Mike R V

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About Mike R V

  • Boards Title
    Learning the Ropes

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  1. Won this Astonishing X-Men #51 splash page from the Comiclink summer auction last week.
  2. Does anyone use dessicant bags when storing art?
  3. I've made these thick black foam board coverings that block out most of the light, if not all. There might be a tiny bit of refracted light getting in from somewhere, but not much. The top images, frames were too big so I didn't have a chance yet to make side closures like the bottom image, so those would be the ones to get minimal light if any. Is that enough protection or should I go ahead and add those sides in?
  4. Thanks for the advice! I'll be getting those microchamber papers for sure, so thanks for providing the links! They will only be in their current frames for about a year until I get them replaced with actual archival quality framing. They are sealed with tape over the flaps in their mylar bags. I was just afraid the adhesive from the tape or other materials from the other contacting surfaces would leak in and start destroying the piece within that year before replacing the frames with a more permanent setting.
  5. When storing art in mylar bags, should we still exercise extreme caution with storing them in non acid-free environments like mounting boards if framed, etc? I don't know how much 'protection' the mylar bags are actually providing. Currently I have my art in 2mm bcw mylar sleeves, no artboard backing, but then the mylar bags are tape-mounted to paper or boards and mats that might not be acid-free. I do cover up the frames during they day when I am not at home just to protect against UV damage, but none of them are in direct sunlight anyways. All of the pages are modern, so they're still in pretty good shape for the most part. What are some recommendations in this scenario?
  6. So far some awesome ideas, thanks for sharing! Definitely inspires me to branch out my searches, so excited to see what I can find. Makes sense not to stay too strictly with a theme, but I find that it helps me feel less guilty with my purchases. One theme that I have been interested in are pages that reflect socially or politically controversial topics of the time. Mostly just modern but eventually hoping to dig a little deeper into the past. Anyone do something similar to this? What are some of your prize pieces?
  7. That's actually a really cool idea, collecting zeitgeist pages. I might also try looking for some Vietnam war-reflective work. My family were Vietnam war refugees, so it would be meaningful to acquire a related piece. Do you have any recommendations on series or artists? Are there any mainstream publishing houses that incorporated elements from the Vietnam war?
  8. Curious to see what drives some of your OA collection decisions. Maybe this can spark some ideas for new collections.
  9. Thanks for all the helpful responses! I've made a few purchases recently of important pages from storylines that I've been following. All of them are from dealers and representatives that people recommended here or that the artists referred me to. Only one pencil which pretty closely matches the published page. I couldn't tell if it was a recreation or not. The only weird thing I noticed was that the actual working dimensions are slightly less than 11x17 and the Marvel blue ink insignia was printed on a Dark Horse board. The artist has worked for Dark horse, though, so I figured that might not be too weird. Everything else is ink on pencil. I didn't realize how absolutely gorgeous they were until I had them in hand.
  10. Hi all, I am just now getting into the world of OA collecting and wanted to know what are some of the strategies you all use to detect potential counterfeits or duplicates. There are a few good threads that already have some tips, but there are some points that I haven't really been able to find an answer to. 1. Do most modern comic OA come on bristol board with the blue ink publisher insignias or is it also common for the artists to work on blank pages? How common is this when the penciler and inker are different artists? 2. Do most modern comic OA with a different penciler and inker happen on separate bristol boards (ie inkers work on blue ink prints of the penciled versions). 3. Do pencilers commonly reprint versions in blue ink and draw over them? Are there typically multiple penciled 'original' versions circulating in the market? How do you tell a penciled version is used in the final published page? 4. Do pencilers often use blue pencils before final sketches with graphite pencils? 5. Are the dimensions for comic OA always 11x17 or are they sometimes printed and drawn or inked in smaller dimensions (larger margins) on 11x17 bristol board? 6. Do artists print their own bristol board or are they distributed by the publishing houses? Is it weird for a bristol board to have different publishing insignias? 7. Do artists ever duplicate their own works? 8. What are some resources and communities available to keep track of OA to cross-check duplications? Different artists probably have different approaches to their art process, so it would be nice to see what trends you all have observed from artists you collect from. Whatever you can chime in, I would love to hear! Thanks!