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Topic: Pencil Practice -- and Beyond! (Topic Closed Topic Closed) Post ReplyPost New Topic
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Michael Gummelt
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Joined: 23 July 2018
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Posted: 30 July 2018 at 12:04pm | IP Logged | 1  

"how much exposition Chris used"
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I find that interesting, too, going back and re-reading UXM.  I find them very "wordy" now.  It makes it a bit of a slog to get through now that I'm older, but I don't remember it bothering me at all when I was a kid.  Maybe because I had to wait a month between issues, I wanted as much story as I could get.  And now I'm "binging" them, so to speak.  Or maybe our attention spans have just gotten shorter?
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Michael Gummelt
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Posted: 30 July 2018 at 12:07pm | IP Logged | 2  

(Well, Disney's lawyers would eat me alive, so maybe not...)
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Would that be because you're a comics industry professional?  The big companies seem to allow artists to do commissions and sell drawings/sketches of their IP at conventions - so why not allow you to sell your "fan art"?
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Michael Gummelt
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Posted: 30 July 2018 at 12:10pm | IP Logged | 3  

And I now have an urge to draw that last panel, just for funzies.

But where might that lead???

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Why not draw it just for fun, and find out!  :D

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Valmor J. Pedretti
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Posted: 30 July 2018 at 1:19pm | IP Logged | 4  

First of all thanks for this wonderful ride, Mr. Byrne!

Then I'd just like to add how great it was not only because we could see it coming out day by day, but we also got so much more. All your comments, reactions, backstory, "nuts and bolts".

You can't put a cover price on that kind of experience.
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John Byrne
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Posted: 30 July 2018 at 1:19pm | IP Logged | 5  

(Well, Disney's lawyers would eat me alive, so maybe not...)

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Would that be because you're a comics industry professional? The big companies seem to allow artists to do commissions and sell drawings/sketches of their IP at conventions - so why not allow you to sell your "fan art"?

••

For decades there has been an unspoken agreement between the Companies and the artists. The Companies understand that it would be a nearly impossible task to keep track of everyone who is charging for sketches and drawings, so the look the other way, conditional that such drawings will never be published.*

Something like this is too specific to fall under that protection, I suspect. Best not to be the one to test those waters!

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* Yes, I know some artist cheat.

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John Byrne
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Posted: 30 July 2018 at 1:46pm | IP Logged | 6  

D'oh!!! Kitty had a round buckle!!!!
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Bill Dowling
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Posted: 30 July 2018 at 6:59pm | IP Logged | 7  

“(Over the years, people have asked me how it might have gone if Chris had left and I had stayed, assuming the role of writer. But I don't think that could have happened. I was so off-put by how Chris handled them, I really could not have picked up those reigns.)”
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Do you think you’d have liked doing X-Factor if you could have started it at Issue #1 back in ’86?
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John Byrne
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Posted: 30 July 2018 at 7:35pm | IP Logged | 8  

I contributed to the creation of X-FACTOR, but at the time I had no real interest in the series. Too much "hands on" by TPTW, for one thing.
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Rebecca Jansen
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Posted: 30 July 2018 at 7:48pm | IP Logged | 9  

"Chris took the book to the top of the top, once I was gone"

I liked Chris Claremont's Spider-Woman quite a lot, and many other things, but I can't help look at a lot of the post Byrne X-Men as a mess with a few exceptions. Those sales increases coincided perfectly with a boom in speculative buying of excess amounts of all hot tiles... Daredevil, New Teen Titans and X-Men were no-brainers along with a glut of #1s of all kinds. Starting with Daredevil #169, Dazzler #1 and X-Men #143, the March 1981 dated comics, you could order a case of a hundred just as an ordinary non-business fan then just wait for the next price guide update and yearly guide and so forth... I can imagine there are three times the number of mint X-Men #143 compared to just say #138. By the time of Alpha Flight #1 I remember ads in The Comics Buyer's Guide hyping investing in a case of 1,000!

Anyway, I would have loved to have loved the second run of Dave Cockrum with Claremont but it was really disappointing to me at the time, and the issues with Brent Anderson, Bob McLeod or Jim Sherman worked much better, so I can only assume some of the extra cuteness and let's throw this idea in kind of thing was Cockrum's as much as Claremont's. I came close to abandoning buying my one copy of the title with the bedtime story issue of #153 following those awful costumes for Kitty. From most amazing comic I'd ever read to 'what the...?' Thankful to have The Starjammers co-star for three or so issues which Cockrum seemed to care a lot about and I like the title a lot more from that point on.

Other's mileage may vary. I sure wish there could've been more Claremont Spider-Woman with Steve Leialoha, and more Futurians from Dave Cockrum (so sad that company he tried to do it for blowing things), or Starjammers beyond the two issue side title he did do circa 1990.

A portfolio of twenty 11x17" pencil reproductions would be very cool (maybe with a smaller ashcan b&w comic with the word balloons), and aspiring inkers could practice over them to their heart's content!
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John Byrne
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Posted: 31 July 2018 at 7:16am | IP Logged | 10  

This morning I decided to try some hi-res scans, such as IDW would need for a portfolio edition. Scanning went fine, but when I opened the files in Photoshop, they were slightly rotated, looking more like the images I posted from my iPhone than something actually scanned.

WTF??

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Matt Hawes
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Posted: 31 July 2018 at 7:50am | IP Logged | 11  

That's weird, JB. I wonder if that would happen if you scan the pages directly into Photoshop?
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Eric Ladd
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Posted: 31 July 2018 at 8:05am | IP Logged | 12  

The only reason I can think of that the scans are slightly rotated is if the optics on the scanner are slightly rotated even when the page is squared against the bed guide. If scanning directly to Photoshop as Matt suggests, still shows the slight rotation then the scanner might be the culprit, but I can't imagine what would cause that shift.
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