The Official The Walking Dead Discussion Thread 13 13

[brendanb438]

I am talking a couple months with no responses. Nothing to do with me being unreasonable and them being reasonable. She just didn't respond to any of my emails period. So it is clear that they are not in the business of selling those pieces of original artwork, they are "priced" to not sell as mentioned in the other thread, and don't really care to talk with someone interested in dropping some more money who made it clear they already spent some money on their stuff. So when I go to the Cincy convention next month my schedule of stuff to do will not really include anything with the Moores except for trying to get a few issue #19s SSed. Probably won't buy any more prints, won't try and bid on a commission if they put them up on eBay, and sure in the hell won't inquire about any original artwork after reading the other thread. If I did I will end up questioning them directly on why they are acting like they mean the world to them but they are still for sale. Don't play like they are priceless and then stick a price on them.

 

 

Maybe line up your emails against their show schedule and you might have your answer.

 

If they went off to SDCC or some other large show, or did back to back shows they would most likely be bombed with emails, voice mails, and deadlines to catch up on...as well as caring for a toddler.

 

It's not like Kara is sitting next to the computer 24/7 waiting to swoop on messages. Seriously, you have a life..so do they. Don't read too much into an email that's not returned.

 

I know two weeks is the internet equivalent of a life time, but just because someone didn't respond in a snap doesn't necessarily mean they are ignoring you.

 

 

 

Also to add here is either the first or second email I sent off trying to just open up communication. Still looking for the third (I sent 3 now I remember using 2 different email addresses to try and figure out WTF was up) which got way more into detail and shows a little that I was upset she didn't answer me back the first or second time. You tell me if the below email give Kara and Tony any reason to just ignore me.

 

 

=========================================================

 

 

Hello Kara,

 

My name is Brendan ******** and I had the pleasure of meeting yourself and Tony for the first time earlier this year at a comic convention outside of Cincinnati in Covington and was able to pickup a bunch of the prints that you had for sale for the Walking Dead artwork. I enjoyed the chance to talk with you and Tony for about half an hour while the show was really slow and you convinced me to practically buy one of every print.

 

I see you and Tony will be attending the next Cincinnati Comic Expo in September and I was wondering if you might be selling any original artwork for the Walking Dead comic at the Expo? I would love to possibly pickup a page or two for my collection. The one page that really caught my eye was WD0413. Also I was wondering if there might be plans to either do small commissions that day on site or if there was a chance of an eBay auction to get a commission done that day (I see these go for $400+ but whatever it takes to win it)? Would love to add an original sketch of some sort to my collection.

 

Thank you for your time,

Brendan ********

[comix4fun]

I am talking a couple months with no responses. Nothing to do with me being unreasonable and them being reasonable. She just didn't respond to any of my emails period. So it is clear that they are not in the business of selling those pieces of original artwork, they are "priced" to not sell as mentioned in the other thread, and don't really care to talk with someone interested in dropping some more money who made it clear they already spent some money on their stuff. So when I go to the Cincy convention next month my schedule of stuff to do will not really include anything with the Moores except for trying to get a few issue #19s SSed. Probably won't buy any more prints, won't try and bid on a commission if they put them up on eBay, and sure in the hell won't inquire about any original artwork after reading the other thread. If I did I will end up questioning them directly on why they are acting like they mean the world to them but they are still for sale. Don't play like they are priceless and then stick a price on them.

 

 

 

 

Well, I didn't see any dates of your emails. I saw you post here about 6 days ago mentioning they weren't emailing you back. I didn't see a mention of 2 months until now.

 

Have you ever emailed with them before? Have they ever emailed you back? Do you have a email return receipt (like through outlook) that shows they've read it or even seen it?

 

I ask because I was emailing an artist for the same reason as you last year and he wasn't answering me. It turns out something in my email address or the email itself was getting tagged as spam and he never saw a single one of my emails. I would have felt really embarrassed if I would have gone off on him for not responding to emails he didn't know existed.

 

There are plenty of reasons for not getting a return email that aren't related to them intending to insult you.

 

I asked those questions because it's possible attributing some intentional act of malevolence on them for not emailing you might be a mistake and what happened was actually something easily explained and not worth the vitriol.

 

 

[Claudio]

I was able to correspond with them a couple of weeks ago (maybe 4-6 weeks). I think they were also moving at the time but she answered in fairly short order.

 

If you think they may not be getting your emails, you can try contacting them through other means. They are on twitter a lot. You might try contacting them there or on ebay (they are listing fairly regularly).

[maloney414]

 

Even if it has a plain back, I don't want another exclusive I have to pay $30 for that gets graded backwards...

 

You don't have to pay it. Just say "no." I don't buy variants unless it is something really special. I have broken out of the collecting OCD and I encourage more people to do the same. Make the creators earn your money with good stories not with cheap gimmicks.

 

I'm totally with ya on that. I don't buy all the variants. That's not what I'm trying to say.

 

I want a blank sketch cover. A simple blank sketch cover. Just the Walking Dead logo like the back of the Ultimate #75 blank. For cover price. Cover price. Not an exclusive that costs extra, and not with a big drawing on it that prevents you from getting a true sketch cover done.

 

Not because I'm OCD and have to have everything WD. Because I'd love to be able to go to a comic convention with 5 or 6 blank WD covers and get artists to draw me some cool covers.

 

 

[brendanb438]

I asked back on June 23rd in this thread if it is tough to get a response from them which I see it is now. Yeah the final email was at least opened per my outlook. Will try and reach out via eBay about getting a sketch, messaged her through eBay a few months ago but never got a response there either.

 

Been talking with Mark instead over at Splash Page Comic Art (who is really cool to talk with via email) and will just be picking up a few more pieces of Adlard's OAs instead. Don't really know why I never received a response from 3 emails sent on two completely different email accounts to make sure they didn't have it going straight to spam (yahoo account and a Road Runner account).

 

I will just take my anger out on artists at the Cincy Convention coming up by insisting Steranko does a Captain America sketch for me. Ok not really but I have my VIP pass to get in early and plan to be the first at his table with a handful of cash to see if I can possibly buy a quick sketch which I heard is highly unlikely.

 

Looking most forward to hanging out with Mark Kidwell again who is doing the 68' Zombie book over at Image. He was by far the coolest artist/creator I have ever had a chance to hang out with. Going to get some prints, stuff signed and finally a sketch on an blank Image United from him if things are not too crazy.

 

 

I am talking a couple months with no responses. Nothing to do with me being unreasonable and them being reasonable. She just didn't respond to any of my emails period. So it is clear that they are not in the business of selling those pieces of original artwork, they are "priced" to not sell as mentioned in the other thread, and don't really care to talk with someone interested in dropping some more money who made it clear they already spent some money on their stuff. So when I go to the Cincy convention next month my schedule of stuff to do will not really include anything with the Moores except for trying to get a few issue #19s SSed. Probably won't buy any more prints, won't try and bid on a commission if they put them up on eBay, and sure in the hell won't inquire about any original artwork after reading the other thread. If I did I will end up questioning them directly on why they are acting like they mean the world to them but they are still for sale. Don't play like they are priceless and then stick a price on them.

 

 

 

 

Well, I didn't see any dates of your emails. I saw you post here about 6 days ago mentioning they weren't emailing you back. I didn't see a mention of 2 months until now.

 

Have you ever emailed with them before? Have they ever emailed you back? Do you have a email return receipt (like through outlook) that shows they've read it or even seen it?

 

I ask because I was emailing an artist for the same reason as you last year and he wasn't answering me. It turns out something in my email address or the email itself was getting tagged as spam and he never saw a single one of my emails. I would have felt really embarrassed if I would have gone off on him for not responding to emails he didn't know existed.

 

There are plenty of reasons for not getting a return email that aren't related to them intending to insult you.

 

I asked those questions because it's possible attributing some intentional act of malevolence on them for not emailing you might be a mistake and what happened was actually something easily explained and not worth the vitriol.

 

Edited August 16, 2011 by brendanb438

[Claudio]

 

Been talking with Mark instead over at Splash Page Comic Art (who is really cool to talk with via email) and will just be picking up a few more pieces of Adlard's OAs instead.

 

Not a bad choice to go with. (thumbs u

 

I just picked up a page from him today as well.

[DomUga]

TWD is the next OA I will be saving up for. I am currently saving up to get a mate for my dog haha so comics will have to take a break for a bit.

[Hawkman]

I'd say that is a matter of opinion

Yes it is but I am comfortable with it. I think most people would agree. Maybe people don't like Tony's attitude as much as Adlard's but I think that the market has decided who the better artist is.

 

Tony is a better cover artist. Charlie is a better interior artist. Tony's interior work is "meh" to me, but charlie's is great.

 

P.s. if charlie had done the earlier issues, his art would outsell tonys.

[LloydJBailey]

They're just both totally different, I think Charlie is better at conveying emotion though.

[Claudio]

P.s. if charlie had done the earlier issues, his art would outsell tonys.

Yeah. Probably. But I am talking not talking about scarcity or anything like that. As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist.

 

Look at these works by Tony:

http://www.comicartfans.com/GalleryPiece.asp?Piece=758359&GSub=96478

http://www.comicartfans.com/GalleryPiece.asp?Piece=264745&GSub=30529

 

And compare them to Charlie's work:

http://www.comicartfans.com/GalleryPiece.asp?Piece=739827&GSub=88280

http://www.comicartfans.com/GalleryPiece.asp?Piece=291119&GSub=45151

 

I picked two Adlard pages that I like a lot. I think he did a good job on them but I don't think he has Tony's talent. Look at the detail and at the depth in the Moore pieces. Adlard's pieces don't have that finish to them. I think that as time has gone on in the series, Adlard's art has actually deteriorated. People think the heavy use of blacks add tone to the series while I think they are used as a shortcut (to either meet deadlines or to cover up a relative lack of talent).

[Darkmind]

P.s. if charlie had done the earlier issues, his art would outsell tonys.

Yeah. Probably. But I am talking not talking about scarcity or anything like that. As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist.

 

Look at these works by Tony:

http://www.comicartfans.com/GalleryPiece.asp?Piece=758359&GSub=96478

http://www.comicartfans.com/GalleryPiece.asp?Piece=264745&GSub=30529

 

And compare them to Charlie's work:

http://www.comicartfans.com/GalleryPiece.asp?Piece=739827&GSub=88280

http://www.comicartfans.com/GalleryPiece.asp?Piece=291119&GSub=45151

 

I picked two Adlard pages that I like a lot. I think he did a good job on them but I don't think he has Tony's talent. Look at the detail and at the depth in the Moore pieces. Adlard's pieces don't have that finish to them. I think that as time has gone on in the series, Adlard's art has actually deteriorated. People think the heavy use of blacks add tone to the series while I think they are used as a shortcut (to either meet deadlines or to cover up a relative lack of talent).

 

 

That finished look is what does it for me as well. I like Tony's work a lot more, just can't afford it .

Edited August 17, 2011 by Darkmind

[LloydJBailey]

"As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist" --

 

I totally disagree with that... Adlard seems to do free sketches or charge very cheap for them, and in my opinion, that is simply just being nicer to your fans. Moore is very hard to get a commission from, I appreciate that he spends time on them, but how can he not? when he's so hard to get on his list, and his price isn't exactly 'cheap', and that's obviously going to build you up as an artist, if you're supplying 'limited' amounts.

 

Out of the two examples you showed above, I loved Doug's Tony Moore commission, the Atlanta piece, and the other one was cool, but I genuinely think Adlard's stuff you posted is AS great and the contrasting colours are what makes Adlard pieces so nice (they're totally different and incomparable in my opinion).

 

I disagree with the blacks being used to 'cover up a relative lack of talent' (I think that's crazy!), I can appreciate sometimes it comes across on certain pieces that it looks like it was on a deadline, but I still feel it conveys emotion exactly how it needs be, with the fast and dark strokes and heavy blacks, but I've grown to really like that... Naturally, if you're doing 20x more than Moore (interiors, covers, and art for everything else promotional) you're going to need to work faster, but I don't think it comes off as a 'relative lack of talent'.

 

 

I like this piece:

 

I don't prefer Adlard or Moore, I just like them both, they're totally different.

Edited August 17, 2011 by LloydJBailey

[songsaboutclouds]

P.s. if charlie had done the earlier issues, his art would outsell tonys.

Yeah. Probably. But I am talking not talking about scarcity or anything like that. As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist.

 

Look at these works by Tony:

http://www.comicartfans.com/GalleryPiece.asp?Piece=758359&GSub=96478

http://www.comicartfans.com/GalleryPiece.asp?Piece=264745&GSub=30529

 

And compare them to Charlie's work:

http://www.comicartfans.com/GalleryPiece.asp?Piece=739827&GSub=88280

http://www.comicartfans.com/GalleryPiece.asp?Piece=291119&GSub=45151

 

I picked two Adlard pages that I like a lot. I think he did a good job on them but I don't think he has Tony's talent. Look at the detail and at the depth in the Moore pieces. Adlard's pieces don't have that finish to them. I think that as time has gone on in the series, Adlard's art has actually deteriorated. People think the heavy use of blacks add tone to the series while I think they are used as a shortcut (to either meet deadlines or to cover up a relative lack of talent).

 

I think that's an indication that he charges more?

 

or did I read that wrong?

[comix4fun]

P.s. if charlie had done the earlier issues, his art would outsell tonys.

Yeah. Probably. But I am talking not talking about scarcity or anything like that. As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist.

 

Look at these works by Tony:

http://www.comicartfans.com/GalleryPiece.asp?Piece=758359&GSub=96478

http://www.comicartfans.com/GalleryPiece.asp?Piece=264745&GSub=30529

 

And compare them to Charlie's work:

http://www.comicartfans.com/GalleryPiece.asp?Piece=739827&GSub=88280

http://www.comicartfans.com/GalleryPiece.asp?Piece=291119&GSub=45151

 

I picked two Adlard pages that I like a lot. I think he did a good job on them but I don't think he has Tony's talent. Look at the detail and at the depth in the Moore pieces. Adlard's pieces don't have that finish to them. I think that as time has gone on in the series, Adlard's art has actually deteriorated. People think the heavy use of blacks add tone to the series while I think they are used as a shortcut (to either meet deadlines or to cover up a relative lack of talent).

 

I think that's an indication that he charges more?

 

or did I read that wrong?

 

 

Tony charged $80 for a long time, then it was $100....the entire time those sketches were reselling for $400-500 on ebay.

 

Now he auctions guaranteed sketches for shows from time to time and they go for $400-700.

 

So no it's not an indication that he charges more, it's an indication of what his fans are willing to pay for them.

[seanfingh]

P.s. if charlie had done the earlier issues, his art would outsell tonys.

Yeah. Probably. But I am talking not talking about scarcity or anything like that. As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist.

 

Look at these works by Tony:

http://www.comicartfans.com/GalleryPiece.asp?Piece=758359&GSub=96478

http://www.comicartfans.com/GalleryPiece.asp?Piece=264745&GSub=30529

 

And compare them to Charlie's work:

http://www.comicartfans.com/GalleryPiece.asp?Piece=739827&GSub=88280

http://www.comicartfans.com/GalleryPiece.asp?Piece=291119&GSub=45151

 

I picked two Adlard pages that I like a lot. I think he did a good job on them but I don't think he has Tony's talent. Look at the detail and at the depth in the Moore pieces. Adlard's pieces don't have that finish to them. I think that as time has gone on in the series, Adlard's art has actually deteriorated. People think the heavy use of blacks add tone to the series while I think they are used as a shortcut (to either meet deadlines or to cover up a relative lack of talent).

 

I think that's an indication that he charges more?

 

or did I read that wrong?

 

 

Tony charged $80 for a long time, then it was $100....the entire time those sketches were reselling for $400-500 on ebay.

 

Now he auctions guaranteed sketches for shows from time to time and they go for $400-700.

 

So no it's not an indication that he charges more, it's an indication of what his fans are willing to pay for them.

 

Recently a TM $100 con sketch sold for 1k. His $100-$200 con sketches are probably the best value i have ever experienced personally in the sketch world.

[Stumptown]

"As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist" --

 

I totally disagree with that... Adlard seems to do free sketches or charge very cheap for them, and in my opinion, that is simply just being nicer to your fans. Moore is very hard to get a commission from, I appreciate that he spends time on them, but how can he not? when he's so hard to get on his list, and his price isn't exactly 'cheap', and that's obviously going to build you up as an artist, if you're supplying 'limited' amounts.

 

Out of the two examples you showed above, I loved Doug's Tony Moore commission, the Atlanta piece, and the other one was cool, but I genuinely think Adlard's stuff you posted is AS great and the contrasting colours are what makes Adlard pieces so nice (they're totally different and incomparable in my opinion).

 

I disagree with the blacks being used to 'cover up a relative lack of talent' (I think that's crazy!), I can appreciate sometimes it comes across on certain pieces that it looks like it was on a deadline, but I still feel it conveys emotion exactly how it needs be, with the fast and dark strokes and heavy blacks, but I've grown to really like that... Naturally, if you're doing 20x more than Moore (interiors, covers, and art for everything else promotional) you're going to need to work faster, but I don't think it comes off as a 'relative lack of talent'.

 

 

I like this piece:

 

I don't prefer Adlard or Moore, I just like them both, they're totally different.

 

I like both artists* but actually in those four pieces you picked, IMHO, Charlie's were far superior. Tony's just didn't do it for me. His looked almost like commissions that had no heart (to me) and were "just" posters while Charlie's evoked emotion and made me want to know more about the characters.

 

Again, just my

 

 

*I've only seen Tony's art on WD and nothing else. I've picked up some Battle Pope but haven't read it yet and just haven't gotten around to reading anything else. Not avoiding, just haven't gotten around to it.

 

I loved Charlie's art on Codeflesh and have really liked it on some other stuff but don't recall the comic's names off the top of my head.

[Claudio]

"As I also stated, Tony's commissions are more. I think that is a good indication that he is the better artist" --

 

I totally disagree with that... Adlard seems to do free sketches or charge very cheap for them, and in my opinion, that is simply just being nicer to your fans. Moore is very hard to get a commission from, I appreciate that he spends time on them, but how can he not? when he's so hard to get on his list, and his price isn't exactly 'cheap', and that's obviously going to build you up as an artist, if you're supplying 'limited' amounts.

I think the prices that Moore's commissions fetch on the secondary market show how much people value his pieces compared to Adlard's.

 

I disagree with the blacks being used to 'cover up a relative lack of talent' (I think that's crazy!), I can appreciate sometimes it comes across on certain pieces that it looks like it was on a deadline, but I still feel it conveys emotion exactly how it needs be, with the fast and dark strokes and heavy blacks, but I've grown to really like that... Naturally, if you're doing 20x more than Moore (interiors, covers, and art for everything else promotional) you're going to need to work faster, but I don't think it comes off as a 'relative lack of talent'.

You are not going to get an artist's best work when they are on upcoming deadlines and that is why I tried to get the best examples I could to display here for comparison.

[Claudio]

I like both artists* but actually in those four pieces you picked, IMHO, Charlie's were far superior. Tony's just didn't do it for me. His looked almost like commissions that had no heart (to me) and were "just" posters while Charlie's evoked emotion and made me want to know more about the characters.

 

Again, just my

 

 

*I've only seen Tony's art on WD and nothing else. I've picked up some Battle Pope but haven't read it yet and just haven't gotten around to reading anything else. Not avoiding, just haven't gotten around to it.

 

I loved Charlie's art on Codeflesh and have really liked it on some other stuff but don't recall the comic's names off the top of my head.

You and I are seeing very different things. I see Moore able to draw characters in different situations and poses. I see Moore with more imagination and ability to execute. I see Adlards characters more wooden. They are like with dolls just set up.

 

Keep in mind that I have over 18 Adlard pieces compared to 3 Moore pieces. It's not like I hate Adlard.

[comix4fun]

I like both artists* but actually in those four pieces you picked, IMHO, Charlie's were far superior. Tony's just didn't do it for me. His looked almost like commissions that had no heart (to me) and were "just" posters while Charlie's evoked emotion and made me want to know more about the characters.

 

Again, just my

 

 

*I've only seen Tony's art on WD and nothing else. I've picked up some Battle Pope but haven't read it yet and just haven't gotten around to reading anything else. Not avoiding, just haven't gotten around to it.

 

I loved Charlie's art on Codeflesh and have really liked it on some other stuff but don't recall the comic's names off the top of my head.

You and I are seeing very different things. I see Moore able to draw characters in different situations and poses. I see Moore with more imagination and ability to execute. I see Adlards characters more wooden. They are like with dolls just set up.

 

Keep in mind that I have over 18 Adlard pieces compared to 3 Moore pieces. It's not like I hate Adlard.

 

I too like their work, both of them. I realize the strain that Charlie is under to get all those books done on time, that it forced him to go to smaller artsize, etc. So I take that into account when I sometimes can't tell whether a character is supposed to be male or female, or when a facial expression is used to display emotions not necessarily possible to ascertain simply from the drawing.

 

I know that Charlie has to move the pages along at a breakneck pace. So I cut him slack for it. His covers are great. The pieces he does that he can take his time on are wonderful. He helps tell a nice story and that story and the ability to help move it along is a great talent and the reason I like his artwork.

 

Tony's artwork also tells a great story, but it is crisp, clean, and incredibly detailed in its rendering, especially so when compared to Charlie's work. The drafting ability and fine line detail lets Tony tell a story and display the emotion of his characters through smaller and more subtle facial expressions and body language. In that way it's like a stage actor compared to a screen actor. On the stage you have to EMOTE!!!! to get the folks in the back row to understand what's happening, whereas a screen actor can make the smallest of facial twitches in close up, or whisper a line, and get the point across.

 

Neither artist's gifts should be given short shrift. They accomplish telling the story in very different ways and will appeal to different people in different ways.

 

These are two different skill sets and artistic visions applied to the same source material. At the end of the day you are left with a debate like those "which super model is hotter?" threads. Neither one of them would get kicked out of bed when it comes down to it.

[jonjesper]

They are both awesome.