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Old 08-12-2009, 11:06 PM   #49
Fred Duran
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Originally Posted by Scribbly
I never said that it is or it is not.
What I said is that the decision about the size and format is a matter of the person who manage the project. The guys who pay.
IF, he want the files to be sent in 6.875 x 10.4375 .
He will get these files in this format.
That doesn't tally with what I've experienced personally, nor with how I've come to perceive how this whole thing works from talking to others about it. Every time I've submitted something and gotten it published, I, the writer, have been the "project manager". I've coordinated the communications between myself and the artists and between the artists themselves. All the pages came to me at every stage (pencils, inks, etc.) before they went on to the next one. If there were any panels that needed changing, I talked to the artists until a consensus was reached between us and the edits were made. Of the three times that I've been published, NOT ONE TIME have I been the one calling the shots with regards to size and format. That's the publisher's job. The publisher sets the format. The artist FOLLOWS it, or the submission is REJECTED. It's really that simple. I'll even give you an example: When I submitted for the very first time to Dimestore, I emailed Ian Shires and point-blank asked him what file sizes he was looking for, and he told me "6.875 x 10.5 bleed canvass. 6.625x 10.25 trim edge." And I made sure that that was what the final submission looked like. That's how it's always worked. Publisher tells you how they want it, you make it like that, or you don't submit.

Originally Posted by Scribbly
Again, this is not a letterer decision.
This is not an artist decision.
It is an editor decision or project manager decision.
The guy who pay for the work is the one who determine
what size, what format and everything else.
Not the parts involved in the project.
The only decision that's being made by the art team is "do we want this to be rejected immediately for something stupid like formatting issues and miss the chance of getting it picked up?" or worse, "do we want this to be put out there all screwed up and out of place on the page so that it reads terribly and makes us look like terrible creators?" And honestly, if the penciler gets the file size specifications and doesn't make the art to those specifications, and the inker doesn't call him/her on it and the letterer decides "hey it's not my job," the answer to both those questions is "Yes."
And that's not the kind of decision I want to be making. So I make sure the pages of the comics I work on are right, and I ask the publisher what "right" is before anything else.

Originally Posted by Scribbly
So if you are getting paid for resizing ,what is your complain?
You found a way of making extra money with a simple Action in photoshop
It's not that they're complaining because they're getting paid, it's the principle of it. They're doing a job that they shouldn't have to do. I'm not a "pro" letterer though so I'm not going to speak to that anymore than I already have. Talk to the letterers about how they feel about having to repeatedly do work that they shouldn't have to do - and how most of the time they DON'T get paid for it.

Originally Posted by Scribbly
The only thing that is a fact is that the letterer is affected by
sizes and formats and nobody else in the creative team does.
Not even the editors.
Wrong. The entire creative team is affected. If the submission isn't to the specifications of the publisher, all that work and effort put in is wasted.

Originally Posted by Scribbly
If the things are coming wrong and nobody will pay you for the fixing, don't take the job. Look for something else.
There are plenty of opportunities out there.
I think you're missing the point, but at this point I've said all I can. The hierarchy of all this is publisher -> creative team. The publisher tells the creative team how it wants things submitted, and the creative team either A) listens and gets a shot or B) doesn't listen and gets shot down.

I'm trying for option A.

Fred Duran
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