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Post your Hot Takes!
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80 posts in this topic

2 hours ago, GreatEscape said:

 MY "TOP 10"  HOT TAKES:

1)  Front Page Follies.  It's usually a waste of time to offer FMV for a NFS piece in someone's "Featured" (front page) gallery...asking "What do you think it's worth?" is largely irrelevant as the owner prefers the art to FMV in cash.

2)  FOMO.  Despite more frequent auctions and dealer sales, our hobby will always be ruled by savage Darwinian outcomes....you either WIN a piece or LOSE knowing it's possible you won't get another shot for decades, if ever.  The power of FOMO, the Fear of Missing Out.

3)  Hearts and Hoorays.  On CAF, it's highly unusual for pieces to have more 'Likes' than 'Comments' unless NSFW-- for which this is actually quite common.

4)  Size Matters.  Full-page interior or end splashes typically have more art than title splashes or covers-- which  typically devote more space to stats, lettering and indicias

5)  Lucky Sevens.  Buyers are generally more receptive to flip/resell within the first 7 days after purchase or after 7 years of ownership....the best times to strike IMO.

6)  DPS Difference. Double-page splash (DPS) refers to a single, unified image or scene on two pages whereas a double-page spread (also DPS) has two sequential pages that present a unified narrative.

7)  Finders Keepers.  Collector Richard Martinez (I think) said something like "It only takes 1-2 pieces a year over many years to build a great collection. "  These days, most collectors are buying and selling in the face of escalating prices and accelerated deal flow (auctions, private sales) ... their biggest regrets are less the fish that got away than the fish they caught and released too soon.  So, successful collectors need to be both finders and keepers.

8)  Killer Panels.  As prices escalate, there is increased zeal for pages with a single "killer" panel-- more affordable than an "A-level" page but can be equally nostalgia and/or aesthetics.  Astute buyers already know this.

9)  Scarcity.  Artists known for retaining their art can artificially raise market value of their art due to perceived scarcity, but how is that any different than specific artists' works especially held tight by collectors or dealers?  Scarcity is an illusion when what matters more is availability.

10)  COVID Cash.  Top 5 Comic Conventions draw about 800,000 people each year, add another 800,000 people for regional Cons and overseas...but no Cons during COVID.  Assuming just 3% of attendees are art collectors / enthusiasts spending say $1,000 in tickets/airfare/hotels to attend a con, that's $48 Million in funds that can instead be spent buying art.  No wonder auctions and dealers are enjoying record sales.

I'll take Size matters for $1,000 Alex (RIP)

What are: Title pages I would like to buy from your collection because they are worth less than a splash?

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4 hours ago, GreatEscape said:

 MY "TOP 10"  HOT TAKES:

1)  Front Page Follies.  It's usually a waste of time to offer FMV for a NFS piece in someone's "Featured" (front page) gallery...asking "What do you think it's worth?" is largely irrelevant as the owner prefers the art to FMV in cash.

2)  FOMO.  Despite more frequent auctions and dealer sales, our hobby will always be ruled by savage Darwinian outcomes....you either WIN a piece or LOSE knowing it's possible you won't get another shot for decades, if ever.  The power of FOMO, the Fear of Missing Out.

3)  Hearts and Hoorays.  On CAF, it's highly unusual for pieces to have more 'Likes' than 'Comments' unless NSFW-- for which this is actually quite common.

4)  Size Matters.  Full-page interior or end splashes typically have more art than title splashes or covers-- which  typically devote more space to stats, lettering and indicias

5)  Lucky Sevens.  Buyers are generally more receptive to flip/resell within the first 7 days after purchase or after 7 years of ownership....the best times to strike IMO.

6)  DPS Difference. Double-page splash (DPS) refers to a single, unified image or scene on two pages whereas a double-page spread (also DPS) has two sequential pages that present a unified narrative.

7)  Finders Keepers.  Collector Richard Martinez (I think) said something like "It only takes 1-2 pieces a year over many years to build a great collection. "  These days, most collectors are buying and selling in the face of escalating prices and accelerated deal flow (auctions, private sales) ... their biggest regrets are less the fish that got away than the fish they caught and released too soon.  So, successful collectors need to be both finders and keepers.

8)  Killer Panels.  As prices escalate, there is increased zeal for pages with a single "killer" panel-- more affordable than an "A-level" page but can be equally nostalgia and/or aesthetics.  Astute buyers already know this.

9)  Scarcity.  Artists known for retaining their art can artificially raise market value of their art due to perceived scarcity, but how is that any different than specific artists' works especially held tight by collectors or dealers?  Scarcity is an illusion when what matters more is availability.

10)  COVID Cash.  Top 5 Comic Conventions draw about 800,000 people each year, add another 800,000 people for regional Cons and overseas...but no Cons during COVID.  Assuming just 3% of attendees are art collectors / enthusiasts spending say $1,000 in tickets/airfare/hotels to attend a con, that's $48 Million in funds that can instead be spent buying art.  No wonder auctions and dealers are enjoying record sales.

Solid.

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7 hours ago, The Voord said:
 
Welcome to the jungle 
 
We've got fun 'n' games
 
We got everything you want
 
Honey, we know the names
 
We are the people that can find
 
Whatever you may need
 
If you got the money, honey
 
We got your disease

:headbang: haha yes.

In the states back in the nineties I listened to Jim Romes sports radio show. They referenced “the Jungle” everyday. And you had to call in with a solid “take.” that is back up whatever you talked about.

so yeah haha OP thought it was funny I called this the Jungle. And he talked about sharing sizzling take.

Jungle

Take

Thats 🍇 🦍 language for sure

 

Love G&R also !!!

 

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8 hours ago, GreatEscape said:

 MY "TOP 10"  HOT TAKES:

1)  Front Page Follies.  It's usually a waste of time to offer FMV for a NFS piece in someone's "Featured" (front page) gallery...asking "What do you think it's worth?" is largely irrelevant as the owner prefers the art to FMV in cash.

2)  FOMO.  Despite more frequent auctions and dealer sales, our hobby will always be ruled by savage Darwinian outcomes....you either WIN a piece or LOSE knowing it's possible you won't get another shot for decades, if ever.  The power of FOMO, the Fear of Missing Out.

3)  Hearts and Hoorays.  On CAF, it's highly unusual for pieces to have more 'Likes' than 'Comments' unless NSFW-- for which this is actually quite common.

4)  Size Matters.  Full-page interior or end splashes typically have more art than title splashes or covers-- which  typically devote more space to stats, lettering and indicias

5)  Lucky Sevens.  Buyers are generally more receptive to flip/resell within the first 7 days after purchase or after 7 years of ownership....the best times to strike IMO.

6)  DPS Difference. Double-page splash (DPS) refers to a single, unified image or scene on two pages whereas a double-page spread (also DPS) has two sequential pages that present a unified narrative.

7)  Finders Keepers.  Collector Richard Martinez (I think) said something like "It only takes 1-2 pieces a year over many years to build a great collection. "  These days, most collectors are buying and selling in the face of escalating prices and accelerated deal flow (auctions, private sales) ... their biggest regrets are less the fish that got away than the fish they caught and released too soon.  So, successful collectors need to be both finders and keepers.

8)  Killer Panels.  As prices escalate, there is increased zeal for pages with a single "killer" panel-- more affordable than an "A-level" page but can be equally nostalgia and/or aesthetics.  Astute buyers already know this.

9)  Scarcity.  Artists known for retaining their art can artificially raise market value of their art due to perceived scarcity, but how is that any different than specific artists' works especially held tight by collectors or dealers?  Scarcity is an illusion when what matters more is availability.

10)  COVID Cash.  Top 5 Comic Conventions draw about 800,000 people each year, add another 800,000 people for regional Cons and overseas...but no Cons during COVID.  Assuming just 3% of attendees are art collectors / enthusiasts spending say $1,000 in tickets/airfare/hotels to attend a con, that's $48 Million in funds that can instead be spent buying art.  No wonder auctions and dealers are enjoying record sales.

Excellent contribution!!!

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2 hours ago, Matches_Malone said:

Yep. 

I do agree for the most part... If the artist is only working digitally, and effort has gone into confirming (within reason) that the mono print will remain one of a kind... Yeah I think it is art.

However, I would never ever pay as much for mono print as I would pen and ink. I consider them both the same 'type' of art, but one is kind of naturally a higher quality to me.

Edited by babsrocks31
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6 hours ago, babsrocks31 said:

I do agree for the most part... If the artist is only working digitally, and effort has gone into confirming (within reason) that the mono print will remain one of a kind... Yeah I think it is art.

However, I would never ever pay as much for mono print as I would pen and ink. I consider them both the same 'type' of art, but one is kind of naturally a higher quality to me.

What about a mono recreation’s value? Original cover inker inked on computer. Artist is willing to recreate what he did in original ink and give a certificate of authenticity that will be his only “authentic” recreation. Given my taste, that’s quite likely to be true. Price is about 60% of his original inked work price. Is that to be valued as no different than a recreation?

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3 hours ago, Rick2you2 said:

What about a mono recreation’s value? Original cover inker inked on computer. Artist is willing to recreate what he did in original ink and give a certificate of authenticity that will be his only “authentic” recreation. Given my taste, that’s quite likely to be true. Price is about 60% of his original inked work price. Is that to be valued as no different than a recreation?

It should be value less as it is  a recreation, and not original. And in this case the original pencils exist, which supersedes the digital medium. 

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