Rick2you2

Anyone have a clue how long it may take for a package to come from Brazil? I bought directly from the artist, and I wouldn’t be surprised if he sent it as cheaply as possible (he returned $12.00 to me for unnecessary postage costs). Yes, I am also crossing my fingers it was well packed.

“I am but a Stranger”. Definitely doesn’t cut it.

His lack of responsiveness is well known. But, he is also well-liked, knowledgeable and honest. I think there is a thread about him.

Don’t put yourself down on spending. I have been doing this for years, and even though I have the means to spend 5 figures on art, I wouldn’t. At that point, the pile is sufficiently large to put it to use elsewhere and the expenditure is no longer “fun”. One way to control spending is to limit your purchases to specific artists, subjects or characters. You need not be as narrowly focused as I am, but the concept works. When I want to buy something which is more than I usually spend out of cash flow, I take it out of savings and then put it back over time. If you get a discount from a dealer, it’s the cheapest “financing” you’ll get. Just make sure you put it back.

Expensive paper. My instinct would be to tell him that you are offering to pay $200 for a f*cking print. What’s he printing it on, a Guttenberg press? Then, If he won’t take it, walk away. Otherwise, you will get the same treatment from him in the future.

I would likely survive the loss, but I am not sure where I would store the old alter and vestments.

I generally don’t try to negotiate with artists, and wouldn’t even consider it for commissions (you get what you pay for). If I am undecided and an artist volunteers a lower price by a few bucks, however, that’s smart on their part. I just couldn’t say no unless I really didn’t like it all.

Not sure he could still get that high a percentage off since the internet has changed the price competitive landscape. Except for furniture, with its 50% markup (or 70% +/- if you have no overhead figured in)(you can learn a lot at bankruptcy auctions, which are a blast), that 25% may wipe out not just profit but cut onto overhead.

You mean like AT&T's ownership of DC Comics? If you are AT&T, you have a certain world view, honed from its days as a legacy telephone company. I don't disagree with your "rambling". The problem is that DC Comics, a company with some excellent characters and history, together with skilled personnel, is not going to be permitted to flex its skills even though it should.

Be warned that if you like it, someone else might,too. You can usually get 10% off of anything (except a posted price in a retail store, and no coupon).

You can get 10% off of Albert, but it will depend on the piece and how hot he thinks it is.

There are some real problems with the current distribution model. A floppy is a pretty expensive way to spend 10-15 minutes, tops, when video games and streaming services are in competition for that dollar. By engaging more general stores, they may get people to buy who wouldn’t ordinarily go to comic stores. Think of those Archie digests in the supermarket checkout lanes. Then, there is the high cost of printing. I don’t know the costs of manufacture (Voodou might have a better handle on it), but I suspect it is high in comparison to the total wholesale price. That’s a reason you will see more graphic novels In the future—cheaper to issue on a per page basis. Of course, they also require a higher price, thereby potentially reducing demand. So, that might help explain the reduction in future publication of issues—improved quality. This Implosion may be viewed as more of a tourniquet to protect tomorrow.

Yes. As I understand it, he’s being kicked “upstairs” to a new position.

He probably has a lot more free time on his hands these days.

I still read them occasionally, but I find that I buy more than I read (in part, to support the hobby).

I once went to a show where someone asked him to sign a sneaker. He said he would sign anything for $20; but it is hard to imagine he meant that literally.

I was thinking that too, but then I noticed the date. How were his skills at that age?

I thought I would have a similar problem with an art-covered hard hat used during the construction of the Hoover Dam. In this case, the “swastica” is actually a symbol of an Indian tribe meaning good luck (it is a common international symbol used by various cultures). When I show people around, if they see it, I simply explain what it is and move on. For the most part, they don’t care one way or the other.

I’m surprised. If you have no luck, I think I have his mailing address somewhere. Where would I be without him?

I’m not sure I follow, or agree, with that distinction. A rep acts as the artist agent. To maximize the artist’s cash flow, if that is what the artist wants, it can make sense to keep the price “competitive”. But set it too low, and the artist, as well as the rep, leave money on the table. And, it can set the market price low which impacts further income from sales. Since some people just want one example of an artist’s work, that is a limited strategy, too. A dealer acts solely in his interest. But, with one apparent exception, needs cash flow, too, to buy and sell more art. Sitting on high priced inventory for a long time isn’t typically a good way to make money (exceptions noted). That Felix has found a sweet spot is a credit to him, but he isn’t doing it out of beneficence—just smart work effort.

I didn’t take his comment literally, but he has a legitimate perspective. If art is to be seen, then it makes sense for someone to pick a subject to which others relate. Why else would so many people buy landscapes as art? And, you are correct about black and white art. My better half doesn’t like any of it, really, although she can now distinguish between things she thinks are better than others. Curiously, her views don’t often track pricing as she often likes things costing less. As to price and value, I think that is a weak spot in this hobby. A lot of purchasing is based, at least in part, on nostalgia. I have said this before, but as someone whose own nostalgia stretches back over 50 years, I think that on balance, we are seeing some of the highest level art in the past 20 years the field has ever enjoyed. It is collectors who buy the new stuff, often inexpensively, who will eventually rule this hobby after we are in our graves.

How about a companion thread on Bruce Timm’s work? Apart from his agent, Moy, it’s all suspect.

That’s when you make a donation to charity and take a nice deduction. Same thing applies when you get a group of pages at auction. Goodwill Industries takes everything.

To answer your question, I have a few reasons. First, I simply like to see what different artists do with the same character (and where possible, at different times in their careers). Second, I like to compare what different artists do with the same character. If an artist were to consistently draw the same character badly, I would definitely want it (although, I have yet to see it among long-time professionals). While actually a good job, I looked for years to find Adam Archer’s work in Scribblenauts Unleashed because it included a “ warm and cuddly” Phantom Stranger in it. For weeks, I had it next to a Sekowsky page for comparison. There isn’t a whole lot of Phantom Stranger art out there, so sometimes, I buy things to fill gaps until something better comes along. But, I at least get to admire (or not) different styles.

Sure. I have, and I will do so again. Hell, I'll buy bad art from bad artists if there is something about the piece which interests me enough and the price isn't nutty.