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The "traditional" approach had: 1) A penciller who laid out the page and drew the figures and background in pencil. 2) A letterer who added the dialog to the page 3) An inker who used India Ink on the same page to darken the pencil drawing for reproduction adding various effects and, generally, interpreting the pencil. At that point, the pencil was erased. The end result was a page with "everything" except color and that was used for the remaining steps. Color was added by painting copies of the original art. Often, those pages were thrown away or otherwise destroyed after use though not always. In the 70s, Neal Adams and others worked to get artwork returned to the creators. From that time on, the OA is much more available. Of late, computers have changed the process. For example, the penciller would draw and then scan. The scan would be sent to the inker. The inker would either: 1) Print it out in cyan (blue line) and ink that and scan it OR 2) Use Photoshop or other tool to ink the digital file At that point, the electronic image is used for the remaining production steps. Note that the lettering is done on the digital image so the board lacks dialog which makes me sad. Color is also added to the digital file. A few other points, originally, the art board was quite large, but someone realized that if it was cut down they could photograph two pages at once. When you read "twice up" or "large art" in reference to OA, it's those older, larger, and, frequently, more detailed pieces being discussed. A few examples: 1) Sugar and Spike by Sheldon Mayer - large art, drawn, inked, and lettered by Mayer 2) LSH by Daniel HDR and Bob Wiacek - small art, pencils, blue line inks, no words. 3) Superman by Curt Swan - pencils only, but you can see the digital inking and coloring process on this link (someone lifted the image and inked/colored it). Give it time to load the images.

Cole? I was under the impression that all the Plastic Man are was systematically cut up as the books were printed to keep "others" from reprinting. The thing that always struck me as odd about that is that if reprints were valuable why not save the art so you could reprint and if they weren't valuable, why spend the time cutting up the art? Anyone know more / better?

Sigh

I'm right there with you.

Very nice, but you knew I'd say that.

Re: Posting the commissions I've heard the same, but I've not checked it out. Re: Nick Fury, Agent of Shield I thought that this might be appropriate on this thread. Joss Wheden + NFAOS = TV show

I love pin-ups and commissions. However, if I'm an editor, I want an artist that can tell the story in a compelling fashion and hits deadlines. I think those are the hills that stops many talented artists. I have no idea as to whether Scott can or cannot do those things, but I'm pretty sure that they are the barrier to entry for most. It's a chicken/egg thing - How do I prove that I can tell a story and hit a deadline without the first comic?

Thom Zahler of Love and Capes does a signed and numbered, limited edition print for each comic book convention he attends. The prints feature a prominent landmark from the host city. I got print 1/25 for Comicpalooza. Recently, the Inkwell Awards posted a new set of auctions which included the OA for the print. Naturally, I had to bid. So, I've now posted the OA and the print to the CAF for your viewing pleasure. Here's the link to the print and OA for it. BTW, if you were reading Love and Capes, you'd know that DC is copying Thom's Crusader/Amazonia story with the Superman / Wonder Woman power couple (power couple code name: WoMan). You would also probably laugh more from his version. In any case, you can check out the series free on-line at Love and Capes and trades and new issues from IDW. For some clues as to how the Superman story will roll, The first kiss! Cover of L&C #6 (Crusader and Amazonia What happens later! (It's terrifying and traumatic for the Crusader!) 1) Cover #11 2) My recreation of the cover OA I forgot the link averse!

I wish I could blame wages. For me it was a large dose of stupid. Sigh... Allowing for three daughters and a wife, my per capita earnings are less now than in the years from 78 to 82. I could have bought. Sigh... Still, no real regrets, just a little wistfulness.

I had a couple of folks ask me if this is "real." While I can't speak to that first hand, I can tell you how I found out about it. Kurt Busiek, the writer, has a FB page that I "Liked" he posted about this. Later, he told me: Arlen Schumer, the comic historian (among other things), also has a FB page and he posted the same note. Later, he told me: Hope this helps.

I have to blame someone for my lack of preparation. Can't be me.

I could not agree more. Easily the best thread on the boards.

Thanks, Dave. I appreciate the advice! Perhaps, I'll invoke Mike DeLeRee's Escrow service. Assuming I hear back. It's been three weeks trying to get Steve Wyatt's attention. Guess I'll try the telephone next.

If only I didn't spend all my money on Artist's Editions. I'm trying to line up a Russ Heath commission. If that falls through, I suspect that this will take its place.

That's my conclusion.

From Arlen Schumer and Kurt Busiek: Jim Steranko has finally agreed to accept commissions from art collectors in the States and overseas. The subject matter should feature characters identified with the artist, such as Captain America, Nick Fury, The Shadow, Batman, etc. He generally works in two standard formats: Character portraits rendered in ink on 7x10" stock which range from $250-750, depending on the complexity of such detail as dramatic lighting/shadows, expressions, minor background elements, etc. Blank comicbook cover portraits range from $400-750. Super-tight pencilled figures with minimal backgrounds on 11x14” Strathmore vellum stock run about $1250. Variations will be quoted individually. Scheduling depends on commercial deadlines, but generally 1-3 weeks. Postage, packing, and insurance are extra. Steranko vintage originals have recently sold for $30-100K, with recreations reselling for $30K, so the investment aspect is significant. The artist can be contacted at supergraphics@prevue.net. http://www.johngandour.com/john_g/Steranko_commis.jpg

Very cool, Scott.

Mike, I suspect our definitions are going to be pretty aligned. For me, A quality piece is one that I feel best represents the artist's work on the subjects that I most associate with the artist - published or not. A marketable piece is one that I feel can be sold easily and likely at an increased price. Market appeal doesn't make a page/drawing quality to me - it's subject, execution, artist do. I have a few pieces - for example, a Swan/Superman, a Colan/DD&BW, a Cardy/Bat Lash, etc. - that I think are quality. They probably won't ever have huge resale values or even be very liquid by the time my daughters sell them, but by my standard they are quality pieces. I'd say the "goes up in value definition" is definitely one that lots of people use, but I'd call those pieces "marketable." Of course, a "quality" piece may be "marketable," but that's not a requirement.

Sean, If I really learned from my mistakes, I'd be richer and better looking.

I'm with you Roger. Circulated art simply means that the seller is asking for more than the market is willing to pay. No big deal. It's the same page. The big difference between the lists is my rule 6 which is in direct conflict with his rule 7. I'm about enjoying and sharing the art I've found that means something to me. The other list is more about investing. These are necessarily conflicting goals, but there are points of difference. I've had a lot of joy exploring the CAF and thank those folks for sharing.

Just a different POV - no resale interest. That changes the tone.

I have a slightly different POV. My list: 1) Buy what makes you happy. Resale is not the reason to buy any art. 2) Shop learn the market. Decide what matters to you and where the prices are. Then, buy when you see the right piece. 3) Buy quality, not quantity! I have to agree that buying (anything) for buying's sake is a poor decision generally. 4) Protect your OA, put them in mylar bags or in sturdy portfolios or frames. Use archival materials. 5) Get insurance if you can't afford the loss. There is something to be said for fireproof storage. 6) Share it! Put it on the CAF. 7) Make connections; you can find some great friends (reall and e-) in this hobby and that's a chunk of the fun. 8) If it's not fun for you or can't afford it, get out, but that's true for most avocations. Don't do it if it's not fun and don't let your hobbies drive you to bankruptcy.

On the link, you can see Art and Art inking Grogg.

I have a monstrous addition to my CAF - Grogg by Art Adams! Check it out here: or if you can't wait to hit the link and read the story look at the image. Prepare to be scared. Don't remember Grogg? Read the image description on the CAF.