Fan Expo Boston Preparation

Okay, we are moving at light speed towards my conventions season. I am lucky enough to have a several conventions be close by over the summer months and each con has a distinctly different feel to it.

The first con is Fan Expo Boston, formerly The Boston Comic Con. Last year was the first time Fan Expo was running the show, purchased from the local organizers. As a result, last year had a very corporate feel to it. It was moved to a bigger venue, one with free parking, and had more celebrities on the guest list. But it lost a little bit of the 'true comic con' homey feel the prior incarnation did. The comic guests seemed like a tack on rather than the draw.

Now I'm not complaining. I have Terrificon coming up to give me the true comic feel. And I don't mind experiencing a more business-like con here because it is probably the closest I'll get to San Diego.

This year's comic guest list is very impressive. Perhaps last year's success was enough to lure some big names. So I definitely have people to run and see. I also have a couple of commission hopes. So with all that said, here is my Fan Expo Boston con prep post.

Boston Comic Con Recap #3: Ty Templeton Commission

The summer is my convention season and as those who have read prior posts know, I do my best to be completely prepped. I pull books out for signatures, attempt to line up some commissions prior to the actual day, or at least eye the guest list and try to work out some priority list of whose table I'll be running to first.

This year's Boston Comic Con was one of those cons that I felt a but unprepared for. Outside of chatting with Matthew Clark on Twitter beforehand, I hadn't been able to line up much. And I had a list of artists I was hoping to get who I quickly realized were outside of my price range.

But here is the thing. Sometimes it all works out well.

I knew Ty Templeton was going to be at the con and I love his art, especially on covers of Who's Who. I didn't even think about getting a commission from him before the show. I thought, for some reason, that maybe he wouldn't be doing them. When I found out he was, I jumped.

For an absurdly reasonable price, I got this full color, unbelievably gorgeous commission of Supergirl. From the pose to the expression to the detail, it all just sings.

I can't believe I lucked into this piece.

But wait, there's more.

Boston Comicon Recap #2: Matthew Clark

I continue my review of recent conventions with this look back again at Boston Comic Con this year.

I have been collecting commissions for about 13 years now and I have a couple of basic rules of thumb.
1. I have to like the style of the artist to get a commission
2. It is a bonus if the artist has a connection to Supergirl
3. It is a bonus if I consider the artist one of 'my favorites'
4. They have to be affordable

The top three is pretty easy to figure out. It is that last one that is the tricky one.

I saw that Matthew Clark was going to be going to the show and I pretty much knew I was going to target him for a commission. He drew a Doom Patrol book that I loved as well as the covers for Huntress Year One. I like his style a lot. And he did the Omens and Origins story in Supergirl #38 back in the Gates/Igle run.

And thankfully he was affordable. This three quarter body commission was something of a steal. Just gorgeous with all the copic work. I love the pose with one hand behind the back, adding a bit of innocence or maybe mild insecurity to the feel of Kara. And that expression is just great.

Really a great addition to the collection.

Boston Comic Con 2017: Overview & Tom Grummett Commission

<![endif]-->I wasn’t 100% sure if I was going to head to Boston ComicCon this year. I liked the more comic-centric feel this show has had since its inception. I knew that FanExpo had bought it out and that it would probably have a more corporate, more celebrity-fueled feel to it than in the past. Incredibly, the driving force for me to go was the ardent passion of my youngest two daughters have for Steven Universe. When they heard Zach Callison (voice of Steven) was going to be there, it was a foregone conclusion. We were going.

With that now a fait d’accompli I had to decide my mission for the con. There were a number of creators at the con that I definitely wanted to meet. Peter Tomasi, Tom Grummett, Matthew Clark, Jonboy Meyers, Ty Templeton, and Tom King were all new faces for me. And there were other creators who I had met before that I wanted to run into again, most notably Tana Ford and Joelle Jones. And I grabbed any commission sketches while there that would be gravy. I decided to go Friday by myself to get my stuff out of the way. This way Saturday was a family day.

First things first. The venue, the Boston Convention and Exhibition Center was massive. It was big enough that people could line up inside and wait in the air conditioning as opposed to outside in the baking sun (like at the old venue). There was a lot of space so the con didn't feel claustrophobic (although the comic area did feel somewhat cramped). And there was a food court inside the building which made lunch easy.

The pass I got allowed me to enter the con space at 2pm as opposed to official opening of 4p. Amazingly many of the comic creators also filed in early. As a result I got much of the 'heavy lifting' out of the way.


I was also able to get a sketch book into the hands Tom Grummett. He signed issues for free. And a full body commission was very affordable. Despite being that early I was already something like 6 on his list so he told me to check in on Saturday afternoon.

Sure enough, the following day,  he presented me this fabulous commission. I am thrilled. There is a nice little feeling of mischief behind that innocent look. And she looks young, like the current Supergirl should.

I'll post the other commissions I got on later days. But I thought I would share some of the Supergirl specific issues I got signed.

Boston Comic Con 2017

We finally are entering my convention season!

Boston Comic Con is this weekend (!!) and I will be going at least 2 of the three days. I have been going to the con since its inception when it was a tiny show in the basement of an insurance building. It has grown immensely over that time.

While that growth has meant that I have met a ton of creators, it also has meant a sort of creep in scope to now include non-comic, pop culture celebrities. And then, last year, the local coordinators who ran the show sold it to Fan Expo. I honestly worry that the feel for the show will change.

All that said, the guest list this year of comic providers is just as fantastic as in the past. I have a list of creators that I am hoping to run into and chat. Unfortunately, unlike prior years, I haven't been able to set up any commissions beforehand. And I have also noticed that over the last couple of years the price of commissions has skyrocketed meaning I probably won't be able to get as many as I used to.

So here is a list of the folks I am eyeing for a commission as well as some folks I am pumped to meet. I'll have a small stack of books for all the creators listed below to sign (hopefully).

Wish me luck!

Boston Comic-Con 2016: Daniel Govar Commission

Boston Comic-Con was only a month ago but it feels like much longer. Life has been a bit crazy since then. It only makes those three days, dedicated to comic nonsense, that much sweeter in my memories.

The last commission I have to share is this unbelievably fabulous watercolor commission by Daniel Govar. Govar is something of a mainstay at the Boston Con and I have always been impressed with his art. His work is incredible.

I already had a commission from him (see below) and I love. But almost immediately after getting the first commission I realized I had made a mistake. I realized I should have got a full color Supergirl from him. And I had the idea that he would be perfect for a 'flame wing' Supergirl. (For those who don't know, when Supergirl was an Earth Angel, she could manifest flame wings.)

I contacted Govar early on (Twitter is a powerful tool) and set up the commission. And on Sunday, I picked up my sketch book and saw this image.

Unreal. Gorgeous.

Everything works here. The wings. The background. The flaming eyes. The hair straight up. The colors of her costume contrasting the fire.

It is just beautiful.

Boston Comic Con 2016: Jae Lee Commission

Welcome to the third of four commission reviews from Boston Comic Con.

Today I showcase the commission I got from Jae Lee.

When Lee was announced as a guest, I knew he would be high on my list of commission hopes. I have liked Lee's art for some time, often buying books just to see his work (I'm looking at you Marvel Nemesis: The Imperfects!!  Bought just for covers!) But I really fell in love with Lee's work on the recent Batman and Superman book.

So much of that book was just gorgeous. In particular, Lee's take on Wonder Woman and the Huntress made me think he would do an incredible Supergirl.

Again, this is one of those times where some early legwork paid off. Emailing Lee, I got a price list but also a sense of how many commissions he thought he would be doing. Given my sense of Lee's availability, the fact that Terry Dodson took his huge list first then decided, and my prior conversations with Tana Ford, I knew I needed to get in Lee's line first.

Luckily I was at the top of the list and got this great commission. It is a great representation of Lee's art. From the sort of angular feel to Kara to the tendril-like hair, to the blank angry eyes, this screams Jae Lee. You don't need to see the signature to know this is Jae Lee. I love this commission.

I also like the action of the piece. Supergirl hoisting a giant rock seems to be a sub-theme within my collection. Remember, I don't standardly tell artists the pose I want Kara in. I just specify the costume. So to see Lee, Chris Burnham, and Joe Quinones all pick this pose is fascinating to me.

One more commission to come ... one of the most unique takes on the character in my collection.

Boston Comic-Con 2016: Tana Ford Commission

Hello and welcome back to another installation of my Boston Comic Con 2016 review.

I really consider myself lucky to have been able to grab a commission by Tana Ford at this year's con. And I am not surprised that it is this fantastic. I have always been enamored of Ford's style and this picture of Supergirl is resplendent.

From the 'ready for action' pose, to the 'bring it on' expression, to the flying amidst the clouds, this whole thing is mesmerizing. The full color palate really adds so much depth to the piece as well. I am really just floored by this piece.

This truly is one of those times where a little bit of leg work on my part pre-con paid off. (I talked about commission planning here.) I had tweeted out to Ford before the con which put me in touch with her handler Geoff Mart. It let me know how Ford takes her list and her prices. Armed with such knowledge, I made sure to head to her table early on in the con. Thankfully, it all worked out.

I'm just thrilled with the piece.

Ford was super nice and great to chat with as well. I love the Silk comic as it reminds me of the earliest Spider-Man stories. Cindy is really trying to balance all the aspects of her life while dealing with the utter isolation she suffered early in on.

What I love about her art in the book is that Ford is able to shine in all the areas of the plot. So I love the action sequences.  There is something fascinating about Silk's webs. She has a sort of 'gangly' feel like Ditko Spider-Man. And you feel Cindy's determination in the fighting.

But there is also a softness in the quiet personal moments we see in the book. Ford's expressive work on the characters lends so much to the mood of the scene. I just love it.

Again, thanks to Tana Ford for the commission. It is a great addition to my collection.

Boston Comic Con Recap #1: Con And Terry Dodson

Welcome to the first of multiple posts covering my time at this last weekend's Boston Comic Con. This is *my* show, a huge con right up the road that have attended since its inception. This show has gone from being held in an insurance building basement to selling out the Seaport Convention Center. I consider myself lucky that such a great show is in my back yard.

I went to the con with hopes of getting commissions from Terry Dodson, Jae Lee, Tana Ford, and Daniel Govar. I was lucky enough to grab them all.

I have been a fan of Terry Dodson for a long time. He is a really nice personable creator who was fun to meet. He takes a long list of potential commissions on the first day and by the end of Friday he had narrowed down the selections to which commissions he thought he could get to. I decided that the 70s costume would be fun and interesting for Dodson to draw and so asked for that Kara. Luckily, I won the lottery and Sunday morning I picked up the above piece ... just stunning!

This is pure Dodson. But I love how with just copic markers he makes the sleeves seem translucent. And the salute is a nice patriotic touch. I am just thrilled with this piece. I'll be posting the other commissions over the next three weeks on Thursday. But the rest of this post covers the rest of the con.

Closing in on the Boston Comic Con

I know that SDCC starts today. But I'm not going to be there. Instead, I am finding it Hard to believe that in just about 3 weeks from now I'll be standing in line to get into the Boston Comic Con. I have been going to this con since its inception and have been impressed with how it has grown.

Over the last couple of years, the con has started to invite some celebrities to the event but the focus is always on the comics. This year they added a tag line espousing that ideal. "True to comics, committed to fans." I like it.

There is the usual glut of fantastic guests coming this year. And so I thought I would present the list of commission hopes. As you know, I try my best to get 4-5 commissions each year from this con. If I get my top two, I'll be thrilled. But as always, there are others I am hopeful for. And, as usual, the Grail piece will be within eyeshot but most like unattainable.

Here are the commission hopes.

Terry Dodson - I have always been impressed with the sheer beauty of Dodson's work. From the first Peter David Supergirl story in Showcase 96 to runs on Daredevil, Xmen, and Wonder Woman, I have always been drawn to his art.

This is the first time that I'll be seeing Dodson at a convention and so I'll be running to his table first in hopes of getting a Supergirl from him. I am leaning towards the Matrix style costume for Dodson although I might ask him if he'd be interested in doing the 70s version I have become just as fond of.

Jae Lee - My second commission hope is Jae Lee. Lee's stuff is just breath taking. I gushed about his work on Batman/Superman. I especially like the way he draws women. His Huntress, Supergirl, Wonder Woman, and Lois were all just gorgeous. Like Dodson, I haven't seen Lee at other conventions I have been to so I am hoping to get on the list.

If I'm able to get these two and nothing else I will be thrilled. I love both their styles. Fingers crossed. But on to the others.

Boston Comic Con 2015: Nick Bradshaw Commission

I finish my review of the 2015 Boston Comic Con by showcasing the last commission I obtained, this one by Nick Bradshaw.

My buddy had got a full figure Starlord commission from Bradshaw last year that was incredible. And I have always liked Bradshaw's art. But I hadn't planned on getting something from Bradshaw because I didn't think he would be available late in the con.

Then I heard that Bradshaw was doing quick and surprisingly affordable head sketches on the last day of the con. So I went to the table to see if he was still doing them.

I have to say, this was pure serendipity. If I hadn't heard about these head sketches from blog friend Firebird, I wouldn't have even approached the table. And yet, here I have this great sketch in my collection.

I love this sort of pensive Supergirl. There is something about the addition of some blush in her cheeks while looking through her hair that harkens back to a younger, simpler Supergirl. And I love that it is done in a maroon color. Just beautiful.

Again, I love the artistic process so I snapped a couple of pics of Bradshaw doing to picture. It is just amazing to a chronic doodler like me to see something beautiful just unfold before my eyes.

And Bradshaw was the nicest guy to talk to.

So overall this was a great convention, as it has been for some time now! It is amazing to see how it has grown. I am continually impressed by the guest list.

This year it was just great to run into long time blog friends in person.

 And one day, maybe, I'll get the grail piece!

Boston Comic Con 2015: Annie Wu Commission

The Boston Comic-Con was just about 4 weeks ago and I have a couple more commissions to showcase.

One of the artists that I was hoping to grab a sketch from was Annie Wu, current artist on the Black Canary title. I have enjoyed the sort of scratchy energy that Wu brings to that book. The art is the perfect match for the tone of that book.

I thought a Wu Supergirl would be an interesting take on the character and so approached Wu on Friday afternoon. Her table was busy and she was sketching away and signing books. And, unfortunately, she said her list was full.

On Saturday, I never really had the opportunity to head back to her table.

Sunday morning I strolled by Wu's table early on and no one was there. I asked if she was taking sketch requests and she said her list was open. And so I was able to grab the delightful sketch above. There is a sort of fresh feel to this Supergirl, something about the hair and expression that makes this fantastic.

I usually don't hover when artists are doing the commissions but Wu told me that she was doing it right then and I could stick around if I wanted. So I was able to grab some process pics. I love this 'behind the curtain' peek into the process.

And as I said, her work on Black Canary is just electric. If you aren't reading that book, you should be! Lee Loughridge adds a ton with color choices. But this is just so kinetic.

Boston Comic Con 2015: Yanick Paquette Commission

Today I continue my review of commissions obtained at the Boston Comic Con.

One of the artists who was invited who I targeted early was Yanick Paquette. I have loved Paquette's work on Batman Inc., The Bulleteer, and Swamp Thing. And I am definitely looking forward to Wonder Woman Earth One. So when I saw he was coming to town, I was hopeful that I could get on his commission list.

This is one of those commission stories where a little leg work paid off. I contacted Paquette before the show via social media, found out his prices, talked about my sketch book, and settled on a price for a full figure color commission. Paquette put my name down on his commission list before the show which meant that pre-show this commission was secured.

Securing this commission meant that I could head to other tables to get on commission lists first, knowing that Paquette would be the third table I would visit that Friday morning.

This is a great piece that I love. There are a number of things that stand out to me. This is sort of a serene, angelic Supergirl, from pose to expression. The color really adds to the piece, especially the sort of goldish appearance in her hair, and the way the reds add a three dimensional feel to the folds of her cape. And the black background is such a stark contrast to the feel of the figure that it makes it visually engaging. Almost thought-provoking. And that means this is great art.

I also had a great time talking to Paquette about the stuff he has done with Grant Morrison, talking about Bulleteer and Batman Inc. We talked about Morrison's scripts and how the story for the Bulleteer veered away from the original plot ideas. In particular, Paquette mused about how the Bulleteer really has very little to do in the actual book, reacting more to what is happening around her than acting.

We also talked about Wonder Woman Earth One, a book I have been waiting for ... and waiting for .. and waiting for. Apparently the book is done but DC is waiting for the right time to release, perhaps closer to the release of the Dawn of Justice movie.

It was great to meet him and talk with him about some of the behind the scenes stuff. And that commission is just fantastic.

So I have to say that my con would have been a success if this was my last commission because it meant I had got my top three commissions: Jose Luis Garcia-Lopez, Yanick Paquette, and Joelle Jones.

But I grabbed a couple more.

Boston Comic Con 2015: Joelle Jones Commission

One of the commissions I was really hoping to get at Boston Comic Con was one by Joelle Jones.

Jones had recently done Lady Killer for Dark Horse, a look at what would happen if one of the women from Mad Men were an assassin. It was brilliant and gorgeous and entertaining. And given the sort of period look of the issues, I decided if I was lucky enough to get a Jones piece, that I would go with the 70s costume, the puffy sleeves and shorts.

I contacted Jones and learned she does a handful of commissions each day and so I knew I needed to get to her table early if not first. When I got to the con, I saw a huge throng of people near Jones table and I thought that I had blown it.

It turns out the Information Booth was close by and most of the people were in line for stuff. Jones' table was much more manageable. I was able to secure the commission above.

And what a commission ...
I love everything about this, the POV, the playful expression, the color, the costume.
It is brilliant!

I seriously think the scan doesn't do it justice as it simply pops right off the page!

I feel extremely lucky to secure all the main commissions I was hoping for.

As for Jones, if you haven't seen her work you have to check her out.

Lady Killer just ended and so issues should still be on the rack. And a Lady Killer 2 was just announced and I will be there.

Her art is the kind your eyes just drink in!

Jones can be reached on line at:
www.joellejones.com 

And on twitter at:
@Joelle_Jones

Boston Comic Con In Review & Jose Luis Garcia-Lopez Commission

Last weekend was the Boston Comic Con, the main con of my season, and as always it was an absolute blast. In particular, this convention had some new wrinkles to it that made it stand out a little bit more than others.

The convention itself was really busy, especially Saturday where there were so many people it was hard to navigate the aisles. This con has grown by leaps and bounds over the last several years so I am always happy to see it packed.

One of my primary goals at cons like this is to try to grab commission sketches and I have to say that I was successful this time around. But between getting sketches and signatures, as usual, I was so busy that I only had some time to shop on the last day. Also, based on my schedule, I couldn't make it to any panels. So even though I had a great time I don't know if I took advantage of the con as much as I could have.

I'll be posting my commissions over the course of the next several weeks. So we'll start off with Jose Luis Garcia-Lopez, praised be his name.

I have been a fan of Garcia-Lopez since a kid and love his work. So I was thrilled to see him on the list of guests. Garcia-Lopez basically does a handful of head sketches/busts each day so I was wise to head to his table early on Friday. While the Matrix costume is my favorite, I have decided to branch out a bit and felt the 70s costume would be the best choice.

This commission is absolutely stunning. I am soooooo happy with this piece, a great Supergirl picture from a legend in the field. This is just gorgeous.

Garcia-Lopez also had a lot of great process art and style guide art on sale as well, and for very reasonable prices.

I'm not the only fan of JLGL. I was luck enough to find a copy of DCCP #17 at the show and get it signed for Shag of Firestorm Fan and the Fire and Water podcasts. Shag is also a huge fan.

As for creator conversations, I made my way around the floor and was able to have some brief conversations with a bunch of creators. But the place was so mobbed and lines so long that I couldn't talk at length with folks. I will say that my brief interactions with Brian Azzarello, Jimmy Palmiotti and Amanda Conner, Joelle Jones, and Annie Wu stood out.

As I said, this convention stood out for a couple of reasons.

Last year, the youngest supergirl joined me at the Boston Comic Con. This year, the younger two supergirls decided to join me on Saturday. And both of them decided to really immerse themselves in the experience.

The middle supergirl decided to cosplay and went as Squirrel Girl (the current incarnation). She was thrilled to meet Erica Henderson, got a Squirrel Girl commission, and was surprised at how many people congratulated her on the costume and took a picture. She also met celebrity guest Hayley Atwell and was thrilled.

The youngest also decide to get a commission as well, her first, and went for a dancing Groot by Craig Rousseau. She loves this picture.

The other big thing about this con was I was able to meet a couple of fans of this site there.

A sincere thanks to long time blog friend Firebird and AnimeGirlParnaz who sought me out. They even came bearing gifts ... a Supergirl swag bag from SDCC 15! I had a great time on Sunday sitting down and talking with them about Supergirl, comparing commissions (Firebird has a great collection including Darwyn Cooke and Bruce Timm!), and hearing about SDCC this year. They met the cast of the upcoming show. And when they asked Dan Didio about a Supergirl book, Didio seemed perplexed and said they were waiting to see how the show does. It was really really great to meet these friends in person and talk!

I also got to briefly run into Count Drunkula on Sunday. Count runs the Flowers and Fishnets blog and podcast devoted to Black Canary. He also runs the Secret Origins podcast which looks at the 1980s DC Secret Origins podcast.

So overall a great convention and a great time. And that Jose Luis Garcia-Lopez (praised be his name) is sweet!

Boston Comic Con 2015

At the con.

Might try to jot down some notes for the site later.

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!