Rick2you2

By all means, make it hard.

I won't go there: too easy.

In fact, they specifically say (as I read from the front of one) "Acid Free Archival Safe". I have to assume that it is a matter of degree or specific distinctions being made which are not spelled out (or the manufacturer is staring at a hell of a class action lawsuit).

I use both, and you will probably be okay. My understanding is that Mylar is absolutely inert and is used for museum quality protection, but Itoya’s are not quite as protective. So, I keep the cheaper stuff, like most sketches, in Itoya’s and the more valuable stuff in both. Let me add that a few years ago, I found some pieces in my old basement stored in cheap plastic. They had never been exposed to sunlight, and were kept cool and dry. One inked sketch, about 35 years old, was slightly yellowed in spots. Another one, in a cheap frame, was as good as new. And a few, that had been exposed to humidity, had to be restored.

My betting would be a fanzine from the era. I think it’s way too cool for DC to have published.

There are Mylars for larger sizes, as you know. They aren’t the easiest to get in odd sizes, but E. Gerber has a nice pile. Be warned, however, you may have to buy a fair number of extra’s to account for odd sizes and a minimum order requirement that you won’t use for a long time. I don’t put everything in Mylars. Inexpensive commissions and lesser, unloved art go directly into the Itoya’s for convenience. For large pieces there are two very large Itoya’s you can use, but the art will rattle around if you don’t put them in Itoya’s.

I prefer to think of it as whiny humor. Why would you call attention to a stray comment? No one is sitting around discussing @‘($>{[£$”**

Now for something very different: repurposing old art into a unique gift. When going through CAT recently, I saw the following bit of "adult humor". While it isn't very good, I was struck by the way it reminded me of certain attributes of my better half, right down to the curly hair (lucky me). So, while I sure wouldn't buy it otherwise, I decided it could become the perfect vehicle for a unique Valentine's Day Card. I will, of course, add an appropriate, loving message, along with a few pounds of dark chocolate. I don't know whether this will get me hugged or slugged, but I'll find out soon enough.

I think part of the problem involves different styles, as compared to a qualitative "excellent" or "eh" rating. How does one realistically compare, say, John Romita, Jr. to Mike Mignola or Bruce Timm? Is Rembrandt really better than Jackson Pollock? No reason not to be ballsy, just decide if you think you are right.

I loved it; and it may serve as a warning to the pump and dump attitude that sometimes emanates from The Street. Sort of like a lynch mob which goes out to get the murderer who got off on a technicality--and does.

You can also make a pretty strong case that some of the "truly big artists in comics" are overrated. People sometimes ignore the obvious: it's not the artist, but the art. Very nice work. Top image is great.

How to spend Gamestop profits.

While everyone was watching prices skyrocket on the recent Heritage Signature Auction, I was able to pick up this Mike Mignola page from the Phantom Stranger mini-series for market price (or a little better) at one of the weeklies. I already have one of his pages, but with the raw kinetic energy in this page, I decided another one was in order. Mignola's use of black borders is unusual in the story. When he wants to highlight darker, supernatural aspects in the plot, like Pudgie the Demon, he switches to the black borders. Normal events get white borders. Jimmy Olsen, in that box they used to call a "phone booth" is treated as an aside with a thin black border. The large borders encourage the readers to visually follow along with the rest of the page, and recognize that panel as not integral to the page plotting. I don't think it's an entirely successful device, but it was a clever try. My biggest complaint with the page is that the writer apparently stuffed too much plot into too small a space. In my opinon, the plot could have more comfortably fit into two pages instead of one. Mignola was good, however, in getting it all in on one page and keeping the dynamics from creating an artistic mess. Overall, pleased with the buy.

I just noticed that the tiger seems focused on his balls. I guess that’s why Conan has his mouth open.

I think it was melted by the fire. Although candidly, most of Conan looks off. What is he wearing, a T shirt? Is he really doing a Stanley Kowalski imitation?

Which is why the future may be a percent of sales to artists and writers plus a guaranteed minimum.

Any thoughts on Jesus Merino's pencils? The reason I am asking is that Kirby's Comic Art is now listing his work at a higher price point (still below $1K) than a fair number of other pieces that have been or are being sold elsewhere. In my view, the limited number of pieces I have seen are very good, but not exceptional. So, I question the newer pricing level. Counterpoints are welcome.

I'm not sure a little blue pill was intended to stimulate the buying urge, but if you think it works, I'll take your word for it.

Nice imagery; and I particularly like the wavy panel lines, which presumably is intending to indicate something dreamy or other dimensional in the story. Now, don’t forget to save the pant—er, invoice. For your records, of course

You make it sound like a girl who wants to lose her virginity. Just do it: odds are what you buy as your first love won’t be your best love. You gotta get your feet wet (or something else) for that.

Out.

Thanks. Let me add something I have said before. In my opinion, the artwork of “yesterday” is no better than “today” (with both terms relative to a person’s era). If anything, the artwork of today is better because artists have been given more freedom to push beyond the old panel box boundaries. You get art that better follows the story, and surrenders none of the drafting skills. Just different artistic style idiosyncrasies. What you do lose is the nostalgia factor. But for me, I can satisfy it by getting a copy of the actual story—which even comes with colors on it. I have passed on lots of pieces where there was a nostalgia factor associated with them; not worth parting with my money since I don’t sell what I buy. Free yourself from spending orthodoxies, and get back to the fun of buying. You too could own a wonderful set of Sugar and Spike 100 covers, and enjoy them without feeling you’re missing out.

Try changing focus. Lots of pretty funny cartoons go on sale. Or shift to new artists, some of whom you can buy direct and are excellent. Or, off character pieces, like some of Howard Chaykin’s lesser known works. Or, less popular older excellent artists, like Grandinetti. Or, less popular characters, which works for me.

Where do I enter search terms on your site? Nothing responds on my iPad.

I have seen people advertise 1/3 and 1/4 splashes. I think it depends on content: is it designed to make a “splash” or only show what is going on.