PhilipB2k17

Don't let the Door hit ya where Conan done split ya.

Yeah. I was a bit shocked when I saw Tim Truman's name among the TSR artists. Must have been a free lance job.

I noticed some of the artwork was done by comic book artists, as well, like Jeff Dee, Tim Truman and Bill Willingham.

Does anyone here know the art collector they interviewed in the documentary?

https://www.amazon.com/Eye-Beholder-Art-Dungeons-Dragons/dp/B07Q334KBS Nice doc. Even had the obligatory “holy ! They almost threw away the original painting for the cover of the Players Handbook!”

"Ware laments, no one does work like Winsor McCay's sinisterly madcap turn-of-the-century cartoon "Little Nemo." https://www.chicagotribune.com/news/ct-xpm-1994-07-19-9407190310-story.html

I think Crumb is just given pride of place to honor underground comics, but doing do overlooks a some very influential artists like Vaugh Bode, Gilbert Shelton, Kim Deitch and bill Griffith. Crumb has broken out into the art collectors mainstream, but I think his "influence" is overrated, to some extent. Or at least, it gives short shrift to a lot of others. I also think saying someone like Chris ware was "influenced' By Crumb seems very off. Ware seems far more influenced by someone like Winsor McCay than Crumb.

I'd throw in Dave Stevens, given how influential he was to many of today's modern artists. Steve Rude as well. Oops. Forgot this is "living" artists, so obviously Dave Stevens isn't a possible answer.

Dark horse candidate, Jose Louis Garcia-Lopez. His DC style guide is legendary, and there is a movement to get DC to publish it.

I think this transaction, while perfectly ethical, will cause more paranoia in the hobby, which was already rife with it to begin with. The people who collect modern art, and also collect modern comics, have a distinct comparative advantage over the older collectors and dealers who do not know what's going on (or don't have a really good idea, of it) in the current comic industry, or the hobby. One reason why Felix dos so well selling modern art is that his stable of artists happen to be working on a good chunk of the hot modern books, and he's a trusted arbiter for his collector base that may not know as much about what is going on in the current comics hobby, etc. But there's a lot of art out there for books that many in the hobby just have no clue about (right now), that younger collectors don't have the money yet to pay up for yet. You can buy that stuff up at pretty reasonable prices, and it is likely to go up when that cohort ages into the prime collecting age group.

Heritage might have an argument that their image scan of the art is their IP. If the owner of the page makes their own scan to use, I see no reason why they can’t use it. I mean, don’t auction houses and comic dealers put out ads or images on their web pages of them holding up specific big ticket items they sold, as promotional images of their services? Is that not allowed under copyright law? RE: The image scans. I have a routine of asking the art rep or artist to send me the image scan of the art I just purchased. If they send it, I regard that as a license to use that image for my own personal use. But, if I started selling t-shirts of the art made from that image at conventions, or something, I could see where the creator of the digital image might not approve. But I suspect nobody really thinks about who owns the copyright.

Signed Heathcliff single panel strip up at eBay. https://www.ebay.com/itm/153632437781

If you’re into horror comics and great writing, I highly recommend the ongoing comic series “Ice Cream Man” written by W. Maxwell Price with art by Martin. Some of the most innovative storytelling out there right now. https://www.cbr.com/ice-cream-man-comics-scariest-issues/

Now hold on. Pacific Comics started its horror anthology (Twisted Tales), modeled on the old EC line, two years before Moore started writing Swamp Thing.

Oh I am not disputing how great the storyline is. Frankly, I never got into it myself. I heard about it at the time, and bought a couple of issues, but it didn't do anything for me the way it did others. I was not really a horror guy, and still am not. But it obviously was very important to a lot of people.

Let's not discuss what Jim Starlin did to Adam Warlock, then.

Gaiman wouldn't necessarily know what was going on when DC asked Karen Berger to launch the Vertigo imprint for all of their mature readers books. I'm sure he gives Moore the credit for opening the floodgate for British writer invasion of American comics in the 1980's, though. But a lot of those guys were already on the radar of American editors, and in fact had been writing books for DC already.

This isn't true. Marvel Launched Epic a decade before Vertigo, not to mention Image was emerging as a major competitor. It is highly likely Vertigo would have launched regardless. They had to, in order to attract and keep talent.

Wolverine was also, incidentally, a prime example (pre Moore) of taking a relatively minor character and providing a radically retconned back story and mythology. Which is one reason why I referenced the X-Men in my examples above.

Green Arrow (Oliver Queen) was a pretty radical character reinvention at the time. But we aren't talking about the scale of reinvention or reinterpretation, or of the retconning. Just that it wasn't unprecedented.

There were many precedents for taking an obscure character and revamping it in interesting ways before Moore’s Swamp thing. Denny O’Neill’s revamp of Green Arrow, is one example. Jim Starlin’s complete re-invention of the Captain Marvel character is another. You could even argue that the reinvention of the X-Men in 1975 qualifies. And Frank Miller’s reinterpretation of Daredevil - deepening the mythology - was contemporaneous to what Moore was doing. Even predated it by a couple of years.

Probably a fantastic deal at $20 a pop. Those may be some of the few authentic Jim Davis drawings in the whole lot.

More background on the Garfield strip sale. FYI: “‘The last strip I did on paper was in 2011,’ Davis, 73, said in a phone interview last week.” Also, too: https://www.nytimes.com/2019/07/08/arts/garfield-art-auction.html So, pure Jim Davis = 1st year of the strip!

https://www.newsarama.com/46656-george-lucas-museum-hiring-a-comic-art-curator.html