thethedew

Should be in the 'Marketplace' sub-forum.

Story in the gallery posting. Happy New Year! http://www.comicartfans.com/gallerypiece.asp?piece=1444504

Hello all, Just one of my periodic reminders that if anyone's considering parting with any MICRONAUTS published pieces, to feel strongly encouraged to reach out to me first. Middlemen take their cut, auction houses take their commission (as well as fees to the buyer). Why not keep ALL your money? I pride myself on no-eff'ing-around offers consistently exceeding FMV. Ask anybody who has done business with me.

This one has been identified as being from the pen of Ryan Kelley. Hoping to get him to sign it, to avoid any future confusion.

One more set. Not sure if this is Michael Avon Oeming - maybe from Powers? Not sure, and the signature isn't overly helpful.

You guys are Da Bomb.

I'm convinced.

NAILED IT! Thanks! That's one down!

I have a working hypothesis of who this might be, am working on it. If anyone could confirm while I'm waiting, that would be most welcome.

Another piece with familiar stylistic elements. Page number, but only a funny little signature.

There are familiar elements to this one, too. The signature line has been no help, either. I can't find any comic book reference to 'The Carriers' which matches the content of this page. I suppose this could easily be an indie, chapbook, or student project.

Not much to say about this one.

Whoever this person is, they've got some serious skillz. Signature is impenetrable, though.

Again, parts of this guy's style look familiar, but he only left an issue and page number. No title or signature.

This one is particularly frustrating. The art style looks really familiar, but with the lack of signature, I have been unable to positively identify the artist.

Trying to identify a variety of pieces. Any sort of help would be appreciated! Here's the first ones. You all might recognize one of the pics here as from my attempt to ID earlier this week. Now I've got the full pieces for you to look at. Here's Jughead... and Betty (er... nuude. Yeah. Not that naughty, don't be fooled. There really wasn't that much to cover, the black boxes are there as an abundance of caution.)... and Veronica. With a re-up of the signatures pic again.

Ten years ago TODAY, I started posting on Comic Art Fans. Little did I know how much it would affect my collecting life! Celebrating with a MASSIVE update! ROM: Spaceknight pages, a splash by Ditko and Byrne, and even a long-lost fan-favorite cover! Micronauts pages by Michael Golden! ...and even an entire issue of Marvel's BATTLESTAR GALACTICA! (with a few other bits for good measure) Enjoy! http://www.comicartfans.com/gallerynew.asp?GCat=27108

Hello all, I need a little help ID'ing the signature of an artist who provided a handful of Archie-style con sketches. One is dated '98. Here they are: Andrew

The session went fine. I brought three binders in total, two of selections from the overall collection, the other is an oversized binder with bitsNbobs that are irregularly-sized. The class size was larger, around 15 kids, as two of the Comic Art profs had decided to merge their classes together for the presentation. Very few seem to be 'Traditional' comic artists - lots of indie-style inclinations, I think. As I'd mentioned before, we'd just laid out a binder on 3 different tables and let the kids mill around and look. The Profs and I tried our best to hover and point out things from the art I'd brought. The Q&A was before they started looking, and surprise, surprise, the students were more interested in the value of my collection and what I might have paid for any given piece. But why not? That's human instinct. But that evaporated once they'd got a chance to look over some art. In future, it might be useful for the Profs to review the art I'm bringing along in advance, so they can concentrate more on pointing out details to the students rather than geeking out along with them. I did get a chance to speak to them about keeping to their obligations regarding deadlines and commission promises. I don't think I pushed hard enough about having the discipline to turn down commissions when they know they don't have time. Tsk. I also pointed out how traditional art can be an additional income stream. They applauded when I'd finished, and one student even followed me out of the building to thank me personally. The Profs made noises about doing it again next semester, so I suppose that means they were pleased.

The class is 'standard art school format' - small and informal, with tables to crowd around rather than a standard lecture setup. So, it will pretty much be letting the kids thumb through a couple portfolios assembled for the occasion, with the occasional point-out from the prof and me. There will be some opportunity for questions and discussion, but my experience with students is that they can be hard to draw out if they're unfamiliar with you. That's that stoic Midwestern cliche for you...

I have a few that are paired with their Master Pages which I plan to bring along.

Just like any classroom, there will be an eclectic mix of styles and skill levels present. For the most part I will keep close to the instructor's lead.

Next week, I've been asked to bring along a selection from my collection to the local Art College, and perform an informal presentation to the school's Comic Art students. It's been requested for me to make as varied a selection as possible, (a little bit of a challenge given the focus of the collection) but I think I can manage a few things: 1) Bring along an entire issue of sequential storytelling, executed by a master (Michael Golden). Bring along both published versions of the comic, to better show off the difference different colorists and quality paperstock can make on the finished product. 2) Examples of different inkers over the same penciller (differences between Rubenstein and Milgrom over Golden, probably) 3) Examples of different pencillers with a common inker (Klaus Jansen over Simonson, Sal B, Brent Anderson and Jim Mooney; all Galactica pages) 4) Some examples of single-page compositions and how they're different: Covers vs Pinups vs Splashes 5) Pages from different eras: Bronze Age, Copper Age, Modern/Digital Age. This would include pages where lettering was just becoming digital, sets of penciller pages with their bluelined-inker pages, and a page or two of digital-pencil/manual-inked pages. (I don't own any Silver or Golden age stuff) 6) The above could follow into a discussion of creation of published art from the perspective of a collector. In other words: if a deadline allows, it may be a good idea from an additional income-stream perspective for artists to execute the art traditionally. 7) Discussion of Commissions and management thereof. Anyone have any other suggestions on discussion points? Andrew

...which isn't nearly as robust as it once was. I grok that that wasn't by Bill's choice, mind you; but I dearly miss the deeper historical database. Quite a loss.

Hmf. An exception was made for the one piece I was targeting. Tsk. We'll see if the winner really wants to pay that price.