The Voord

Sure, no problem.

Only so much I want to photoshop in one go. I made the head bigger and repositioned it, Call it a paste-up correction, if you will . . . ;)

Any better?

Some movie comps came up for sale on my FB group and I bought a couple of Lee MacLeod Horror paintings, second of which is now up on my CAF, with larger scan and full write-up: CATACOMBS (1988) - movie comp, in Terry Doyle's 2. MOVIE POSTER paintings Comic Art Gallery Room (comicartfans.com) 'Catacombs' (1988).

Some movie comps came up for sale on my FB group and I bought a couple of Lee MacLeod Horror paintings, first of which is now up on my CAF, with larger scan and full write-up: OF UNKNOWN ORIGIN (1983) - movie comp, in Terry Doyle's 2. MOVIE POSTER paintings Comic Art Gallery Room (comicartfans.com) 'Of Unknown Origin' (1983), starring Peter Weller (the original RoboCop).

I used Robert Dennis earlier this year to clean-up a Ditko cover going to auction. Bit pricey, but he did a great job that I'm sure helped sell the art. His turnaround time was pretty good. I can't access the news item posted here so can't comment. Unless he's some sort of mass-murderer, or child-molester, I'd certainly use Robert Dennis again.

She had two daughters and one emigrated to the UK?

A new OUTER LIMITS full-size bust now completed . . . the Luminoid from the episode, 'A Feasibility Study'. A relatively quick and easy one to sculpt . . . two days on the clay sculpture, followed by four days on the casting process (pain-in-the-backside job) and finishing-off a completed first copy (I usually limit myself to no more than five copies as I quickly become bored doing the same thing multiple times): Included in my selection of photos is a surviving screen-used mask from the filmed episode (they were painted silver), a shot of the full Luminoid, a screen-capture from the filmed episode and a promotional photo from a low-budget Horror movie called 'Blood Thirst' that re-cycled one of the Luminoid masks for its monster:

Auction houses want to make sales (to state the obvious), which No Reserve guarantees. I get that, but it doesn't work for the consignor if he loses out on monies originally paid. I guess that I never was a fan of gambling.

Ah, right, understood. For me, I'd have to go with an auction outfit that accommodates reserves. It's only in recent times that I've started to consign art to auction . . . previously, I was either my own seller, or consigned art with dealers. That used to work out just fine. I think, nowadays, many collectors prefer the buzz and competitive nature of auctions.

No.

Not quite sure why people here don't just put a reserve price on the artworks they're looking to sell . . . why risk taking a loss? In recent years I've consigned stuff to auction and, despite re-assurances from the auction houses that competition *ought* to drive up prices on 'no reserve offerings', I just said, "No, it's a risk I'm not willing to take . . . I want my investment covered to, at least, break even." I'd say about two-thirds of my consignment art hit the reserve (or did better), which is fine by me. Fact is, I'd rather not sell than sell at a loss.

Oh, sure, I should have all the OL stuff finished off sometime early next year - then I'll move on to some Classic Dr Who characters . . . Col Baker for instance: Kidding (I think). But, seriously, Davros is on my list . . . though I do lean towards the Hartnell and Troughton eras. The Draconian was something I sculpted to show a circle of UK friends (who are all big on Jon Pertwee) that I can turn my hands to Dr Who aliens if I want to. A Voord would be good, funnily enough

Thanks, Randall! There are very few existing color stills from Outer Limits, so very little (if anything at all) to go by when it comes to a paint-scheme. The are around four more OL sculptures that are do-able for me (a lot of the aliens have already been produced over the years by various hands). At some point in the near future I want to sculpt a full-body jumbo-sized Zanti Misfit that will measure around 3ft long, though next in line will be a Luminoid from 'A Feasibility Study', which I'll be starting in a few weeks' time.

Have you tried the Comic Art Fan's site? I just performed a search under Tony Weare and 72 results popped up.

Thanks, Michael!

Thanks!

Thanks, Will, the Draconians were such a brilliant piece of design work and it was a joy to work on that project . . . which was very challenging!

Reynold Brown's Movie Poster painting for the 1956 film, 'World in My Corner' starring Audie Murphy. Photo's a bit blurry, but the painting's a lot more 'striking' (ha, ha, ha) in the flesh.

New OUTER LIMITS sculpture completed today. It's a full-size bust of the Calco Galaxy alien from the episode, 'Fun and Games' This marks my first attempt at applying hair to one of my sculptures (I'd previously used a cheap eBay wig for 'Man Who Was Never Born', so that doesn't really count). A tricky, messy business, and as a first attempt at applying hair I don't think it's great but it's 'okay'. Process photos from start to finish as follows (final photo merges my copy with a screen-capture from the filmed episode for comparison):

My only other remaining EC art is the complete book, 55 pages total, of Picture Stories from American History # 2 (1946) by Allen Simon. From the time when EC was Educational Comics. I bought the book of OA complete. Here's the cover:

Off the top of my head, the Horror page is, I think, from 'Graft in Concrete'? Penultimate panel, before CK's closing comment, looks like a paste-over. Any art underneath . . . or is it too well-attached to investigate?

Some of the other covers I had, that I no longer have scans of, included Haunt of Fear # 6, Vault of Horror # 14 (3rd issue), Crime Suspenstories # 13, a Gunfighter and another Modern Love.

Michael (GA), apologies my friend for my minimal input into your worthy thread . . . been busy these past weeks with sculpting projects to respond more fully. I'm a child of the 1960s, living in the UK, and EC seldom made its way over to this side of the pond. Post 1977 (when I was de-mobbed from the British army), I re-discovered the comic-book scene and along the way was drawn to the EC stuff (I'd bought an Overstreet Price Guide that contained a healthy focus on the EC books). I was intrigued (and liked what I saw). Not long afterwards, Russ Cochran commenced his EC Library project and I subscribed. Aesthetically, EC is the best-ever in my book. As a result of my subscription to Russ's EC Library, I received regular newsletters . . . including notification of the auctioning-off of EC original art (once a title was reprinted in hardback, Russ was the appointed agent to sell-off each title's OA). Over a ten year period I regularly bought EC art from Russ (either covers or complete stories), amounting to several hundred pages/covers of OA . Later on, I traded or sold-away all but a few EC things (some pre-1950s complete books mentioned earlier). Reason being? Lifestyle changes. As the stuff became increasingly more valuable, it became more difficult to hang onto . . . knowing that potential sales could wipe out mortgages, fund early retirements from work, etc, etc. Here are some EC covers I owned at one time (there are a handful of others not shown here, but I no longer retain scans of those):

The only good thing I can say about the current series of Dr Who is that it's a great cure for insomnia as I always seem to nod off when watching it. Seriously! Normally, I'd go back and re-watch some of the overly-complicated episodes to try and make heads and tails of them - but in the case of the Chibnall era really can't be bothered wasting my time again. Pretty sure an internet search will give you story overviews to explain things better than I can (it's all a convoluted mess to me). My only hope is that when the series changes hands to a new showrunner and leading actor, they'll do a Bobby Ewing (Dallas) season opener in which the Doctor wakes up in the TARDIS shower - only to realize that the preceding Jodie Witless seasons have all been a bad dream. No guarantee that a new change of showrunner and leading actor will return the series to glory days (other than better scripts than Chibnall can provide, which can't get any worse), as I'm inclined to believe that the decision to ramp-up the heavy-handed SJW and moralizing content is a BBC directive forced upon the production team. The show has always contained political content but, in the past, has mostly been done in such a way as to allow the viewers to join-the-dots for themselves to see the bigger picture - whereas, currently, such content is hammered home, totally lacking in subtlety, and leaving nothing to the imagination. They seem to forget that the aim of the series is to entertain the audience . . . not lecture to it.