When producing artwork, I utilize many different approaches and techniques that affect the physical characteristics of the work. I thought it would be a good idea to clarify some of these things to give collectors a better understanding about my art.

First, I should mention that my personal tendency is generally towards producing "clean" pages whenever possible. I shy away from using paste-ups, although these are obviously necessary for things like logo placements on covers, splash pages, and lettering and art corrections, etc.. On exceptionally well done pages, I have reworked some things like word balloon and caption paste-ups to prevent deterioration of the original. Basically, I first make a copy of the area to be reworked. Then, I remove the offending paste-up (usually applied with rubber cement or spray adhesives), and replace it with the copy (usually made on 1 or 2-ply bristol). I glue it on using acrylic gel medium, which is a much safer, more reliable, and permanent adhesive. In some cases, I simply remove the paste-ups altogether and leave the artwork as it is. I also steer clear of zip-a-tone, another potentially problematic adhesive substance. Instead, I prefer the more organic, hand-rendered methods of achieving tonality such as stipple or linework. I have used zip once or twice in the past on originals and also on color overlays for special effects, but it's been well over a decade since I've used any at all.

On a related note, the use of collage materials is another matter to take into consideration. Occasionally, some of the pages (usually Swamp Thing pages) I offer for sale have bits of photocopy collage material worked into cerrtain panels. I don't remember what adhesives we used on the Swamp Thing pages, but as far as I've been able to determine the artwork has remained sound after almost fifteen years. I think it's safe to assume that these pages can be considered relatively permanent. Nowadays, I only use collage materials infrequently and when I do, I use acrylic gel medium as an adhesive.

Certain people; artists and collectors alike; have some prejudices against the presence of white paint on the artwork and while, to some small extent, this is understandable, I must admit that I have no personal compunctions concerning the use of it. For the most part, the pages that I do are relatively "white-free" (excepting corrections and clean-up done in production at company offices). When I do employ white paint, I often use it quite liberally, although my tendency is to use it as a drawing and painting medium rather than a correctional one (For corrections I use an electric eraser, God's gift to the ink-splattering pen-and ink artist). I use a number of different white paints, all permanent, to achieve a variety of effects. I use airbrush whites with dip pens to do white on black rendering and spattering effects and heavier-bodied white paints, like tube acrylics, for a wide range of textural effects. Even on those rare occasions when I do use it for corrections, I often cover my tracks well enough that most people wouldn't notice unless I pointed it out to them. White acrylic-based paints won't chip, crack, or yellow (although there is sometimes a "bluing" effect that results from light refraction) and you can ink over them with no problems whatsoever. I consider white, properly applied, to be a tremendous asset to the creative artist.

One other thing to consider would be what I term "marring". This would include any defects to the original art, whether it be bends, creases, tears, stains, indelible marks or any other imperfection. Fortunately, I haven't had many instances where my artwork was defaced or suffered from some form of abuse. I generally don't sell pieces that are irreparably marred unless some collector, knowing the condition of the piece, decides he wants it anyway.

About The Pricing

The artworks listed for sale here are priced according to different factors which take into consideration a number of criteria. These include such things as which book the page is from, prominent depiction of characters, type of page (cover, splash, double page spread, etc.), the artistic handling of a page or panels (type of techniques used, stipple or linework, for instance) and quirky personal things such as how well I like a certain page and whether or not I'd be willing to part with it for less than a certain price.

If you haven't already noticed, the Swamp Thing and Miracleman pages listed are all priced in the very high range. The reason is simple. These are prime pieces that I've held onto for years and constitute some of the last of the very best pages that I have kept for myself. I would just as soon continue to keep them rather than sell them for less. The prices on the Swamp Thing and Miracleman pages are non-negotiable, rock-solid firm. Please don't try to bargain me down on these pages, as any attempt to do so will be kindly, but definitely, turned aside. Sorry to be so stubborn on this matter, but as I've mentioned these are the last of the best that I have on hand. When they're gone, they're gone and I don't intend to let them go easily. However, the rest of the artwork listed is on a "business as usual" basis, so browse around and if you see something that nibbles at your brain stem, feel free to haggle.