[4] As explained by comics historian Hames Ware, however, Lloyd Jacquet's Funnies Inc. "was distinct from the other major shops.
"[4] While the comics-packaging sector is little-known outside the publishing world, it provides employment to many freelance authors and illustrators.
Packagers do not pay royalties, which means that even if a package-produced comic becomes a bestseller, the creators do not receive additional payment.
Artist Joe Kubert recalled Harry "A" Chesler paying him $5 a week, at age 12 (c. 1938) to apprentice at his studio after school.
[5] Similarly, artist Carmine Infantino remembers that, c. 1940, he was paid by Chesler "a dollar a day, just [to] study art, learn, and grow.
[6][7] Joe Simon said that his Funnies Inc. rate for a completed comic-book page — written, drawn, and lettered — was $7.
(It's worth noting, however, that most comics stories produced during this period didn't contain credits, making individual attribution difficult.)
I told Jerry Iger about this idea and said I'd like to form a company with him and we'd produce the original art for these comic books.
[11]The most prominent packagers during this period were Harry "A" Chesler, Eisner & Iger, Funnies Inc., and the Sangor Studio, all based in New York City, like the publishers they served.
[10] They also started their own studios; in the years 1942–1945, a number of artists became packagers in their own right, including L. B. Cole, Jack Binder, Bernard Baily, Mac Raboy, and Vincent Fago.
[29][30] Selecciones Ilustradas, a Spanish art agency, provided artists for the horror comics magazine publishers Warren Publishing and Skywald Publications in the period 1971–1983, providing an entrée into the U.S. comics market for a great number of these Spanish artists.
Starting in 1974, Byron Preiss (as Byron Preiss Visual Publications) packaged graphic novels, comics, illustrated books, and children's books to various publishers using the talents of comics artists such as Howard Chaykin, Dennis Francis, Marc Hempel, Gray Morrow, Alex Niño, Ralph Reese, Tom Sutton, and Mark Wheatley.
[32] Independent publishers whose work was produced almost exclusively by Campiti and Associates include: Glass House Graphics played a major role in the entrée of Brazilian artists such as Ed Benes, Joe Bennett, Mike Deodato, and Luke Ross into the American comics market.