New podcast/video from Felix Comic Art (UPDATED 1/3/17!)
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Those are great samples, Felix. I can see why buyers would want to get a whole issue from some of these artists. As a collector (and visitor to your site), I like that you've curated a collection of artists the same way some fans curate an OA collection.

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I’m more than a bit off-center when it comes to approaching the hobby, and have never quite thought of myself as a stand in for the average collector.

 

But fwiw, I couldn’t give a fig for anyone’s opinion on what artist might be the next “other artist”, or that “this title” is going to be for this artist, what “this other title” was for another guy.

 

I tend to latch onto a work because I like it, and that is where my interest tends to start and stop. So if Felix uses a comparison, in my Neanderthal brain, I think to myself, he is really excited by that artist and/or that project and I make a mental note to check it out for myself.

 

IMO, Felix has shown he has a better than average taste-meter. And all one has to do is look at the accolades heaped on his guys in the form of reviews, awards, marketplace interest and so on to see that. He has also reinvented the role of art rep as far as I’m concerned. He has crafted avenues of promotion, and just general hobby fun among and for his guys, and with their fan bases as well. He is inclusive, generous, and all around seems like he just likes hanging out with them. And he’d know better than me, but from what I’ve seen he’s helped elevate their profiles and gain exposures for them that go beyond just selling their artwork.

Is there excited hyperbole to in some of the newsletter pitches? Possibly. Time will tell. If anything I just see a guy that gets super excited to share work with the audiences he’s helped garner for his guys, and trying to hip people to work that has him jazzed.

I used to have a local comic shop guy who did that for me. He’d tell me how I needed to check out this book or that book, and he’d compare it to some other book (or movie). Some of his pitches were a little hype heavy for me, but I could tell it was a genuine enthusiasm for the product. It wasn’t an attempt to squeeze me for a few dollar sale. That would have been so short sighted of him.

I appreciated it then and I appreciate it now,with Felix. He’s turned me onto some cool books, and even though I haven’t bought any pages from them, it’s because of him I’ve read all Tradd’s Luther Strode books, and Bertram’s House of Pennance, among others.

In the end, I want to see Harren be the best Harren he can be. Tradd should push his mind bending work as far as he can, etc and so on. I’ve no interest in DWJ being he next Miller, Kirby Moebius or whatever.  Those guys were those guys. DWJ will kick on his own, and people will notice. If the work is good, the rest will come. I 

can’t wait to see what Felix’s guys do in the future. There may be some great nuggets in there. But if I ever buy something that becomes genre defining or industry evolving from him, it’d be because I loved that art, story, artist... and the other mess can come later ... or not.

Anybody that goes actively looking for it is on a fools errand as far as I’m concerned.

-e.

 

 

Edited by ESeffinga

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25 minutes ago, MYNAMEISLEGION said:

If only this shiny new art had worn balloons....:baiting:

Yup that I think would hold back many of the new books from reaching the audience tha DKR and Watchmen have in the comicart community.

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23 minutes ago, Brian Peck said:

Yup that I think would hold back many of the new books from reaching the audience tha DKR and Watchmen have in the comicart community.

Having looked at Felix's samples, I think its one of the reasons full issues of new books are finding a home.   With the words gone, the plot is easier to guess at or follow when you can see every page in the book.     You get more of a sense of narrative.

 

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2 hours ago, Mr. Machismo said:

Now I want a full issue of something. And Tradd Moore art. lol  

Just what we all need, more competition! 

 

But seriously, it is somewhat rare to see Tradd's pages posted in the secondary market. I think there are 2 pages available on eBay as we speak and maybe one on CAF as a 'make an offer'. I love that Felix makes everything available to all buyers at the same time (well... most of the time, I can think of one instance when I inquired and a cover was claimed) even though it has pretty consistently worked against me due to my schedule at work and due to the drops happening mid-day, so as soon as Tradd puts some new work out there it's open season and everyone has a shot.

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I’m all for Felix pushing his guys’ art, he is a heck of an art rep and an asset to our hobby. I don’t mind having my eyes opened to his talent pool. If not for Felix selling his guys’ personalities and abilities on his podcasts, I wouldn’t have a dozen or so cool pages and more importantly his artists would not have my money! 

Felix is killing it with charity events, giveaways, special sales and compelling podcasts that expose his artists’ artwork and their personalities to a hungry group of collectors -many whom are now priced out of the old school art market (Byrne, Buscema, Kirby, Miller etc..)

Keep up the good work Felix!

Edited by gumbydarnit

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21 hours ago, Hekla said:

Those are great samples, Felix. I can see why buyers would want to get a whole issue from some of these artists. As a collector (and visitor to your site), I like that you've curated a collection of artists the same way some fans curate an OA collection.

 

I am very picky when it comes to artists I rep. I've mentioned this before, but my primary criteria is that I have to like the art myself. I have to want to own it in my collection. I can't work up enthusiasm over art I don't personally enjoy. It's pretty simple!

I have never had any interest in having the biggest roster. Managing 100 artists would certainly be more lucrative for me, but it also sounds like anything but fun. I gotta keep this fun. I get a chuckle if anyone thinks my "whole purpose is financial".

Thanks, Hekla!

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21 hours ago, ESeffinga said:

I’m more than a bit off-center when it comes to approaching the hobby, and have never quite thought of myself as a stand in for the average collector.

 

But fwiw, I couldn’t give a fig for anyone’s opinion on what artist might be the next “other artist”, or that “this title” is going to be for this artist, what “this other title” was for another guy.

 

I tend to latch onto a work because I like it, and that is where my interest tends to start and stop. So if Felix uses a comparison, in my Neanderthal brain, I think to myself, he is really excited by that artist and/or that project and I make a mental note to check it out for myself.

 

IMO, Felix has shown he has a better than average taste-meter. And all one has to do is look at the accolades heaped on his guys in the form of reviews, awards, marketplace interest and so on to see that. He has also reinvented the role of art rep as far as I’m concerned. He has crafted avenues of promotion, and just general hobby fun among and for his guys, and with their fan bases as well. He is inclusive, generous, and all around seems like he just likes hanging out with them. And he’d know better than me, but from what I’ve seen he’s helped elevate their profiles and gain exposures for them that go beyond just selling their artwork.

Is there excited hyperbole to in some of the newsletter pitches? Possibly. Time will tell. If anything I just see a guy that gets super excited to share work with the audiences he’s helped garner for his guys, and trying to hip people to work that has him jazzed.

I used to have a local comic shop guy who did that for me. He’d tell me how I needed to check out this book or that book, and he’d compare it to some other book (or movie). Some of his pitches were a little hype heavy for me, but I could tell it was a genuine enthusiasm for the product. It wasn’t an attempt to squeeze me for a few dollar sale. That would have been so short sighted of him.

I appreciated it then and I appreciate it now,with Felix. He’s turned me onto some cool books, and even though I haven’t bought any pages from them, it’s because of him I’ve read all Tradd’s Luther Strode books, and Bertram’s House of Pennance, among others.

In the end, I want to see Harren be the best Harren he can be. Tradd should push his mind bending work as far as he can, etc and so on. I’ve no interest in DWJ being he next Miller, Kirby Moebius or whatever.  Those guys were those guys. DWJ will kick on his own, and people will notice. If the work is good, the rest will come. I 

can’t wait to see what Felix’s guys do in the future. There may be some great nuggets in there. But if I ever buy something that becomes genre defining or industry evolving from him, it’d be because I loved that art, story, artist... and the other mess can come later ... or not.

Anybody that goes actively looking for it is on a fools errand as far as I’m concerned.

-e.

 

 

Thanks Eric!

There are certain collectors whose style of collecting, and approach to the hobby, I've found inspiring and have tried to emulate. Each of these collectors does their own thing, but the common thread is a genuine appreciation of the ART. So let me return the compliment and say that would include you. Cheers!

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21 hours ago, MYNAMEISLEGION said:

If only this shiny new art had word balloons....:baiting:

lol

I'm with you...in almost every instance, comic art is better with word balloons. But in these cases...the art is so damn visually impressive and dynamic...that it doesn't REALLY need them.

Unlike say, your average BA page. :baiting:

Edited by Nexus
typo!

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20 hours ago, Bronty said:

Having looked at Felix's samples, I think its one of the reasons full issues of new books are finding a home.   With the words gone, the plot is easier to guess at or follow when you can see every page in the book.     You get more of a sense of narrative.

 

Yes, I'm sure there is some of that going on. I've pitched owning a complete issue as having your own private Artist's Edition. I love flipping through an AE, page by page. This would be an even more heightened version of that.

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21 hours ago, Mr. Machismo said:

Now I want a full issue of something. And Tradd Moore art. lol  

 

19 hours ago, SquareChaos said:

Just what we all need, more competition! 

 

But seriously, it is somewhat rare to see Tradd's pages posted in the secondary market. I think there are 2 pages available on eBay as we speak and maybe one on CAF as a 'make an offer'. I love that Felix makes everything available to all buyers at the same time (well... most of the time, I can think of one instance when I inquired and a cover was claimed) even though it has pretty consistently worked against me due to my schedule at work and due to the drops happening mid-day, so as soon as Tradd puts some new work out there it's open season and everyone has a shot.

Look forward to you guys seeing the art from his new project! With any luck, it will come out this year. Check out Tradd's Instagram for a taste!

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11 minutes ago, Nexus said:

Yes, I'm sure there is some of that going on. I've pitched owning a complete issue as having your own private Artist's Edition. I love flipping through an AE, page by page. This would be an even more heightened version of that.

I finally finished the latest podcast this morning after starting it a week ago. Toward the end of the second segment Felix mentions how clean Tradd's art is and then suggests that an excellent AE would be Tradd's last two Strode cycles. I'm scratching my head at that. How would AE improve upon the published work if the OA isn't something of a mess like vintage art is (yellowing, stains, whiteout, paste-ups that are loose, missing, etc). Would the only difference from published be stripping out the color and text for AE? I have the Complete but haven't cracked the shrinkwrap yet, is it b/w or color? If b/w...then that's even less of a reason to do it as an AE, right?

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17 hours ago, gumbydarnit said:

I’m all for Felix pushing his guys’ art, he is a heck of an art rep and an asset to our hobby. I don’t mind having my eyes opened to his talent pool. If not for Felix selling his guys’ personalities and abilities on his podcasts, I wouldn’t have a dozen or so cool pages and more importantly his artists would not have my money! 

Felix is killing it with charity events, giveaways, special sales and compelling podcasts that expose his artists’ artwork and their personalities to a hungry group of collectors -many whom are now priced out of the old school art market (Byrne, Buscema, Kirby, Miller etc..)

Keep up the good work Felix!

Thanks Gumby!

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6 minutes ago, vodou said:

I finally finished the latest podcast this morning after starting it a week ago. Toward the end of the second segment Felix mentions how clean Tradd's art is and then suggests that an excellent AE would be Tradd's last two Strode cycles. I'm scratching my head at that. How would AE improve upon the published work if the OA isn't something of a mess like vintage art is (yellowing, stains, whiteout, paste-ups that are loose, missing, etc). Would the only difference from published be stripping out the color and text for AE? I have the Complete but haven't cracked the shrinkwrap yet, is it b/w or color? If b/w...then that's even less of a reason to do it as an AE, right?

Full-size, baby! That's the difference! I want to see it BIG!

The coloring for LUTHER STRODE is excellent. It fits Tradd's art well. BUT...as with Brian Bolland, ANY coloring will obscure the fine line work to some degree. Especially when the art has already been shrunk for publication. And like Bolland, IMO, Tradd's art is best appreciated in its original state. If for no other reason than how, unlike most other OA, it ISN'T a mess. This art was created by a human hand. How??

Here's a video of artists and fans checking out Tradd's art in person (for anyone who hasn't see this already):

 

Edited by Nexus

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Just now, Nexus said:

Full-size, baby! That's the difference! I want to see it BIG!

The coloring for LUTHER STRODE is excellent. It fits Tradd's art well. BUT...as with Brian Bolland, ANY coloring will obscure the fine line work to some degree. Especially when the art has already been shrunk for publication. And like Bolland, IMO, Tradd's art is best appreciated in its original state.

Okay BIG. I get that, but I'd have to agree with whoever hasn't greenlit that project yet...there's a lot of other stuff to hit first. That's no knock on Tradd's art (quickly becoming a fan here) just that, presentation size aside, an AE wouldn't add much to the published version that's already available to anybody that wants it.

On the subject of size...we all know Paul Pope works much larger than the industry standard 11x17. Some of your more graphically oriented artists Felix...maybe they could take a page from Paul's book and move up a half size or more. (Maybe you could suggest it?) I'm all for BIG and have never been impressed with 11x17, but you take what you can get. But up on a wall, framing those favorites...they are not all that. Even worse is the smaller WD, Mexican pulp, Italian pulp, and manga interior originals...that stuff is tiny. Size difference in the wrong direction, all of those. Let's go BIG :)

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6 minutes ago, vodou said:

Okay BIG. I get that, but I'd have to agree with whoever hasn't greenlit that project yet...there's a lot of other stuff to hit first. That's no knock on Tradd's art (quickly becoming a fan here) just that, presentation size aside, an AE wouldn't add much to the published version that's already available to anybody that wants it.

Oh yeah, that's just fantasy talk. No publisher is doing an AE of an indy book, no matter how much the art deserves it. But it would be cool!

6 minutes ago, vodou said:

On the subject of size...we all know Paul Pope works much larger than the industry standard 11x17. Some of your more graphically oriented artists Felix...maybe they could take a page from Paul's book and move up a half size or more. (Maybe you could suggest it?) I'm all for BIG and have never been impressed with 11x17, but you take what you can get. But up on a wall, framing those favorites...they are not all that. Even worse is the smaller WD, Mexican pulp, Italian pulp, and manga interior originals...that stuff is tiny. Size difference in the wrong direction, all of those. Let's go BIG :)

Shoot man...I'm just glad these guys haven't gone digital! Just work on paper, I don't even care what size!

But...some guys ARE working bigger. Just not necessarily for their comics work. Ian Bertram is doing giant 40X60 pieces for commissions. Here's a sample:

 

IanBertramTELLHERWHENYOUBURNEDHERPASTb.jpg

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Re: Bertram 40x60

absolute talent to work in that size with such detail. 

Pure speculation on my part, but I imagine not every artist can paint murals, i.e. large scale. 

Edited by Jay Olie Espy

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11 minutes ago, Nexus said:

IanBertramTELLHERWHENYOUBURNEDHERPASTb.jpg

Had my eye on that for nearly a year on Ian's personal site before you posted and sold it (nearly immediately, no surprise there!) Sensing it was a $5k piece at the outset, there was no priority to making it happen and there still isn't but that's the stuff that's got presence. I hear you re: digital migration but I don't excuse the physical guys from working larger on that basis! That's one thing that's nice about a lot of European art it tends to be bigger, even a lot of older UK comic art is bigger. I'm sure you've got some and know what I'm talking about.

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