Eric Seffinga

Mouse Guard is a treat. Cool piece.

Love the organized shelves. I totally thought library when I saw the pic. Awesome!

Nice! Looks keen seeing Fabry's aesthetic applied to Steve's page/style...

Wowza! So much to like there!

Beauty of the Burst!

Heh. Yeah, it's a spoof, but where is the fun in saying so. Did you see the article below it about taking the ball out of soccer? Too funny.

This was too good not to share... http://www.cbc.ca/thisisthat/blog/2014/09/23/new-york-artist-creates-art-that-is-invisible/ Enjoy...

I know this thread is mostly used as a chance to show off commissioned art that has come in, but thought it might be worthwhile to also get back to a conversation about the topic of commissions as well. The ups and downs of the process, pitfalls and the like. I posted in the thread about correction fluid, and it seems apparent to me that one of the biggest things to come to grips with, when it comes to commissions, are the expectations. These can be many, and varied throughout the process. Expectations about turnaround times is something we've talked about many times. Mostly because it is all too common to have optimistic artists quote completion dates that number in the months, if not years. Over the last 20+ years I have seen dashed expectations that have included other things. Content of the image (ranging from composition, pose alterations, to additional characters &/or things omitted intentionally by an artist, etc. Quality of the image (generally not living up to the expected drawing standards that the artist typically exhibits in their work) Execution of the image (working techniques used by the artist ) Size of the image (generally an image being larger, or more often smaller) Tools and materials used on the piece (markers & cheap pens, to odd papers and surfaces) These are just off the top of my head, and I am certain there are many more. And they do overlap considerably. I've seen commissions that were specified to be a single figure on 11" x 17" board, and the artist drew the figure at about 4 or 5" high on that board, with the rest being background. Sometimes this can be cool, and sometimes this is a major disappointment. Why? Expectations. It's impossible to not have any at all, even if they are just really vague, like I want something "cool". Back when I used to commission a lot of work, I very quickly realized the best pieces I was getting were the ones where I let the artist run rampant and have their way. After all, the reason I was drawn to their art in the first place was because I was a fan of them doing what they did. So I was personally never the "art director" type of collector. By that, I mean that I have seen guys get commissions from an artist, and proceed to tell the artist exactly what they wanted drawn, down to the exact composition, and even request prelims with the right to request alterations. It certainly is a working method, and one where they seek to control the meeting of their expectations. But to me, most of those pieces always ended up a bit lifeless. Not always the case, but more often than not. Simply because in talking to those artists myself afterwards, they explain about not being personally invested as an artist. They become more of a hired hand to execute a vision. Some guys excel at this, and some very much do not. And some will flat out refuse that kind of work. The pieces I have seen that have really blown me away, have very often been the ones where the artist was given a subject matter and been left to run with their own ideas. Often times coming back with pieces that far exceeded the money value exchanged at the time, just for the pleasure of working on the piece. It does complicate the expectations issue though, because it's a wider field for hits and misses to occur on. The one thing that is important to spell out though, is if you have any aversions to certain tools, materials etc. or any expectations about basics like size of the piece, shipping materials or methods, dislike of markers, etc. Those are things that should be stipulated up front before the process starts. And in some cases reiterated, if the piece takes longer than anticipated. Sometimes commissioning art is a live and learn proposition. You may learn that sometimes an artist that charges a "range" of prices (and encourages you to pay up to whatever dollar value you want him to work to), actually does as good a piece for $60 as he does for $300. Or you might find that an artist might use markers and cheap paper for commissions. Or any one of a number of variables you hadn't thought to ask about in advance. I think it's a balancing act. Not putting too many stipulations on a commission so that it feels so onerous to the artist as to be not fun. But enough to make sure we aren't so disappointed in the end. When things go right, they can be amazing! And when things go really wrong, we can end up with nothing but bad memories.

Dig it. So how do those Volster cases work? A binder? Digging on the idea.

Nah, that's 2 smaller combo amps sitting on top of a Marshall style 212 speaker cab. I like small quirky amps more than the big burlier amp stacks. A lot of music was recorded on just such little amps in the studio, and then the big stacks would come out for the stadium tours. I'm not likely to ever play any stadiums, so... I did have half stacks of a few amps at one time, but they were total overkill. Cranking them up and feeling the pushed speakers make tyour pants flap a little at the bottom is definitely something every guitarist should do at least once, but for most folks it is total overkill. And I don't really speak to my neighbors so... Sold a lot of gear for artwork and comics over the years. Finding the right balance in interests has been a lifelong thing. Thnaks for the kind words on the room, all. It's a really fun space to spend an afternoon in.

Very different from the normal Tele sound. Fatter, more of a Gibson & Fender mutt tonally, but fun to play on. Thanks for the kind words.

A custom shop Tele Jr relic. One of only 2 ever made.

http://www.comicartfans.com/GalleryDetail.asp?GCat=7723

I suppose this is as much a hang out space as it is a comic room, but the closest thing I have. Heading in past "Pie Eaters"... ...and the comic rack. Some of the art books... some comic artists, international artists, pop art and fine art. The spinner rack is full of whatever I happen to toss in it at any given time. I love having bunches of books in it to grab and read whenever I feel like. Another Phil Hale painting on the wall. An enlarger camera and an old typewriter, a Madman ragdoll made by Mike's mom. A couple 3A toys. Large pPhil Hale painting, one of my amps and some guitar cabs. The first bookcase filled with graphic novels, toys, cameras and nick nacks. The sofa and another bookcase of graphic novels, more toys, art and photography. The turntable, records and whatnot. Plus more books mixed in there. And just out of shot, behind the white closet door, the ubiquitous white long boxes we all have. It's a nice place to chill in. ...and anybody interested in more info about the art can find it here: http://www.comicartfans.com/GalleryDetail.asp?GCat=7723

Love that room. Wonderfully tasteful and inviting! Well done.

FUN!

Dig that Hellblazer page. Ridgeway is undervalued, but those pages started a real following. Great pickup. -e.

That is a great looking space and start, but surprised you would move all that in before painting. Be sure to post the updated results!

Awesome. Loved Nimh and Petersen is obviously a natural match.

John Van Fleet, from the time of his mini series in the 90s.

That table is pretty rad. Nice space. Will be fun to see as you fill it out more.

I don't do CAF art updates too often, but I finally uploaded 4 pages of Troy Nixey art for Jenny Finn: Doom Messiah to my gallery. Troy and Mike Mignola did this book together, and Troy's art for this series made a massive impression on me in the 90s. It is fluid, and as stylish as it gets. There is an old worldness to it that is difficult to put a specific finger on, but no one draws quite like Troy. I was sure the pages had long since sold off when I mentioned my interest in to him earlier this year. Lo and behold, Troy had never really sold any of it before, and still had almost everything, so I got my pick of some wonderful pages from the first issue, which was my favorite. If you've not seen Troy's work before, or only know him from his Film work, give it a look. Fans of The Goon, Hellboy, etc might find it up their alley. I included closeups from each page so people can see just how exquisite his brushwork really is. http://www.comicartfans.com/gallerynew.asp?GCat=7723

I think he's just asking if the art was created as a twice up size piece?

Hate to dogpile, but gotta concur with everyone else. I see no bad form, poor etiquette or anything else in what was done. Furthermore it happens in charity events all the time. Not generally around activities (batting with someone), but around donated objects, physical things, ALL THE TIME! I have never seen motivations questioned before. Ever. Wow. Obviously the person that owns the item has nothing to gain by bidding on it at all, other than being a decent human being and wanting to see the maximum that can be realized for the charity. So they go out of pocket. Essentially making a cash donation, since they owned the object in the first place! And people CAN and DO bid against such donors, and even win. Everyone goes in understanding what they are there for. To donate to charity. There's nothing wrong with that whatsoever. But we are soooo far off topic now....

That Harris Strange piece is pretty slick.