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Show Us Your Ducks!
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8,467 posts in this topic

Cool Busted Flush; and that cover is actually an indication of why Don Rosa stopped doing duck books. Every bit of detail he drew was accomplished with T-square and French Curves; a result of his undergrad training in Civil Engineering. Most other artists freehand such things but Don was self taught and adapted drafting techniqes to his draughtmanship. Anyone familiar with these techniques will realize the incredible amount of time it took him to complete a story.

 

That time committment is what he spoke of that day and his inability to make it all pay off for the amount of time required. Too bad as Don was certainly the heir apparent to Mr. Barks.

Interesting, I never knew that was how he drew. What a shame, as he was certainly the best Duck artist since Barks.

 

I wonder why he wouldn`t consider just writing, and letting someone else do the art, since he was also the best writer since Barks too.

 

Just a guess but why would he put his reputation in someone else's hands? That's the way some of these guys think. Say he writes a story and is utterly dissatisfied with the way it was drawn, what then?

 

Some might say "well I'm just the writer on this job" and some might obsess that the artist butchered their story. I suspect don is more the latter.

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Cool Busted Flush; and that cover is actually an indication of why Don Rosa stopped doing duck books. Every bit of detail he drew was accomplished with T-square and French Curves; a result of his undergrad training in Civil Engineering. Most other artists freehand such things but Don was self taught and adapted drafting techniqes to his draughtmanship. Anyone familiar with these techniques will realize the incredible amount of time it took him to complete a story.

 

That time committment is what he spoke of that day and his inability to make it all pay off for the amount of time required. Too bad as Don was certainly the heir apparent to Mr. Barks.

Interesting, I never knew that was how he drew. What a shame, as he was certainly the best Duck artist since Barks.

 

I wonder why he wouldn`t consider just writing, and letting someone else do the art, since he was also the best writer since Barks too.

 

Just a guess but why would he put his reputation in someone else's hands? That's the way some of these guys think. Say he writes a story and is utterly dissatisfied with the way it was drawn, what then?

 

Some might say "well I'm just the writer on this job" and some might obsess that the artist butchered their story. I suspect don is more the latter.

I suspect that Don is indeed a control freak, but on the other hand I would assume that he would have total say over the selection of an artist, so whoever was picked would be satisfactory to him. Hell, Don could even do the breakdowns so he wouldn`t even need to trust the storytelling to the artist, but would effectively be just outsourcing the draftsmanship.

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Cool Busted Flush; and that cover is actually an indication of why Don Rosa stopped doing duck books. Every bit of detail he drew was accomplished with T-square and French Curves; a result of his undergrad training in Civil Engineering. Most other artists freehand such things but Don was self taught and adapted drafting techniqes to his draughtmanship. Anyone familiar with these techniques will realize the incredible amount of time it took him to complete a story.

 

That time committment is what he spoke of that day and his inability to make it all pay off for the amount of time required. Too bad as Don was certainly the heir apparent to Mr. Barks.

Interesting, I never knew that was how he drew. What a shame, as he was certainly the best Duck artist since Barks.

 

I wonder why he wouldn`t consider just writing, and letting someone else do the art, since he was also the best writer since Barks too.

 

Just a guess but why would he put his reputation in someone else's hands? That's the way some of these guys think. Say he writes a story and is utterly dissatisfied with the way it was drawn, what then?

 

Some might say "well I'm just the writer on this job" and some might obsess that the artist butchered their story. I suspect don is more the latter.

I suspect that Don is indeed a control freak, but on the other hand I would assume that he would have total say over the selection of an artist, so whoever was picked would be satisfactory to him. Hell, Don could even do the breakdowns so he wouldn`t even need to trust the storytelling to the artist, but would effectively be just outsourcing the draftsmanship.

 

 

ehhhhhhhhh. That's assuming he would be satisfied with anyone else being the artist. I suspect he would not.

 

Don't get me wrong I'd like it if he wrote stories too, but I can see how some creators will, sometimes justifiably, have a 'my way or the highway, 100% control or its not worth doing' type attitude.

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In my conversations with Rosa and what I've read, it's never been the effort that dissuaded him from drawing/writing. It never sounded like he was being given adequate compensation. Frankly, a story from him will sell better than some yahoo drawing a regular Duck issue. Add to that the way that the European publishers reprint and either choose not to pay or don't keep records for accurately paying royalties.

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Good point. I had a brief email exchange with him once and he mentioned something like that, that he was unsatisfied with what he was getting paid.

 

Given the labour-intensiveness of his stories perhaps that's not such a surprise.

 

As for the "story from him will sell better" point, that was actually something Don specifically refuted when I brought it up. To paraphrase, he said that in europe, duck books sell great no matter what and in America they sell terrible no matter what. Meaning essentially, that he has no leverage whatsoever since he can't move the needle in either market.

 

Perhaps there's another side to the story, I don't know. Brief as our exchange was he seemed pretty bitter.

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Good point. I had a brief email exchange with him once and he mentioned something like that, that he was unsatisfied with what he was getting paid.

 

Given the labour-intensiveness of his stories perhaps that's not such a surprise.

 

As for the "story from him will sell better" point, that was actually something Don specifically refuted when I brought it up. To paraphrase, he said that in europe, duck books sell great no matter what and in America they sell terrible no matter what. Meaning essentially, that he has no leverage whatsoever since he can't move the needle in either market.

 

Perhaps there's another side to the story, I don't know. Brief as our exchange was he seemed pretty bitter.

 

I talked to Don off and on at the Comic Con for about ten years starting in 1992. Busted Flush and I actually met him at an Eisner award ceremony and he was still working on duck books but rather unhappy about it. Mostly he complained about going on European promotional junkets that took away from his work time. Too bad, it was obvious he wasn't too happy back then when he was doing some great work.

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I had talked to Don a couple of times and remember reading interviews which said that he was happy to do work on Scrooge and Donald. It was his life's work. However, I had also read comments that said Barks liked one of the other artists better. This was an unfair comment to read. Rosa wrote and drew terrific stories which were as good as Barks originals. His style gave you the feeling you were reading a Mad parody of Donald Duck but the stories never made that crossover into the rediculous. He always had a sound scientific base from where his ideas started and then he became creative with his extrapolations. I am still a big fan of his stories and think they are the only modern ones that deserve to be mentioned in a golden age forum on Ducks. rantrant

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+1. Don's work on the Ducks was always excellent and rooted in legends to the same extent, if not more, than Barks' stories were. In addition, his "retconned" or revisit stories were creative and additive to the Barks canon.

 

The main beef that he had was that Disney would only pay him once for his work and that he never derived a dime of the ceaseless and countless reprinting (with enormous success) of his stories in foreign shores. One would not blame anyone from walking away from such a work arrangement. We complain that many of the GA artists never bore the fruit of their efforts but Don was in the same exact predicament.

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I was reading through this MMM from 1937 and was amazed to find a little something about a place just down the highway from where I am now. And 1937 was 75 years ago :o

 

In this issue......

 

MMM_0005.jpg

 

... there was this page about a MM states contest, and the winner of the grand sum of $10 happened to be from Oregon.

 

MMMNotipage.jpg

 

Although the story is kinda cute, its also kinda disturbing. I mean, thats a "hangin" offence isn't it :sumo:

 

MMMNotipagecrop.jpg

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Well, half of them are both! :makepoint:

 

They are very nice. I've been toying with the idea of colelcting the Australian versions of those, but they are kind of expensive - about $70-80 each. As far as I can tell, that's about twice the price of the US editions.

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Well, half of them are both! :makepoint:

 

They are very nice. I've been toying with the idea of colelcting the Australian versions of those, but they are kind of expensive - about $70-80 each. As far as I can tell, that's about twice the price of the US editions.

 

They really aren't the greatest of books, picked two up years ago and never cared to get anymore other than Atom Bomb by Barks. But that one requires the outlay equivalent to a Four Color sometimes. As a reader I will go with the Four Colors.

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I totally agree. The Atom Bomb is popular because of its different format and rarity, which I think is often overstated. As far as content is concerned, I don't think it ranks anywhere near Barks best efforts.

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A gentleman has just left my shop and he told me that he has a very extensive collection of Carl barks comics from the 1940's and up consisting of mostly ducks, but also goofy etc. He asked how much I would pay, he told me he has an overstreet. Do these books sell at guide or a percentage over/ under? I told him I need to see them before I can give a price, I certainly don't want to over pay , but I want to be fair to him. He is the original owner.

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A gentleman has just left my shop and he told me that he has a very extensive collection of Carl barks comics from the 1940's and up consisting of mostly ducks, but also goofy etc. He asked how much I would pay, he told me he has an overstreet. Do these books sell at guide or a percentage over/ under? I told him I need to see them before I can give a price, I certainly don't want to over pay , but I want to be fair to him. He is the original owner.

 

Other can opine but in my view unless these are realy high grade the duck market seems pretty weak. There always seeems to be a plentiful supply of duck four colors on EBay in lower grade. Early Barks WDC&S through 50 or 60 (probably war's end) seem harder to come by than later issues and Rich (Yellow Kid) tells me that FC 29 - Mummy's Ring is tougher to come by than the others.

 

Good for the Barks reader collector, not so good for the seller or dealer trying to make a few bucks.

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