dichotomy

This page would be nice, or anything from this issue UXM 267 would be just super.

Apologies - I’ll shamelessly insert a plug here for my small project...

Just recently re-released as a paperback and well worth picking up.

Haha, I like the call-back to Cadence. My first attempt at Felix’s website was an absolute fiasco. 0-3 on a Skottie Young drop. VERY frustrating. I skirted Felix for a long time after that, buying some older pieces for which there was no “feeding frenzy”, but avoiding the drops. But eventually a few things came along that I really wanted. So I studied the system - made some smart choices, perfected a few physical techniques to increase the speed at which I can submit a request, and started having more success. But there are no guarantees ever. I will still walk away from some drops completely empty handed. SSB3 is obviously an exception - the way I see it, I took the steps necessary to get what I wanted. And I could also probably flip it for a profit. (Not that I would, just to address a point above - if anything I would probably hope in a few decades I might let go of a few pages to make trades etc). Also, I don’t know if @nexus would sell a whole issue to a known flipper? If I didn’t have any SSB and I wanted a piece, for the last drop I would have literally clicked the mouse on the first page I saw (filtering only for price) and bought it, and hoped for the best, knowing (A) you paid a reasonable price for it and (B) you can probably flip it if necessary because this IS a hot property. Now. Who knows in 5/10 years. Felix does price very very well, and he times his drops and the amount of product he releases very well too. For example, anyone who wants one will be tracking the MR Miracle covers left. It’s not perfect, but it is generating interest in the hobby, good prices for artists, and reliable dealership for fans My few cents

At a certain time (that everyone is informed of in advance via newsletter) the website automatically refreshes. The first Person to select a piece, complete the “checkout” process (basically sending a request - no payment at this point) gets the piece, judged by time stamp.

I was gonna say - 1 minute was way generous. I wonder how long the #3 cover variant was available after it was re-listed. I’d say it went within the hour and it was not cheap.

With respect, it seems to be becoming a habit. I sent an inquiry about a piece and received an email on Oct 21 that the Art was available. I sent the payment immediately and replied to the email that I had done so. Now Nov 10 and no reply to 2 polite emails (sent after 1 week and then 2 weeks) asking for an update. Meanwhile I see Cadence’s instagram alive and well. I don’t want the art, I just want an email telling me it’s in process. Cadence has an excellent roster of artists and I’ve always had good dealings with them at cons, but I wish they’d sort this out.

Sorry to pour symbiote into an open wound.

Or get a Venom fixed...

I tried for more when #5 and parts of #1 dropped earlier this week and got shut out. I’m glad to see Tradd getting the recognition he deserves. Sorry, I’ve got nothing to part with at the moment.

Plus there is a great video of Jim drawing it and talking about his process. Congrats.

Wow. Best $90 value I've ever seen. Congrats.

Metropolis is the name that was rattling around at the back of my head. Thank you.

I find myself with some time in NYC today and tomorrow, and I wonder if there are any options for OA stores? If anyone can point me in the right direction I’d appreciate it.

I understand, but for me it is a very late page, and not ‘original series’.

First time I’ve seen one come up. That is a hefty price tag!

Loving this Joker. Any lucky person here?

Congrats! Did you get Stelfreeze at NYCC this year? I was in line on Thursday when he cut off for the day, but he was doing some really fun stuff.

Win much? All incredible!

Very sorry to hear it.

It does! Tim Sale - Hulk giving my daughter a flower Tony Moore - Deadpool and my daughter (all Tony) Jae Lee - great guy. (Patience, young padawan) Humberto Ramos! - I watched him craft this and it all comes together in the finish - absolutely incredible. Neal Adams - All Neal. Commissioned on a Friday and picked up on Sunday. Neal and his wife were awesome, and I think they were really having fun with it too. I think my jaw was on the floor when I picked it up. And all of these quite pricey commissions mean absolutely nothing to anyone else, and I look at them every day and enjoy them on the walls of my home. It’s a great! feeling.

Thanks. My wife asked me why I was going downstairs and I told her that I have to get the laptop - I don’t want to write this post on a phone.

An addendum regarding a collaborative commission - I've recently had a few artists offer to send me updates of the process - this was somewhat new and surprising to me. Generally I really like to be surprised, and as an aforementioned non-artist person, I can't even imagine giving an artist feedback, particularly if they're an artist of the calibre that I am pursuing a commission from them. So when I get these prelims I reply very simply. Keep in mind also that a prelim can be finished many ways. Unless you’ve had a specific discussion, a prelim could mean nothing in relation to the final product. But I see that many collectors like to commission collaborate pieces, like a cover recreation or a particular 'story'. In that case I think the process can be helpful. Otherwise I tend to prefer to not see a preview. If you've commissioned something vague like 'Silver Surfer' or 'Catwoman' - the artist's image is NEVER going to be the same as what is in your head, so try to leave yourself open to anything that may come. Finally, artist, please be prudent with your airbrush. I have one commission that really suffered from an over zealous airbrushing.

I have a lot of feels about this topic. I love pursuing commissions and I put a lot of time and effort into them. But... 1. I can't draw at all. My artistic ability makes Tom King's sketches look like Frank Quitely work. So I have GREAT admiration for anyone who creates for a living. I approach every artist with this mindset. I do not bargain (and I greatly appreciate when the prices are clearly posted for all to see, whether on a website or a convention table). I do a lot of research, and I look at a lot of past work when I have the option. 2. I do not art direct. If we are having a conversation and an idea comes up organically that is different, but if it's over email or over a con table, I try to have a brief conversation to make sure our ideals are aligned and that there is, silly as it sounds, a 'good vibe'. The one time I ignored this feeling is the one time I got a commission not to my taste that I know I could have avoided. Similarly, I always try to have some CHOICES for the artist. I understand for some people the whole point is to get a certain character from a certain artist, and there is nothing wrong with that, but again, make sure it is a realistic ask. Challenge the artist in a good way, to see something in a new light. I can't even fathom the process by which an artist begins to form an image in their mind and then on paper - hokey as it may sound I try to make sure that the origin of that idea is something that flows well with the artist and works with THEIR process. 3. Not to beat a dead horse, but I will once again put @nexus up on a pedestal as the NEED and BENEFIT of a good rep. He mentioned in one of his podcasts that one of this jobs is to vet commissions. A fresh pair of eyes NEVER hurts a busy artist. Surely no artist worth their salt wants a bad representation of their work splashed around social media. A rep has a vested interest in making sure their clients are well represented AND that their customers are satisfied. And I've said this before, a good rep at a convention helps keep the work flow organized, makes sure the artist doesn't take on more than they can handle, and ensures there is a consistent level of work for price (to address the issue of a $700 commission vs a $100 sketch cover). Again, not all artists are fortunate enough to have good representation, and some artist do extremely well by themselves - but for all the complaints on this board, there's a rep for that. 4. If you get a commission that you don't absolutely love, you say thank you very much, pay the agreed upon amount, and leave. Come back to the commission later, spend some time with it. It may grow on you. And you may stick it in a portfolio and never look at it again. This is the hobby, the thrill and the disappointment of being a patron. 5. Naming is something that should be reserved for serial, confirmed offenders. All anyone in this hobby has is their reputation. Happy collecting! I currently have 7 commissions out in the wild growing at various stages. My convention sketches (https://www.comicartfans.com/gallerydetailsearch.asp?gcat=108264&ATy=8&pm=1&pi=18&order=Date) and commissions (https://www.comicartfans.com/gallerydetailsearch.asp?aty=2&gcat=108264). There are a couple that are second-hand. To date I have only received 1 (out of roughly 25) that I have not posted and just got rid of. Everything else went up as a representation of the artist's work. They may not all be auction busters, but they're mine dammit!

The artist is a pro with a pro online shop that their partner manages. Like buying from AR. Except Sal always sends next day air.