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Tim Bradstreet

San Diego Comicon Appearance

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Hey folks, just an official heads-up to any of you all who will be in attendance and want to track me down.

 

I'll be making the RAW booth home base between signings and some networking.

I'll have originals and artists proofs for sale as well as my art book, Maximum Black (The new art book, Archetype, will not be available until late August/early September).

Come by, we'd love to see you.

 

Normally I'm in Artist Alley, a place I've been regularly since 1993, but I'm taking a year off as a small protest to the downsizing of something I believe should remain a focus of the show. For over 35 years Artist Alley has been a mainstay at the event that is still called COMIC con. Over the last several years the Alley has been continually shrinking as the demand for floor space is a premium commodity. Film Studios, Game companies, Toy creators, among many others have become a big part of the show, and for that we're all grateful, but this influx of mutimedia has also threatened to force the artists out of the very show that we helped to make a special event all these years. For the first time in the HISTORY of Comicon the show is charging for table space, and on top of that, forced the lion's share of creators to make due with a 4 ft space.

 

Now I hear that some folks were not charged for a table, maybe it's only the late comers that are being charged for the space, but being charged they are.

I'm not a political creature by nature, and this is by no means meant as any grand statement by me. I'm just one small guy in a sea of others and I'm sure Comicon is more than happy to give my meager 4 ft space to another. But I do feel the continual downsizing and now the limited space (@ $350.00 per 4') is an injustice.

 

When we first heard about the new "rules" for artist alley at last year's show, Joe Jusko, myself, and others were wondering what we could possibly do. Our first thought was to band together and purchase a booth space on the floor to share. Joe, I, and others need that 8 foot space to ply our wares, show and display work, to say nothing of needing room to autograph and sketch. A 4 foot space is so completely cramped there is just no way for us to make do with it. But booth space is astronomical and it would cut mightily into our profits, in a sense making it almost pointless. Jusko won't be attending this year. I probably would be skipping the show entirely if I didn't live here. Not because we're stuck up or think we're too good to pay for space, or any other silliness. The fact is 4 feet is ridiculous. We're comic artists, not movie stars. Whatever perception people have of us, many of us live check to check as freelancers. Affording a space on the floor is kind of beyond our means.

 

Artist Alley will be filled to the shrinking brim with artists who are happy to have whatever room they can get. But a lot of the regulars and mainstays of the Alley will be missing. In addition to the table splitting and the charging for tables this year, Comicon is also banning the use of stand-up displays by the artists. Seems in our cramped little space it's even more cramped with all the displays. Probably a Fire Marshall thing.

 

Sorry for the small rant. I'm just very disappointed that it seems Artist Alley has been relegated to such a small supporting role when once we were one of the major draws to the show. But how do you stand in the way of film companies that are shelling out MAJOR dough to promote their films? You can't.

And if you think this only impacts the attending professionals, try getting a room near the show. Next to impossible now unless a major company has reserved room for you in their block. And the hotels themselves are unbelievable. Once upon a time there was actually a special convention rate. You could get a room for less than the hotel would normally charge if you were attending the show. Now with the film studios and the huge amounts of cash exchanging hands, the room rates are through the roof. Any of the major downtown hotels, Marriotte, Hyatt, Hilton, Omni, are in excess of $300 a night.

 

Has Comicon gotten too big?

 

 

Anyway, find me at the RAW booth where I'll be scrunched in amongst the monitors and the freebie balsa wood gliders, and stickers.

RAW T-Shirts will also be on sale!

 

Hope to see you there. I'll post the booth # when I get that information.

 

- TB

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Think in a few years, there won't be any artist alley... No actual comics at comic con. :P

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A couple years back Noeland and I went to DRAGON CON in Atlanta, we virtually struggled to find the artist alley, and when we did it was nothing more than a 20 x 20 room.

 

Here in Detroit a 4' table at Motorcity comic con is like 300 bucks and there is no artist alley, they are just sorta peppered through out the con. We'll have special guest artist's but for the working professional? They get no respect it seems. 2 years ago you could get an 8 ft table for $150 bucks, we had all kinds of creators then. Now? I just don't think any of them can afford it or the cost just makes for meager profits and not worth the effort. But dealer tables we got TONS of dealer tables!

 

oh yeah, we also get all the surviving cast members of HAPPY DAYS in the celeb alley...it looks like a TVland freaking reunion over there every year.

 

It is sad to see the people who are largely responsible for there being COMIC CONS forced into the back rooms or even out of the events...truely sad.

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Tim- glad to see you will be there again! I'll be down at the small press pavilion at M-15, but will make it by the RAW booth for sure.

 

Yeah, I hate to see artist alleys at shows shrink- especially at SDCC. Depending on when you hit them you can pretty much walk right up and talk to any creator you'd like. Great face time with folks you admire. It was great getting to see guys like you, Bernie Wrightson, Joe Jusko, and more there. I can't tell you how many times I said, "Holy crap- there's (comic creator's name here)!"

 

I've been helping out with the Superman Celebration in Metropolis the past few years, and our artist alley has grown. Unfortunately we had to move from the community center building (it was sold) to a building down the street that was being converted into a church. It was a bit cramped, but we had a great time and was happy to hear folks tell us they tracked us down- and many did first thing when they hit town. It was a bit of a walk, but they didn't seem to mind- even though we all missed the old location. It was right across from the big Superman statue in town square. Couldn't have asked for a better location. I'm hoping we can stay or at least find a bigger space. We've already had requests for more to join us there.

 

Good luck at SD and I'll see you there.

 

Lin

 

PS- would love it if you did the Nashville show! I'm in Memphis and plan on going.

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Guest AdminGuyX
Think in a few years, there won't be any artist alley

 

Well, we can't let that happen.

 

I have discussed a few times with a few people of holding "artist conventions" that would only be artists hanging out with fans, signing, doing sketches, portfolio reviews, maybe holding basic art seminars with up and comers, etc.

 

No dealers, no actors, no wrestlers, just writers and artists and the stories they tell, as it once was, artists ruled at these conventions and had better space than dealers.

 

Ultimately, that kind of thing won't make any money but as a labor of love it sure would be fun to try it some time.

 

:)

 

Has Comicon gotten too big?

 

Have to find out for myself next year.

 

;)

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I don't mind the actors being there- especially guys like Tom who have not only played comic characters, but are fans and/or creators, too.

 

I went to Adventurecon in Knoxville a couple years ago and Ray Park and Adam Baldwin would get up every now and then for a break and just go walk the floor, check out booths, have their picture made in the Batmobile, pose for pics with fans, and shoot Corey Feldman in the head with an airzooka- ok, that was just Adam. Ray would get into lightsaber battles with jedi. ;)

 

ADAMBAT2.jpg

linraybt.jpg

http://s57.photobucket.com/albums/g210/lin...=RAYSPINMOV.flv

 

I do feel that there should be much more emphasis on comics at any show called a "comic-con".

 

There's a sci-fi/fantasy lit con here in Memphis and they've just recently started having any comics programming or comics guests. They like science fiction, fantasy, and art- but trying to convince them that comics can be all of those rolled up into one has been a hard sale. They still don't have an artists alley- even though there are over a dozen local creators (most have either self-published or worked for Image, Dark Horse, Marvel, and DC, etc.) but still get looked down upon as "locals/wannabees" and our comics looked at as low brow entertainment. Doesn't matter how much we struggled to get the work out there, the quality of it, subject matter, or publisher- they're still just "funny books" to a lot of folks.

 

I love me some funny-books, but hate to see any comics and creators shoved in a back corner- or not there at all.

 

Looking forward to stopping by the RAW booth.

 

Lin

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In addition to camping at the RAW booth, number 5339 all weekend, I'll also be appearing at The Splashpageart.com booth.

You can find me there Friday from 2 until 5, and Sunday from 1- 3pm. Splashpage's booth number us 4203.

 

Thanks

- TB

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This is the first year since 1999 that I am not at comic-con. Last year I just felt burned out by the whole thing and it wasn't fun any more.

 

I looked into going this year, but even staying at the Hampton Inn near old town was around $300/night. Ridiculous.

 

Anybody looking for a great artist's convention need look no further than Heroes Con in Charlotte. Tim - you should consider it some time!

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This is the first year since 1999 that I am not at comic-con. Last year I just felt burned out by the whole thing and it wasn't fun any more.

 

I looked into going this year, but even staying at the Hampton Inn near old town was around $300/night. Ridiculous.

 

Anybody looking for a great artist's convention need look no further than Heroes Con in Charlotte. Tim - you should consider it some time!

 

 

Quoted for truth!

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Comicon report -

 

For first pics hit Todd Farmer's Journal - You don't want to miss it!

 

First of all, we missed you Adam G, and Mike (and also Adam J).

 

Finding a hotel is the real conundrum because if you stay outside of downtown to find a reasonable rate (still tough to do), then you have parking issues and that's adding another $20-$30 a day to your expenses. But we have the trolly too! Still, it's a big pain in the ass unless you can stay close.

 

Too bad you guys missed it. I had a better time this year than I have in a while. And to think I almost missed it! I was supposed to be up in Canada working on a film but it was pushed back which opened the door. Stayed with a friend a couple blocks from the show so I was nice and close.

 

Wednesday - Preview night

 

My pal Mike Hess deserves huge kudos. We packed up his vehicle with all of our RAW stuff (T-shirts, posters, stickers, balsa wood gliders, and other swag) Tuesday night and Mike parked in the underground structure (underneath the convention hall) Wednesday morning to be sure we had a spot. He hung out, bored to tears until our crew began to show up around 12:00pm. He coordinated with me, Jane, Pressman Productions, and the union convention dudes to get our banner hung (outrageous stupid cost), he coordinated with Pressman to make sure Mutant Chronicles promotional items were delivered to the booth (more juggling), and had everything hauled up from the car and waiting for us in the booth by the time Jane and Farmer arrived. The booth set-up ran SMOOTH which was a huge change from last year. I arrived around 3:00pm and it was all but finished. THANKS MIKE!!!!!!

 

The rest of Preview night was nuts, Preview night used to be a rather small affair, now it's like a Friday at the show. Real busy. We mostly saw old friends, made some new, and hawked our projects. We broke from the show around 9:30pm and had dinner at Lou And Mickey's across from the show. Then I threw Jane into my car and we saved a night of Hotel rate rape by shooting out to my place for a little rest before the invasion.

 

Thursday (Day 1)

 

Everyone got in early and we all hung in the booth. "WE" consisted of Hess, Jane, Todd Farmer, myself, and Ludon Lee (with part-timer Mark Walters). Tom and I were signing away and taking pictures with fans. When you have Jane in the booth that also means you have camera crews in and out doing interviews and such. I hope you guys find some of those cause it's really cool to listen to Tom talk about how much he loves comics and it's even cooler to realize that his knowledge and passions are well researched and genuine. We flipped out when we found out that EC Comics artist and legend, Al Feldstein was sitting over in artist alley, along with Jim Woodring and Kim Deitch, alt comics GODS.

 

It was somewhat of a relief not being tied to artist alley this year. It's all the way at the far end of the hall, stuffed into the back. The location means walking through hordes of fans to get to a door outside, or to any booth you may have a signing at. As it was, the RAW booth was located on the wall near the hall C door which was hugely convenient. No stress = better Comicon ;)

 

Signing at Marvel booth for Punisher Warzone was easy too, The LGF staff took great care of me. I went a little early and hit the green room to find Ray Stevenson and Gale Anne Hurd hanging out. Before I knew it, Ray and Gale came over and Ray was handing me a gift, which turned out to be a gold Punisher lapel pin with Ruby eyes.

Ray had them made for the cast and crew of the film. Pretty cool. Luckily I came bearing gifts as well and handed him a limited edition giclee of my last Max cover.

Gale was great and Ray was a true gentleman, a very classy man. We sat around visiting and signing posters for each other. Then we did the signing which ran without a hitch. The fans were spectacular. A real bonus was Dark Country Producer Patrick Aiello stopping by to say hello (he came down from LA for a whole 3 hours to do some business).

 

Back to the RAW booth and a great afternoon.

Todd Farmer and I then went to a LGF cocktail party hosted by SPIKE. Good times hanging out with Tim Palen and Sarah Greenberg, the co-presidents of marketing for LGF, old friends from the 2004 film. Midway through the party Ray Stevenson and his stunt double Jeff and I went outside for a smoke. Ray humbled me greatly when he told me that he had my cover from Punisher Max #50 folded up in his back pocket throughout the production. He'd take it out periodically and look at it to remind him what Frank Castle is all about, that it inspired him. Sheesh! He said that the sets in the film were was like a love letter to my covers, he and Jeff then began showing me pictures of some of the sets lifted directly from my covers. I was fairly blown away. I had no idea they had done that. He really wanted to meet Jane, he loved what Tom did in the 2004 film and is a big fan of Stander. Unfortunately Tom was tied up doing promo for the Blue Ray edition of The Mist and couldn't get over to the party. It would have been cool to see Tom and Ray at least, come together amidst the firestorm of craziness surrounding the new film. I stayed on my best behavior and didn't inundate Ray with too much fan appreciation for Rome. Ray and Jeff, GREAT fellas.

 

Private dinner with friends followed. EXCELLENT day.

 

Friday (day 2)

 

Friday was spent hanging between the RAW booth and my art dealer's booth. I met so many cool people it really is a blur. The fans again were fantastic. I sold a few originals which takes some of the sting out of those jacked-up hotel rates, moved a slew of art proofs, and mainly wise-assed around with Tom and Todd. Did an interview for a WAY COOL French comic mag, saw some old friends, and periodically hit the smoking ring with my pal Kevin Chapman (Graphitti Designs).

Another excellent day.

 

For dinner, Tom, Todd, Ludon, Hess, and I joined our Dark Country Digital FX supervisor Jules, and one of his staff, along with a few Asian beauty queens (no joke), and some of Ludon's artist friends (names, I'm so bad with names) for dinner at the amazing RED PEARL. Asian cuisine doesn't get any better.

We arrived at our own party about an hour late.

 

RAW/Grapple party - All our friends in the house including Jim Daly, Bernie Wrightson (and wife Liz), Tim Vigil, director Wayne Kramer, Casper Van Dein (cool guy), Jimmy Palmiotti, Amanda Conner, The FSR gang . . . Fuck me, I can't even begin to remember who all was there.

We left a little early and went around the corner for Pizza. Jane kept us entertained by reprising his role as "The Homeless Guy", from Arrested Development. Found out the next day that the party was finally ended by hotel security, who shut it down because of the noise. Wish I'd have been there for that.

 

Saturday (day 3)

 

Saturday started early, too early. I had a signing at the Image booth at 10:00 am for Studio Space, a new art book edited by Joel Meadows and Gary Marshall of Trip Wire Magazine. Studio Space is a collection of interviews and looks into the studios of 20 artists, including - Brian Bolland, Adam Hughes, Frank Miller, Mike Mignola, Sergio Toppi, Duncan Fegredo, Dave Gibbons, Steve Dillon, Joe Kubert, Howard Chaykin, and Bryan Talbot. If you get a chance to pick one up, DO IT!

 

Afternoon was wonderful, hanging in the RAW booth and letting the show wash over us. Everyone agreed, we were having a great time. No drama, low stress, fans were GREAT, and really cool people stopped by the booth to say hey. My fondest memory is when Jim Warren, the publisher behind Famous Monsters Of Filmland, Creepy, Eearie, and Vampirella, stopped by the booth and actually was fawning all over my art. I didn't even know it was him until I looked down and saw his badge. Then I freaked. He said "Where the hell were you 25 years ago". He told me he was a huge fan and had been following my work for years. That made my weekend. I said "that's pretty fucking ironic Jim, cause I've been a fan of yours all my life."

 

At 3pm I went over to the Harlequin/Gold Eagle booth and signed Rogue Angel for an hour. That was awesome as I got to spend time with good pals and editor's Blake and Tony. Andy Mangles stopped by for a while and chatted us all up which was fun.

 

Back to RAW to finish up the day. We left early to join Ed Pressman and his lovely wife Annie for dinner. Ed is the man who made Mutant Chronicles possible.

Dinner was incredible and we (Tom, Todd, Hess, and I) were joined by Ron Perlman, Devon Aoki (and her gorgeous mother), Simon Hunter (the director), and the guys from Paradox Entertainment, who own the rights to Mutant.

So funny how this stuff works. I was sitting next to a guy from Paradox and didn't know it. When he said who he worked for I said, "Y'know I've been dealing with some guy at Paradox about illustrating a Robert E. Howard project . . . " The guy said "Tim Bradstreet?" I said "Jay?" and as it tuns out the guy I've been talking to for months is the very same guy sitting right next to me. Totally hilarious. Great to finally meet those guys and it looks like I'll be picking up the mammoth job of ilustrating one of their Howard books. More news on that soon!

 

The Mutant Chronicles screening.

We pretty much ate and ran, still chewing our food as we humped it back to the convention center for the screening.

Once there, Tom, Simon, and Jeff Conner from Pressman introduced the film, explaining that it is still a work in progress, a rough cut.

They wanted fan reaction and are searching to pick up some additional financial help to complete the film.

Rarely have I been witness to a better crowd. there was cheering throughout the film and huge applause at the end.

5 years ago I don't think you could have shown a rough cut to an audience and had them understand that what they were seeing was by no means the finished product. Even when you tell people it's not finished they still want to read too much into what they are seeing. The internet has loosened the bonds on grasping this. Audiences are more savvy now. The film is not graded yet for the most part, flying blood is not color timed and suffers for it, the audio is a mess, there are still some major things in the editing to work out. The fans accepted this for what it was and loved it. The theater was pretty much packed. It was a smashing success.

Biggest applause came when Tom Jane utters the classic line "I don't get paid to believe, I get paid to fuck shit up".

 

After the film there was a Q&A with Pressman, Jane, Perlman, Aoki, and Simon Hunter. Fans got to ask questions and that turned out cool.

After the Q&A there was a meet and greet cocktail party attended by the film's creators and stars. Winners of the AICN Mutant Chronicles "write in" posted by Quint were invited along as well. Perlman was mobbed, naturally ;)

The evening was a total blast.

 

Sunday (day 4)

 

Made it to the show early again! This low stress thing is great.

Spent the morning in the RAW booth, a repeat of days 1 through 3. Glorious.

At 1pm I wandered over to my art dealer's booth to sign for a few hours.

My buddy-pal Lee Bermejo came by and we FINALLY got a chance to catch up.

Also had a great time with Mitch Brightwieser and his wife, cool as shit folks.

Jim Lee stopped by and Bermejo and I chatted with him and his entourage for a little while.

Nice and relaxing.

 

Went back to the RAW booth and hung out for the last few hours.

Niles and his gal (my pal) Sarah Wilkinson (awesome artist) dropped by and there were hugs and kisses.

He'd been jumped out in front of the convention only minutes earlier by some dipshit asshole who has been spamming him with threatening emails of late.

This all ties into the Matt Busch (Bush, Bucsh?) drama that has been going on for the last few years. Some people just never get tired of moving on or being assholes.

That guy takes offense to what I say here? Tough shit.

One small drama, not bad.

Booth breakdown was a breeze, we were also joined this weekend by my pal Chris Frobose who gave us a helping hand.

 

Annual Sunday evening gathering at Horton's was nice and relaxing. Todd, Tom, Hess, Brian McQuery, Mark Walters, Jim Daly, ERock, Jaime Mendoza, and some of our Aussie pals broke bread and had a few drinks together before Tom, Todd, Mark, and I headed over to the Annual Graphitti Dead Dog party graciously hosted by Bob Chapman. This year's theme was a celebration of the life and art of Dave Stevens, and also a celbration of Dave's 53rd Birthday which is today. Bob, William Stout, and Paul Chadwick shared some anecdotes about Dave with everyone. Everyone who was invited got a complimentary "BULLDOG STUDIOS" T-shirt with the classic art by Dave. On the back it said "Happy birthday Dave. We miss you." I hung around with Palmiotti, tipped some steam with my pal John Cassaday (we're going to do something together real soon), Met Dave Gibbons, had some drinks with Ron T from LAST GASP, Talked at Frank Miller for a few minutes, licked the icing off of Diana Schutz's forhead (she did an honorary face plant in the cake), tickled Bob Schreck's ass, met some cool folks I never met before, and enjoyed what I like to call, "The family Reunion".

 

I'm leaving out a lot, but I'm not one to kiss and tell.

 

Great weekend.

 

- TB

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Pretty cool, I was wondering if you would get Ray and Tom to meet each other there, maybe some other time.

 

And it's awesome that Tom was reprising his role from Arrested Development.

 

"I just want my kids back."

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I would have loved to be there.

Sadly, being on the other side of the fucking atlantic put a torpedo in that plan, at least for this year.

 

Still, I did get something out of it, my friend who did go managed to secure one of the 50 limited museum quality prints of # 60, signed just for me. I can't wait to frame it and put it up on my wall when I recieve it.

 

Thanks, Tim.

Would have loved to shake your hand, aswell as Jane's and Ray's; who seems like the perfect gentleman.

 

Hope everyone had a great time.

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I would have loved to be there.

Sadly, being on the other side of the fucking atlantic put a torpedo in that plan, at least for this year.

 

Still, I did get something out of it, my friend who did go managed to secure one of the 50 limited museum quality prints of # 60, signed just for me. I can't wait to frame it and put it up on my wall when I recieve it.

 

Thanks, Tim.

Would have loved to shake your hand, aswell as Jane's and Ray's; who seems like the perfect gentleman.

 

Hope everyone had a great time.

 

Cheers Sage -

We did real well with that giclee and I was extremely happy with the quality of the prints.

The color really pops gorgeously and the blacks are rich and dark. The paper is exquisite.

I also ended up doing a run of Jane Punisher giclees featuring art from the Extended Cut.

With Jane in the booth those things FLEW off the table.

 

Sorry you couldn't make it. Would have loved to meet you.

Nomad was a scream.

 

xo - TB

 

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I was there as usual. Sorry I missed you Tim. Saw you from across the room once, but couldn't get over (sounds like a Craig's List missed connection ad, doesn't it?). We were short-staffed this year at the CBLDF booth, so I was working most of the con. Upside is we made over $90K for the fund (unofficial number, so don't quote me on that), downside is that I saw very few people and got less artwork than normal.

 

I'm in the same camp as most long-timers about the decline of comics at Comic Con. The Hollywood stuff can be fun, but at the same time it's taking over the con. By the time this latest wave of Hollywood infiltrating comics is over (it may last for a while, but it will eventually dry up for a while), I'm afraid that when the dust settles, alot of us long-timers will be gone.

 

And man, don't even get me started about prices. Luckily the CBLDF reserves our room a year ahead of time, but I know the room rate has almost doubled since we started going all those years ago. It's damn near impossible to get a beer with friends unless you bring it with you. Jeez!

 

I got maybe half (or less) the number of pieces of art than I usually get. The competition for getting on artist's list is fierce. And commission prices from some folks have also skyrocketed too.

 

Now Tim, you know I'm a BIG supporter of artists, but some guys doubling or tripling commission prices for this show only is a bit much. I mean, I'm the guy who usually pays the artist more than they ask for to show my support. On one hand I can't blame them. There's alot of money on that floor, so why shouldn't the artists get their share? They deserve every cent they can get for their hard work.

 

But on the other hand, pricing out the loyal art collector for Hollywood money and investors (who are not interested in comics) really hurts. For example, one of my favorite artists (who shall remain nameless) was charging $60 last year. This year, for a piece of the exact same quality, it was $200. And it's not like this artist became a comic book rock star over the last year. Another artist, who I have no work from, and who HAS recently become a comic book rock star, was charging $300-400 for a head sketch.

 

Sunday is usually my day to buy Silver Age comics. The SA Comics area was almost down to nothing. And what was there was either low-grade reading copies (sold in bulk), or high-grade, high dollar investment copies. Very little middle ground for the average collector like myself. I usually spend a good $500 on Silver Age comics at this show. This year I spent $48.

 

Sorry about the complaining. Just venting a little. This year made it perfectly clear to me that while San Diego has evolved into a bigger and (possibly) better convention, it has also become a show that I cannot get what I want out of a convention. I really don't know if I'll be back next year. Which is a shame since I've been attending since 1997.

 

Really sorry I missed you Tim. Betsy joked that she's going to have to fly into Dallas next time you do Mark's show, just to see you.

 

G.

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I only asked for one sketch this weekend- which was a Harley Quinn from Bruce Timm. He was charging $50 for a marker head sketch. There were only two spots left on his list when I finally got up to his table, and there were two guys in front of me! Luckily for me the first guy in front of me thought that was a bit much and bowed out. I quickly wrote my name down on the list and was very happy to do so. I've been wanting one for years now and would have paid double or more- luckily I didn't have to. ;)

 

btharleysm.jpg

 

What sucks is in '05 I got a Harley sketch by Paul Dini and later that afternoon when I sat my sketchbook down in my seat and turned to say hi to a friend after a panel, some ass-hat swiped it! I literally just turned around for a minute and someone stole it. Never, never leave anything sitting around where you can't see it! At con if it ain't nailed down it'll walk off.

 

Anyway, most of what I picked up (bought!) were sketchbooks from the illustrators area and artists alley. Ruben Martinez and Sean Galloway both had hardback sketchbooks and did a sketch inside each- way coo!

 

Oh, and when I asked Stan Sakai if he would sign my Art Of Usagi Yojimbo book, he not only did (and with a smile), but did a full page sketch in it for free, and in under 30 seconds! I bought a sketch book (which already was signed with a head sketch in it!) and some other merch from him, too. Great guy.

 

Did get around the small press area where I was and picked up some comics and buttons, but didn't get a chance to check it all out. Mostly just on my way to-from the bathroom, swapping comics with friends in the morning, or on my way back from visiting the RAW booth!

 

It was really hard to get from one end of the con to the other, especially running a table. When I got free most times I just stayed to one of the outside walls or ducked out into the hall and bypassed a lot of the crowds. It got crazy the few times I tried going up/down the middle of the room. I just tried to go with the flow and keep my eyes open.

 

Lin

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i actually posted a question as a new thread in Mr. Bradstreet's area that could be put in this area. Sorry about that. I didnt scan all the threads well enough....maybe the moderator will move it here. the question was basically, i went to Atlanta's DragonCon and i noticed they made you put your camera away while in the artists area, is this a real need? my small digital camera couldnt really take a good enough picture to steal artwork, but is this a real concern? i would and do always abid by any concern for this kind of thing, but i never really thought people went into areas like that just to steal pictures of artwork. Or is there another reason for that? Just really caught my attention as to why....

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