remember what the cover looked like, mostly because the cleaner got all over my outfit and I resented that. But I don't actually remember what was in the portfolio, and too often when you try to go really high tech or really flashy and everything in an effort to stick in the editors mind, Trust me. What will stick in our mind is your art, because that's what we're looking for. If you're a good artist and your what we're looking for, we will remember you. You don't need a shiny metallic book to make us remember you. You don't need to stand out. This isn't, you know America's got talent auditions or what are you Don't You don't need a gimmick. You just need to be solid, solid book full of good art. Now, Teoh to prove that things actually selected, I even tell this. It's embarrassing. Um, so my current job that I have with action lab doing the Siri's toy Attica, um, was like a last minute decision for me to go to that conned and get of my portfolio review because I was, like, so broke and I almost didn't go. And then at the last minute I said, You know, if you don't go, you know you're not gonna have any of those opportunities. You might as well just go just go. And so I went. But I only had a little while to put together my portfolio because it was woefully out of date and by a little while I mean, like, the night before to print everything out. And I had, like, a little printer at the time. So I had imagined, like, 11 by 17 book just like this. And I had 11 by 17 art that looked really nice and all that stuff. But it only printed out at 8.5 by 11 cause I had a small printer at the time. So I actually printed out two halves of each page and eat speech of our and like can evict , keep them together in the middle and then stuck it in there. And I got a job from that. So you know what? It isn't the quality of your actual book. It's the quality of your art. When the editor was looking at their like, This looks really good. I'm like, really? Does your two pieces of tape paper tape together? They're like, Well, that's fine. That's not how we publish it. So it's OK, but I always thought that was pretty funny because I was Oh, that was pretty bargain basement, let me tell you. But it worked, and I got the job. So hooray for May. Now, with tablets being way more common than they were when I first got into comics, you may be tempted to bring all of your art on a tablet and you're not gonna lose it because you're gonna lose your tablet, my loose book tablet. You know, it's all it. It's it's right there and it's perfect. It's very high tech. You just swipe right through. I don't recommend showing your art on a tablet, and I know it seems like it would be way easier than having to go through all the process of printing it out and putting it in a book. But here's what I've seen both as somebody pitching and as somebody reviewing people's art , people show up with tablets and they want to do their little presentation, and they want to swipe through, and the battery runs out right before they get up to the table. Or they forgot their charger. They Canada runs out halfway through, or the skylight overhead. And the convention center is, like so bright that the editors doing this trying to see the art properly because of the glare or, you know, you just where you just have the really, really common situation. Which is it? There's always at least one which is of a guy trying to show his tablet to you and saying, OK, so here's my portfolio. No way. No way. Do I Hang on. I'm not I'm not signed in. Hang on, hang out. It's really like you. Hang on. Um Well, hang on. I have it on the cloud. Oh, hang on. My Internet. The internet is, like, really bad in here, isn't it? Isn't? It? Is really bad here. Okay, hang on, hang up. Look, I have it, okay? Okay. Hang on, Hang. Hang on. Hang on. Not just for like, 10 minutes, and you're just, like, really want to see smart at some point. It's just really awkward. And most reviews only last 5 to 10 minutes. So you're really wasting your own time by doing that. Look, I know that it's very low tech, and it doesn't look as cool as a nice, shiny tablet, but paper doesn't lock up, and books don't run out of batteries. So unless you're pitching something, that's animation specific or absolutely has to be on a computer. If you can bring a simple portfolio book, please. Dio, the most important thing to remember is just bear in mind again. You don't need a special trick to stand out in the editors minds. They're not seeing so many people that they're going to forget you. If they see your art and they like it and they want to talk to you later, they will remember you. They're not going to be, like, just inundated with incredible artists. You know, there's gonna be some bad ones. There's gonna be some middle ones. There's gonna be some good ones. And hopefully with all this work you're putting into your really solid portfolio, you're gonna be right at the top. So just leave the bells and whistles at home. Just bring herself and your heart 5. The Core Art Categories: Okay, so we're to the point in the class where we're going to talk about the specific things you should include in the average comics portfolio. And please note I say average because everyone has a certain focus that they have to account for. But whether you're a color ist and inker, a pencil ER or someone who does everything at once and is pitching their own story, the basics are still the same. The core of your portfolio should be at least 5 to 7 pages of consecutive page art. That's a minimum. And I'd recommend at least two sets from two different stories or in two different styles or from the same story, but two different points in it. Editors, first and foremost need to see that you can tell a story sequentially and make the reader understand what's happening in each panel. Lots of artists are great at cover art or pin up poster art, but they lack the storytelling ability to do panel art across a full comic issue. So editors need to see how your art flows along with the story, and if it makes sense and has a dynamic layout, etcetera, they also want to see that you don't shy away from drawing things you might find difficult , like backgrounds or buildings or cars or boats or dogs or for whatever. It's easy to avoid doing those things in poster art, but it's harder to hide in a comic page, especially when it spans across a big story. And editors want to know you can do it if you feel like you're not good enough that some of these things show them anyways and then listen to the editors critique so you can get advice on how to improve. Now unless you're a Lederer specifically looking to get a job as a letter, don't let her these comic pages. The editor wants to see if you can tell a visual story without relying entirely on the speech bubbles to make the reader understand what's going on. Plus the bubbles just cover up the artwork. If you're trying to get job is a pencil ER or an anchor. Take a sample script from online and pencil, a selection of pages from it. There are lots of sample comic scripts out there to use if you're a banker or a colorless, but not a pencil er find some sample page art online, size it up and ink, or color it in your own style. And remember to include images of the original pages. If you do your pencils and inks and colors yourself, separate them out so the editor can see each step by itself. I actually know someone who almost got rejected during a review at a company that I worked with because the editors didn't like their page art. But luckily, they included the pencils and the ink separately, and the editor saw the pencil pages and said, Hey, actually, this isn't bad at all. I just didn't like the inking style and they got the job. You never know what an editor will like, so show your pencils, inks and colors of the same pages separately. Next, you should include five or six splash pages, covers or pin up art. However, you want to call it basically full pages of one scene of art, not panel. Dart, like you would find inside a comic, definitely include a few environment drawings as well backgrounds with few to no characters . That's a really good bet, and a lot of newer artists seem to dislike doing backgrounds. But showing that you can do them or willing to learn and improve will definitely give you an edge. You don't have to have a whole section for them. You can kind of sneak them in with your splash page art. I actually got my first job in comics on the strength of my willingness to spend a lot of time on backgrounds. Even if you feel they're your weakest point, you can easily pick up basic background skills as you go. If you're still stuck on perspective and buildings and things like that, I have another class on skill share that covers drawing backgrounds for beginners. Another good thing to include is at least two or three turnaround sheets showing a character from the front, back side, maybe a number of expressions. This is especially useful if you're pitching your own original comic story, which will cover in detail in a future lesson. Above all, what you want to avoid is having a portfolio just full of character art character drawings . You need to showcase your ability to do many things at once because you never know what kind of work you're going to have to dio even if doing your own stories, your eventual goal. Comic artists survived by picking up extra work wherever and whenever they can. Even though I have my own Siri's, I still do freelance work for my company on other projects. One of the first things I did for them was work on a tie in comic for a toy line as well has come up with new design concepts for that toy. It's something I never would have assumed I'd ever do, and it wasn't my first choice for what to work on at the time, but I'm glad I got to experience it. The more skills you learn and practice, the more very jobs you can take on, meaning more paid work and more chances to make art your full time job, comics or a salaried position with a steady paycheck and benefits and things like that. They're freelance work and projects could start, stop or go on hiatus very suddenly, so picking up extra work is essential, and the more projects you have on your resume, the better off you'll be. So show off as many of your drawing skills as you can in your portfolio and practice different styles, different genres and different techniques to show editors that you have range. You never know what kind of a job you might land. Now there are a few things that I can safely say you should not include in your portfolio, and unfortunately, we see them a lot. Please don't include any art drawn on lined paper or notebook paper or on little bits of art paper that just sort of slide around. Inside your portfolio book. It looks very unprofessional. Unfinished art is another one that we see, like sketches have done pieces things like that. We want to see your best work. And even if you decided to go to the review at the last minute, don't let it look like you decided on it last minute. You should come across as professional and prepare now, even if you're a student class project art should also be left at home. We see a lot of unrelated art in reviews like still lifes of fruit bowls or figure drawings from art class. If it's not what you want to pitch and do for a living, a comic art, then don't include it. I mean, your friends might have all really like that abstract painting you did or got an award for , But it's not what we're looking for, so please leave it out of your portfolio. Same thing goes for things that don't apply to the company that you're pitching at the moment. If you have an interesting comics and in animation and you're trying to get a job in either one, you're not quite sure which you should separate them out. If you have several different interests that you're pitching for at the same event and you're pitching to multiple companies who want different things, make sure to divide your different types of art into sections. In your book. You can separate them into pencils, inks and colors, or by theme or by project, whatever you can do to make it easier for editors to look through your work and zero in on the stuff their company is interested in. And you can easily find out what they're interested in by simply going on there website beforehand. Taking a couple of notes, make sure that you know who is going to be at a convention before you go there to meet them , then go on their site and find out exactly what they're looking for. Most of the time, there's a section that will flat out tell you what they're looking for. Just go ahead, take a look and take notes. Do your homework and be prepared. Ah, good rule that most artists follow is to remove anything over four years old from your portfolio. No matter how much you love it. Most artists constantly improve enough that four year old art is no longer a good representation of their skills. You're better off just tossing it and replacing it with something newer and lastly real quick. Don't come. Teoh. A Portfolio Review. Pitching yourself as a writer looking to be paired up with an artist. There's like 100 writers for everyone artists in this industry. Honestly, most companies don't need writers. They need artists. So unless you're showing up with a story that you wrote and art samples from that story that you already have a partner artists committed to doing, you're better off simply contacting the company by email. 6. Getting Ready For a Review: So here's something that I have to tell you, and I know you're gonna laugh at it, but I have to say it. Please don't show up to a portfolio review in costume. I know you're thinking Marty. It's an interview of for a job. Why would I? But you'd be surprised how many people dio a lot of portfolio reviews, obviously take place in conventions. And, you know, comic artists are fans to they want to cause play, they want to dress up and they don't want to get out of costume just to go to the portfolio review, because maybe the hotel is too far away or whatever. Whatever it is, they sometimes prioritized wearing their costume over leaving to go get changed before there. Job interview. I can tell you right now this is a really silly thing to Dio like I'm sure someone out there has out a successful portfolio reviewable dressed in costume. But I've never bet that I have met a man who went to a portfolio review covered in stuff. Dogs let that sink in, and I saw a guy in some kind of space man suit doing interview ones. He couldn't sit down. So the editor was sitting at the table. But he had to stand because for some reason, with this costume, he couldn't sit. And he also couldn't hear the editor clearly because he couldn't take the helmet off. And I even met a woman who showed up for a major companies portfolio review dressed in a bikini and lizard tail. She wasn't really working it. Let me just stress that this is a job interview. Even if it's casual and it's at a comic convention, you are still interviewing for a potential job. You wouldn't go to an office interview dressed up like a space man or lizard bikini girl. So even though we work in comics and, yeah, comics, air fun and everybody's really cash, well, it's all just one big party. It's still a job. It's still a job. It's still a profession, and the people who are hiring you want to know that you can act professional. They want to know that you have enough sense to show up for a job interview not covered in stuff dogs. If you can't even get father to dress up nicely for a job interview, you know, can we be sure that you're going eternal, your work in on time. You know, Are you gonna make excuses and not get anything in on time and screw up our whole publishing schedule? We don't know. And that is just the dumbest reason to fail a portfolio or if you so if you dress up and cost human show up, you're showing that you're not really serious about this job, and you're more interested in having fun at the convention than you are in impressing us. And it doesn't show us that you're dedicated to being a professional. But luckily, dressing for a portfolio review is, like, so easy. It's not like dressing up for an office reviewer. You gotta have a blazer. You gotta have a tie. You have, like, a nice skirt and pumps and whatever. You don't need any of that. You can wear jeans and, like a nice button down shirt, you can wear a sweater, give more nice sundress. Whatever you feel is respectful, don't distract from your art by dressing up in a bizarre way. Sometimes if you dress up in a really nutty way, like we're not really gonna be paying attention to your art. We're gonna be paying attention to the crazy outfit you're wearing and being like, Why did they dress like that? Why can't they sit down? Are they cold in that bikini? Why all those dogs and then is like, Well, what do you think of my art? Oh, sorry. Like I wasn't even like paying attention to your art was paying attention to this. So just just where Something that's respectful for a job interview, a casual job interview I always go with, like a nice dress or a casual button. Sure and pants, where whatever you think is appropriate to meet a future employer, it doesn't have to be a suit. Just make sure it's not a space man suit. 7. Sticking In the Editor's Mind: Now, aside from your portfolio, the two best things you can also bring to a portfolio review our your business car and a leave mind talking about the business cards. They do not have to be fancy. In fact, the cheaper you can get the made up, the better mine. Or just you know, I spent like maybe $20 on V Stop printing got 500 of them. There are nice thickness. They have my art on the front contact info on the back, and that's all they need. No bells and whistles. You don't need plastic coatings or UV coating or rounded edges or m bossed fancy bevel that if you want that and you know if you want to get ones with an unusual shape or whatever, you can do that just because you like him. But if you're just doing it because you're trying to get attention, don't Father, don't bother. It's not necessary. You know, most editors that concept like a little holder that they just stick business cards in. That's always when people give me these coaster size square things or they're like, Yeah, you definitely won't forget mine. It's huge and square and I'm like, Great. It doesn't fit in my holder. Now I'm gonna have to put it somewhere else. Which means it might get lost on like, the other ones because I know they're in my holder. It's best just to do a normal regular size. If you tried to do stars and moons and things like that, you know that it's just more chance that we're going to lose it because it doesn't fit in the cardholder. So just go with the basics and, you know, just getting printed up online for a whole bunch of cheap because you're going to be giving out a lot of them. And all you need on there is, you know, your contact info, any social media you you may have. You know it. And I have, like, just so you remember, you know, if I handed out, people go, Oh, it's that artist, right? Okay, sure. Now sometimes we do have trouble sorting out Those cars are remembering which artists belongs to which card and await way. But did I see was that the really good artist that I like now that we have to, like, get out our notes and check out the notes that we took while we were doing editor reviews and blah, blah, blah, blah. And one way to skip all that confusion is to make a leave behind. So it's very important. And yet you would be utterly shocked at how many people don't leave these. They, uh, I think the last time I did a portfolio review at San Diego Comic con out of like the 1st 40 people on Friday, I got to just two just two of these on their Soeder cheap to make their cheapest free like don't even this is just a little mock up. Obviously, I don't have any leave behind right now, so I'm not pitching anywhere right now. But, you know, it's just, Ah, a piece of card stop for recover. And then you'd have, you know, little pieces of your art and whatever on the inside, printed on computer paper, staple together in the middle and folded. It's not a big deal. It doesn't have to look good, because it's not the final product. You're just giving this to them to remind them of what they saw in your portfolio. So, like you can take this and you could be like, Oh, thanks for your art will be like I really liked her. I liked her art a lot. I I'm going to remember her. And then later you go back to your booth as a publisher and you see, maybe the editor in chief and you go, Oh, my God. Brian, Brian, I had this really great artist that I saw an artist, like like an artist's alley or in a portfolio. Um, I really think we should check her out. She would be good for X project that we've got going on right now. And you're like, Yeah, what's her art like? And then you just pull this out and go, Well, it looks like this, uh, it's the best magic trick ever handed right over doing when he goes. Oh, yeah, this looks good. I like this. You'll get a call back that much faster, But if I have to say to him like, Well, it was really good. Um, I can't really describe it. It was good. She did this thing with this drawing with these dragons and will be like, OK, yeah, email to me later. And then I e mailed to him later and, like, maybe I actually forgot to email it to him later cause I'm really busy. Or maybe I email to him and it gets lost in the huge slush pile of emails that every editor gets rate after a convention. You know, this way I could show it to them rate. At that exact moment, I can say I saw really great artist. I think we should pick her up. Here's your art and he's like, Oh, here's her name, right on the front, Perfect. 8. Most Important Lesson Ever: you may notice in this video that I'm wearing the most serious hat I own this Burger King crown. This is the most serious hat I own because I want to be very serious in this video for just a moment. And if you watch no other videos in this class, watch this one because this is the most important lesson about doing a portfolio review, and that is listen to critique. When you go before the editor, this is exactly what's going to happen. You're going to walk up and introduce yourself and shake hands. They'll shake your hand, they'll introduce themselves and they'll say So what have you got to show me? You turn your portfolio book around which across the table and show them and you can then talk about your art. Explain what kind of things you're interested in, what kind of job You might be interested in that sort of thing, and they will sit there and they will flip through every single thing quietly. You know, they usually won't say anything at that point and just look at every single piece very thoroughly until they get to the end. Then the editor will tell you what they like about your heart, What they think you're doing really well in what they think your strengths are. And then they will tell you what they think you need to improve upon, and that is the most important part of a review. But it's the one part nobody ever wants to hear. Nobody wants to be told that they, you know, they didn't do a good enough job. Their stuff needs to be better that, you know, they did something wrong, that sort of thing, You know that. Nobody wants to hear that. But we need to hear that in the same way that nobody really wants to lift a heavy weight over and over and over again. But we all wanna have sick APS. You may not realize that art school is like, Oh, 15% teaching techniques and 85% beating your ego out of you. You know, we had critiques every single day when I was in the comics classes. You know, I have a degree in comic books, and our comics classes were without exception. The teacher would assign something at the end of every class. You go home and do the assignment, and then the next class you put all all of them up on the wall and they'd spend the entire 2.5 hours critiquing every single piece every day, his critique day. So you kind of build up a thick skin to it. But some people haven't, and it can be really, really hard. And I know that feeling, because when I first went to that college, you know, kind of toured the campus with my dad when I was fresh out of high school, you know, there was a professor who offered to look at my portfolio when I happen to have it with me , you know, he looked it over and he was a professional artist. And he gave me a little bit of, you know, advice on this and that and this and that. And after the review, when we had left and we were, you know, just eating in a diner somewhere my dad said, I can't believe you. You had an excuse for everything you know, like at one point he said, you should use a thicker line wait around this character, and you told him you didn't have a bigger pen. But I was like, Oh, I'm so embarrassed. You're right. Like you just reflexively want to say, Well, that's because, Well, I didn't have time to finish that. Well, this isn't my first try. Well, this is actually really old piece. Everybody wants to do that. It's just natural, you know? And I've out at that point not to do that anymore. And Teoh greater or lesser degrees. I have managed that. You know, it's it's really, really hard to bite your tongue, hear somebody say something like, they kind of they're not tearing apart your work, but it can feel like it, you know, And just sit there. Go, huh? Okay. You know, when inside you're like, you don't understand me and you don't understand my style. And unfortunately, if you don't develop the skill to take honest criticism and learn from it, you can end up, you know, just not getting work. I personally know artists who are way more talented than may. They get far less work than I do. And that's because ever since college they cannot take criticism. You know, even in college classes, everything was an excuse. Raid Upsell senior everything. Well, you don't know that this net isn't that the interrupting, interrupting, interrupting. They couldn't take criticism. And editors don't want to hear that because editors want to make the best book possible. Editors aren't here to ruin your awesome vision. Every artist starts out like, Oh, yeah, I'm down on my comics perfect just the way it is. And then you get an editor in there and they're like, Well, I don't understand what's going on on this page like they're like, Well, in my head, they had just left into this dream sequence. Okay? But I'm not in your head, Thank God. And I don't know that you're like, Oh, I guess that wasn't very clear. I better go back and maybe do it again. You know, editors are vital, and they will tell you what is wrong or what just needs a little bit of tweeting or a little bit of improvement. And if you can't take that advice, that's just going to be the worst for you. The best way to impress an editor. And and I count this among the option of maybe juggling knives or chain saws. You know, if somebody came up in juggled those I would be pretty impressed. But if someone comes up to me and takes really, really, really good notes about my criticism, like, brings a note pad says, What do you think I could work on? What do you think I could really benefit from working on? Like, what? Do you think I need to improve the most? I really want to hear it. You just get like editors, like crying Tears of joy. Look, really? You actually want to hear that you're not being a whiny baby? Well, I'm gonna put on my Burger King crowned for this. I'm so happy. Yeah, that is the best way to impress an editor is just Just say, you know, I really want some honest critique. I really want your input. I'm really gonna work on this. What is the best way to make an editor's days like, Wow, you actually listened. That's incredible. But, you know, being ableto learn and being accepting of other people's critiques is gonna you'll go further with editors than anything else because they'll say there's a person I want to hire because that person I'm gonna param up with an editor on when the editor says maybe you should look at changing this. They'll say maybe you're right. They're not going to say showed up. You're not my dad. It's my comic. And then and then you're just gonna have a big fight. And then the editor is gonna go. I can't work with this artist. Find another editor. You know, this is too much of a headache. And then you got to go find another editor where you gotta fire them level. But it's just like, Wow, that person is going to be a joy to have on the payroll. Let me tell you, that's going to be terrific. You will go so much further with editors just having a pleasant demeanor and saying I really value your critique. Police tell me what I can do better. Because even if they find something like, you know, you could stand to really work on this or your perspectives. Not great. That doesn't mean they're not gonna hire you. They're not like we only hire the most perfect of individuals. Know they're gonna be like. But you know what? I have an editor who would help you work on that. Maybe while you're working on some stuff for us. You know, you never know. So just take the critique, you know? Listen to my paper crown. This is really important. It's the most important. Take the fatigue. Thank them for it. You know, tell them that you really learned something and that you really want to improve and then go home and work on it. 9. Ending Reviews and Following Up: Now you might find that time flies in a portfolio review because they're so short. And before you know what the artist behind you is kind of like edging up to the table and trying to sit into your seats. Ho. At the end of the portfolio review, be sure to thank the editor hallways. Thank the editor, shake them by the hand, that sort of thing and thank them for giving their time to do portfolio reviews. A lot of times editors don't get paid to do it. They just do it. And it's a long, tiring process where you have to sit there for hours and hours and hours talking to people don't get a bathroom break sometimes, certainly not a lunch break. You end up losing your voice because you've been talking all day. It's kind of hard to do, so just be sure to tell them that you appreciate their hard work Now. This is a good time at the very end of the review to hand off your leave behind and your business cars, and it's a you know it. It's a good idea to just ask the editor if you know like do you have a card that I can take with me and, you know, so I can follow up that sort of thing. They will, unless they're absolutely dead certain that they definitely want to contact you within the next. You know so and so days, they will probably say, No, they might, but they might not give you what And don't be frustrated or offended if they say like, Oh, I'm allowed or you don't have any, You know, that sort of thing, They just refuse to give you one. You know, it's not you. It's because they don't want to give it to every single artist that they talk Teoh, because then they're going to come home to 1000 billion emails, especially from people that they have no interest in hiring. You know it unless they're totally, totally certain they're going to give you that card. It's more of, ah, don't call us, we'll call you kind of thing or they might just be really, really busy. And they know that they've got, like, two months straight of conventions that they have to go to. They're just not going to have time to get back to you by email so they want to get back to you when they know that they have time to actually talk to you. Otherwise, you're just gonna get lost in the shuffle. You're going to get lost in their junk pile of messages, and they're never going to see you again if you get their card. Great. If you don't get their card still great, you know what it's, um, it's still easy to follow up with them, and you should absolutely follow up with them. Okay, like this is like, Think of it like getting presents from your grand parents at Christmas or any other holiday of your choosing. You need to write a thank you when you go home, regardless of whether you got there, Carter or not, you know you need to go home and write up a nice short email and send it off to them and say, Thank you very much for your time. If you didn't get their card, that's okay. Just go to the company's website. They'll have like a contact for info, and they'll be like a general email on there and just say something like, Hello. My name is so and so when I just wanted to send a thank you to such and such editor or the editor. If you don't remember their name who was at such and such convention and review my portfolio. I really appreciated their advice on whatever it is they advised you on. And I'm going to trying to improve upon that. Best wishes your name. You know, it's very simple. It's not just good manners. It's a great way to stay in touch with editors and publishing companies and let them know that, like you're very serious about getting hired and that you are very professional, you're willing till you know, back this up, you're willing Teoh chase down this lead and so forth. So it's all about the impressions that you make and the connections that you forge in these , you know, early times of pitching your stuff around, so don't miss a chance to be polite. It doesn't hurt, doesn't doesn't cost anything to be polite. After the review, you're probably gonna be doing what I've done many, many times, and that's sitting around watching the claw hook and then every five seconds, looking at your email, watching the clock every five seconds, watching your email, email, email. You Oh, my God. Email. It's junk. You know, we'll make a phone call. My mom Mama can't talk right now. I'm gonna spend the next three weeks waiting to hear back from a company. It can be nerve racking, to say the least. It's waiting to hear back from a company that might hire you. Is nerve wracking the way that, like the sun, is kind of hot or Russia is sort of big? It just is, you know, and you may never hear back from them battling enough. Uh, my very first Siri's, which was an eight volume Siri's published by Tokyo Pop called Busy Gassed. Um, originally pitched to a company called Slave Labor. Because I was a really big fan of theirs in high school and in college. And I like their stuff and I thought they might like it and so pitched it to them. I never heard back. And so after about a year, I, um, I managed to like, entered this contest that took about was having blah, blah, blah, and I got the email of an editor, and I said, Can I send you this other project that I'm working on you could look it over and they said , Yeah, way, definitely want to buy. This is awesome and rate When we were about to after we had signed the contracts and just when we were about to announce that you know it was going to be published, I got a rejection letter from slave Labor Comics. It was like a year in a couple of months and it said, I'm sorry, but at this time, you know, we cannot publisher comic and I was like, Yeah, you can't not like they're like legally, of course you can't. It's not yours anymore. Spread of the company. But that's how long it can take. If you don't hear back at all, it could be super frustrating. And you're like, I don't reject rejected you don't think about it. Just get your stuff in the mail or over to another convention and just keep on pitching, pitch, pitch, pitch everywhere. It's you may think all you know, the first person I walk up, he's gonna hire me or maybe like a second or the third or the fifth or the 10th of the 20 other the hundreds you know after a while it gets exhausting. But you will get there if you are persistent, and if you are determined to better yourself and improve, you will get there as long as you put in the maximum amount of effort. If you put in 40% effort into your life, you're going to get 40% returns the way it is. If you put in a 110% of her, you'll get 110% returns. You'll get an extra 10%. We don't even know where it came from. It's incredible, you know, just always work hard and take every opportunity you possibly can. 10. An Encouraging Storytime: So here's a story that you can listen to, and maybe it will make you feel better when you've been getting rejected by publishers. Maybe, you know, come back to it any time you're feeling like things aren't going your way to matter how hard you work at it. I got my newest comic, Siri's toy, Attica, published almost entirely by accident. I was I just finished my series, Busy gassed in 2012 when Tokyo Pop closed its doors in America. And so I was out of a publisher and I had a new story I was working on. So because I go to San Diego Comic Con every year, I thought, Well, take it to the Portfolio Pavilion out there. They've got loads of editors and loads of publisher really big name ones. Take it out there and show it to them. I'll have a new job in no time. I mean, come on, get on a volume graphic novel series under my belt. I've been working on it for years. I got the puzzles and books and Barnes and Noble and the T shirts and Target and everything at my own Wikipedia pages to be snap everybody. Everybody will love my new Siri's, um, out of the womb. Seven or eight Editors I saw I got one follow up from a company that was interested in it. And, uh, months, Months later, after back and forth, back before three male, they just eventually turned it down. They liked it, but it was either like to similar to something they were already picking up or some other reason. And so they said no. So I I Brie rode it. I revamp the art. I wrote a news story as well. I put them both in my portfolio, and I took it to round two new conventions and new conventions. And that was my next four years. While doing that new stuff, I held a crazy succession of day jobs just to make ends meet. I worked retail. I'm a costumes for an operetta company. Hey, I worked on an assembly line and it was a birthday party, princess. So, uh, just to name a few, I did actually end up writing a handbook for that industry to. And so while I was paying the rent often working two full time jobs at once, I would still put in a couple hours every night working on my art, improving it, putting together new comic Siri's new stories that I thought would appeal. Blah, blah, blah, blah. And I set pitches into companies when I couldn't make the conventions, you know, can email them, mail them whatever, as self published two books on Kickstarter, anything to keep busy and anything to keep moving forward. So it was the summer of 2016 that I decided I was just financially at the end of my rope. I've been in a car accident. I've lost the ability to, like stand for long periods of time with a spinal injury. So I lost my retail job, lost most of my princess work. It was just hard Teoh to keep any kind of job, and I could not afford to go to San Diego comic Con again that year and spend yet another year sitting in the portfolio pavilion a whole weekend, talking to anybody who might hire me while all my friends went and did fun things and photo shoots. Islamabad. Since then, one of my old bosses called me up and said, Pair, you're going. If you do a couple panels for me. I'll pay your plane ticket out there, and a friend of mine said no. I've got some extra space in my hotel that actually somebody just dropped out of. You know what? I know you broke You can you can crash on the floor for free. And I said Okay. All right. Well, you know what? I take every opportunity. I mean, I scraped together the end, the end remains of my bank account, and I decided to go at the last minute and I mean, last minute last, last minute, I had, like, a week to put my portfolio back together, which I've been neglecting and come up with a new story pitch because all the other ones just did not work and all my art was old and out of date. So I spent the week just killing myself, working my one last day job and then coming home and drawing you stuff. And so I scrabbled altogether, did a couple more art pieces through him on my portfolio and just blew out there. And in between, doing the panels for my old boss, I just sat at the portfolio civilian every single hour that it was open looking to talk to anybody who would look at my stuff. So I was almost done reviewing and I didn't really have any very good leads. I Some people said, I always do really well in the interviews, people say they definitely want to see stuff I never hear back from them. I was leaving the portfolio Pavilion because it was going to be closed in a couple of hours , and I had just done all of this thoughts that I signed up for, and I noticed that the Action lab review table. They've gone through all of their review slots pretty quickly. So they open. They did what some people do, which has put up a little piece of paper and say, You know, you can write yourself in You don't have to have registered that morning It's always like, Well, heck, if you're taking all comers and sell, Um, I I mean, I always take every opportunity. You never know. I'm here, They're here. Let's do this. I wrote my name and on the piece of paper, and I waited, and then I got my turn and I sat down with the editor and I should I showed her all the new stuff that I was trying to pitch around, and she actually recognized me from having done busy guest. So I showed her all my art and she sent me down to the action lab booth and called down to the CEO of the company Brian, and said, O Brien, would you mind looking at her stuff? I think it's kind of interesting jobs, your own, Brian. My stuff had only trying to talk up this. It's like horror story that I'm doing it like you have. You know, you guys do lots of horror stuff. So, you know, I'm thinking maybe this could be good for Global and he's looking through my book and looking through my book, and he's like, Uh huh, that's interesting. What is this? What's this like colorful stuff in the back? And I was like, Okay, look, Chief, it would be totally honest with you. This was a last minute trip, and that's just a bunch of computer colored page samples from like years ago that I grabbed and stuffed in the back of the portfolio to like, make it look like I had more heart like I'm really bad at lying. I was just like, All right, look, here's my ruse. I'm spelling it out for you. And he's like, Yeah, but like what? And I kept trying to guide him back to, like, the really cool thing I worked a long time on. And he said, Well, what what is this other colorful thing? Tell me what it is. I what is it? And I was just like, That's just toy Attica. You don't want to see that. So long. Story short. That's the Siri's I'm doing with him right now. And we partner with an animation company to get it made into a cartoon. And I got about five minutes into explaining the story to him, and he said, Okay, stop. I love it. Don't go interviewing with anybody else this weekend because I want to buy this Siri's right now. And he Did he sign me up like rate on the spot after ice Bet like who? Two years pitching that story around and no takers. You know, I showed it to a bunch of companies in the years before, and nobody seemed interested in it, But the thing was, it was geared towards younger Children and Action Lab is heavily invested in developing a younger reader program. So this was perfect for them. It wasn't right for everybody else, but it was perfect for them. And that's just how it happens sometimes. And of course, when Bryant asked me if I had, like the whole story written out and some more art samples to send him when I got home, I said Yes, you know, like a liar. And I spent the entire plane ride home like scribbling down story of ideas as fast as I could in a little notebook look, doing really quick character sketches and making up characters and then typing it all up and finalizing the art. The womb. And I got home because I only had, like, four characters and, like, four pages of sample art, and I never really figured out where the story was going that much, you know. But I got home and I pulled like the longest all nighter on top of all nighters on top of flying for eight hours and sent it to him as fast as I could, and the rest is history. Once you have an opportunity, just jump on it and don't let it go. The point of this whole story is not just a stroll down memory lane. It's that you never know what chances you're missing out on if you don't take every opportunity. And I could have said, You know what? I'm tired. I've had enough That the portfolio pavilion today. You know, I haven't had a whole lot of luck. I'm going back to my room. I've never even heard of Action Lab. I don't know what they publish. Those were all pretty good arguments. And I was actually, you know, kind of tired. And I was thinking about doing it. And if I had done that, then I wouldn't be right now doing it. And I wouldn't be working for a company that I really, really super love, that I love working with the people there. I love working with the company itself. I love where the company is going, and I love that they really put a lot of effort into my Siri's and giving it more resource is and all that stuff. And I definitely love the whole cartoon thing, you know? That's awesome. So I would have missed out on that if I just said, Now forget it. Here's an opportunity, but I don't want to take it harder. You work. The luckier you get is what I say. So even if you keep getting rejections over and over and over, and you think I must be getting rejected because I'm no good, if I was good, these people would be hiring me. That's not always true. They may not hire you because the story you're pitching around just isn't what they need. Right now, you're pitching like a like a high fantasy story. They've already got way too much of that, and what they need is a gritty detective drama or whatever, or the story you're pitching is just a little too similar to something they already have. Or your art style is just a little too similar to somebody they already picked up, and they just don't want more of it. There's just so many reasons why they may not pick you up, and it might not be anything to do with whether or not you're good enough, because if you work hard enough and you really dedicate yourself and you really try to improve a lot, then you are good enough. You are definitely. You're doing everything right and you're working as hard as you possibly can. But the hard work is what is going to get you there? I have been rejected from publishers so many times. I, um I got my first publishing rejections when I was 17. I once wrote a 400 page novel in high school just because I could. And I spent my freshman year of college sending it out to publishing companies, and this was before the Internet was really a thing. People had just started getting the Internet in their house, like a year or two before that. So, you know, this is dragon like, you know, the nineties. So the way to send your stuff to editors that publishing companies would you had to get a great big book from the bookstore called the Writers Market. And it had a list of every publisher in America of whatever they publish. If they were big publishers, little publishers and it listed exactly what they wanted to see from you in a packet, what kind of things they published and we're looking for. And it was updated every single year, and I got that book. I got a copy of Actual was looking. I was working at the bookstore and that book was so expensive. But when we worked at Walden Books, you were allowed to borrow one book for a couple of weeks as long as you brought it back in mint condition. So I borrowed that book, and when I ran over those weeks, I sat in the break room with that book on my knees. It was huge, like the size of a phone book, and I copied out very carefully. Every single publisher, I thought would be interested in my book. I copied out their names, their addresses, their phone numbers, every single requirement they had for pitching to them, etcetera, etcetera. So then I went back to my dorm room. Um, and I printed out the 1st 2 chapters of my book for every single one of them, and I had a cover letter specific to that particular company. I had everything they wanted on that specific query, and I probably got myself fully banned from that printing room in the computer lab at school because they said, Who the hell is printing out all these pages? and I was like, You didn't say Students get to print for free like a stack on there, like Don't come back here. And I was like and I stuck every one of those 1st 2 chapters or whatever inquiry letter bubble with a self addressed, stamped envelope because back in the day, that's how you got a reply and I put him in 37 envelopes, Big manila envelopes and I put the postage on. I saved up for the posted on 37 1 of those envelopes dressed him all sentimental out. Got 37 rejections, and I deserved it because that book was garbage. It it was it was terrible, but it was great practice anyways and help me build up like a thick skin for rejections and everything. It was still a really good learning experience. And now when I get rejections, I'm not like, Oh, my life is over. I'm just like, well, out into the pile. I got more where that came from. So the point is, the harder you work, the luckier you will get. If you sit at home waiting for an opportunity to come to you, you will be waiting until you're dead. Yeah, you kind of got to go out there and just punch opportunity into submission. You know, just you gotta put Destiny in the worst headlock of its life. Just screaming to its face. That's what I take every chance you can get. And I guarantee something will come through for you. If you're persistent and you wanted enough and you're willing to work hard at it enough, something will come through for you. And that is my promise to you. 11. Class Project: Leave-Behind Book: for our class project. We're going to make a small leave behind. Beauty of these booklets is that they are pennies cheap to make, and they work as a great reminder to the editor of who you Are and what art you showed them at the time. They're also useful if the editor is someone like me who does portfolio reviews but does not make the final hiring decision and wants to take it to show the bossom of the artist's work after the reviews were done. Now there are a lot of ways to do this, But the easiest and cheapest way is to just organize your portfolio images in order to per page. Then print your pages double sided, fold the stack of pages in half and staple them together. You can do this by simply dropping the art into a word or open office document, then printed in a brochure format. It's actually very easy to do it open office if you don't have word or any program like that, and that's an open source program that you can get online for free at open office dot org's . So let me show you exactly how to do that. Okay, So once you have open office downloaded, just go ahead and open it. It's very, very simple yet text documents, global bubble. You're gonna want to hit text document for a new document, but since I already have one created I'm just gonna drag mine over here. Behold my incredible portfolio. Oh, man, I'm going far with this. How could anybody resist? Okay, so all you have to do to get your images into the document is grab your image. Drag and drop. That's it. You can scale it. You could make it smaller. You could make a bigger You can add some text, do whatever make the text bigger, make it smaller. Whatever you want to do to represent your portfolio on your little league behind, you know, just use the same art. It's OK if it's not great quality because the editor has already seen your art in person. They don't need to, you know, really be sold on your art again. This is just to remind them that you are that person who made that art that they like the first time. So it doesn't have to be super high quality, but I would probably format each picture. So it's at least at, like, 203 100 DP. I just so it doesn't come up blurry in the document. Some once you have everything, all set, you know, just just dropping in here. You want that on page one? That on page two that on page three. Don't worry about how it's gonna print out. Just put them all down in whatever order you want all of your interior pages and you go to under print it. Prints, make sure you've got the correct printer selected on you. Go over toe options print file below. Okay, we're already doing one. Okay, So in page layout, you hit brochure, and this will automatically organized all of your art so that it's all in the same order and it, you know, when it prints out double sided on pages, it will be exactly the way you want it to be spent. When you fold it in half, it'll be all paginated, as they say Now, go into properties. This is important. You need to go to binding location and you want short edge because we're going to be turning these pages sideways and folding them in half, so that's got to be set on short edge. If you have a two sided printer printer that prints on both sides of pages, most printers do that nowadays. But some people might have older printers that don't, um, just leave it on two sided printing. And as a prince seats each page out, just put in one piece of paper at a time. When the page comes out, just put it right back into the tray and have it print the other side, then put a new piece in, let it print, and then when it wants to print the other side, put that paid right back into the tray letter, print the other side, etcetera. You're gonna hit OK on that. And then when you print all of these out together, it'll all come out in exactly the right order. And then all you have to do is make yourself a little cover and, you know, printed on card stock and wrap it around it and staple it together. You don't need really good paper to do this. You know, it just it can be computer paper as long as it's not heavily saturated. If color is very important to you. It's part of, you know, the job. If you're applying to be a colorist and everything, then go ahead and use a slightly higher pound paper that you get at, you know, Staples or any store like that. Usually the default is like £20 paper. Just go there and say, Hey, what's like the next up that I should use? That's just a little bit thicker, and that should be pretty okay for this. It's not again. It's not going to be like, Oh, this is gonna be my portfolio. They're going to judge me based on this No, This is just a reminder of all the stuff that you showed them the first time they liked it the first time they'll remember, but they got to remember that you are the one who did it. You should also print up a little cover for your book, with your name clearly printed on the front. If you wanted to be a little bit sturdier, you can print it on thin card stock that you get at the craft store or at the office supply store. Sometimes it's labeled as cover stock. Just remember to set your printer Quality settings on rough If you're printing on card stock with a toner cartridge printer or the toner might rub off from the card stock when you handle it. If you're using a regular in jet printer, don't worry about it. Also note that card stock content to stick in some printers causes a little bit thicker than regular paper. I always have to hit print, and then I feed my card stock sheets in one at a time and just give him a little push until the printer grabs it so your mileage may vary. To assemble your ash can use a long arm stapler as a regular one won't really reach. Most copy stores have a long arm staple are available for anyone to use if you just ask, or just buy a cheap on Amazon there like $12 I use mine all the time. So it's a really good investment. Just if you have a hard time finding the middle of the page, fold your pages and have to find the middle, Unfold them and then staple along it on the back of the cover. Include any contact details from your business card I don't recommend stapling your business card to the back as they have a tendency to catch on things and then tear off and ruin the book. If you're attending a convention, maybe print up a dozen or so of these booklets to leave with prospective companies, even if you only end up meeting like, ah, handful of editors, it's always good to have a few extra with you in your bag that you can leave with someone at a company booth If they're editor doesn't happen to be around when you visit or if you meet them in the hallway, etcetera. And you never know when you might bump into a professional outside of review that might be interested in your work. I mean, I bumped into plenty of editors from companies just at the bar or something outside of the convention. So since these air so cheap to make, it's better to have an extra couple say, five or six than to run out. Try making one on your own now, even if your portfolio isn't finalized yet, you can practice making some with your current art, and when you're ready to take some to a convention, you'll know exactly how to do it. 12. Closing Thoughts: Well, that's the end of the class, and I really hope you enjoyed it. But more importantly, I really hope that it helped you with some insightful tips and a little bit of advice about how to put together a successful portfolio and how to talk to editors. If you like this class, then maybe give me a favor and stick around for my next class, which will be about how to pitch your entirely original story toe editors. And you can also check out some of my other classes, which are about drawing tips and that sort of thing. So I'll see you guys later, and best of luck to all of you.