I’m thrilled to announce that we have launched our Ambedo: The Art of Tran Nguyen Kickstarter campaign. This book is available as an affordable signed hardcover. In addition, limited and open edition signed prints are on hand, plus enamel pins and original art are also available.
A comprehensive visual overview of George R. R. Martin’s A Song of Ice and Fire series—plus A Knight of the Seven Kingdoms and Fire and Blood—through over 275 drawings and paintings by the award-winning illustrator Gary Gianni.
Art of Gary Gianni for George R. R. Martin’s Seven Kingdoms This new premium art book is now available for pre-order at www.fleskpublications.com.
This hardcover edition and signed deluxe edition are only available direct from Flesk.
Shipping in July 2019
Afterword by George R. R. Martin Introduction by Cullen Murphy Art by Gary Gianni Designed and edited by Marcelo Anciano The Hardcover edition is 304 pages The Deluxe signed edition is 326 pages and includes a gatefold 9 x 12 inches Over 125 pen-and-ink drawings Over 100 pencil drawings 19 paintings, plus color studies $49.95 — Hardcover ISBN: 978-1-64041-022-0 $200.00 – Deluxe edition signed by George R. R. Martin and Gary Gianni ISBN: 978-1-64041-023-7
About the Deluxe Signed Edition: The deluxe edition comes signed by author George R. R. Martin and artist Gary Gianni on a unique signature page that is highlighted with the reproduction of a pen-and-ink drawing by Gianni. This version is limited to only 500 copies in slipcase. It features a bonus 22-page section with a gatefold highlighting bonus artwork that is reserved specially for this edition. This premium hardcover book with slipcase is wrapped in an exquisite custom-ordered cloth. The front side of the book is treated to a color plate that reproduces a new oil painting by Gianni. This special edition is receiving the full Flesk treatment to serve as a treasured book for the sophisticated collector.
About the Art of Gary Gianni for George R. R. Martin’s Seven Kingdoms
This book contains all of Gary Gianni’s artwork for George R. R. Martin’s A Song of Ice and Fire series. Over 300 pages of beautifully illustrated scenes from the five novels in the series—A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast For Crows and A Dance With Dragons—are featured alongside passages from the books themselves. Also included are illustrations from the two prequels of the series, A Knight of the Seven Kingdoms and Fire and Blood. All together, the paintings and hundreds of drawings in pencil and pen-and-ink provide a unique view of the Seven Kingdoms of Westeros as seen through the eyes of the award-winning illustrator. Describing Gianni’s artwork, George R. R. Martin says it’s “as if I am looking through a window into Westeros, that I am there with Tyrion and Daenerys, with Ned and Arya, with Dunk and Egg.”
All of Gary Gianni’s previously shown pencil sketches and paintings have been tightened up and polished for this collection, making them appear as new works. In addition, over 35 pencil drawings appear for the first time. The artist draws on his longtime experience in comics and illustration to offer a unique perspective into Martin’s universe.
The book also includes an introduction by Cullen Murphy, who discusses the art of illustration and adds context to the pictures by providing an overview of Gianni’s career. Notes from the artist reveal insight concerning his methods and the creative process of working with Martin, a relationship that has spanned five years to date.
About Gary Gianni:
Gary Gianni began as an illustrator for Chicago newspapers and as a courtroom artist for television. He has received the Eisner and Spectrum awards and has illustrated books by authors ranging from Melville and Stevenson to Robert E. Howard, Michael Chabon and Ray Bradbury. His comics include The Shadow with Michael Kaluta, Batman with Archie Goodwin, Tom Strong with Alan Moore and Indiana Jones. He is also known for his own mystery comic book The MonsterMen. Gianni teamed up with Mike Mignola to craft the graphic novel Hellboy: Into the Silent Sea, and he drew the syndicated newspaper comic strip Prince Valiant with Mark Schultz for eight years. Gianni has produced the paintings for George R. R. Martin’s A Song of Ice and Fire calendar as well as illustrations for Martin’s novel A Knight of the Seven Kingdoms. He continues to work with Martin to illustrate future collections.
About George R. R. Martin:
George R. R. Martin sold his first story in 1971 and has been writing professionally ever since. He spent ten years in Hollywood as a writer-producer, working on The Twilight Zone, Beauty and the Beast and various feature films and television pilots that were never made. In the mid-’90s he returned to prose, his first love, and began work on the epic fantasy series A Song of Ice and Fire. He has been in the Seven Kingdoms ever since. Whenever he’s allowed to leave, Martin returns to Santa Fe, New Mexico, where he lives with the lovely Parris and two cats named Augustus and Caligula, who think they run the place.
About Cullen Murphy:
Cullen Murphy is the editor-at-large of The Atlantic. For twenty-five years he wrote the comic strip Prince Valiant, working with his father, the illustrator John Cullen Murphy. He is the author of Cartoon County: My Father and His Friends in the Golden Age of Make-Believe.
Frank finished the last piece of art for the book on March 21st. Kathy and I then ran our series of final checks and delivered it to the printer on March 24th. The printer has already output the proofs and sent them to me. They should arrive any day now. The book will go on the press as soon as I review and approve the proofs.
The printer gave me a tentative shipping date of mid to late June for its arrival in our warehouse, depending on any customs or dock delays. This would start to put the book in your hands in early July since we will begin to ship immediately once they arrive. That’s a little later than I initially expected, (sorry for the delay!) but we hope you won’t be disappointed once the book arrives. I’ll update you all just as soon as I learn more.
I want to thank you all again for your patience and support. Frank truly outdid himself on this book. The final eight pieces of art that he completed over these last two months are stunning. We can’t wait to get this book into your hands.
In January 2009 I was facing a major challenge. The Stock Market Crash was devastating to individuals and businesses. It was, hands down, the worst time to go into publishing full time. (During 2002-2008 I had a full-time day job when I launched, built and ran Flesk.) While scores of people were losing their jobs and as I watched neighbors around me lose their homes, I was determinated to go full time into publishing. When people were scared to spend, scared that they might lose their jobs, scared to lose their retirement—I was sitting at home working on the Al Williamson Flash Gordon book while putting a 10-year plan in place. I then began to follow it without question. Grit, determination, stubbornness—call it what you will. It was hard. It almost didn’t work. I came very close to losing the business. But it all worked out in the end. Here’s some insight into how it happened.
I’ll start with some background information. I tend to keep book projects under wraps for months, or even years, before they are ready for the printer. This allows me the opportunity to work at my leisure without any outside influences dictating my schedule.
It’s common practice for publishers to announce books anywhere from 8-12 months in advance of its street date to help ascertain the publics interest. This allows the publisher to determine the initial print run of the book. It’s a tried and true formula that is a historically good model to follow. This is especially necessary when working with titles that depend mostly upon the book trade for a successful sell-through. It’s also imperative if you are a new publisher. By garnering its initial demand while promoting the book months in advance you can best set yourself up for success. Or, this can be an opportunity to cancel a book if the interest looks weak, such as if I determine that the buying climate has changed.
I have a different approach to making and releasing books than most. I set my style into place in 2009. I wouldn’t necessarily recommend doing things like I do, but I have been very deliberate about creating an alternate and unique method that has proven successful for us. In 2008 I was acutely aware that the demand for tangible books, and the way that they would be sold, would be greatly affected by the mass adoption of the internet. There was also the possibility that tablets could replace, or greatly reduce, tangible book sales as e-books became more accessible. In addition, it was obvious that Amazon was changing how people bought books. Brick and mortar stores were closing because of the economy coming to a halt, but also due to the ease and accessibility of online shopping.
Huge discounts on books through Amazon contributed to publishers going into scramble-mode. When stores closed, there were less outlets for people to find our books, which meant lower print runs in a market where profit margins were already small. Lower print runs increased the per unit costs and cut back on the return of investment making it harder to recoup money and put it into future books. Another factor that came into play was it became tough to sell our own books on our website and at art shows since you could get it on Amazon at a 35-40% discount with free shipping. Adding to this, if you look at the 2008-2009 time period, there was a mass influx of returns that publishers received due to unsold stock. This increased inventory fees beyond the loss of funds from overprinting. Stores would order certain quantities in advance that set our print run. By the time we printed and delivered, those stores could be out of business, or they couldn’t sell what they had initially projected 4-6 months prior. All of those unsold books came right back to us instead of receiving a payment. It was brutal for everyone.
Another major shift in the 2000s was the lost ability for people to see the book in person and flip through its pages. This was historically the way people used to buy books. Now, people buy books more sight-unseen. Their purchase is based upon online reviews and the faith the “X” publisher, author or artist is desirable and has a good reputation. Additionally, people outside of the hardcore collectors at shows are more apt to buy items for delivery. That was not as common when I started publishing in 2002.
I’ve always been one to like challenges, to never ever make excuses, and to see what kind of positives can come out of change. I was determined to figure out a new business model that would allow us to thrive.
Ultimately, in January 2009, I believed, by creating consistently high-quality art books that people would want to hold in their hands was necessary to beat e-books. Also, creating a direct line of specialty books that could only be bought through us was necessary to beat Amazon. And finally, we needed a website with a proper shopping cart where people could place their orders direct from us while having good service and a reliable shipping system in place. I stopped wholesaling certain new titles as we launched our line of event exclusives. It only took a couple of years for them to become very popular for us.
Overall, I was excited. I knew that there was a big potential to be successful as a small publisher by doing things in a new way. The internet allowed for self-promotion through social media. Instead of paying $2000 for a full-page advertisement in a magazine, or spending thousands of dollars exhibiting at an event such as Book Expo in New York, now we could reach people directly in a one-on-one fashion. I loved where things were going and how technology was bringing us together.
I remember walking around at Book Expo in New York in the mid-to-late 2000s and realizing that the conventional way of doing things at the time was short-lived. It seemed so old-fashioned to me. I benefited from having no experience in the industry since I was not stuck looking at how things typically ran. Since I was small and a new publisher I could quickly adapt, see where the future was headed, and go after it.
To summarize quickly, in 2009 I put into place a new plan that would beat Amazon and beat e-books, while increasing a direct interaction between our collectors and ourselves. As I look back on the last 10 years, our direct sales exceed our distributor sales and we have a core group that supports us directly. The best part is that young people did not tire of tangible books. I’m incredible grateful at how things turned out for us.
How about the next 10 years? I noticed a new big shift start to develop four years ago. I started to put something new in place and am ramping up to grow along with where I predict things are going. I’ve already put things into place where I feel we will be ahead and thriving in this new world that is coming. It’s as exciting as it was for me in 2009. I’ve set some major goals for myself and for the company so that in the next decade it can hit the milestones that I foresee. I look forward to writing about it in detail in 10 years from now! I’ve never been one to boast or talk about what I’m doing. I enjoy the work and prefer to be recognized for what I’ve accomplished rather than tooting my own horn. Plus, I feel that talking too much jinxes’ things. I’ll just say for now that good things are coming.
Now, let’s touch upon 2019. Typical me, I’m going to be vague here. Besides the Ballpoint Beauties book by Frank Cho and Ambedo by Tran Nguyen (spring 2019 releases), then Spectrum 26 (fall 2019 release) we have three other books that are almost done, and three additional books that are in the early stages of production that I will publish this year. I’ll most likely be announcing two to three of these new titles in late-January. I’m working with our usual artists, along with some new ones. The only thing that I can guarantee is that we will put all our passion into these titles and do our very best to make 2019 the best ever for Flesk books. My commitment to the individual artists and this community is my focus. I’ll let the other publishers chase after the latest pop culture craze. For me, it has always been and always will be about the people.
I remain enthusiastic and grateful to be in this position to make books for you all to enjoy.
Thanks for reading. I look forward to sharing more goodness soon.
The new Gary Gianni book will be revealed next month. This is one of my favorite ink pieces that will be included in the book, simply based upon Gary’s mastery of the ink line. It’s stunning!
As I’ve mentioned before, I like to work in three’s. We’re putting the final touches on this Gianni book, Frank Cho’s Ballpoint Beauties, and Ambedo by Tran Nguyen. Actually, there’s a fourth, fifth, sixth and seventh new book that are well into the production stages as well. But the first three that I mentioned are the primary focus at the moment.
A lot of big news will be shared early in the new year!
Over the weekend I dug through the warehouse and pulled out overstock, titles that are out of print with only a case or two left, and dinged books to offer at huge discounts. There’s 12 books at only $10 each, then a bunch of book sets that run as low as $5 per book when you select the pack.
Spectrum 25: The Best in Contemporary Fantastic Art is Here!
We received our copies of Spectrum 25 a few weeks back. We packed the complimentary artists copies and shipped them right away. We also mailed the pre-orders at the same time.
The arrival of this book culminates a year-long process from the initial Spectrum Call for Entries that begins each year in mid-October. The deadline for artists or their representatives to submit their art falls toward the end of January each year. For Spectrum 26 this will be on Thursday, January 24, 2009.
In no particular order, here’s some behind the scenes details about how the Spectrum process works.
We typically receive a flood of entries, phone calls, and online and email inquiries during the final week prior to the deadline. Because of this, we are usually working full time confirming all of the entries for everyone for up to a week after the deadline. Kathy and I developed a process that lets us double check every entry to make sure that their information, payment, and artwork all aligns. I’m also checking to make sure that the art is clear and appears large on the computer screen. If I feel that the resolution of the digital file is too low, then we’ll reach out to the artist to get an improved file. I want everyone to have the best chance to be seen by the jury.
I made one change for Spectrum 26. This was to eliminate the option of sending in hard copy prints through the mail for the judges to review. We introduced the option to submit online for Spectrum 21. I felt it was important to provide a 5-year transition period to allow those who may have preferred to send in their works as prints to familiarize themselves with the online process. By Spectrum 25 we had such a small amount of print entries that I felt it was time to phase out that option.
I wrote a history of Spectrum that you can read in Spectrum 25. Originally, I wrote a more typical Year in Review essay. I ended up abandoning the initial direction that I took after realizing that I would enjoy documenting the humble origins of Spectrum instead, especially considering that this was its 25th anniversary.
The Call for Entries poster for Spectrum 25 utilized the talents of Spectrum Grand Master Scott Gustafson. Scott is one of only two artists who have been featured in every volume of Spectrum. (The other is Brom.) For the 25th anniversary I wanted to celebrate this occasion by highlighting Scott’s art. I don’t always consult with Arnie and Cathy Fenner when making decisions regarding the jury and call for entries poster artists, but for this occasion I wanted to make sure that I got their recommendations. They agreed that an artist who painted traditionally and who has been popular during the full tenure of Spectrum’s history would be an excellent choice.
I oftentimes make the jury selection over the course of a few days during June of each year. This timing directly corresponds with when I turn Spectrum into the printer on July 1st of each year. In that way I can include the names on the last page of the book where I promote the next volume. The first thing that I do to determine the candidates is to page through the most recent volume of Spectrum. Since I don’t want the jury to be limited to those who submitted to or have been in Spectrum before, I’ll pour through Facebook and Instagram postings by various artists and see who else grabs my attention. I typically spend 15 minutes a day on these two social media platforms to stay in tune with the general tone and direction of the art world. I want Spectrum to capture the most current picture of the industry, so it’s important that I invite those who I feel will embrace the most current and relevant art forms for the book. Spectrum must always be looking forward and embracing change, while also being respectful to those who came before. I want everyone to feel welcome from a new art student to a legend who has been in the business for 40 years. I aim to find a jury who welcomes all sensibilities and forms no judgments or biases.
Spectrum is a big job. The first half of the year is primarily focused on Spectrum, while the second half of the year leans more toward my Flesk book-making duties. I work on both year-round, but during these seasons I can get pulled more in one direction more than the other. When I work on Spectrum my focus is on the community as a whole. When I work on Flesk books my focus is on the individual artists who I am working with. It’s a good balance. The contrast between the two working methods keeps things fresh for me. I don’t really care much schedules or making plans too far in advance. I feel that I lose my creativity and whatever I’m working on at the time loses its spontaneity and looks too rigid if being organized takes precedence. While this method works for me, it’s very hard to teach, and if I’m working with someone who likes to write things down and cross off steps on a list we usually don’t function too well together. I see it as freedom, for others it may drive them insane and possibly make them anxious worrying about how things will get done. I am always confidant that what we need to get done will be wrapped up by the time it needs to be.
After the Call for Entries deadline passes and we have finished confirming all the entries we begin to prepare the Flesk office for the judging event. We cover the traveling costs of the judges and put them up for the weekend in Santa Cruz, California. We start with a dinner on the Santa Cruz Wharf that overlooks the ocean the night before the judging event. This gives the jury a chance to relax after their day of travel and allows them with the opportunity to get to know one another better.
The day of judging is a long day. The jury looks over all the entries anonymously. They do not know how the others vote. A majority vote, three or more picks, guarantees inclusion into the book. Then afterward, the jury gathers as a team and decides upon the silver and gold nominations and recipients for each of the eight categories.
The Spectrum 26 Call for Entries poster was done by Tyler Jacobson. I saw one of his pieces in a previous Spectrum that I loved. It has a lot of energy to it with a high fantasy feel. I inquired with Tyler if he was willing to make the new poster and only pointed out the piece that I liked as an example of the tone that I was looking for. I don’t like to art direct the artists for the poster, and usually do not see a preliminary of finished piece until it is turned in. I select people who are professionals and trust them to do the job.
The poster was designed by our very own Kathy Chu. Like with Tyler, I only gave her very minimal feedback regarding the tone, then trusted her to select a font and to do whatever she wanted. When I trust someone, I don’t look over their shoulder. I also like the idea that not everything is designed by me, nor is limited by my thinking. I like to stay fresh and that can only be done by welcoming the creativity of others into the mix.
As Spectrum 25 reaches the hands of fans and people throughout the industry I get to look at the Spectrum 26 entries as they arrive. We have a fabulous group who will be joining us for the judging event. They include Kei Acedera, Wesley Burt, Bobby Chiu, Edward Kinsella III, and Colin and Kristine Poole.
The Spectrum 26 Awards ceremony, which will be held on Saturday evening, March 30. The gala will be held at the historic Folly Theatre in Kansas City, Missouri, adjacent to the Kansas City Convention Center and will be open to all Planet Comicon and SFAL exhibitors, creators, guests and attendees. I hope you can join us!
Thanks for reading. Thank you to everyone who has supported Spectrum!
I received word from the shipper that the books will arrive at the docks on December 5th. Depending on processing and customs we should have the books about a week later. We’ll start shipping the books as soon as they arrive.
Here’s the link to learn more or to place your pre-order:
Frank Cho and I have partnered again to create his latest art book Ballpoint Beauties! This book is available as an affordable paperback and hardcover, and as a premium signed deluxe edition. Luxurious signed prints are also available. Enjoy the samples and details below.
We have a Kickstarter campaign running where you can pre-order the book. Everyone who makes a book or print pledge will receive an exclusive free postcard set.
The campaign ends on Thursday, November 15th at 8:00pm PST.
Ballpoint Beauties is 120 pages at 9 x 12 inches and includes two gatefolds. This book has been Frank Cho’s most requested collection on social media over the past year. He has been making his personal ballpoint pen drawings purely for himself for over two decades. This is the first time that these rarely seen works have been captured into a dedicated volume. Compiled here are his favorites, many which are done recently specially for this book. Many pieces are shown in four stages that are accompanied by Frank’s commentary to reveal his process. He is completely self-taught which makes for a unique and educational experience.
Included within the book are visual guides for anatomy and body parts, plus a short interview where Frank discusses his working methods and answers the most common questions that he receives online. Also shown are comic covers for his creator owned property Skybourne, where he has incorporated ballpoint pen in a mixed media format to show you how to incorporate the ballpoint pen into commercial assignments.