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New to OA Collecting, Advice, tips?
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1,154 posts in this topic

15 hours ago, Doc67 said:

DO NOT consign your art to Heritage to pay for auction winnings!  Consign to Comiclink and pay for the Heritage bill with the advance from CLink.

Not about Allen specifically, an overall comment on the hobby: Consigning forward to pay for things you can't afford today, wow, never crossed my mind to be so fiscally imprudent. You've either got the juice or you don't. Wow.

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2 hours ago, vodou said:

Not about Allen specifically, an overall comment on the hobby: Consigning forward to pay for things you can't afford today, wow, never crossed my mind to be so fiscally imprudent. You've either got the juice or you don't. Wow.

I don’t get it. If I want something at an auction and don’t want to spend more money - what’s wrong with sending other pieces, getting an advance and paying for the new art? How is that fiscally imprudent? Selling something to buy something else? If that’s the case - being in any hobby is fiscally imprudent?

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8 hours ago, RICKYBOBBY said:

I don’t get it. If I want something at an auction and don’t want to spend more money - what’s wrong with sending other pieces, getting an advance and paying for the new art? How is that fiscally imprudent? Selling something to buy something else? If that’s the case - being in any hobby is fiscally imprudent?

Well, pretty much, most hobbies involving collecting and buying things is not fiscally prudent. They are not as fluid as stocks or bonds,and there is a big gap at-a particular point in time between what you can sell it for and what you bought for. Lots of attempted flips probably flop. 

Well, whadayaknow? I just hit a 1000 posts.

Edited by Rick2you2
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2 hours ago, Rick2you2 said:

Well, pretty much, most hobbies involving collecting and buying things is not fiscally prudent. They are not as fluid as stocks or bonds,and there is a big gap at-a particular point in time between what you can sell it for and what you bought for. Lots of attempted flips probably flop. 

Well, whadayaknow? I just hit a 1000 posts.

Well I totally agree! Being involved in the hobby is being fiscally prudent. It’s a luxury to participate.

If someone likes a piece that comes up for sale usually people try to sell something they are okay parting with. If you happen to win the piece before you can sell - then why not send in your piece for an advance ( assuming you are happy with what they evaluate your piece at)?

Not everyone is sitting on a wad of cash - but maybe some art.

Edited by RICKYBOBBY
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From my experience...

If you see a piece you love but feel it’s too expensive, it likely is. You may see it year after year. But year after year the price will continue to move up and you’ll still feel it’s too expensive. Seems to be the way things are going lately. Some pieces are always out of reach.

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Know exactly what a piece is about before you buy it. Take the time to double check through quick research right then and there if you have to. And if it is a deal that looks too good... it probably is. which brings us to the first part of my post. The time i broke that rule def reinforced my belief in it! All part of my tuition LOL! lol

Edited by The Cimmerians Purse
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On 4/6/2019 at 9:42 PM, BCarter27 said:

People don't get your art signed after the fact. Just don't. It's not worth the risk.

IMG_2176.thumb.jpg.d29b368e0531b3371327bd3d337af849.jpg.b0129eaeb3031bb23befed7130a92a75.jpg

 

And it you MUST get the art signed, let it only be the penciller and inker. AND HAVE THEM DO IT IN THE MARGIN! GAH!

This is a special case where, yes, you can get the signature of world famous actor who played Conan in the film this particular comic book (to which you have the cover art for) was adapting. But....make sure it's not on the goddamned art, and located in the margin or the back.

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7 hours ago, PhilipB2k17 said:

This is a special case where, yes, you can get the signature of world famous actor who played Conan in the film this particular comic book (to which you have the cover art for) was adapting. But....make sure it's not on the goddamned art, and located in the margin or the back.

Well, I see plenty of negative space for a John Milius (aka Walter Sobchak) signature next week just to balance it out.

 

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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? 

Edited by Mike R V
Wrong word
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3 hours ago, Mike R V said:

paper or boards and mats that might not be acid-free.

The long-term solution is to use AlphaRag boards in your backing/matting (which are essentially thick Microchamber/zeolite impregnated.)

http://www.conservationresources.com/Main/section_16/section16_01.htm

http://www.conservationresources.com/Main/section_16/section16_02.htm

The quick solution would be to get some 11x17, 12x18, or 13x19 pieces of Microchamber and slide them into the mylar behind the pages. This will help trap any off-gassing from the art itself or the very, very little that might be leaking in from the top of the open mylar. (And I'm being very OCD here, mind you. The reality is if you have it flat in the mylar, you are already much better off than most other storage.)

I am a proponent of Microchamber for any pieces encapsulated in mylar. That's why the LOC recommends "airing" pieces out. And even CGC uses Microchamber paper to trap off-gassing within the mylar tomb of a CGC case.

Microchamber interleaves-

https://www.bagsunlimited.com/product/7401/archival-bmicrochamber-paperb-br18-x-24-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

https://www.bagsunlimited.com/product/6192/archival-bmicrochamber-paperbbr-11-x-17-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

https://www.bagsunlimited.com/product/7521/archival-bmicrochamber-paperbbr-13-x-19-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

and bond papers-

http://www.conservationresources.com/Main/section_15/section15_04.htm

are cheap enough to consider.

Newer Bristol boards are generally more archival than older boards and papers.

 

NOTE: A further word of caution about off-gassing... Beware of custom stained-wood cabinets and bookshelves. Been there, done that. Ended up with a tanned book collection! I'd put everything in archival gallery boxes and leave the doors off for the first year after staining. And line the shelves with the aforementioned Microchamber paper.

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2 hours ago, BCarter27 said:

The long-term solution is to use AlphaRag boards in your backing/matting (which are essentially thick Microchamber/zeolite impregnated.)

http://www.conservationresources.com/Main/section_16/section16_01.htm

http://www.conservationresources.com/Main/section_16/section16_02.htm

The quick solution would be to get some 11x17, 12x18, or 13x19 pieces of Microchamber and slide them into the mylar behind the pages. This will help trap any off-gassing from the art itself or the very, very little that might be leaking in from the top of the open mylar. (And I'm being very OCD here, mind you. The reality is if you have it flat in the mylar, you are already much better off than most other storage.)

I am a proponent of Microchamber for any pieces encapsulated in mylar. That's why the LOC recommends "airing" pieces out. And even CGC uses Microchamber paper to trap off-gassing within the mylar tomb of a CGC case.

Microchamber interleaves-

https://www.bagsunlimited.com/product/7401/archival-bmicrochamber-paperb-br18-x-24-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

https://www.bagsunlimited.com/product/6192/archival-bmicrochamber-paperbbr-11-x-17-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

https://www.bagsunlimited.com/product/7521/archival-bmicrochamber-paperbbr-13-x-19-x-0025-thickbrremoves-acids-and-odors-in-paper-brarchival-acid-free-font-colorredindefinite-storagefont

and bond papers-

http://www.conservationresources.com/Main/section_15/section15_04.htm

are cheap enough to consider.

Newer Bristol boards are generally more archival than older boards and papers.

 

NOTE: A further word of caution about off-gassing... Beware of custom stained-wood cabinets and bookshelves. Been there, done that. Ended up with a tanned book collection! I'd put everything in archival gallery boxes and leave the doors off for the first year after staining. And line the shelves with the aforementioned Microchamber paper.

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.

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6 hours ago, Mike R V said:

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? 

Keep them in an environment which is moisture-free and in the dark. I would not place them in any area where they could get any sunlight, and your covering may not be adequate.Artifical light (except for "artificial sunlight" bulbs) is not a potential source of harm. 

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49 minutes ago, Rick2you2 said:

Keep them in an environment which is moisture-free and in the dark. I would not place them in any area where they could get any sunlight, and your covering may not be adequate.Artifical light (except for "artificial sunlight" bulbs) is not a potential source of harm. 

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?

20190907_224250.jpg

20190908_153914.jpg

Edited by Mike R V
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On 9/8/2019 at 4:57 PM, Mike R V said:

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?

20190907_224250.jpg

20190908_153914.jpg

Honestly, I am paranoid about the damage which natural sunlight can do, and I am not technically trained to answer your question. I would simply not keep them anywhere near natural light, if only to avoid yellowing over time.

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On 9/8/2019 at 4:31 PM, Rick2you2 said:

Artifical light (except for "artificial sunlight" bulbs) is not a potential source of harm. 

This is 100% untrue. 

Any light will cause harm. All to varying degrees. Artificial lights are not all created equal.

After something like a full-spectrum UV bulb (which most people never have at home, barring some kind of terrarium or fish tank) the worst common bulbs are Fluorescents. They are the absolute worst. Followed by various incandescent bulbs. The least damaging light source are LED bulbs, as they carry the most limited spectrum light, and are the least harmful to art. That said, not even all LEDs are the same. It’s worth doing a little research and giving care to what you light the room/house with.

I switched our whole house over to LEDs a couple years ago now. Wouldn’t go back.

The Smithsonian limits light exposure to the Star Spangled Banner and the Declaration of Independence every day. The lighting is super dim for a reason.

Watercolor and marker are the most likely to feel the effects of fade. That said, a copic marker commission of Nightcrawler or a modern art page are hardly the Declaration of Independence. I’ve happily had several watercolors hanging in my home 2 decades, with no discernible effects. Any fading that may have happened (indistinguishable at a glance) is well worth 20 years of every day enjoyment.

I keep these pieces on walls that get no direct sunlight. Beyond that, no weirdo contraptions. No super light blocking curtains. No over the top protections. They are in my hallway. I pass them every day. Every day. Just happy to see them every time I walk past. It’s been what, 7300+ days?

I’d rather enjoy them than have them be archival pristine and have only seen them 1/10th as often or less.  

But that’s just me.

 

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35 minutes ago, ESeffinga said:

The Smithsonian limits light exposure to the Star Spangled Banner and the Declaration of Independence every day. The lighting is super dim for a reason.

This reminds me of those early John Harris paintings done with highly fugitive inks. The recommendation is to store them in flat file and only look at them occasionally in low light. As much as I'd love to own a number of those images, but up on my wall, I've stuck with the reproductions in his books instead. Those can be looked at all day every day, and when the book wears out I can replace that too.

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I’ve talked about how much I cut my collection back, and how rigidly I try and control and curate it.

The knock on effect to that, is that there is a LOT of art that I greatly enjoy seeing, but just physically, mentally or financially can never own and/or manage. My outlet for this has been art books. I have a room full of them. I really love a great art book day. Is it as much fun as a new original art day? Honestly sometimes it can be. And more importantly, it is a brilliant solution to many issues. The only one it doesn’t solve is space.  Boy those books sure do add up quick. :)

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