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Old 02-04-2013, 11:29 AM   #326 (permalink)
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Usually the poor quality sketches come after doing a lot of sketches. Drawing the same thing over and over can get boring.
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Old 02-04-2013, 11:40 AM   #327 (permalink)
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Forgive the brief need to snark, but should I ask FeedtheLion before or after I complete his AP?
If you would be kind enough to ask him so you could help educate the community, either before or after, that would be great! Thanks.

I will not be responding in this thread anymore, since I have already stated my opinions and I stand by them. The last thing I would like to say, specifically to Amber, is that I really appreciate the improvement in her tone from the first to the last post she made. The first post that came via Asylum Studios seemed angry, bitter, and wildly entitled. The last post was much better.

I appreciate that, and if we could all learn to tone down the rhetoric we could have a much better time together on the forums.

I need to do that myself, and I think I have started an improvement with my last few posts as well.

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Old 02-04-2013, 11:54 AM   #328 (permalink)
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Amber: I appreciate you taking the time to respond.

As a collector (yes, I sell some cards that I've decided not to keep usually at a loss, but I buy as a collector), I really do try to promote the artists who I enjoy and I also vote with my dollars by buying directly from them when possible (either in the form of commissions or buying works that have already been completed). I've even found a couple of artists that not many people here had followed and explained why I think they are doing interesting work.
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However, I don't feel it's my place to tell artists how to improve. I guess I find it hard to believe that artists would take my opinion seriously, but maybe I'm wrong about that. I know what I like and what I don't like and just because I don't like something doesn't make it bad art.

In the case of the sketch that started this thread, the issue to me is not one of style or technique, but one of being complete. To me (and others, I think), it was obviously one done quickly and under more normal circumstances would serve as the foundation for what I'm sure would be a very nice piece.
I agree with both of those assessments. I don't think most artists want technical critiques on completed cards, but at the same time I felt pointing out the difference between the negative feedback and an actual critique was important.

I think here, where I'd like to draw this back around to my point, is that when all that gets said in general is "half-finished sketches suck, don't do that!" The new artists, especially, say "Okay! I didn't... now what?" I think it goes without saying that simply finishing your card won't automatically make it a Hetrick. It also won't automatically make everyone happy. And while we all know the top 10 or so artists everyone wants to pull, I think (hope) that most artists recognize that we have nothing in common with them style-wise. Thus, it really is helpful to see who *else* various people like. Statistically, a larger sample generates more accurate results.

When I first started reading comics, my favorite artist was Tom Grummett ('90s Superboy, Robin, Titans, GenerationX). He is nowhere near one of the comic greats, but unlike them, I could see myself reaching Grummett's level if I really worked at it. I found that much more inspiring than, say, Alex Ross, because I didn't see any way to get to Alex Ross from where I was.

People don't have to try to explain what they like in a field they have no expertise in if they show what they like just by continuing to post their pulls and celebrate art you like publicly, even if it's not that jackpot artist. We're watching.

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For those of us who didn't know already, I think this thread has done a good job of explaining why the artist went that route. And he explained that himself a little later as well. I'm not unsympathetic to those reasons, but as someone spending my money to get that sketch I believe I have the right to say, "That's not good value for my money."

And maybe the fault is that we've been spoiled with most artists doing amazing work for the pittance they get for their sketches. I can't agree with how the card companies compensate the artists, so I do understand that point of view as well.
Yeah, it's just people finding their reason for continuing... or not. When the artists realize whatever initial expectations they had didn't get met they have to create new expectations. Some decide to eek out what money they can by phoning it in, some draw what they want and are also ignoring you, some move on, etc. Personally, my love of drawing is intimately connected to my own personal characters. I do cards and commissions and whatnot to challenge myself with things I wouldn't choose for myself. I don't inherently love card art, and so it does get frustrating when I think I've grown or managed something cool and no one cares. But I pout to myself and then I try again. And if it still doesn't work, I still have a new arsenal to apply to my own art... when I have time for it
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Old 02-04-2013, 11:56 AM   #329 (permalink)
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That's a crappy post, with the usual suspects dog piling the artist.

It's pretty shitty what they are saying about artists over there. And they wonder why people are leaving in droves.
It's probably got more to do with collectors losing interest and artists not making as much money as they used to, I've yet to meet many forums quite as tame as Scoundrel.

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What are they going to collect when sketchcards go away? There is a very high profile SW set without sketches coming out soon. When they realize that these sell out without the sketches and they don't have to listen to the same guys calling customer service on every release bitching about sketch quality and demanding replacement cards. Or maybe the AD is tired of seeing people bitching about sketches.

It's #@#@#@#@ like this that will kill this hobby.
Lessons never seem to get learned, from my perspective companies managed to knock the hobby out for about 10 years thanks to drowning the market but collectors just went and did other things or focused on older products.

To be fair though it's a Star wars set, they could put used tea bags in the boxes and the fans would still gobble them up as there's plenty of other things to focus on (autographs, memorabilia etc) but I see that as a much harder sell for the Marvel/DC stuff. There's probably some irony here, I'm willing to bet most companies would love to avoid the hassle of including sketches but they've (mostly) been too lazy coming up with new ideas to achieve that.
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Old 02-04-2013, 11:58 AM   #330 (permalink)
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I agree with Monkey. I love artwork and can appreciate all types from different artists but I think it's fair to say sketches like the one that started this thread show a lack of effort. I think that is the main issue many collectors have with the sketch. Should they erase the sketch? I don't think so, but I doubt anybody would be ecstatic to pull that sketch. I suppose that is the gamble we take as collectors by purchasing the product. I think Stan from Office Space sums it up best: "Look, we want you to express yourself, okay? Now if you feel that the bare minimum is enough, then okay. But some people choose to wear more and we encourage that, okay? You do want to express yourself, don't you?"
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Old 02-04-2013, 02:49 PM   #331 (permalink)
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Couldn't read everything here or my head would have exploded so I apologize if I am repeating others sentiments.

I would not erase a sketch card myself and no matter if someone says that it will stay in their collection today what about in the future when you have no choice but to sell off your collection or if you are no longer around and your family members sell it off? It will be misrepresented in the future somehow.

Question for the manufacturers of the product. If the artists were paid more than the pittance they get now how much would that increase the cost of the product? The artists that did work for the Rittenhouse Marvel Greatest Battles, did you get paid the same amount for your work as the Marvel Universe set for instance? I know the Battles set is two panel sketches but if you were paid $3 instead of $1.50 since it is two panels does that justify the increase per box that they are charging?

I am just saying what others have said but it falls more on the manufacturer than the artist. If the manufacturer will pay you for the monkey or a detailed character sketch(same price) and you have to create 5000 sketches in a short period of time what would you do?

The way I look at it is if I buy a box of Big Bang Theory and pull an autograph of Alice Amter should I be mad that I didn't pull a Parsons? It is the gamble of buying a box. They hire different skilled artists to put in a product for the chase. Only 5 Nar but 5000 Waterhouse in the product is the same as 5 Parsons and 5000 Amter. If they were all NAR the box would cost $500 or a NAR sketch would cost $25.

Another question sort of related to this. I thought it would be neat to have some of my pack pulled sketches signed by the artist in person. I was told more than once that they were not allowed to do that. What is the rule with the manufacturers that you can't do this? I am guessing it has something to do with altering the card as it was accepted by the manufacturer. If that is the case wouldn't this apply to the OP's topic?
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Old 02-04-2013, 02:55 PM   #332 (permalink)
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Another question sort of related to this. I thought it would be neat to have some of my pack pulled sketches signed by the artist in person. I was told more than once that they were not allowed to do that. What is the rule with the manufacturers that you can't do this? I am guessing it has something to do with altering the card as it was accepted by the manufacturer. If that is the case wouldn't this apply to the OP's topic?
Yes, but technically only artists who signed contracts agreed to those terms. Just one of those letter of the law vs. spirit of the law type things.
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Old 02-04-2013, 03:25 PM   #333 (permalink)
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never heard of that rule, so why do sketch card artists go to cons and sign cards? unless they also did base card chase card work i guess.
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Old 02-04-2013, 04:02 PM   #334 (permalink)
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never heard of that rule, so why do sketch card artists go to cons and sign cards? unless they also did base card chase card work i guess.
I wish I could remember who it was exactly. It would have been someone who worked on the DC Legacy or Justice League set at the Philly show a few years back.
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Old 02-04-2013, 04:47 PM   #335 (permalink)
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before my time, but from all the sets I've worked on I haven't read anything about signing sketch cards brought to us by people who bought them. That would be counterintuitive and counterproductive. That's like telling us we can't take comics or original artwork we own and have it autographed at a comic con show.
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Old 02-04-2013, 05:57 PM   #336 (permalink)
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Amber - Welcome to Blowout Forums We have a handful of sketch card collectors over here and most of us love to see new artists popping in!
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Old 02-04-2013, 06:51 PM   #337 (permalink)
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Originally Posted by Amber Shelton

Addressing common sentiment on “dud pulls” from another angle, if an artist (rather than a company) owes a breaker a flippable card – what does that breaker (rather than the company) owe the artist? Collectors, too, in this theoretical question. You know the artists don’t get paid well, you aren’t buying the majority’s APs to support them specifically, what IS the return directly from you to them?

The breaker pays for a box of cards. They don't owe the artist anything. If breakers/collectors didn't buy the cards, there would be no need for the Artist to draw them.


I don't think any company is forcing artists to draw for their products. If you don't like the terms of the contract, don't sign it.
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Old 02-04-2013, 07:03 PM   #338 (permalink)
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If that's the case VW then get ready for single line drawings. I can do wonders with just a few colored pencil lines.
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Old 02-04-2013, 07:21 PM   #339 (permalink)
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If that's the case VW then get ready for single line drawings. I can do wonders with just a few colored pencil lines.
What could you do with a blank card, a box of colored pencils, and 3 minutes? And as long as we're off topic... Nice job on that Cap AP you've got listed!
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Old 02-04-2013, 07:25 PM   #340 (permalink)
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Thanks to cujo for finally getting my posting rights and to aggie for the comments… I probably wouldn’t keep bothering if you hadn’t posted.
--

I find it rather frustrating that with all that I wrote, the thing that spun off is something I didn’t say.

I did not say that artists should not be criticized. Merely that you should take the time to compliment art you like, as well.

And though in other forums and completely different discussions I’ve said I’m not fond of critiques (or critiquing), I don’t know why that’s supposed to mean I can’t take them. In fact, I have never received a critique on my art from the card community that I can recall.

Pretentious as it might read, I guess, my point with the second post was that Rian has this habit of making assumptions and running with them. One being that he has a background that makes him uniquely qualified to berate artists – because what he does is not constructive criticism, even by the definitions he’s posted himself. His background in academic art is not unique, though. Honestly, I don’t even know that Rian knows what I draw since I’ve never been on a Marvel set. We’ve posted in the same threads before, but I’ve never spoken to him before now… it would actually be hard to since I have him blocked on Scoundrel.

People in general seem to take me wrong in the way that I post, as well. I was taught not to speak for other people and so I try to only use myself as an example. It’s not intended as railing at the inequities of the universe, just the facts as I see them in the only experience I have to speak from. I’m not an A List artist, oh well. I have no aspirations toward comics, having already turned down opportunities years before trying cards. Other artists tend to rate my work much higher than collectors (hence my participation on most artist-run premium sets but low collectability in them). What I draw from this is that my work is technically sound (enough) but lacks the “it” factor. That’s an observation, not a complaint, and that’s where my post was coming from.



Forgive the brief need to snark, but should I ask FeedtheLion before or after I complete his AP? This is the kind of thing I mean about making assumptions.

Speaking to critiques…
“This card sucks”, “This card was a huge disappointment” and “Pencil sketches shouldn’t be accepted into sets” aren’t constructive criticism. The first two don’t address the issues needing improvement, the third has nothing any artist not handing in pencil sketches already can take away.

Here, I'll give myself an actual artistic critique –
“I understand that the white lines you tend toward around your characters are shortcuts to help define objects where proper gradients would muddy on the small surface, but sometimes they completely flatten the depth of the field and negate the shading and shaping you did manage.”

That’s technically negative, but there’s thought and reason behind it and identifies an area for improvement. People who aren't me can apply this to their art, as well, if they use the white outline technique or are thinking about it.



Well, as I said, for the vast majority there isn’t a lot of opportunity provided for card artists. And if we’re being honest with our resumes, we absolutely are not writing those things on it. The best you can do is “Lucasfilm properties for Topps” or “Marvel properties for Rittenhouse.” Not quite the same ring to it.

If we’re going to use your chef analogy, though, I’d say that the chef came to your table to ask how it was and you’re ignoring he’s there… unless it’s to say “horrible.” :P There isn’t a single artist on these forums, FB groups, etc. posting OR lurking that isn’t there trying to see what people think. We're coming to you (I can't say that without picturing Ryan Reynolds on SNL). And as much as everyone is entitled to their opinion, when all that’s posted is negative, that’s what we take away. That’s my main point with making the effort to find someone you like and say so.
No problem Amber, happy to help despite my avoiding this thread lol.
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Old 02-04-2013, 07:45 PM   #341 (permalink)
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What could you do with a blank card, a box of colored pencils, and 3 minutes? And as long as we're off topic... Nice job on that Cap AP you've got listed!
Thanks, I can do wonders with a few lines and if we have to have colors and backgrounds make that 10 lines. Ha!
Actually my preliminary sketches on my cards take less than 3 minutes most of the time. I could just do all my cards that way with colored pencils and that should be all that need be done since thats all the payment and contract requires.
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Old 02-04-2013, 08:13 PM   #342 (permalink)
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Well, as I said, for the vast majority there isn’t a lot of opportunity provided for card artists. And if we’re being honest with our resumes, we absolutely are not writing those things on it. The best you can do is “Lucasfilm properties for Topps” or “Marvel properties for Rittenhouse.” Not quite the same ring to it.
Thank you for responding. . . I'm obviously not an artist so this is just my take, but first -- opportunity is what you make it. . . second, I believe there is opportunity. . . I see sketch artists set up at tables selling products -- prints, custom cards, their own comics. . . these are all opportunities, sketch cards vastly widen your customer base in a way that few things -- other than breaking in to comics will. That's a huge opportunity, and I see dozens of sketch artists at big shows with nothing else on their resumes but sketch work. . . and they are set up show after show so clearly some of them are making money at it. . .

As far as the resume, you can spin it like that if you wish, worked on Lucasfilm properties including Star Wars for Topps is just as accurate.

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If we’re going to use your chef analogy, though, I’d say that the chef came to your table to ask how it was and you’re ignoring he’s there… unless it’s to say “horrible.” :P There isn’t a single artist on these forums, FB groups, etc. posting OR lurking that isn’t there trying to see what people think. We're coming to you (I can't say that without picturing Ryan Reynolds on SNL). And as much as everyone is entitled to their opinion, when all that’s posted is negative, that’s what we take away. That’s my main point with making the effort to find someone you like and say so.
If an artist asks me directly what they think of their work I'll tell them. . . but, like a chef, if an artist asks me in a room (online or real world) what I think unless I have a strong opinion I won't say anything. . . Any honestly, part of that . . . it's my perception of the value of my opinion. . . If the chef says "Did everyone like my meal tonight" in a room full of people everyone is expected to clap and say 'yeah!' no one really thinks at that point that the chef cares . . . If the chef comes to my table and asks if I like his food and I think he genuinely cares. . . I'll tell him. . .

If an artist wants to know what I think of their work feel free to PM me and ask. . . but unless I'm particularly blown away or ticked off I'm not usually out seeking people out.
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Old 02-04-2013, 09:08 PM   #343 (permalink)
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Honestly I really doubt most artists think about the buyer/collector/flipper when doing these cards. Some do and they have a formulaic approach to the stuff they do and will not stray very far from it for fear of getting that," not as good as before or now they feel comfortable and can phone it in now", tagged to them.
When I draw I do stuff I like that also meets the requirements of the specific set. I just want to get them done on time and in the best quality that I can produce for the time given and price paid.
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Old 02-04-2013, 09:30 PM   #344 (permalink)
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The breaker pays for a box of cards. They don't owe the artist anything. If breakers/collectors didn't buy the cards, there would be no need for the Artist to draw them.


I don't think any company is forcing artists to draw for their products. If you don't like the terms of the contract, don't sign it.
The answer to your POV is, of course, that the artists are hired by the company and don't owe the breaker anything. If artists didn't draw the cards, breakers/collectors can't buy them.

The company isn't forcing breakers/collectors to buy their products. If you don't like the product, don't buy it. (See what I did there.)

Catch 22, but one that has nothing to do with my point that when breakers/collectors assume the artists do owe them something then the artists should get something directly in return.

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Thank you for responding. . . I'm obviously not an artist so this is just my take, but first -- opportunity is what you make it. . . second, I believe there is opportunity. . . I see sketch artists set up at tables selling products -- prints, custom cards, their own comics. . . these are all opportunities, sketch cards vastly widen your customer base in a way that few things -- other than breaking in to comics will. That's a huge opportunity, and I see dozens of sketch artists at big shows with nothing else on their resumes but sketch work. . . and they are set up show after show so clearly some of them are making money at it. . .
I can agree with that to a point. I'd like to say, though, that the sketch card industry alone is proof that artists will keep up with some things without actually making money at it

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If an artist asks me directly what they think of their work I'll tell them. . . but, like a chef, if an artist asks me in a room (online or real world) what I think unless I have a strong opinion I won't say anything. . . Any honestly, part of that . . . it's my perception of the value of my opinion. . . If the chef says "Did everyone like my meal tonight" in a room full of people everyone is expected to clap and say 'yeah!' no one really thinks at that point that the chef cares . . . If the chef comes to my table and asks if I like his food and I think he genuinely cares. . . I'll tell him. . .

If an artist wants to know what I think of their work feel free to PM me and ask. . . but unless I'm particularly blown away or ticked off I'm not usually out seeking people out.
I can see this point, too, but from the flip-side, going up to every individual as an artist and soliciting comments on your art wouldn't go over very well, I don't think. Sounds desperate to me and I'm on the potential asking side. Plus, for myself, I wouldn't expect to get many truthful answers putting people on the spot like that.

I started lurking on this board when New 52 and Cryptids were released; mostly the latter since Scoundrel pretty much ignored the set dropped. I wanted to get a feel for the buzz. Part of the reason it took me so long to sign up is because I liked being able to see what people were saying about my art and the set as a whole when they didn't know I was watching. I don't imagine that'll continue now that I've come out of the woodwork. The very best feedback is unsolicited, there's no feeling like that.

Most artists I know will do at least one 'net search shortly after a release to see what they can see (which is how I came across this board). It's disappointing when we don't find anything. Do what you will with my perspective - I assume for most it's absolutely nothing and that's fine - but if artists should be aware of how their actions affect that side of things I think it's fair to put this side out there as well.

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Old 02-04-2013, 09:46 PM   #345 (permalink)
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I can see this point, too, but from the flip-side, going up to every individual as an artist and soliciting comments on your art wouldn't go over very well, I don't think. Sounds desperate to me and I'm on the potential asking side. Plus, for myself, I wouldn't expect to get many truthful answers putting people on the spot like that.
Certainly asking people their opinion of your work would take a lot of guts. . . And certainly some people wouldn't respond, and some people would be jerks. . . but I think if you actually managed to get some conversations going you could get some really quality feedback. . .

I can certainly see the 'value' in being able to lurk and find out people's opinions without them knowing, but I can't imagine that the quality of feedback is very high, and I also can't imagine there being a lot of useful information just being posted at random. . . I could be wrong.

I also bet that there are far more flippers posting opinions than collectors. . . And really, collectors are the key . . .
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Old 02-04-2013, 09:55 PM   #346 (permalink)
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Certainly asking people their opinion of your work would take a lot of guts. . . And certainly some people wouldn't respond, and some people would be jerks. . . but I think if you actually managed to get some conversations going you could get some really quality feedback. . .

I can certainly see the 'value' in being able to lurk and find out people's opinions without them knowing, but I can't imagine that the quality of feedback is very high, and I also can't imagine there being a lot of useful information just being posted at random. . . I could be wrong.

I also bet that there are far more flippers posting opinions than collectors. . . And really, collectors are the key . . .
Hence my initial post being more directed at flippers, eh?

And, well, here we're talking about feedback and not so much critiques. Since I know you visit Scoundrel, too, let me use one of my cards pulled and posted there as an example. When Tangent showed her first case, she made little notes about the things that caught her eye. I cannot even begin to tell you how much she made my week just by saying that my Nightwing card was a keeper, let alone her favorite pull, in a public place where everyone could see. Cujoboy did the same here later on in a nice little parenthetic aside (even if he did call me Ashleigh ).

I thought I'd done a good job so I was super-excited to see people agreeing. And as pathetic as it may sound, for the next week or so as I finished up my next set, whenever I hit a snag or started getting frustrated I'd go back and reread the handful of silly little one sentence positives. I'm not sure collectors can really fathom what it can mean, when offered freely on something as connected to you as art. For me, anyway, I know there are plenty of artists who will tell you they are above such things and very well could be.
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Old 02-04-2013, 10:11 PM   #347 (permalink)
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I thought I'd done a good job so I was super-excited to see people agreeing. And as pathetic as it may sound, for the next week or so as I finished up my next set, whenever I hit a snag or started getting frustrated I'd go back and reread the handful of silly little one sentence positives. I'm not sure collectors can really fathom what it can mean, when offered freely on something as connected to you as art. For me, anyway, I know there are plenty of artists who will tell you they are above such things and very well could be.
. . . that's awesome, and all I can say is that plenty more people appreciate your art than you realize -- they just don't talk about it. . . And this goes for nearly all the artists. . .
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Old 02-04-2013, 11:56 PM   #348 (permalink)
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Thank you for responding. . . I'm obviously not an artist so this is just my take, but first -- opportunity is what you make it. . . second, I believe there is opportunity. . . I see sketch artists set up at tables selling products -- prints, custom cards, their own comics. . . these are all opportunities, sketch cards vastly widen your customer base in a way that few things -- other than breaking in to comics will. That's a huge opportunity, and I see dozens of sketch artists at big shows with nothing else on their resumes but sketch work. . . and they are set up show after show so clearly some of them are making money at it. . .

As far as the resume, you can spin it like that if you wish, worked on Lucasfilm properties including Star Wars for Topps is just as accurate.



If an artist asks me directly what they think of their work I'll tell them. . . but, like a chef, if an artist asks me in a room (online or real world) what I think unless I have a strong opinion I won't say anything. . . Any honestly, part of that . . . it's my perception of the value of my opinion. . . If the chef says "Did everyone like my meal tonight" in a room full of people everyone is expected to clap and say 'yeah!' no one really thinks at that point that the chef cares . . . If the chef comes to my table and asks if I like his food and I think he genuinely cares. . . I'll tell him. . .

If an artist wants to know what I think of their work feel free to PM me and ask. . . but unless I'm particularly blown away or ticked off I'm not usually out seeking people out.
Personally, I don't think the exposure has that big of an impact at comic conventions unless you were at a card show, where people actually know about the hobby. The majority of comic book con goers still have no idea. I rarely sell sketch cards at a comic convention. If I sell 2, its a VERY good day lol But I at least try to educate people about them whenever they stop by my table. Hopefully I was able to plant a seed for a future collector. Most of them think the cards are prints until I point out that they're actual drawings. So for me, at least, there isn't really much of an more of an opportunity created by sketch cards at the cons I've been to ( Probably because I've never had a table at a card show) As an example, below are the things I bring to a comic convention, before and after having done official sketch card work. And what is usually the result of my total sales.

Before working on sketch cards = drawing tools, paper to draw on, portfolio folder with 11x17 art and no prints. 97% of sales are 8x11 con sketches.

After working on sketch cards = drawing tools, paper to draw on, portfolio folder with 11x17 art, sketch cover variants and sketch cards... still no prints. (yeah, I know I'm not making the most of my opportunity lol) 80% of sales are sketch cover variants, 19% of sales are 8x11 and MAYBE if I get lucky 1% sketch card.

As you can probably imagine, my table isn't all that impressive looking. But the exposure of doing sketch cards has little to do with the business I get. Unless its another artist, I'll probably get maybe 1-3 collectors that will recognize my name at a comic convention.

I'm not sure if you're implying it but I want to clarify that being a sketch card artist has nothing to do with anyone being able to get a table at a show. An artist just have to fill out an application and pay the fee. I have never put on an application that I am a sketch card artist nor have I listed any of the properties I've worked on and I have never had a problem getting a table. I list myself as a freelance artist. No more, no less.

I'm pretty sure most artists aren't making all that much if at all with sketch cards at a comic book convention. I've spoken other artists about it and sketch cards are only a tiny fraction of their sales.....IF they even sell any. The average comic book convention attendee isn't aware of the sketch card community so it reflects the sales there.


Lastly, if anyone feel they want to critique, comment or even bash any of my current work. Feel free to do so, it doesn't bother me at all. Nor do I take it personally. I say current cuz I know my old stuff sucks lol If you don't want to do it publicly, PM me. Or chat me on FB, I'm easy to talk to.

- Lak
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Old 02-05-2013, 11:06 AM   #349 (permalink)
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I appreciate it, webjon. I really do. That confession usually just gets me pounded for being susceptible to outside influences.

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And this goes for nearly all the artists. . .
Sadly, that's the problem, isn't it?


And thanks, Lak. I've never done a convention and so couldn't actually speak to that aspect.
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Old 02-05-2013, 11:30 AM   #350 (permalink)
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Hence my initial post being more directed at flippers, eh?

And, well, here we're talking about feedback and not so much critiques. Since I know you visit Scoundrel, too, let me use one of my cards pulled and posted there as an example. When Tangent showed her first case, she made little notes about the things that caught her eye. I cannot even begin to tell you how much she made my week just by saying that my Nightwing card was a keeper, let alone her favorite pull, in a public place where everyone could see. Cujoboy did the same here later on in a nice little parenthetic aside (even if he did call me Ashleigh ).

I thought I'd done a good job so I was super-excited to see people agreeing. And as pathetic as it may sound, for the next week or so as I finished up my next set, whenever I hit a snag or started getting frustrated I'd go back and reread the handful of silly little one sentence positives. I'm not sure collectors can really fathom what it can mean, when offered freely on something as connected to you as art. For me, anyway, I know there are plenty of artists who will tell you they are above such things and very well could be.
Let me add to some of the positive remarks. I always search on ebay for some of the sets I may be interested in collecting and came across this sketch a while back

DC Comics New 52 Amber Shelton Sketch Card | eBay

In my opinion Cryptozoic really messed up by having such a large part of the front of the card covered by that bar. Most of the artists either colored over it or stopped at it. You actually made it part of the sketch by having her straddle the bar. That was a very nice touch and required some additional insight that a lot of the other artists missed on. Take a negative and make it a positive. Good job!
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