January 19, 2015
Go, Read: Colleen Doran On Production And Press Proofs
The artist and comics-maker Colleen Doran writes about production and press proofs in a lengthy post
. I do think these are desirable items, and always have. They're really weird, because a lot of the ones I have are taken at various stages of production, so I have some Comics Journal
proofs that are just the art (the Mignola issue and the James Robinson issue). We used to have those done locally, because the Journal
was printed in Wisconsin. They printed us when they had a window of opportunity to get us in, so there wasn't a lot of time to go back and forth on proofs. The books and comics worked differently.
Like a lot of collectibles now, I think proofs of various types are interesting because they're basically same-generation. We're finding that out even with comic books, that the value is in the really genuinely hard to find objects and with characters that still have something of a life. I buy comics now or $2 or $3 a pop that I couldn't have owned for $30 in my teen years, mostly because they're just not big enough characters or creators to sustain interest. I think that's the fate of a lot of production proofs: hugely meaningful to people for whom that work is meaningful and kind of urgently present, but less so as goes by. I could be horribly wrong, I suppose; I could just be making myself feel better for not snapping these up like mad when I worked at Fantagraphics.
posted 9:45 pm PST
Daily Blog Archives