Turtle

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About Turtle

  • Boards Title
    When you write it out...
  • Birthday April 11

Personal Information

  • Occupation
    Engineer
  • Location
    Pennsylvania
  • Long Custom Title
    When you write it out, it sounds a little absurd...hence the absurd responses.

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  1. One of my very first signed books. Signed before I even joined these boards. Still one of my favorites. John Cassaday on Astonishing X-men #1:
  2. I'd agree with this. I'll add that the face reminds me of Lindsay Lohan quite a bit
  3. That is, unless, clones don't count. If that's the case, Shredder from the TMNT was killed in issue 1 and never came back.
  4. I guess you've never read this one...
  5. What @VintageComics posted isn't as completely off-topic as you may think. Based on my experience in the hobby, it seems that the "realistic style" is more suited for pinups than traditional comic covers. Historically, pinup images by a variety of artists would be relegated to the end of the interior of a book. However, there has been a shift, or movement as you say, to using these pinups as cover art instead. Like you mentioned, there is a whole subset of comic collecting that never cracks open a comic but simply collects them for the covers. Nothing wrong with that...and there's clearly more than a few that do it, hence the shift in focus. However, it's hard to separate the art style from the cover style because more often than not they are so tied to one another. If you see a comic with word bubbles or a scene that's playing out, it'll likely be drawn in the old style. If you see something that is more "realistic", it'll likely read more like a traditional pinup as opposed to a comic cover. If you had asked how people felt about the shift to more "realistic" art vs. traditional art, I think we'd have the conversation you were looking for. But since you specifically mentioned covers, you've unintentionally welcomed people's varied opinions on the purpose of a comic cover. Should a comic cover offer a summary of what can be found in the book so the potential buyer can make a decision or should it be eye-candy with no link to the interior because the cover is what you'll see 99% of the time anyway? You invited Roy's "conflation" by throwing the word "cover" into your original post. It can be difficult to separate art style from art purpose.
  6. Here's one I'm VERY excited to have in my collection. It's an Eastman painting from 1985. You can read a bit more about it here: CAF Gallery
  7. What a blast from the past this thread is. I don't even remember who I was commissioning and I definitely didn't make it out to WWLA that year. Time flies...
  8. There are a few. I could potentially do it as I'm close to the PA/NJ border. However, it's important to note that for a witness to be authorized for an event, there is an expected minimum number of submissions CGC requires. If you think you can muster the interest, CGC would likely approve a witness for the event. It's also important to know what the setting is. If the setting is a convention or other type of signing it's one thing, but it can be entirely different if it's a lecture, concert, or premiere where a formal signing is not planned. These types of events are much tougher to get CGC authorization for.
  9. Interesting. I do feel a lot of Bisley influence in some of his pieces. I guess there could be a reason for that. Thanks.
  10. Thanks! I hadn't seen this. Does anyone have any other data they can share?
  11. Hello, I recently discovered the work of Ryan Brown. I know it seems to be a common name in the comic art world...the one I'm talking about is from Ireland and is predominantly a cover artist and painter. Internet searches didn't yield a whole lot of info, possibly due to the multiple comic artists sharing the same (or similar) name. I'm wondering if anyone here has any knowledge they can share regarding the cost of his work and where to buy it. As near as I can tell, his work sometimes sells through Berserker Art, but I can't seem to find any realized sales of his work anywhere to get a feel for how much I can expect to pay if I want to own a piece from him. Is there any other place to look? Does anyone know of any sales data I can use as a reference? Thanks! Here's one example of his work just so we're on the same page:
  12. This has been a common theme with him over the last 5 years that I've seen him at shows. He can often be heard discussing pricing on the show floor with creators who aren't charging or what he perceives to be undercharging for Signatures or art. He's definitely got an agenda he's pushing in regards to raising artist's convention prices. Some scoff as soon as he walks away, but clearly a few heed his recommendations and if you've seen the prices artists are asking at shows, they have certainly risen significantly over the last 5-10 years. That said, I'd echo the same sentiment that my interactions weren't bad with him, they just weren't overly warm either. He won't go out of his way to make your day like some creators will do, but he won't be terribly rude either. Provided you're paying his fees, he'll be perfectly cordial. There is a story I read here on the boards a few years ago of a fan who commissioned a 4-figure commission from Neal to be picked up at the show. The fan was delighted to see the commission in-person and asked Neal for a picture of the two of them together holding up the art. He said "Sure! Twenty bucks*." He was dead serious. *I can't remember if $20 was the exact price, but Neal did/does(?) charge for photos at shows and it seemed crazy to me to charge for a photo for a fan who just spent four figures with you.
  13. I picked up a nice original Dan Duncan cover from early in the IDW TMNT run recently. Pretty excited to have it. Along with Cory Smith and Mateus Santolouco, Dan Duncan is one of my favorite of the "newer" TMNT artists. I was happy to add a cover featuring all 4 turtles. From TMNT #6: