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Updated once again. Added Mitch's comment on 181 in this thread to the notes.

------ My Standard Answer starts here ---------

On the comicart-l and the CGC OA board, we had a long conversation on the topic of the work split on the Miller DD run. This write-up is based on e-mails and posting from many people. Foremost among them are: Mitch Itkowitz, Ferran Delgado, Gene Park (notes on 158, 162, 163, 179-180), and Mike O'Halloran (Theory on 182-184). I took notes and created this summary. I believe it represents the best understanding available to us, but it may not be perfect. Other comments are welcome and especially if they come with evidence that I can cite.

• DD #158-161,163-172: Full pencils by Miller, inks by Janson.
  Notes:
  
  • Rubinstein was the cover inker for #158
    
  • Ditko did all the art for #162
    
  • Rubinstein was the co-inker (with Janson) for #163
    
  • Issue 168 - GCD lists Miller as breakdown artist on issue 168 while the credits on the issue itself list Miller as artist but Janson as Inker and Embellisher.
    Note:

    [Regarding credits on 168 - ed], I would be hesitant to describe this as the same relationship when it comes to the division of labour where art is concerned in issues 173 on. I think, by looking at the art that what might be described as Miller "breakdowns" are closer to a finished product when it comes to 168, but given the public notations, I thought it was worth mentioning.

  [*]DD #173-178: Layouts by Miller on the same sheet, embellishment by Janson

  [*]DD #179-181: Layouts by Miller on a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the published original art.

  Note:

  • Separate smaller layouts started with 179 per Jansen in the comments on a post about DD 172 on Comics Should Be Good on CBR.
    

    Let me say that I’m grateful and happy that anyone has any interest in any work that I’ve done whether it’s recent or, in the case of some of the material referred to this week, older. So thanks for the attention and comments everyone. Let me make a point about something that The Third Man said in his LOC: “…but he was never really more than an inker”. The work I did on DD has always been very meaningful to me for a variety of reasons, too many to get into here, but I’d like to point out a few things: Frank did an amazing job on the series and I would never take anything away from his writing or drawing. Just to set the record straight, though, Frank went to 8 and a half inch by 11 inch breakdowns on issue #179, not #185. And he was doing breakdowns on the boards for a handful of issues before that. It is absolutely true that the overriding characteristic of Frank’s art is his amazing storytelling, and it is absolutely true that my approach to laying out a story differs from Frank’s. But I feel strongly that my contribution as both inker (or finisher or whatever the particular credit was on any given book), combined with my coloring, made my contribution a bit more than “just an inker”. It is the synthesis of pencils, inks and colors that I believe provided some of the best looking books in the run, and indeed, gave the book it’s very distinct look. Check the credits, Third Man, take a look at the issues that I colored and the ones that I didn’t and I would think that you might agree with me on that point. And if you need further proof on this, please refer to Greg’s earlier column from this week where he talks about the first page from World War Hulk. I think that, for whatever reason, and it may have been a case of over saturation as this was still a period of time when the industry had not yet reached a level of expertise in coordinating digital coloring with the actual look of the book in print, but you can’t even see the inks under the colors. The ability to fulfill a specific, particular vision instead of having three or four disparate ideas conflicting with each other, was a rare opportunity on DD. The chance to control the art to the degree that we did provided a very specific look to the book that was unique. I’m really proud of the work that Frank and I did on DD. It stands as one of my favorite runs on a character that I loved since I bought DD #1 as a kid. It means a lot to me. Try to understand that the opportunity I had to make the contributions that I did, rises a tiny bit above being “just an inker”. There’s a reason why the material holds up 30 years later, you know.
     
    Thanks for your time and really, thanks for your interest, I appreciate it enormously!

  • Regarding issue 181, Mitch wrote:

    Miller layouts on 8 1/2 x 11 paper.
    Janson light box the layouts to comic art board and inks said comic art board
    I had sold this entire issue for Janson back in the day.
    Since Miller did not actually put pencils to the board, Janson got all the art.

  [*]DD #182-184: Layouts by Miller in the same sheet, embellishment by Janson.

  Notes:

  • Theory: Issues 182-184 (Punisher arc) were originally intended for an earlier publication and probably have a mix of (Miller pencils/Janson inks) and all Jansen pages from Miller layouts. It might be difficult to know who actually did what as the story was altered for the revised publication and changed situation.
    
  • MikeyO, the proposer of the theory in the note above, later wrote:
    

    My theory is logical but needs support from other sources. Some one could counter and say the previous art drawn by Miller a year and a half or so ago may have been used as a complete issue (perhaps issue 183?). My guess is that other pages were inserted but I still think verification is necessary.
     
    Mitch [itkowitz - ed] had responded that your previous supposition was correct (that Miller went to breakdowns and Janson finished on the same page for 182 to 184), but if you think about the possible rationalization that Mitch is using to assume this you can determine he may be coming to an erroneous conclusion. As Mitch said he got the whole issue of 181 from Janson to sell because he essentially drew the issue, so Mitch would assume any issue he received the complete book would be done in this method and any book where Mitch received only partial pages to an issue would indicate that Miller did breakdowns on the page and Janson finished. The problem with that logic is that as we have discussed that some pages to issues 182-4 would have been done by Miller more than a year ago and obviously returned to him and Janson could still be working the procedure of following Miller layouts on 8 by 11 paper that was instituted with issue 181 on the pages that were added to issues 182-4. Therefore, Mitch would not get a complete book as Miller would get his pages back even though they were done many months ago but Janson could still be the only person that added anything new.
     
    Others have said that the Punisher storyline was meant for issue 167 as a one part story. As said, my rationale is that they added pages to make up a two part story. Evidence to lend credence to my theory is given by Grand Comic Book Database that credits Roger McKenzie as the co writer for issue 183 and 184. Roger's last story on DD was issue 167 and after that he was done with the title, so they are obviously crediting him with both issues as they broke up the one issue and expanded into two. Now, the question is was the new art done by the process started in 181 or did Miller work on the same sheet as Janson? It's bending a little towards the former, but not a dunk yet.

  [*]DD #185-190: Layouts by Miller on a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the published original art.

  [*]DD #191: Full pencils by Miller, inks by Austin

--------------------- End of standard answer ----------------------

[Yes, this might make my head explode. All I know is it was great reading off the stands way back when. ]

Should I revise this or annotate it differently?

Not I.

Updated once again. Thanks to Gene Park and Michael O'Halloran (MikeyO) for the additional thoughts and references.

------ My Standard Answer starts here ---------

On the comicart-l and the CGC OA board, we had a long conversation on the topic of the work split on the Miller DD run. This write-up is based on e-mails and posting from many people. Foremost among them are: Mitch Itkowitz, Ferran Delgado, Gene Park (notes on 158, 162, 163, 179-180), and Mike O'Halloran (Theory on 182-184). I took notes and created this summary. I believe it represents the best understanding available to us, but it may not be perfect. Other comments are welcome and especially if they come with evidence that I can cite.

• DD #158-161,163-172: Full pencils by Miller, inks by Janson.
  Notes:
  
  • Rubinstein was the cover inker for #158
    
  • Ditko did all the art for #162
    
  • Rubinstein was the co-inker (with Janson) for #163
    
  • Issue 168 - GCD lists Miller as breakdown artist on issue 168 while the credits on the issue itself list Miller as artist but Janson as Inker and Embellisher.
    Note:

    [Regarding credits on 168 - ed], I would be hesitant to describe this as the same relationship when it comes to the division of labour where art is concerned in issues 173 on. I think, by looking at the art that what might be described as Miller "breakdowns" are closer to a finished product when it comes to 168, but given the public notations, I thought it was worth mentioning.

  [*]DD #173-178: Layouts by Miller on the same sheet, embellishment by Janson

  [*]DD #179-181: Layouts by Miller on a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the published original art.

  Note:

  • Separate smaller layouts started with 179 per Jansen in the comments on a post about DD 172 on Comics Should Be Good on CBR.
    

    Let me say that I’m grateful and happy that anyone has any interest in any work that I’ve done whether it’s recent or, in the case of some of the material referred to this week, older. So thanks for the attention and comments everyone. Let me make a point about something that The Third Man said in his LOC: “…but he was never really more than an inker”. The work I did on DD has always been very meaningful to me for a variety of reasons, too many to get into here, but I’d like to point out a few things: Frank did an amazing job on the series and I would never take anything away from his writing or drawing. Just to set the record straight, though, Frank went to 8 and a half inch by 11 inch breakdowns on issue #179, not #185. And he was doing breakdowns on the boards for a handful of issues before that. It is absolutely true that the overriding characteristic of Frank’s art is his amazing storytelling, and it is absolutely true that my approach to laying out a story differs from Frank’s. But I feel strongly that my contribution as both inker (or finisher or whatever the particular credit was on any given book), combined with my coloring, made my contribution a bit more than “just an inker”. It is the synthesis of pencils, inks and colors that I believe provided some of the best looking books in the run, and indeed, gave the book it’s very distinct look. Check the credits, Third Man, take a look at the issues that I colored and the ones that I didn’t and I would think that you might agree with me on that point. And if you need further proof on this, please refer to Greg’s earlier column from this week where he talks about the first page from World War Hulk. I think that, for whatever reason, and it may have been a case of over saturation as this was still a period of time when the industry had not yet reached a level of expertise in coordinating digital coloring with the actual look of the book in print, but you can’t even see the inks under the colors. The ability to fulfill a specific, particular vision instead of having three or four disparate ideas conflicting with each other, was a rare opportunity on DD. The chance to control the art to the degree that we did provided a very specific look to the book that was unique. I’m really proud of the work that Frank and I did on DD. It stands as one of my favorite runs on a character that I loved since I bought DD #1 as a kid. It means a lot to me. Try to understand that the opportunity I had to make the contributions that I did, rises a tiny bit above being “just an inker”. There’s a reason why the material holds up 30 years later, you know.
     
    Thanks for your time and really, thanks for your interest, I appreciate it enormously!

  [*]DD #182-184: Layouts by Miller in the same sheet, embellishment by Janson.

  Notes:

  • Theory: Issues 182-184 (Punisher arc) were originally intended for an earlier publication and probably have a mix of (Miller pencils/Janson inks) and all Jansen pages from Miller layouts. It might be difficult to know who actually did what as the story was altered for the revised publication and changed situation.
    
  • MikeyO, the proposer of the theory in the note above, later wrote:
    

    My theory is logical but needs support from other sources. Some one could counter and say the previous art drawn by Miller a year and a half or so ago may have been used as a complete issue (perhaps issue 183?). My guess is that other pages were inserted but I still think verification is necessary.
     
    Mitch [itkowitz - ed] had responded that your previous supposition was correct (that Miller went to breakdowns and Janson finished on the same page for 182 to 184), but if you think about the possible rationalization that Mitch is using to assume this you can determine he may be coming to an erroneous conclusion. As Mitch said he got the whole issue of 181 from Janson to sell because he essentially drew the issue, so Mitch would assume any issue he received the complete book would be done in this method and any book where Mitch received only partial pages to an issue would indicate that Miller did breakdowns on the page and Janson finished. The problem with that logic is that as we have discussed that some pages to issues 182-4 would have been done by Miller more than a year ago and obviously returned to him and Janson could still be working the procedure of following Miller layouts on 8 by 11 paper that was instituted with issue 181 on the pages that were added to issues 182-4. Therefore, Mitch would not get a complete book as Miller would get his pages back even though they were done many months ago but Janson could still be the only person that added anything new.
     
    Others have said that the Punisher storyline was meant for issue 167 as a one part story. As said, my rationale is that they added pages to make up a two part story. Evidence to lend credence to my theory is given by Grand Comic Book Database that credits Roger McKenzie as the co writer for issue 183 and 184. Roger's last story on DD was issue 167 and after that he was done with the title, so they are obviously crediting him with both issues as they broke up the one issue and expanded into two. Now, the question is was the new art done by the process started in 181 or did Miller work on the same sheet as Janson? It's bending a little towards the former, but not a dunk yet.

  [*]DD #185-190: Layouts by Miller on a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the published original art.

  [*]DD #191: Full pencils by Miller, inks by Austin

--------------------- End of standard answer ----------------------

[Yes, this might make my head explode. All I know is it was great reading off the stands way back when. ]

Should I revise this or annotate it differently?

FWIW, 181 was amazing and I don't care who did it. I'll gladly take a page for Christmas.

I've got to go with Scott on 168-172. They were very good and setup so much more to follow.

I think Frank's entire run taken as a whole was astounding. He took a character that had become moribund and was on my pull list from habit (and the hope of something better) and blew my mind. I was shocked at how good the run was and I clearly remember picking up 158 35 years ago.

Yeah, it may have been the low point of his run, but the low point was pretty good.

Updated with notes from Gene Park on 158, 162, 163:

------

On the comicart-l and the CGC OA board, we had a long conversation on the topic and this was the consensus there and I took notes and created this summary:

• DD #158-161,163-172: Full pencils by Miller, inks by Janson.
  Notes:
  
  • Rubinstein was the inker for #158
    
  • Ditko did all the art for #162
    
  • Rubinstein was the co-inker (with Janson) for #163

  [*]DD #173-180: Layouts by Miller in the same sheet, embellishment by Janson.

  [*]DD #181: Layouts by Miller in a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the original art.

  [*]DD #182-184: Layouts by Miller in the same sheet, embellishment by Janson.

  Notes:

  • Theory: Issues 182-184 (Punisher arc) were originally intended for an earlier publication and probably have a mix of (Miller pencils/Janson inks) and all Jansen pages from Miller layouts. It might be difficult to know who actually did what as the story was altered for the revised publication and changed situation.
    
  • MikeyO, the proposer of the theory in the note above, later wrote:
    

    My theory is logical but needs support from other sources. Some one could counter and say the previous art drawn by Miller a year and a half or so ago may have been used as a complete issue (perhaps issue 183?). My guess is that other pages were inserted but I still think verification is necessary.
     
    Mitch [itkowitz] had responded that your previous supposition was correct (that Miller went to breakdowns and Janson finished on the same page for 182 to 184), but if you think about the possible rationalization that Mitch is using to assume this you can determine he may be coming to an erroneous conclusion. As Mitch said he got the whole issue of 181 from Janson to sell because he essentially drew the issue, so Mitch would assume any issue he received the complete book would be done in this method and any book where Mitch received only partial pages to an issue would indicate that Miller did breakdowns on the page and Janson finished. The problem with that logic is that as we have discussed that some pages to issues 182-4 would have been done by Miller more than a year ago and obviously returned to him and Janson could still be working the procedure of following Miller layouts on 8 by 11 paper that was instituted with issue 181 on the pages that were added to issues 182-4. Therefore, Mitch would not get a complete book as Miller would get his pages back even though they were done many months ago but Janson could still be the only person that added anything new.
     
    Others have said that the Punisher storyline was meant for issue 167 as a one part story. As said, my rationale is that they added pages to make up a two part story. Evidence to lend credence to my theory is given by Grand Comic Book Database that credits Roger McKenzie as the co writer for issue 183 and 184. Roger's last story on DD was issue 167 and after that he was done with the title, so they are obviously crediting him with both issues as they broke up the one issue and expanded into two. Now, the question is was the new art done by the process started in 181 or did Miller work on the same sheet as Janson? It's bending a little towards the former, but not a dunk yet.

  [*]DD #185-190: Layouts by Miller in a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the original art.

  [*]DD #191: Full pencils by Miller, inks by Austin

[Yes, this might make my head explode. All I know is it was great reading off the stands way back when. ]

Should I revise this or annotate it differently?

On the comicart-l, we had a long conversation on the topic and this was the consensus there and I took notes and created this summary:

• DD #158-172: Full pencils by Miller, inks by Janson.
  
• DD #173-180: Layouts by Miller in the same sheet, embellishment by Janson.
  
• DD #181: Layouts by Miller in a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the original art.
  
• DD #182-184: Layouts by Miller in the same sheet, embellishment by Janson.
  Notes:
  
  • Theory: Issues 182-184 (Punisher arc) were originally intended for an earlier publication and probably have a mix of (Miller pencils/Janson inks) and all Jansen pages from Miller layouts. It might be difficult to know who actually did what as the story was altered for the revised publication and changed situation.
    
  • MikeyO, the proposer of the theory in the note above, later wrote:
    

    My theory is logical but needs support from other sources. Some one could counter and say the previous art drawn by Miller a year and a half or so ago may have been used as a complete issue (perhaps issue 183?). My guess is that other pages were inserted but I still think verification is necessary.
     
    Mitch [itkowitz] had responded that your previous supposition was correct (that Miller went to breakdowns and Janson finished on the same page for 182 to 184), but if you think about the possible rationalization that Mitch is using to assume this you can determine he may be coming to an erroneous conclusion. As Mitch said he got the whole issue of 181 from Janson to sell because he essentially drew the issue, so Mitch would assume any issue he received the complete book would be done in this method and any book where Mitch received only partial pages to an issue would indicate that Miller did breakdowns on the page and Janson finished. The problem with that logic is that as we have discussed that some pages to issues 182-4 would have been done by Miller more than a year ago and obviously returned to him and Janson could still be working the procedure of following Miller layouts on 8 by 11 paper that was instituted with issue 181 on the pages that were added to issues 182-4. Therefore, Mitch would not get a complete book as Miller would get his pages back even though they were done many months ago but Janson could still be the only person that added anything new.
     
    Others have said that the Punisher storyline was meant for issue 167 as a one part story. As said, my rationale is that they added pages to make up a two part story. Evidence to lend credence to my theory is given by Grand Comic Book Database that credits Roger McKenzie as the co writer for issue 183 and 184. Roger's last story on DD was issue 167 and after that he was done with the title, so they are obviously crediting him with both issues as they broke up the one issue and expanded into two. Now, the question is was the new art done by the process started in 181 or did Miller work on the same sheet as Janson? It's bending a little towards the former, but not a dunk yet.

  [*]DD #185-190: Layouts by Miller in a DIFFERENT smaller sheet, embellishment by Janson. Miller didn't touch the original art.

  [*]DD #191: Full pencils by Miller, inks by Austin

[Yes, this might make my head explode. All I know is it was great reading off the stands way back when. ]

Should I revise this or annotate it differently?

Thanks for the kind words. I should have asked if he had any prelims. Next time!

A few years ago, I made one of my first commission requests to Giordano. I had no clue what I was doing (and still don't know much except that I'm no Art Director). was very kind and patient.

The big hangup was that I could not decide what character i wanted; he'd penciled, inked, or both all of the DC folks at one time or another. So, I decided on a 70's/80's JLA 80-Page Giant Roll Call type "cover."

He delivered.

Years have passed and, sadly, so did . As one might expect, the miscellaneous ephemera of his studio is appearing for sale.

In scrolling through Anthony Synder's latest update, I found the prelim of my commission. A quick email exchange, a little cash, and some mailing time and I now own the prelim to my commission. It's kind of interesting.

Click to embiggen:

I like it! But, you probably knew that.

Thanks. Got a con report to write now.

I'm not sure what happened this weekend at the Amazing! Houston Comic Con, but it appears that I may have gone into a strange new world of art collecting - MLP.

The con started off well enough. I got a sketch cover by Ryan Kincaid featuring Commissioner Gordon in my VIP goody bag. I don't know his work, but it's a nice image and totally appropriate. I think you might enjoy it too. Click the image to embiggin:

.

Terry Moore and his wife, Robyn, were manning their booth and I finally pulled the trigger on a piece of art from Terry. I chose the OA for a print he'd done for Echo back in 2009. It features Julie pulling a someone through the desert. I really like it and Terry and I will soon search his warehouse for a copy of the print.

You can see it here along with a picture of the three of us. Click the image to embiggin.

.

After that, things began to get hazy and confused. I ended up at Tony Fleecs table thumbing through some of his OA. Tony is a frequent artist for MLP: Friends Forever. As I was going through it and visiting with Tony about some other MLP artists/writers that I know (Tom Zahler, Katie Cook, and Andy Price), I found a DPS that features all of the ponies ever created (or close enough not to matter). It's amazing, but it's full of ponies! Clearly, I've gone to the dark side (or the brightly colored side) because I bought it.

If you are courageous enough, check it out by clicking the image.

and look at the additional images for the color version and a picture of Tony with the art.

The con got stranger though. I visited with Tom Scioli of GI Joe and Transformer and Godland fame. A guy that draws serious, manly stuff! So, what did I ask him to create? A Kirbyesque pony inspired by a MLP Kirby Pony mockup cover that he did. It's pretty cool, but it's ponies! What has happened to me?

Here's the drawing (click to embiggin):

.

You can see what started the trouble in the additional images section.

I suspect that most of you won't find this update interesting, but check it out, you might be surprised.

That's really nice. Congratulations.

You may have read the story about my wife's reaction to my comic reading, but if not, click here.

People change though. Not only did she encourage me to start again and not only has she actually commissioned artists for me, but she ventured out in 2013 and bought a comic (Hero Cats) for the first time in her life. This past year, she went further and bought the cover to the third issue of the series. Yep, she's crossed over to the dark side.

Anyway, in honor of new collection, I have revamped my galleries to reflect the separate collections held by my wife and my daughters. Take a look.

Alex - http://www.comicartfans.com/GalleryRoom.asp?Page=1&Order=Title&GSub=34812

Kathy - http://www.comicartfans.com/galleryroom.asp?gsub=159807

Allie - http://www.comicartfans.com/galleryroom.asp?gsub=159808

Elizabeth - http://www.comicartfans.com/galleryroom.asp?gsub=159809

Rebecca - http://www.comicartfans.com/galleryroom.asp?gsub=159810

Enjoy.

Thanks. 14 year old me appreciates it!

Okay, it's not really comic art and you could consider it tracing, but it is almost the only piece of art that I have ever created.

Back in the 8th grade, I took a drafting class. One of the things we learned was how to scale a drawing to make it larger or smaller. The general technique is to make copy, lay on it a grid of 1cm squares, take the target page and grid it with smaller or larger squares to scale the drawing.

Since I'm a big LotR fan (yes, I've bought, read, and enjoyed both the Silmarillion and Christopher Tolkien's History of Middle Earth), I decided in my youth to scale the map of Middle Earth from the hardbound books to a piece of poster board.

I drew it in ink and colored it with colored pencils.

I lost it years and years ago. A few years ago, I mentioned losing it to my mom. My youngest brother says, "It's not lost, it's behind the couch in the living room." Sure enough, it was in an art portfolio stuck between the couch and the wall. It'd been there from 30+ years.

It's yellowed considerably from the acid in the paper, but that just makes the map look better.

I had it framed a couple of months ago and have decided to post it to the CAF. Take a look and let me know what you think.

Sadly, it's just a photo. I didn't want to spend the big bucks getting a good scan.

A few notes:

1) When I'd finished this, no one beat me on a ME geography quiz

2) There were no posters to buy at the time so this was my attempt.

3) The Additional Images give you a feel for the detail so check them out.

Congratulations! As you know, I'm a big fan of Rick O'Shay and Stan Lynde. I'm blessed to have three pieces:

1) One from his early "cartoony" phase on the strip which was set in modern times

2) One from his more realistic period when the strip was moved to just after the US Civil War

3) A commission that reminds me of his wonderful Sunday strips that celebrated Easter, Christmas, and family.

An under-appreciated writer and artist, I think.

PS. He has a number of novels as well. I've not read them, but I got them for my mom and she really enjoyed them.

Awesome!

I forgot to post my latest commissions here. There are two (click to embiggen):

Superman by Curt Swan (blue line), Joe Rubinstein (inks), and Laura Martin (color)

Gigantor/Astro Boy vs. Big Guy and Rusty, the Boy Robot by Geof Darrow

Better pictures on the gigantic Darrow piece.

Big art day. Some from Heroes Con, one from an SDCC pickup, and a few from Boston Comic Con. Some are mine, some are owned by surprising people (my wife!)

Take a few minutes to read the descriptions. Click to embiggin.

Laura Martin's Colors over Joe Rubinstein's inks over a blue line print of a Curt Swan Superman (scroll down to the Additional Images)

Geof Darrow - Gigantor & Astro Boy vs. Big Guy and Rusty

Katie Cook - Dr. Who Cats

Sergio Aragones - Team Sergio

Stan Sakai - Miyamoto Usagi (Usagi Yojimbo)

Nick Pitarra - The Russians

Andy Price - Rainbow Dash

Jamie Kinosian - Luna Lovegood

Marcus Williams - Hero Cats 3 (cover)

Young, Skottie - Road to Oz 4 pg 11

That's just wonderful.

And all too true.

Years ago, I saw a double page splash (commission I think) by Dan DeCarlo featuring everyone from the Archie-verse.

It was set in a park with two bands - The Archies and Josie and the Pussycasts - playing on stages. It was wonderful, but I'd spent my stash earlier that week. If you see it for sale, please let me know.

I managed to get four pieces from Heroes Con scanned in the 15 hours that I was home between trips. I'm really excited about the pickups an hope you enjoy them. As usual, click to embiggen.

Cursed Pirate Girl by Jeremy Bastian - If you have read CPG, you are making a mistake on both art and story. Check it out. The links you need are in the description. This was my main goal for Heroes Con. I'm thrilled with the way this piece turned out.

Black Axe by David Petersen - Mouse Guard has been running since 2006 and it's consistently one of the best written and drawn books on the stands. This drawing is the lead from one of the arcs.

Superman: Earth One by Shane Davis - I've enjoyed the Earth One graphic novels and Shane Davis had done a nice job with them. This piece is the inked and subtly colored version of the pencils that I got at Comicpalooza 2014. Shane's wife, the artist Michelle Delecki-Davis inked and added the color to Shane's pencils.

Cleopatra in Space by Mike Maihack - Cleopatra in Space is a fun all ages book in which Cleopatra (yes that one) ends up in the future protecting the universe. I enjoyed it. Mike created a nice watercolor for me.

Missing because I haven't had a chance to scan them are a page from Scottie Young and my wife's first OA purchase.

Nice wall. You should put in the Art behind glass: Show off your framed art! thread, too.

I paid 3K for this a couple of years ago - a page from my first comic (JLA 29) and the 2nd JLA/JSA cross-over.

I saw a second page sell on eBay for about $1500 more recently.

So, I think 5-10 is way too high for panel pages.