dichotomy

20 minutes ago, Blastaar said:

Is that a recent commission? She is something else!

2020! Super easy to arrange via Scott Kress. 

Ramona Fradon. 

On the back a prelim for a figure who might have been in one of the windows, perhaps to play off Bat-Mite. Damn Ms Fradon, you go! 

1 hour ago, Rick2you2 said:

I figure that tape is on the outside. So, if there are any harmful chemicals in the glue, they would not get inside.
 

I would be concerned about damage the iron could cause to the integrity of the envelope That stuff probably melts and warps pretty easily, I assume, unless it catches fire first.

If you have a food saver - it’s that kind of heat seal I’m trying to achieve. Doesn’t have to be an iron per se. 

31 minutes ago, Rick2you2 said:

I expect to be experimenting with that this weekend. It doesn't seem hard.

I bought some sheets, an exacto knife, a long metal straight edge and some rubber cement (which I doubt I will use). The plan is to cut a large sheet in two, place the two halves on top of each other, and then use the straight edge and pencil to mark the dimensions I need for cutting. That way, the two pieces will be exactly the same size. While I have heard that the rubber cement is archival, I think for this purpose that it overdoing it. So, I am simply going to use some blue duct tape I have to bind the two together on three edges. This is for storage, not for public display, so a perfect appearance doesn't really matter to me.

Loose pieces do rattle in oversized Itoya's, but if you put them in sleeves and put that in the Itoya's they don't move much. 

Please keep me updated. I wonder if once the sleeve is marked out, could one use a soldering iron or something to heat seal the sides shut?

4 hours ago, Michael (OML)1 said:

Been awhile but I'm back with a brand new One Minute Later -- 15+ years of my OML theme and still going strong...art by Ransom Getty

 

 

Wow. Tons of work. Hand lettered?!? 

Welcome to my hell. After everything, I now own itoyas in practically every size. Please see my Liam Sharp post here (https://www.comicartfans.com/gallerypiece.asp?piece=1559234) 

I’m also not a fan of the artwork migrating all over the place, as it tends to do in a “size up Itoya” situation. 
This is my own messed up OCD. 
I LOVE artists that use a standard 11x17 size. 

I experimented with screwpost binders but they really don’t hinge well. 
 

And then I’ve got some oversized paintings that, if not framed, as practically impossible to store. I’ve had to make some custom enclosures. 
 

Ideally I’d love to be able to make custom sleeves out of 4 mm Mylar, but haven’t figured out how yet. 
 

The Rude is giant. That’s an 18x24 itoya on top for context. 
 

58 minutes ago, comix4fun said:

Those were ALL tremendous pieces but these in particular stole my heart. 

The humor of the AH! strip poker scene in this DPS has stayed with me. 

Tradd Moore's Surfer is going to be one of those perfect storm moments in comics that's looked back on as something really magical. Sorry I didn't get any of it. 

And that Santucci.....Como Sei Bella..... 

Thanks! The strip poker DPS is a particular favorite - I knew I wanted it when I read the story. Thor’s expression slays me every single time. Plus he works big so lots of goodness. And don’t miss his cameo as bartender in the other piece. 

On 10/14/2019 at 8:57 AM, Sideshow Bob said:

Last one for me. Brave and Bold #199 (1983). Clearly the doubling up on leg days have done wonders for Spectre...

Sweet Jeezus I loved this story and this was probably one of the first comics I read. 

I’ll have to second Neal Adams and “MadamAdams” for an awesome and wholesome commission experience at a con. 
 

Jonboy Meyers is crazy approachable and friendly, and VERY text friendly. 
 

Silvestri! Holy Cow, does he not have anything to do? Super relaxed and friendly and delivers great stuff. 
 

Frank Quitely - super nice and one of the most soft spoken guys - I was a newbie at the time and a little star struck, but he was great. 
 

Lee Weeks! The most patient I’ve ever been in a line (people were dropping like flies [NYCC 2019 Thursday]). Mr Weeks was chatting to someone for 30/40 minutes, and it was one of those conversations that was always about to end but then would go on for another 10 min. I wasn’t eavesdropping but I was next in line. Tbh it was EXTREMELY frustrating, and I wish the fan/friend had taken the impetus to end the conversation as there was a significant line behind them. BUT, when it’s your turn, you get the same spotlight attention. Like someone’s friendliest, kindest, most down-to-earth father talking to their child’s best friend. The person behind me was also able to join the conversation too and it felt pleasantly communal. Great interaction and conversation as he did a phenomenal Remarque for me. And then I LEFT and let the next fan have their fun. 
 

Tim Sale - Not so much conversation but I asked if he wouldn’t mind me watching him work, he he said he didn’t, so I parked myself there as respectfully as possible and WOW, watching him brush pieces directly is something else. Great learning experience. 
 

Ditto Mike Mignola - got a great story from him about one of my favorite books. 
 

Bisley - an unquantifiable interaction...
 

Tony Moore - The Colonel is fantastic - great sense of humor and likes to talk tats too. 
 

5 hours ago, stinkininkin said:

I don't think the OP went too far, as I indicated in my post. Its just not how I want to handle commissions at this point. Taking it further, I'm considering starting out the convention season by not taking commissions per se, but rather just doing cool drawings when I have spare time and offering them up on a first come first serve basis when I hit shows.  Would anyone be up for that, or does the personal customization aspect of commissions trump getting a good representative example of an artists work?

Also, not to diverge too much, but what would YOU like to do at cons? Sign? Chat? Remarque? - at NYCC you had one of those aisle blocking queues (as you richly deserve) but did you enjoy your interactions with the fans or did you feel constricted by the requirements of doing commissions? 

4 hours ago, stinkininkin said:

I don't think the OP went too far, as I indicated in my post. Its just not how I want to handle commissions at this point. Taking it further, I'm considering starting out the convention season by not taking commissions per se, but rather just doing cool drawings when I have spare time and offering them up on a first come first serve basis when I hit shows.  Would anyone be up for that, or does the personal customization aspect of commissions trump getting a good representative example of an artists work?

If you had fun doing it and it coincides with something I like then this would be an epic win - vs the complete uncertainty of a commission and whether it even gets done or not at the con. 

4 hours ago, Blastaar said:

I will say...buying someone else's commission that they fall out of love with is a win/win. Much cheaper and you see the end result ahead of time. 

I picked up a Barda piece yesterday from Comiclink for a nice price that is exactly this. 

34 minutes ago, Turtle said:

This was very similar to a Black Friday purchase I made in 2019.  It was the evening of Black Friday, 2019 and I saw a piece that was recently discounted that I wanted.  I sent an e-mail inquiring about the piece.  Within an hour (around 11pm EST) I had a response with a payment link.  I paid right away.  I had the piece in-hand the following Monday or Tuesday.  This felt very similar to a piece I bought about 18 months earlier.  Communication was quick and the art was shipped securely. 

I can't help but wonder if the problem is artist-specific.  In my case, the artists were Santolouco and Wachter and they were published pieces that Paolo had in-hand.  Maybe certain artists involve more delays? 

Almost definitely. I think the piece I had trouble with was with the artist overseas. 

After accumulating a plethora of Original Art and Art related items, I've reluctantly torn some funds away from art purchases and invested them into renovating the den into an area more suited to art storage, display, and enjoyment. Thanks to various forums I was able to ensure that the compartments that I'll be storing the art in are left unstained and unpainted. I'm excited for ample plugs, ample shelf space, and a broad surface with overhead lighting to look at art. Any other tips or suggestions? 

One item I'm really struggling with is a stand for large books. I need something that sets at an angle. I have one of these (https://www.assouline.com/products/a-bookstand-black?variant=8686953857115&currency=USD&mkwid=_dc&pcrid=342748903411&gclid=EAIaIQobChMIsunt_cCw5wIViJOzCh0QHQl-EAQYASABEgIV8_D_BwE) and it measures 13" x 12" but I need something double that if not larger - if anyone has any leads I'd really appreciate it. 

I had considered some wide pull out drawers like what one might use to store blueprints flat, but it seemed to be too limiting and unorganized, and would also not have much utility as a built-in for any other purpose. 

Original art #FTW 

Grandpa is red hot right now no doubt, but $15,000???
 

https://www.comicartfans.com/gallerypiece.asp?piece=1603329

3 minutes ago, Rick2you2 said:

But then, you can't move the art around to different Itoya's (which I do).

If each portfolio has a name and page numbers then you can just update the spreadsheet whenever you move the page. 

38 minutes ago, Rick2you2 said:

I hope all you spreadsheet fans know how this sounds? Who needs art: we've got our spreadsheets.

We’re just cuddly teddy bears with lots of love to give. 

34 minutes ago, ESeffinga said:

Since this has turned into a “lists we keep” thread, this is one I sort of do.

I don’t keep a formal list. What I do keep is any messages via CAF expressing interest in work that is NFS. Which most of the time for me, is all of it. But I do keep those messages.
 

There have been a couple times over the last decade where I did decide to sell a piece that I didn’t have plans to sell years earlier. I’ve reached out to the folks that expressed interest. I don’t think any of them ever contacted me back. I have alcove to suspect the “let me know if you ever decide to sell” usually means, if you decide later this week. Otherwise, the person I am contacting A year or 4 later has no money at that time, lost interest, no longer collects, no longer uses CAF or has no manners to at least respond and let me know about any of the first three.
 

But I still keep those inquiry emails. No idea why.

And I do keep a different kind of formal list for my family, that lists each piece, it’s approximate current value (a range low to high), and a list below that of people and organizations that I trust to help sell the different types of art that my wife does not want to keep. So she has options of what to do with it and isn’t starting out knowing people and places that I would reach out to if I were her.

I try to realistically update that list once a year - 18 months.

It’s not a spreadsheet On the way that the first few posts mentioned, but I suppose it’s as close to that as I get. And I do it for someone else more than myself.

 

I do both of these things also - good practice I feel. I recently received a second, extremely polite inquiry about a piece I had listed NFS. The polite inquiry prompted my mind to re-evaluate the piece in question, and surprisingly, it did not 'spark enough joy' so I decided to let go of it. For those of you paying attention, POLITENESS was key here, though paying FMV+ was also very important! And I was able to check my CAF 'inquiry emails' about this piece and the person was indeed first-in-line, as it were. 

I'll diverge here a little to address something that has bee cropping up - a piece is listed NFS means one should not approach the owner at all. I disagree with this. I look at the amount of time the piece has been listed and send a polite inquiry based on that. But I think it's important to remember that owners often add a piece, list the status as NFS, because it IS NFS in that moment of time, and then move on with their lives. You never know how the owner is going to feel a year or several later, despite the NFS listing. I have acquired a couple  

To the second point, I definitely feel it is required of me to leave some instruction and detail to my survivors about the collection if something should suddenly happen to me, and an independent spreadsheet is easier to pass on or share than data on an external website. 

4 hours ago, ESeffinga said:

The only spread I keep is the grin on my face, when I view the art around the house.

I always get the feeling that you are the calmest, happiest person here.

I feel I'm similar, but substitute 'most manic' for 'calmest'. 

2 hours ago, mister_not_so_nice said:

Not free, but I like www.Collectorz.com 

 

For a published page I add the comic book to my collection and then modify the particulars for the specific page.  Adding the comic quickly gives you all of the published info. 

Thanks! This is the kind of unknown gold I was prospecting for. 

For those using CAF, I totally get it, but feels odd to me to rely exclusively on them, plus there is always the possibility of that information being compromised. 

2 hours ago, Rick2you2 said:

Does it shoot out from the pointy top, like a whale spout, or blow out the sides? 

Head goes round and round while steam comes out the ears.