Terrificon Prep - Early Thoughts

Hard to believe but we are two months away from con season. And this year the season opens up with my favorite show, Terrificon.

I have lauded the show in the past. It is truly a comic book convention. The guest list is almost exclusively comic book creators. And perhaps the best thing about the show is that it really runs the gamut of creators. We get golden age legends. We get bronze age stalwarts. And we get the current stars. Every time I think the show can't list more guests, more get posted. If there ever was a show to commit to a three day trip, it is this one. Because I don't think there is time in one day to get to everybody. It is amazing.

 There are celebrities but they all always have a strong link to comic books. This year the show is bringing in stars from the 1989 Batman movie and others.

And the venue is great. Huge hall. Free parking. All levels of eating options within the casino. And, if you are into that, gambling.

Here is a link to the site if you want to scan the guests: https://www.terrificon.com/

But this is a con prep post, which means I have to talk about my commission conquests and other hopes.

The top commission hope is Colleen Doran.

I am a long time fan of Doran. She loves the Legion. She was one of the artists on the recent JLA 3001 book that I loved. She is a fan of Supergirl. And her art is just dreamy.

I missed out on the opportunity to get a commission from her several years ago when she was at the Boston Comic Con. I won't let the chance pass again.

So I will be heading to Doran's table first.

Who else am I hoping to get?

Con Prep: Survival & Standards

We are rapidly approaching the Boston Comic-Con, a mere 8 days away!

I have spent this month reviewing some of my preparations for this con, the big one on my schedule.
These posts have included:
1) Commission decisions
2) Commission source material
3) Lining up commissions 
and
4) Signatures and etiquette

Those posts were all about my preparation for the comic and creator portion of the convention. But the truth is that there is so much more to conventions than shopping and meeting celebrities.

You need to be able to survive in the con conditions. Throngs of people are stuffed into conventions centers, worming down narrow aisles, and pawing the same merchandise that you have just pawed. In some ways, it is like a more peaceful zombie apocalypse. And so I'll advise a couple of survival items.

1) Water and water bottle: you are bound to get dehydrated, so bring a receptacle for water so you can imbibe the fluids and maintain a physiological equilibrium. Each con might have a different set of rules. You might not be able to bring in actual liquids. For me, I just bring an empty metal water bottle like used in camping. But I don't mind tap water from a water fountain. There will be places to buy water and other liquids at the con but for me I'd rather spend my money on comics.

2)Hand sanitizer: Perhaps the biggest suggestion is hand sanitizer. Between looking at old books, shaking hands with friends and creators, and the overall concern for 'con crud'. Whether it is a Purell like gel or a WetOnes towelette pack, definitely have something to keep your hands clean and germ-free.

And then a couple more suggestions so you are ready:

3) Breath mints: Sounds crazy but throw a tin of Altoids in your bag. Nothing worse than having rank breath as you approach your favorite creator. It's just good manners.

4) Pens/paper: You never know what you will hear and want to remember at the con. If you are on social media, sometimes you need to jot something down to post/tweet later. And lastly, I use it mostly to write down where I have found something I might want to buy so that I know where to go back and find it. The vendors end up blurring together so I is better to have a note to jog your memory.

5) A 'Want List': Are there issues that you are always looking for? One issue missing in a long run? Stuff interested in? Make a list and have it on you so you know what to look for! I am missing a handful of issues from Simonson's Thor run but I can't commit those issue numbers to memory.

6) A device: In this day and age, I don't know if I need to say it. For most of us, this will be a smart phone. For others, it might be a tablet. Or both. But having a device to grab pictures, surf the net while in lines, and the usual stuff is key. Since I use comicbookdb.com, a device is key to remind me which issues I have! I also have the 'want list' on my device in electronic form. But remember that sometimes there will be areas without signal, so having a paper backup is key! And definitely bring your charger!

And then a question for you all about something I am thinking about-

7) A name tag: I have to say, I have been debating this one for the last couple of years. In this era of social media, more people probably know me as @dranj70 than as Anj. So I have toyed with the idea of wearing a name tag like that so that people could know who I am. What do you think?

Con Prep: Signatures, Etiquette, And Comics

The Boston Comic Con is now just 2 weeks away and so I am nearing the end of my Convention Preparation posts.

Most of my posts have been dealing with strategizing about commissions. But I realize that commissions aren't for everyone.

So I thought I would briefly talk about my approach to meeting creators, getting signatures, picking comics for signatures, and showing your fellow fans a little bit of courtesy. I'll throw in some personal anecdotes.

For me, one of the biggest thrills of conventions is to meet the creators who make the books that I love. Conventions give you the opportunity to walk up, shake hands, thank the creator for their works, and hopefully chat. This is an even bigger deal when you get to meet a creator you consider a legend or who is one of your favorites. It is even better when you can have the creator sign some of the comics you cherish. A couple of things things I have to keep in mind.

When meeting a creator, try to estimate the crowd who is also there to meet that creator. I tend to think about it the same way I think about planning out my commissions. Is the creator hugely popular? Is there going to be a huge line? How much time do you want to devote to waiting in line to meet the creator, especially in the context of how much time you are going to be at the con? 

For example, at this upcoming Boston Comic Con, I am already anticipating that the lines for Babs Tarr, Jason Latour, and Jimmy Palmiotti/Amanda Conner are going to be very long. If I wasn't planning out my commission route in the early goings, I would probably head to one of their tables first. Two years ago, I knew Scott Snyder would have an enormous line, so I had to plan when in the con I was going to stand for hours.

Now, for someone whose work I absolutely love, I usually have to take a deep breath before meeting them so I don't sound like a gushing fanboy. Usually I try to come up with something cogent to say when I meet them although in the end it often degrades to 'hi, I love your work!'

When in line or at the table, take stock of the environment around you. Is there a huge line behind you? If so, picture yourself as one of them. Even if you have a great ice breaker and a burning question, understand that others are just as eager. Try to move things along. Now if the creator is engaging you and talking, you can stretch the time out a bit. If there is no line, feel free to linger and chat as long as it feels comfortable. But try to be courteous. If you are staying late, consider wandering back to the table as the con winds down. A lot of the crowd thins out. You might be able to re-engage when there are no lines.

One of my favorite con moments was meeting Howard Chaykin at the Boston Con a handful of years ago. I am a huge Chaykin fan. It was the middle of the afternoon, there was no one at his table. I actually was able to sit down and talk to him for about 15 minutes. It was fantastic.

Signed by Wolfman, Perez, & Ordway

A tried and true ice breaker is bringing comics to get signed.

Now personally I try to limit the number of books I bring to get signed to 5. I will expand that to 10 if it is a creator who I highly admire. But I never break the 10 rule. It isn't fair to the creator or the other fans behind me. I also might try to cherry pick a bit to see if there is an issue that I can get multiple signatures on.

Some creators  limit the number of books they will sign. So when putting together a stack to bring, prioritize in your mind which are the ones you want signed the most. Don't be flummoxed trying to figure that out at the table! Preparation is key!

Nothing irks me more than someone bringing a brick of comics up to a creator to get signed. Part of that is my take on these signatures. I think it should be limited to specific issues which I think are special. Sure I'll bring up my share of #1's, first issues of historic runs, or 'important issues' to get signed. That's why I have Crisis on Infinite Earths #7 signed by Marv Wolfman, George Perez, and Jerry Ordway. That's why I have Thor #337 signed. But my guess is those guys have signed a lot of those particular issues.

Signed Kupperberg, Infantino, & Buckler

But as a big Supergirl fan, I will always prioritize Supergirl issues over other stuff to get signed. For example, when Carmine Infantino was a guest in Boston, he limited signatures to two items. Infantino is best known for the Flash and Adam Strange. But I brought up Daring New Adventures of Supergirl #1. Because that issue means more to me than other stuff he did. His signature wasn't a speculating mission to increase the value of an old book. This wasn't a mainstream 'important' issue. But it meant a lot to me.

It's why, despite having a trove of Adam Hughes covers of Wonder Woman, I brought up a variant cover of Supergirl and the Legion of Super-Heroes to him.

Lastly, I also like to try to pick out an unusual issue that means a lot to me to bring up to a creator as that can sometimes lead to a conversation (should time and courtesy permit).

I adore 1st Issue Special #9 Dr. Fate issue. So I brought this issue to get signed by both Walt Simonson and Joe Kubert. There are plenty of 'more important' issues by those creators to get signed but not for me. This issue is one of my favorite of all times! It merits getting signed.

When Frank Quitely was a guest at a con I went to, I had All-Star Superman #1 and New Xmen #114. But I also brought All-Star Superman #10, my favorite issue of that run. When I mentioned that to Quitely, he said it was his favorite of the run as well which led to a nice little chat.

My buddy met Brian Michael Bendis at a con. Bendis limited to five signatures. One of the issues my buddy brought to get signed was New Avengers #53 because it had a big comic brawl he loved. Bendis actually paused when he saw that issue in the pile, probably because he doesn't sign that one too often. It led to a cool conversation as well.

 Lastly, the creator may ask to personalize the signature, adding "To ___" your name on the cover. I suppose it is a way to separate speculators from fans. Let them do it.

As for me, I try to organize the issues I want to get signed by having individual  folders envelopes set up with the issues for each creator inside. This way it is easy for me to find the issues I want a creator to sign once inside.

Since I have a big backpack and a car at the con, I can bring a lot of books. I usually decant the bag in the middle of the con, putting signed issues in the car and bringing new folders into the convention. If I didn't have the car nearby, I would probably have to pare down even more.

Hope this helps.

Con Prep: Lining Up Commissions, Funds, & Making A Plan

Boston Comicon is now 3 weeks away which means I am in full preparation mode. I have three more Con Prep posts in mind, including todays.

So far I have discussed:

1) Commissions and sketch decisions
2) Source material for commissions

Today I will talk about lining up commissions and making a plan. My last two Con Prep posts will talk about signature preparations and then overall con survival. I guarantee you, by the end of this blog series you will see the tiny bit of obsession and over-preparation that invades my mind around conventions.

The first thing I think needs to be discussed is squirreling away funds for commissions and the convention in general.

Remember that when at a con, there are innumerable ways to hemorrhage cash. The tickets. The comics and merchandise on sale. Parking costs (if applicable). Eating out. And then commissions if you go to a con to get artist sketches.  I think it is imperative to plan ahead when it comes to how much money you are willing to bring to the con and make sure to add the costs of those ancillary things into the budget. Remember that for most of us, there is a limit to how much you can spend. Money spent on sketches cannot be spent on comics and vice versa. Figure out what your goals for the convention are.

I will admit that I am lucky enough to have a job that has extra shifts available. I always plan to work an extra shift the month before con season to try to have a little slush fund for the con.

Now, for me, the primary goal for conventions is often to get commissions from artists whose work I love. And so I do some prep work before the convention to try to set things up.

1) Make a list of potential commission artists. I take a look at the guests and make a list of artists who I would like to get a commission from. Often times the list is long. So I try to prioritize the artists into tiers. Who do I really want?

2) Do the research. Head to the web and see if the artist has a site.

• Does the artist do convention sketches? 
• Is there a price guide for them (often there are different prices based on size, type of sketch (head sketch vs body vs color, etc)? 
• Does the artist limit to a certain number per day? 
• Is there a way to get onto the sketch list early?  

The answer to these questions might change your initial list. Some artists have been too expensive for me. Others don't do sketches at all. Be prepared to alter your plans.

A couple of things to consider when looking at artist's web sites.

• Web sites might talk about commissions but that might not be talking about sketches done at    the convention itself
•  The artist might be able to do the commission before the show. These can be pricier but higher quality pieces. This doesn't work for me given my use of a sketch book

 3) Reach out.

• Many web sites have a way to contact the artist via a question section or email
• Twitter is also a good way to reach out to the artist personally if you want to try

Usually when I email the artist, I discuss some of the questions above. Often I can't find the answers to the questions I try to answer in the research phase without reaching out. I will tell the artist which days I'll be at the con, the fact that I use a sketch book, etc. Sometimes the artist will hold a spot for you on their commission list up front.

And then, understand, sometimes steps 2 and 3 come up empty. Sometimes you just don't know about availability or pricing or anything.

4) Process and make a plan.
This is perhaps the hardest step. Because the truth you have to juggle a lot of moving parts.

• Price - sometimes this is the simplest make or break step
• Popularity - understand that popular artists are going to most likely have lots of people asking for commissions. If you are looking at a popular artist, you should get to the con early and head to the table early
• Availability - understand that if the artist only does a handful of commissions that the list may fill early. If you are looking at an artist with limited availability, you should head to that table early.
• The unknown - if you know nothing about the artist's commission schedule but a piece from that artist is the primary goal of the convention, you should head to that table early. Just be aware that you may walk away despondent if it turns out that the artist isn't sketching. Also, in the time you were there, you may have lost out on another opportunity with another artist. 
• If the convention has a map of artist alley available before the con, map out where people are.

The plan is primary. Who do you head to first? And then who? And then who?

So what have I done for Boston? Well, I contacted an artist and secured a spot on their commission list already. I contacted another artist I was very interested in and learned they only do three commissions per day at the show. Since there is a limitation, I will head to that artist's table first. The last artist in the top tier is a complete unknown, although there are YouTube videos of them sketching at shows.

So the plan of attack for my three sketch books will be:
1) Artist who limits to three commissions first. Hopefully make the cut.
2) Then artist I secured the spot with second. I think as a show of good faith and so the artist can get started in the book, I need to drop of the book early in the show with them. I don't want to keep that artist waiting.
3) Then the unknown artist third, knowing they might not sketch at all or that their list is already filled.

Based on the outcome of this early strategy (both success and funds), I sometimes will start to think about possibly getting other commissions.

Lastly, although I know it is highly unlikely that she will be sketching, Amanda Conner remains the Grail piece. Wish me luck.

Con Prep: Source Material

We are about 6 weeks away from the Boston Comic Con, so I thought I would continue my run of posts talking about my convention preparation.

The first post discussed predominantly commissions, discussing materials and decisions. That can be found here: http://comicboxcommentary.blogspot.com/2015/06/con-prep-commissions-and-decisions.html

I figured I would continue the commission discussion this time focusing on source material.

Source material is art you provide to the artist you are getting the commission from so they have a reference for the character you want.

Now in this era of smartphones and the internet and Google images, where many images of a character are a few keystrokes away, you would think that having source material would be an anachronism but I am here to tell you differently. If you have an image in mind, or a particular costume in mind, you should definitely have something with you that you can give the artist.

And here is why:
1) In this era of multiple costumes, if you have one you prefer, it is better to be exact about things
2) Smartphones run out of power, con centers probably have spots of poor wifi connectivity
3) It provides both you and the artist some assurance that you will be happy with the piece

Source material can me almost anything that conveys the look you want. So if there is an issue that has great art showcasing the character, bring that. Or you can print up a picture from a comic that has the costume you are looking for. On the internet, you can sometimes find style sheets that other artists use. I have made sheets with multiple pictures on it which I tuck into the sketchbooks and bring with me to cons.

But here is the most important thing, this also means that you need to have an idea of the character you want to have source material ready. And that doesn't always work out. I'll talk about this a bit more in the next post, which talks about artist decisions. If you aren't certain, at least have a vague idea in mind so you can guide an internet search or rummage through a dollar box to buy an issue at the con for source. (For example, you might say 'Mike Kaluta Madame Xanadu' or 'Guy Davis Sandman' or 'Chris Bachalo Shade the Changing Man' all of which are different than Amy Reeder, Alex Saviuk, and Steve Ditko respectively.)

And remember, this is reference material. The artist has the license to embellish, accentuate, deviate.

This is my source sheet for my main Supergirl sketchbook and the Matrix version of the costume. For me, key portions of the costume are the pointy sleeves, the pointed belt, and the 'full shirt'. So this sheet, with poses from Gary Frank, Jackson Guice, and Art Thibert highlight those. And I will point out the small things I like to the artist. I could just as easily brought an early issue of the PAD Supergirl for source as well. But this has worked nicely for me.

I recently have started to branch out a bit and I have got a couple of more 70's style Supergirl commissions with the hot pants and puffy sleeves. The first time I decided to get one ... you guessed it ... I didn't have source material. Since she wore that costume for a decade, it was pretty easy to head to a quarter box at the convention and buy an early issue of Daring New Adventures to give the artist.

I have since made this reference sheet and will bring it to Boston. Here we have Rich Buckler, Dick Dillin, and Jose Luis Garcia-Lopez shots. For me, the key thing is the boots and shorts since earlier versions of this costume had elf slippers and shorts with beaded edges.

But as I said, style guides are out there as well. Here is the Jose Luis Garcia-Lopez style guide for that very same costume.

If Garcia-Lopez is sketching at the convention, I might try to get a 'head band' Supergirl from him and would probably use his own style guide as source material for him!

But to reiterate the importance of source material, if you asked an artist to do a commission of Jean Grey, they might as which one ...

So better to be prepared!

Con Prep: Commissions And Decisions

My comic convention season starts in mid-summer with the Boston Comic-Con. That is the biggest con for me and the one I make sure that I attend yearly. I am lucky enough to also have several other local conventions (Granite State Comic Con, Connecticut ComicConn, RI Comic-Con, and the new Hartford Comic Con) that occur around the same time and will usually try to get to at least one if not more depending on my work schedule.

So it is around this time of year that I start getting geared up for the conventions, looking at guests, figuring out commissions that I hope to get, and gathering comics in my collection to have signed by the creators attending.

Each year, I toy with doing some posts specifically about my con prep. I figured this was the year to actually try to get it done.

The plan would be posts on:
1) Commission materials and display/sto
2) Source material
3) Funds, lining up commissions, and making a plan
4) Signature thoughts and my personal credo of etiquette
5) Other conventions thoughts

So I figured I would start at the top.

First off, I am only talking about convention commissions. You can get commissions done outside of cons that will be sent to you but my post won't really be about those.

If you are planning to start getting convention commissions, there are a couple of questions you are going to need to answer which will help you make crucial decisions on how to proceed. These were questions I didn't know the answer initially and/or have changed my mind about.

What are your overall plan for commissions?
How do you plan on displaying or storing your pieces?

Overall Plan: The overall plan is basically asking yourself if this is a going to be a finite collection or an ongoing obsession. If the plan is to get one piece by one of your favorite creators then that alters your plans about funds, display, etc. But be honest with yourself, comic book collectors are, by their nature, collectors. I thought I would be happy with a couple of pieces but it has become a really fun ongoing part of my comic obsession. Decide if this is a one time/couple of times endeavor or something more.

Display/store: The question of display or storage is important because it will determine what materials you bring to the convention. But also, it will impact how you obtain your commissions.

First off, if the plan is to display on the wall, assess your wall space! How many can you fit? Do you plan to rotate? Will your significant other agree to your displaying them proudly all over the house? These are all questions I didn't think through prior to obtaining commissions.

As a result, I changed my mind about this.
Initially, I went with loose commissions and the plan to display them on the wall.
I have subsequently switched to sketch books.
There are plusses and minuses to both.

If the plan is to store them in frames on walls, or in a slip-sleeve display book, or an art case, you will need paper.

Most artists draw on Bristol Board. And while most bring their own supply, I would strongly advise bringing your own just in case. There have been a handful of artists who have asked me to provide the material for the piece to be drawn on. I would recommend Strathmore Bristol as a readily available, affordable, quality piece of paper. Depending on your plans, the paper is available in 9x12 or 11x14 and most craft stores have a supply.

If you are planning to hang the pieces on walls, the other upside of supplying the paper is that there are frames in these sizes out there so that makes display that much easier ... and more importantly cheaper! Nothing seems to cost more than having a place make your frame.

I did not bring my own paper my first couple of times out and ended up getting pieces on the back of backing boards! Not big. Not sized for frames.

One positive about getting loose commissions is that you can have multiple commissions ongoing at the same time. You can run to as many creators as you want to and as long as they have paper, they can all be working on your piece simultaneously.

When I ran out of wall space and knew that I wanted to continue to obtain commissions, I switched to a sketch book. Again, Strathmore has all sorts of sketchbooks that are available and quality. There are spiral bound or hardbound. I opted for hardbound. They are sturdier and I don't plan on removing the pieces at any time soon. With the spiral bound, you can change your mind and remove the piece easily to showcase on a will.

I like the sketchbook for a number of reasons. One, I can easily bring my 'collection' anywhere I go. People can flip through the book.

But I also love how when I get a creator to do a sketch, they often flip through the book to see my other pieces, seeing who else I have commissioned, and seeing others approach. I also think it is a little reassuring to some artists who have been burned by people flipping pieces on EBay right after a con. If my book has a ton of sketches in it, it is doubtful that I'll remove theirs.

One thing that I have learned is that depending on the inks being used, commissions can bleed through the paper onto the page behind it. So bring 'bleed sheets', something thick like a manila folder, that the artist can put behind the page to sop up anything that might otherwise seep through. (Matt Wagner told me about this and actually gave me a manila folder to use when he did his commission for me.)

The one negative of the sketchbook is that it can become the rate-limiting step in obtaining commissions. If all your commissions are going in the book then you cannot have multiple commissions going on at the same time. So think carefully. For someone like me who loves getting commissions, I actually have three sketchbooks going on.

Even though I use the sketchbooks, I still bring paper with me just in case.

Lastly, a new way to get commissions (and something I have thought about) would be to get them on sketch covers. Almost every big release or title or even some major issues come with a blank sketch variant. So this could be an interesting way to begin a commission collection, getting actual covers done by artists and then slipping them into the long boxes with the rest of your books. It would also be a unique book making it a nice addition to your collection.

Of course, you would need to buy a sketch cover and for someone like me, I would want an appropriate title for the piece. (I wouldn't get Daredevil on a Batman/Superman book, for example.) These covers are usually plentiful at conventions if your store doesn't carry them.

My friend, who is an even more avid commission collector, gets his loose, gets them professionally framed, and hangs them in his suite of offices. Anything loose he keeps in an artist's portfolio so he can show them as well. He definitely brings his own paper.

Thus ends the first lesson on commissions and my first post on con commissions.