Q: Do you have a standard freelance contract or agreement you use with all your clients?
A: Yes and no. I do have a standard illustration contract/agreement I use with many clients, but not all. Many clients have their own agreements they have their illustrators sign with specific terms they need. In that case I sign theirs and do not need mine, as they both serve the same purpose: spelling out the copyright agreement and other terms for use of the illustration they are contracting me to create.
Of course, I have to read those carefully to make sure I know what I am agreeing to. I will occasionally ask for something to be changed, like a “kill fee” added in or something like that, but most are just variations of the same basic agreement.
Where did I get my agreement? It’s based on a standard illustration estimate/contract form from the Graphic Artists Guild’s Handbook of Pricing and Ethical Guidelines, with a couple of little changes on my part. I’d post a copy of it here for people to use, but as I got most of it from the GAG book I think it would be unethical to do that. See!… that book works! In fact there are several contracts in that book that working illustrators and graphic artists would find useful. Another source of excellent and practical legal advice and sample contracts and agreements is Tad Crawford’s Legal Guide for the Visual Artist. Both excellent resources.
Thanks toGrant Jonen for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!
I received a lot of nice compliments on the art I did on the 2014 Rueben Awards Brochure for the National Cartoonists Society. This is something I have been doing for quite a few years now, ever since I was approached by then NCS prez Steve McGarry about doing something for the 2003 Reuben Awards in San Fransisco. After thinking about it I realized this latest one is my 12th Reuben illustration! Sometimes the art was used on the official Reuben T-Shirt, and sometimes it was for the brochure, and once or twice for both. Anyway I thought it would be fun to post a gallery of the Reubens art I have done over the last decade plus… it also makes for a nice record of the guest speakers most years, although some years they depicted the award winners/Reuben nominees instead (clicky any image to embiggen):
2003- San Fransisco, CA
Top row, l to r: Me, Hilary Price (Rhymes with Orange), Bill Amend (Foxtrot), Scott Adams (Dilbert), Oliver Christianson (Greeting cards), David Silverman (The Simpsons), Pete Doctor (Pixar). Bottom row, l to r: Darby Conley (Get Fuzzy), Stephan Pastis (Pearls Before Swine), James Kemsley (Ginger Meggs). I was actually a guest speaker that year, so Steve asked me to do this for the T-Shirt, which started it all. I don’t have the digital file anymore, so this is a scan of a print that Steve had done and gave to each of us, and we got signatures from (most) of the speakers. The only signatures I am missing is Scott Adams and Pete Doctor… might have been too shy to go up to them and ask. Matt Groening signed it because he won the Reuben that year.
2004- Kansas City, MO
Front: Mort Drucker (MAD Magazine), Patrick McDonnell (Mutts), Sandra Boynton (Greeting cards, books, recording artist), Jules Pfieffer (cartoonist, author, screenwriter) Back (on the grill): Mel Lazarus (Momma and Miss Peach). Kansas City was the start of the “roasts” they did again for a few years of NCS luminaries, starting with Mel… hence on the grill.
2005- Scottsdale, AZ
Across back and top of stagecoach: Jay Stephens (Tutenstein), Sergio Aragonés (MAD, Groo and the roastee), Mark Evanier (writer, Groo, etc), Gahan Wilson (gag cartoonist), Scott Shaw! (comics artist, Captain Carrot). In the stagecoach, l to r: Lalo Alcaraz (La Cucaracha), Ann Telnaes, Mike Luckovich and Joel Pett (all Pulitzer prize winning editorial cartoonists), Hanging on the stagecoach, right: Darrin Bell (Rudy Park, Candorville). Pulling the stagecoach: Glen and Gary McCoy (The Duplex (Glen),The Flying McCoys, editorial cartoons, etc. etc.)
2006- Chicago, IL
From the left: Stephen Silver (animator, Kim Possible, etc), Everett Peck (illustrator, animator), Ralph Steadman (illustrator), Elwood Smith (gag cartoonist), Cathy Guisewite (Cathy and the roastee), and Dick Locher (Dick Tracy, editorial cartoons).
2007- Orlando, FL
L to r: Bud Grace (The Piranha Club), Sam Gross (gag cartoonist, The New Yorker), Mort Walker (Beetle Baily, Hi and Lois) and Jerry Van Amerongen (Ballard Street).
2008- New Orleans, LA
Humans, l to r: Mike Peters (Mother Goose and Grimm, editorial cartoons), Sandra Boynton (Greeting cards, Milton Caniff Award recipient), Mark Tatulli (Heart of the City, Lio), Mort Gerberg (gag cartoons, The New Yorker), Tom Batiuk (Funky Winkerbean).
2009- Los Angeles, CA
Clockwise from bottom left: Jeff Keane (The Family Circus, NCS President), Mike Luckovich (editorial cartoonist, Reuben emcee), Michael Ramirez (editorial cartoonist), Dan Piraro (Bizarro, Reuben nominee), Stephen Pastis (Pearls Before Swine, Reuben nominee), Dave Coverly (Speed Bump, Reuben nominee), Steve Moore (In the Bleachers, Open Season), Eric Goldberg (animator), Drew Struzan (illustrator) and Cathy Guisewite (Cathy, host of the Sunday event).
2010- Jersey City, NJ
On back raft, l to r: Isabella Bannerman (Six Chix), Rina Piccolo (Tina’s Groove, Six Chix), Anne Gibbons (Six Chix), Benita Epstein (Six Chix), Stephanie Piro (Six Chix), Margaret Shulock (Six Chix). On the plane: Stephen Silver (animator, Kim Possible, etc), Mort Drucker (MAD Magazine), Stan Goldberg (comics artist, Archie), John Reiner (The Lockhorns). On the raft, l to r: Larry Katzman (gag cartoonist, freelance), Joe Kubert (comic book legend, Milton Caniff Award recipient), George Booth (gag cartoonist, The New Yorker), Steve Brodner (Illustrator), Bill Plympton (illustrator, animator), Yaakov Kirschen (cartoonist)
2011- Boston, MA
Humans, from l to r: Tom Gammill (The Doozies, Reuben emcee), Roy Doty (advertising cartoonist, NCS Gold Key recipient), R.O. Blechman (gag cartoonist, Milton Caniff Award recipient), Glen Keane (animator, Reuben nominee), Stephan Pastis (Pearls Before Swine, Reuben nominee), Richard Thompson (Cul de Sac, Reuben nominee)
2012- Las Vegas, NV
Top: Tom Gammill (The Doozies, Reubens emcee). Second row from left: Steve McGarry (Badlands, Trivquiz, Biographic, Kid City, NCS Silver T-Square recipient), Mark Simon (animator, storyboard artist, entrepreneur), Alfred E. Neuman (idiot), John Lotshaw (Accidental Centaurs), Dave Kellett (Sheldon, Drive), Michael Jantze (The Norm, Jantze Studios, SCAD). Bottom row from left: Ray Billingsley (Curtis), Butch Hartman (Fairly Oddparents, Danny Phanton, T.U.F.F. Puppy), Jim Davis (Garfield) and Stan Goldberg (Archie, recipient of the NCS Gold Key Award).
2013- Pittsburgh, PA
This one is a little weird as I did each person as either a famous person from Pittsburgh or a character from a movie filmed there: Clockwsie from top r: Mo Willems (Children’s book author/illustrator) in “The Silence of the Lambs” which was filmed in Pittsburgh , Brad Anderson (Marmaduke, Milton Caniff recipient) as Andy Warhol, Drew Friedman(illustrator) as Frank Gorshin, Jason Chatfield (Ginger Meggs, Reubens Emcee) as Gene Kelly, Terri Libenson (The Pajama Diaries) as Mary Cassatt, Lee Salem (NCS Silver T-Square recipient) in “The Dark Knight Rises” , filmed in Pittsburgh), Rob Rogers (editorial cartoons) as Ben Roethlisberger, Joe Wos (Curator of Pittsburgh’s cartoon and comic art museum The Toonseum) as Mr. Rogers.
2014- San Diego, CA
Roughly left to right: Tom Gammill (The Doozies, Reuben emcee) “Weird Al” Yankovic (A.C.E. award recipient) Greg Evans (Luann), Eddie Pittman (animator, Red’s Planet), Sandra Bell-Lundy (Between Friends), Russ Heath (comic book legend, Milton Caniff Award recipient), Bunny Hoest Carpenter (The Lockhorns, NCS Gold Key Award recipient), John Reiner (The Lockhorns, NCS Gold Key Award recipient), Suzy Spafford (Suzy’s Zoo), Chris Houghton (animator, Adventure Time, Reed Gunther).
This story actually comes not from drawing at a theme park but from doing a state fair. I didn’t do many of those but for a couple of years in the early 90′s I would pack up my gear and a 10×10 tent and drive to Oklahoma to do a state fair. The fair lasted for 17 days, during which I became an honorary carnie… except I had all my teeth. To be fair, most carnies also have all their teeth, but they keep them in a jar on their dashboard whereas all of mine are still in my mouth… but I digress.
Doing fairs can be extremely trying on your patience. There are some days where you are slamming busy and can barely find the time to gobble down a corn dog and use the bathroom (the preferable order for said actions… the reverse is a recipe for disaster), but there are also weekdays where business can be very slow… especially if the fair is not during the school summer vacations. This one was in October, and some of the weekdays were dead. That leaves you with too much time to try and entertain yourself.
I always brought along a second artist to do these fairs with, both to share the expenses and to take advantage of the really high traffic days. One year I brought my good friend the extremely talented Eddie Pittman, who today is an animator who has worked with Disney on several features such as Mulan and Lilo and Stitch, as well as Phineas and Ferb, and does the dynamite webcomic Red’s Planet. He’s also a very funny guy, and is always up for a practical joke. Well, almost always.
As it happened, that same year another caricaturist had a competing booth on the other side of the fairgrounds. That is not unusual as there is often several different caricaturists in a single large fair, but I happened to know this guy. In fact, he’s from Minnesota and had gotten his start in caricature drawing for me in my theme park there. We chatted a bit when the fair first started so he knew I was there… but he had not seen nor did he know Eddie.
I thought it would be amusing to pull an old caricaturist prank on him—the “Draw and Dash”.
The “Draw and Dash” is when you have a ringer sit down for a drawing, obviously needing to be someone the target caricaturist does not know, and then have them take off running after the drawing is done without paying. It works best when the customer plays it up asking really dumb questions or otherwise being annoying so the crowd is interested in seeing their reaction to the caricature. There are two variations to the prank. In one, the customer just runs off and leaves the drawing behind. In the other, they steal the drawing. That second one is funnier but a little dangerous depending on the artist being pranked.
Eddie is a master of this, having pulled it or had it pulled on a few artists in his time. He’s great at playing the dumb hick getting one drawn before racing off in an exaggerated “FEETS DON’T FAIL M’NOW!” manner. I talked him into doing it to this Minnesota artist. It took some doing, as he was worried the guy might get really pissed off. He kept on asking me “He’s not going to chase me, is he?”
“Nah,” I would say. “He wouldn’t do that.”
It took a day or so, but one boring afternoon he treked across the fair to do the gag.
Maybe 30 minutes later Eddie comes stumbling up to the booth with a drawing in his hand—he wasn’t exactly a track star—and wheezed “HE’S CHASING ME!!” He ducked behind the booth out of sight. About a minute later this artist runs up to the booth.
“Did you see a guy run by with a drawing in his hand?” He asks.
“Nope,” I reply. “What did he look like?”
He describes Eddie and warns me in case the same guy comes up wanting to get one drawn by me, and then takes off to continue pursuit. Eddie comes panting from behind the booth with sweat streaming down his face, calms down, and we get a good laugh out of it. I was genuinely surprised he got chased, but that made it all the funnier anyway. Eddie didn’t think so at first, but later we were guffawing over it.
Eventually this caricaturist comes by when Eddie sitting was at the booth, and realizes it was a gag. Eddie and I laughed and I introduced them…and then this artist DEMANDED HIS PAYMENT!! Seriously, he refused to leave until he got his money. I couldn’t believe it. We paid him for the drawing and he stalked off. I don’t think we saw him again the whole two weeks of the fair. I haven’t said two words to him since.
So, if you were ever wondering if anyone can be a caricature artist and not have a sense of humor themselves, I know of at least one like that.
In April of last year DC Comics did a series of “MAD” variant covers for thirteen of their “New 52″ titles done by the Usual Gang of Idiots. They are doing a follow up series this year, but this time on 21 different titles! CBR has an exclusive first look at a couple of the covers, including the one above for Detective Comics #30 by Hermann Mejia. Check out a bigger version of the Mejia cover and cover art by Al Jaffee and John Kerschbaum on CBR.com.
Here are the titles getting the MAD treatment this year:
JUSTICE LEAGUE #30
JUSTICE LEAGUE OF AMERICA #14
JUSTICE LEAGUE DARK #30
THE FLASH #30
EARTH 2 #22
WONDER WOMAN #30
SUPERMAN/WONDER WOMAN #7
ACTION COMICS #30
DETECTIVE COMICS #30
BATMAN AND WONDER WOMAN #30
HARLEY QUINN #5
GREEN LANTERN #30
GREEN LANTERN CORPS #30
TEEN TITANS #30
I did the cover of Batman/Superman #30, but can’t share that until I get the go ahead. I’m sure we’ll see them pop up over the next few weeks in “exclusive first looks” posts on the interwebby.
We interrupt the sharing of potentially useful or entertaining content on this blog for some shameless huckstering!
This past weekend I added a bunch of original art for sale in The Studio Store. Included are some not so cheap original pages from MAD, but also a few relatively cheap sketches. Well… okay… it’s ALL overpriced but that goes without saying.
The MAD pages are from the parody of “The Avengers”, and this pencil drawing that was then digitally colored for the “MAD 20″ piece “Abysmal House”:
Among those sketches for sale are both my recent “sketch o’the week” drawings of:
This weeks Monday MADness is a look at the pencil roughs from a piece called “You Can Write the Next American Idol Single!” written by Desmond Devlin, which appeared in MAD #466, June 2006. Clicky any to embiggen:
Before I answer this week’s Sunday Mailbag, I thought I’d point out the new title format. I’ve gotten a few requests that I start adding some information about the content of my Sunday Mailbag Q&A’s, as doing a search for topics on the blog often yields a lot of “Sunday Mailbag” hits and no alternative but to click each one to find out f the sought after info is in that post. From now on I’ll add something in the title to help with that.
Q: Have you ever had a “rep”, and if not why not? Do you advise an illustrator to have a rep, or to avoid them?
A: For those who may not know a “rep” (short for “representative”) in the art world is like an agent for an actor. They act as both the the finder and broker for work for an artist and get paid via a percentage of an artist’s given pay on a job. Most reps take between 15-20% as their fee. The services offered by a given rep can differ, but a “full service” rep will pursue and find jobs for their artists, negotiate for the pricing on a job, handle the invoicing and collecting of the payments and pay the artists their fees less their given percentage. At least that’s how it’s supposed to work.
I’ve never had a real rep (with the exception of a loose arrangement with Cagle Cartoons, now defunct). Why not? I guess just because I’ve never been approached by a good one that I thought would be an asset to my career. I once interviewed with a local rep here in Minneapolis way back in the early ninties, and she decided not to rep me. I’ve gotten calls from reps looking for a “one off” job done but none offered to add me to their permanent stable. I haven’t gone looking for a rep because I stay pretty busy already, and therefore don’t really need one. Would I agree to be repped if the right one came along and offered? Sure, why not? It would have to be a rep that could get me higher profile/better paying jobs than the ones I currently do, because I’d likely have to turn down some of the jobs I take now to make room and as they would take 15% or so it would have to make sense financially.
Certainly I would advise any illustrator who would like more work to consider a rep if a good one wants to work with them.
Finding a good rep is not easy. There are a lot of pitfalls you have to avoid, but the primary difficulty is simply finding a good one that is willing to represent you. Your style of work, it’s marketability, the number and makeup of their current group of artists and to a certain extent your established credentials will be major factors in whether or not a rep is willing to add you to their “stable”. The better and more effective the rep, the less likely they are willing to take on new clients and especially those who do not have a strongly established career already. It’s the old catch 22… and artist could use a rep to establish a career and a rep only wants artists who have already got an established career. Reps like Gerald & Cullen Rapp are famous and handle mostly big name artists, while smaller firms or individual reps might take on newer artists if the marketability of their work is strong.
Where do you find reps to contact about being part of their group? The best place is probably sourcebooks like the Directory of Illustration, Workbook and The Black Book. They have ads by reps in them and online lists of the reps in their publications (see links). You need to research these reps and look for ones that are lacking in an artist who’s style is similar to your own. Your best bet is to identify these potential reps and contact them, sending in samples your work and a resume including a fairly complete client list. The worst that could happen is they say “no thanks”. You do not know until you try.
Having a rep isn’t a magic bullet. Far from it. Good reps are hard to find, and by “good reps” I mean those that really work hard to find you good jobs. Bad reps will take on an artist and then just add them to an online portfolio and sit back and wait for jobs to come in. Some will spend 99% of their time pursuing work for the one or two “stars” of their stable and not put any effort into finding work for the other artists they represent, again merely waiting for jobs to come to them… after all it doesn’t cost them anything if you do not get any work, so why not add you to their stable and collect whatever comes their way? You can accomplish that kind of marketing on your own and not part with a percentage of your fees. Some reps will expect you to take on any job no matter how poor the pay is or how bad a fit it is for you, wanting to keep you generating money no matter how little it might be for the work involved.
If/when you find a rep willing to represent you, the details of your contract with them needs to be scrutinized. There are a few things in the fine print to be aware of. For example, you still pay for the lion’s share of any active advertising. The arrangement with most reps is that the costs of any advertising done (i.e. in a sourcebook) is split by the same percentage as the rep fee. So if you pay your rep 15%, you will pay 85% of a page in the Directory of Illustration and the rep covers their 15%. Your page is then part of a section of the sourcebook for their agency. Likewise with online advertising.
The most problematic pittfall with regard to reps is how previous clients are handled. Some reps (although this is becoming increasingly rare) insist that ALL your work must go though their office. That includes clients you already have and do regular work for, not just the ones your rep finds for you. This arrangement is unacceptable in my opinion, as any work I get from a client that my rep had nothing to do with landing should not be subject to their rep percentage. Just doing the paperwork is not enough to justify their fee. Some reps feel that once you are being represented you should not pursue work independently and should refer all new work through them. I’ve always found that to be questionable also… if through my own marketing a client contacts me directly, I should not have to give my rep a percentage of that job. That does become a little dicey if you have been working with a rep for a while, because it’s hard to determine how that direct call and project came to be. If they found you by seeing a job in print that your rep got you, then that new job should go through your rep. You should definitely not accept work directly from a client your rep has found for you. This occasionally happens when a client thinks calling you directly would result in a reduced price on illustration since the “middle man” is cut out. Accepting work like that is unethical.
The best reps are ones that are active in pursuing work, and have a network of established relationships with buyers of illustration that they can work on your behalf, and have the smarts to negotiate the highest fees they can get for you. The worst are ones who sign you to a contract, advertise (at 85% your cost) in some sourcebook and set up a website and then sit back and wait for the jobs to roll in. It’s the former everybody wants and thus is the most difficult to find and get accepted by.
Full disclosure: Parts of this answer are from an earlier, similar mailbag question.
Thanks toScott Parker for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!
The Kenosha Festival of Cartooning is a 3 day festival, in Kenosha Wisconsin, from September 25th through September 27th of 2014. There will be live presentations, workshops, a gallery show, panel discussions, and community outreach by some of the nation’s top cartoonists. We are asking for a total of $10,000 – this amount will allow us to mount two spectacular gallery shows of original comic art, cover the expenses of the artists, pay for publicity materials and shipping of art for gallery shows, cover backer reward fulfillment, and provide catering for receptions whilst not having to charge admission.
Our AWESOME guest speakers for 2014 are: Jeff Keane of Family Circus, Denis Kitchen of Kitchen Sink Press, Lincoln Peirce of Big Nate, Rick Stromoski of Soup to Nutz, Todd Clark of Lola, Scott Stantis of Prickly City (also staff editorial cartoonist at The Chicago Tribune), Terri Libenson of The Pajama Diaries, Michael Schumacher author of Al Capp: A Life To The Contrary and Will Eisner: A Dreamer’s Life In Comics, andPaul Buhle comic historian and author of Comics In Wisconsin. And our panel moderator will be the amazing Tom Racine of Tall Tale Radio.
Don’t worry if you cannot attend the festival in person – we still have some VERY cool premiums for our backers in the way of original art and autographed posters and programs from the guest artists. New this year is a specially designed, limited edition, challenge coin – see image below. There will only be 100 of these available and when they’re gone they’re gone. So don’t dawdle if you want one All rewards will be signed and therefore delivered after the conclusion of the festival.
We believe cartooning is a wicked cool artform and have dedicated this festival to providing opportunities for the comic reading public of all ages to meet the artists behind the laughter. But the festival can only remain free if we reach our fundraising goal!
With the festival in its fourth year, we are seeking Indiegogo funding because, while we have some stalwart donors and supporters, those donations don’t come close to funding our whole budget.
One of the wonderful things about crowd funding is how affordable it can be. If we can get 500 people to donate $20 – we are there! So never think that small contributions don’t matter! And we have some exciting stretch goals if we are lucky enough to exceed our $10,000 mark.
Comic book art legend Stan Sakai and his family are currently struggling to deal with the costs and challenges related to the health of his wife Sharon, who is fighting a brain tumor and needs constant medical care.
The Comic Art Professionals Society (CAPS), a Southern California sister organization of the NCS, is organizing a benefit auction and the printing of a book, with all proceeds going to the Sakai’s. They have asked cartoonists to do their take on Stan’s classic comic character Usagi Yojimbo, and it’s that original art that will be auctioned off and will be in the book. My contribution is above. Here are the details of the CAPS benefit:
FOR IMMEDIATE RELEASE & REPOST
Contact: Steven Wyatt
CAPS TO LAUNCH ART AUCTION FEATURING ORIGINAL WORKS BY MATT GROENING, JACK DAVIS, MIKE MIGNOLA J. SCOTT CAMPBELL, ADAM HUGHES AND HUNDREDS MORE TO BENEFIT FELLOW CARTOONIST STAN SAKAI AND FAMILY
On Thursday, March 6, 2014, Southern California’s CAPS, the Comic Art Professional Society, will launch an ongoing series of eBay auctions of original comic art. Its goal is to raise funds for medical care for Sharon Sakai, the wife of respected cartoonist and longtime CAPS member Stan Sakai, creator of the samurai rabbit USAGI YOJIMBO. Sharon has been battling a debilitating brain tumor for some time; after an extended hospital stay and convalescence, she is currently at home, but her condition requires 24-hour care and medicine that costs more than the Sakai’s insurance covers. 100% of the proceeds of these auctions will go directly to Stan and Sharon Sakai to help pay their ongoing medical expenses.
The CAPS auctions will be conducted through eBay.com beginning on Thursday, March 6, with a new set of auctions every following Thursday. Each auction, sold under the seller name of “CAPSauction”, will be ten days in length with twenty to forty items in each set of auctions. The donations of original artwork and collectibles (including newly created art unique to this event, vintage comic book pages, comic strips, illustrations, animation art, limited edition statues, and IDW Artist’s editions books) number over three hundred with new items arriving every day.
Contributors include: Adam Hughes, Alex Maleev, Arthur Adams, Batton Lash, Eric Powell, Jan Duursema, Jerry Ordway, Jordi Bernet, Matt Groening, Michael Allred, Mike Mignola, Paul Gulacy, Sanjuliàn, Scott Shaw!, Jim Steranko, Tim Sale, William Stout, Bill Sienkiewicz, Cameron Stewart, Dan Brereton, Daniel Parsons, Dave Gibbons, Dean Yeagle, Doug Sneyd, Dustin Nguyen, Bill Morrison, Tone Rodriguez, Sergio Aragonés, Fabio Moon, Francisco Francavilla, Gene Ha, Geof Darrow, Gilbert Hernandez, Jack Davis, James O’Barr, Kevin Eastman, Jeff Lemire, Jeff Smith, Kazu Kibuishi, Liam Sharp, Tom Richmond, Michael Jantze, Olivia, Oscar Martin, Paul Chadwick, Richard Corben, Tom Mandrake, Walter Simonson, Charles Vess, Dan Spiegle, J. Scott Campbell and many more.
Many of the pieces featuring Usagi Yojimbo will appear in a new oversized hardcover book from Dark Horse, THE SAKAI PROJECT: ARTISTS CELEBRATE THIRTY YEARS OF USAGI YOJIMBO, which will be released on July 23, 2014. All proceeds from this book will go to Stan and Sharon Sakai. Much of the custom Usagi Yojimbo art created for this book will also be sold as a part of CAPS’ online auctions.
These fund-raising auctions will be promoted through ComicArtFans.com, and the CAPS – COMIC ART PROFESSIONAL SOCIETY Facebook page where you will be able to see updated information such as when certain pieces will be auctioned.
If you would like more information on CAPS’ Sakai Benefit Auction or Dark Horse’s THE SAKAI PROJECT book, please contact Steven Wyatt at firstname.lastname@example.org.