PHIL FOLIO HOW TO
PHIL FOLIO SERIES

And thatвЂ™s conservative because the way you figure out how many readers you have is you count IP addresses and so it doesnвЂ™t count computers, it counts the routers that service those computers. WeвЂ™ve been doing it for four years now, and at a very conservative estimate, IвЂ™ve got 270,000 readers. Because then weвЂ™d have to re-format the same material differently for graphic novel format, which was the final form. Production timeвЂ¦ IвЂ™m not just talking about printing, but paying for our time and the time it took to format it. And we figured we saved around $20,000 a year by not having to produce the individual comics. So you took that away and replaced that with creative work? Was part of that because you were managing the print production yourself? I figured it out once and I produce substantially more comic product per year this way, with a lot less effort. I donвЂ™t know if it was just thinking about it differently or shortening the deadline time. You know, youвЂ™d think so, but IвЂ™ll tell you it was a lot easier to meet an every other day schedule than it was to put out 30 some odd pages every three months. ThatвЂ™s a pretty aggressive schedule creatively, isnвЂ™t it? They advanced in lockstep every Monday, Wednesday and Friday. So in essence we had two comics running in parallel, which we called 101 and Advanced. Yes, one new page every Monday, Wednesday, and Friday, and we had a second part of the site where we were putting up the stuff that had already been published. So we just stopped printing comics and just started putting it up online for free.

PHIL FOLIO HOW TO

In 2005 there was a combination of things, one of which was a slight cash flow issue, one of which was we were trying to figure out how to expand our market. It was supposed to be quarterly, and we got it out about quarterly (laughs). So how frequently were you getting it out? But I wasnвЂ™t able to get it out fast enough to really kick it over because we were doing everything ourselves. It certainly more than paid for itself, and made a nice profit. And we had a circulation of about 9,000, which for an independent color comic, is not bad, not bad. I started Girl Genius as a print comic it came out quarterly. Tell us how you came to publish Webcomics. We recently talked to Foglio about how they made that transition, picking up 270,000 readers in the process, and how the economics worked for them. Once a publisher of periodical comics, the FoglioвЂ™s Studio Foglio now puts up all of their new comic stories on the Web and sells books and other merchandise directly to consumers through the Website and through distribution, but publishes no comics in a periodical format. Phil Foglio, co-writer (with Kaja Foglio) and artist of Girl Genius, are two such creators.

PHIL FOLIO SERIES

By 2013 the Foglio's successfully completed a Kickstarter campaign to publish the 12th 'Girl Genius' book and to start a series of reprints.The Webcomics phenomenon is counterintuitive to many, because its proponents argue that by giving away content, the creators can actually make more money. Several of the phrases featured in the comic have gained cult status. There is a lively subculture around the strip, that has been an inspiration for several other artists.

In 2005, the Foglios canceled their publishing activities and presented 'Girl Genius' as a webcomic. Through this studio they have published their comic books 'XXXenophile' and especially 'Girl Genius', a series about the student Agatha Heterodyne set in a steampunk fantasy universe (labeled as 'gaslamp fantasy' by the authors). Together with his wife Kaja he founded Studio Foglio in 1993. The Collected Adventures of Phil and Dixie #1 Foglio created his long-running character 'Buck Godot' for Just Imagine. He then illustrated comic books for DC Comics ('Angel and the Ape', 'Plastic Man', 'Stanley and His Monster'), Marvel and First Comics ('GrimJack', 'Dynamo Joe'). Starting in 1980, Foglio wrote and illustrated the monthly comic strip 'What's New with Phil & Dixie' for Dragon Magazine (TSR Games) for a period of three years.ДЇoglio has illustrated the work of science fiction author Robert Lynn Asprin, and also adapted the first 'MythAdventures' novel to a comic book series for WaRP Graphics ('Another Fine Myth'). He became an illustrator and comic artist, working mainly in the science fiction genre.

Phil Foglio attended the Chicago Academy of Fine Arts and started working in comics in the 1970s, as a Hugo Award winning fan artist.

Phil folio