DISPLAYING YOUR BATMAN MODELS AND OTHER COLLECTIBLES
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Posted 7/21/2016 4:13:40 PM
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WE ALL KNOW ABOUT COLLECTING COMIC BOOKS
BUT SOMETHING RELATED, UNIQUE AND PRICELESS IS PROUDLY DISPLAYED ON SOME WALLS

The original artwork pages from comic books are also collected, and
these are perhaps the rarest of all comic book collector's items, as
there is only one unique page of artwork for each page that was
printed and published. These were created by a writer, who created the
story; a pencil artist, who laid out the sequential panels on the
page; an ink artist, who went over the pencil with pen and black ink;
a letterer, who provided the dialogue and narration of the story by
hand lettering each word; and finally a colorist, who added color as
the last step before the finished pages went to the printer.

When the original pages of artwork are returned by the printer, they
are typically given back to the artists, who sometimes sell them at
comic book conventions, or in galleries and art shows related to comic
book art. The original pages of the first appearances of such
legendary characters as Superman, Batman, Wonder Woman and Spider-man
are considered priceless. vertigo


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COMIC BOOK PANELS-1.png (2 views, 1.33 MB)
COMIC BOOK PANELS.jpg (3 views, 125.42 KB)
Post #150024
Posted 7/25/2016 6:45:24 PM
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Why do Batman related artists create comic books, paintings, posters,
sculpture, literature, music, movies, and cartoons, etc……? Here is an
excellent article written by Roopa Dudley that examines the possible
motives that may drive the Batman related artist to create Batman art.

WHY DO ARTISTS CREATE ART?
Roopa Dudley
Artist Painter at Roopa Dudley Paintings
www.roopadudley.com

TO FEED THEIR NARCISSISM. As children, most artists have spent
countless hours perfecting their craft. Some prefer painting over
illustration. Some prefer sculpture over painting. They like when
people see their paintings and gasp or do a double take. REWARD:
Attention. It makes them feel special and reinforces their positive
self-worth.
TO CAPTURE TIME. Time is always slipping in the future and that scares
them. Moments where they have not spent time creating, thinking or
drawing are unforgivable moments to them. It is their deep rooted
desire to “capture” or “preserve” a fleeting moment forever so to say
by putting it on a blank canvas and hence making their past into
present and future and doing so preserving time in a time-capsule
permanently. That makes them quite gratified and happy. REWARD:
Immortality. The knowledge that their art will live long after they
are dead.
TO ENTERTAIN SELF & LIKE-MINDED PEOPLE. Some artists dwell in a world
of possibility. It is a place where reality meets fantasy and fall in
love together. These artists create art to depict common day
expressions that most don’t even give a thought about and give them a
new meaning and form. It is at this point their “eureka” moment turns
to the viewer’s “eureka” moment as they can see and relate to the
illustrated idea which is usually followed by a grin or a chuckle.
REWARD: Recognition. It serves their narcissism well because in a way
that is a reward for recognizing their genius.
TO ESCAPE DRUDGERY & MUNDANE. Most of the news they see and hear
presents a pretty bleak image of the world. The deaths, murders,
rapes, injustices, cruelties to humanity and animals affect their
psyche severely. Since they find themselves helpless to prevent this
ugly reality, the way to cope with it all is to escape to their little
fantasy world. If they don’t, they may suffer from depression. REWARD:
Psychological Relief and mental well-being. They heal themselves and
even the viewers through empathy.
TO MAKE A POLITICAL STATEMENT. Some artists go beyond themselves and
their well-being and want to feel actively involved and connected in
their community. These are todays Pablo Picassos and Jacque Louis
David’s of the world. They want to retaliate, provoke and challenge
the society and its values. They strike back with their art and if
their art is good, it makes a huge impact. This type of art is
cathartic to the masses and helps the society to cope with feelings of
isolation or that “they are not alone”. REWARD: Impact. Their art
makes those blinded by rage and confusion to see and face reality and
its consequences.
TO APPRECIATE BEAUTY. These artists are preoccupied with beauty. They
show their love for beauty by creating art that revolves around this
concept. It can be figure, face, nature or space. They want to capture
that essence the way they see it and then share their joy with the
world. REWARD: Acknowledgement. People in general are attracted to
beauty and that is why decorative art is popular to this day. It
enhances their lifestyle and makes a house a home.
TO SHOCK. These artists get a rush when they get a strong reaction
from the viewer and that does not have to be a positive one either.
They are the least artistic type and perhaps the most despised of all.
REWARD. Notoriety that leads to Free Publicity. This is all they need
to continue creating what we generally call horrific, repulsive,
disgusting, and grotesque art. Then there is of course a combination
of the above mentioned
Post #150046
Posted 7/27/2016 5:08:20 PM
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HOW MUCH DO YOU KNOW ABOUT BATMOBILE HISTORY?

An interesting wall art display might be a time line display of
images that depict the evolution of the Batmobile.

This is the best evolutionary history of the Batmobile I have seen.

To see images and read all about the Batmobile’s history go to
www.batmobilehistory.com
“Batman drove high-performance cars since his debut, but the term
"Batmobile" didn't appear until nearly four years later in February
1941's Detective Comics #48. The car that first used the name was
unlike later cars: this one was a bright red convertible that lacked
fins, shields, or any other "bat" theme, save for a small gold hood
ornament. It did, however, sport a supercharged engine capable of
tremendous speeds and a heavily reinforced nose capable of smashing
through buildings without suffering any damage.

The bulk of the design was based on the 1936 Cord 812, a revolutionary
design that featured America's first front-wheel drive design with
independent front suspension, a 185HP V8, a semi-automatic
transmission with overdrive, retractable headlights, variable-speed
wipers, and a sleek, low-slung body (including fully hidden door and
trunk hinges). The set-back engine meant that there was ample space
between the front of the car and the front of the engine, an ideal
place for Batman to add the "battering ram" nose without risking
damage to the car's mechanical components.” BMH
Post #150066
Posted 7/28/2016 5:49:11 PM
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The ancient Egyptians created all sorts of models. The two most
prominent types of models were human figures and boats. They have been
found at many excavation sites. Like the Egyptians, who collected
model boats and human figures many of us, similarly, in modern times
have collections that contain multiple Batman related plastic model
cars and figures. So, what goes into making these plastic scale model
cars that gives them some intrinsic value perceived but not fully
understood by most model builders and collectors?

PLASTIC SCALE MODEL CAR DESIGN

FROM INCEPTION TO PRODUCTION

To fully appreciate the level of information and skilled work
contained in a scale model plastic car, such as the Batmobile, one
must fully grasp the creative processes of the model maker.

From inception to production, creating a new scale model kit can take
a full year and cost the model manufacturer an investment of up to
$250,000. For the scale model of a classic automobile, for example,
the design process begins with pure research: taking hundreds of
photographs of a working example of the car. The car is photographed
inside and out; pictures are taken of every detail and from many
angles, and measurements are photographed along with the object for
the designer to use in the studio to reproduce the car exactly.

For a new car design, car manufacturers give model makers computerized
information on part specifications—sometimes even before the first
actual automobile has been assembled—in a highly confidential process.
The model designer uses computer-aided drafting and design (CADD)
software to sort this information and create the measurements and
configuration that will be used to make a scale design. The designer
transfers this information to a set of drawings that will be used to
make the molds for the model. This process can consume several hundred
hours of engineering time.

From photographs, computer data, and paper drawings, the design moves
to pattern-making phase. Skilled artists follow the designer's
drawings and carve out a pattern model from balsa or other soft wood.
The pattern model is made at two to three times larger than the scale
of the model kit, allowing additional details to be added to the
pattern. This also proves the accuracy of design and provides a basis
for all of the molds that will be made of the car parts. As they carve
the pieces, the pattern makers fit them together. Accuracy in
pattern-making is within several ten-thousandths of an inch (fractions
of a millimeter).

When the wooden pattern model is complete, each part is coated with an
epoxy resin, a plastic material that hardens as it cures. The wooden
piece is removed from the resin, and the resin has trapped the shape
of the piece in a cavity mold. A core mold of resin is made from the
cavity mold; the two fit closely together, but there is a small space
between them. The plastic model part will be formed in this space.
Preparation of the wooden pattern and the resin molds takes over 1,000
hours.

Meanwhile, other design engineers use the design drawings to lay out
the "tool," the metal cast of a number of parts that will be molded on
a single form of plastic called a tree. The tree is usually roughly
rectangular along its outer edge so it will fit in a box. Several
standard box sizes are used. From the central "trunk" of the tree, a
number of plastic "branches" or arms protrude. The end of each branch
narrows to a node where it joins a piece of the model. The model piece
can be snapped off for assembly. The tool designers also use CAD to
map out the tool layout. They must design the orientation of each
model piece on the tree to precise angles so that, when the plastic is
injected in the tool, it fills all the cavities. The trees are also
designed to release quickly from the mold.

The resin molds are used to make the individual tools for each of the
model parts, using a pantograph to copy the exact shape of each piece
and draw it at the smaller scale of the actual model. The pantograph
has two needle-like parts: one is run over the surface of the resin
mold while the second, a cutting blade, carves the steel to the same
shape at the correct scale. When the tool maker has completed the
scaled tool, he polishes it to a high sheen and adds more details by
hand. Some of these details are too fine to be seen by the naked eye.

Another set of designers works on the paper portions of the kit. To
develop the instructions, the designers take the pattern model (and
sometimes samples of the first production run of the plastic model)
apart and reassemble it. They describe the steps as they go, writing
and drawing them as instructions. Other artists look at the
photographs of the real automobile and design decals for the model.
These may be copies of real decals on the car, or they may be other
design features like racing stripes. Sometimes, more research is
needed to capture these details. The illustrations on the box lid are
also created. These serve the model builder as a color reference
guide, so they must be true to both the original automobile and the
decals made for the model. The illustrations on the lid may be
photographs of the real car or artists' impressions. The box lid for a
model of the Batman Tumbler, for example, may show Batman posed with
the vehicle or in an action setting. Elsewhere on the lid, the artists
describe the kit, its level of difficulty, the parts enclosed, and the
manufacturer's details.
Post #150068
Posted 7/29/2016 9:07:08 PM
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If you are one of us that admire, and maybe own a Batman Tumbler model here is a little history on how the Batman Tumbler was conceived.
The Batman Tumbler was conceived by Nathan Crowley through KIT BASHING or MODEL BASHING, a practice whereby a new scale model is created by taking pieces out of commercial kits. These pieces may be added to a custom project or to another kit. For professional model makers, kit bashing is popular to create concept models for detailing movie special effects. Commercial model kits are a ready source of "detailing", providing any number of identical, mass-produced components that can be used to add fine detail to an existing model. Professionals often KIT BASH to build prototype parts which are then recreated with lightweight materials.
For the hobbyist, KIT BASHING saves time that would be spent scratch building an entire model. Hobbyists may KIT BASH to create a model of a subject (real or imaginary) for which there is not a commercial kit.
Although it has a long history, KIT BASHING came to the attention of a wider public via the fine model work seen in TV series such as Thunderbirds and the films 2001: A Space Odyssey and Star Wars Episode IV: A New Hope. Many of the spaceship models created for these programs incorporated details from tank, speedboat and car kits. Another example is the Batmobile from the 2005 film Batman Begins, as seen in the special features disc of the film's DVD.
Sometimes source kits are selected primarily due to kit quality, and sometimes because a kit closely resembles the desired model result. KIT BASHING is common in sci-fi modeling.
It is not uncommon for parts to be cut and filed into shapes leaving gaps that are later filled with putty. Although a model with putty often looks unprofessional at an early stage, careful painting can completely hide defects. Textural details known as gribbles may be added to enhance a model.
The popularity of ready-to-run, pre-assembled models, even coupled with the increased availability of many unique prototypes using resin castings, seems not to have seriously impacted the art of KIT BASHING.
These days, the typical Hollywood way to handle a complex car like the Batmobile is to model it and simulate it with a computer.
Nathan started the process of creating the Batmobile by model bashing.
Model bashing is a time-honored technique. You go down to a toy store, hobby shop, R/C specialty shop and the hardware store to buy parts -- lots of parts of every size and shape imaginable. You buy lots of plastic models, toys, R/C car kits, metal tubing, etc. You then cut and shape all of those parts to get the desired look for the car. For example, Nathan found that the nose cone from a plastic P-38 model kit made a perfect shape for the jet engine on the back of the Batmobile. So he cut off the nose cone, hollowed it out, added in other parts to make it look like a jet and glued it onto his model.
Nathan built six models like this, all 1:12 scale, before he got the look and the shapes that he wanted. This process took about four months.
Once he had the scale model, he started on a full-size replica.
Post #150082
Posted 8/5/2016 5:09:55 PM
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BATMAN ART POSTERS: Choosing Poster Sizes, Stocks, and Finishes

Posters have had a long, distinguished history in Batman related art.
These large prints are great for getting the Batman message across to
several people at once, and also serve as great art medium. They also
happen to be BATMAN’s most popular wall art medium of expression.

Batman related wall art ranges from low resolution posters to very
high quality, high resolution fine art, jet printed in the best inks
or oil paints, on high quality oil painting canvas.

Here is what you need to know when purchasing existing
posters/paintings and before ordering custom posters or printing your
own.

WHERE DO YOU WANT TO AND HOW MUCH ROOM WILL YOU HAVE AVAILABLE TO
MOUNT YOUR BATMAN RELATED WALL ART?

DEFINE YOUR AVAILABLE SPACE: Minimalist, Monumental, etc.

Size

Larger posters of course, tend to be more noticeable than smaller
ones. But it doesn’t just end there. Posters have different uses
depending on the situation. Posters for art require larger size and
higher resolution compared to those that are usually used in business
promotions.

According to the Standardized Poster Size Guide, small poster sizes
like 8.5 x 11 and 11 x 17 are commonly used in the entertainment
industry. Average sizes like 18 x 24 and 24 x 36 are used for personal
purposes such as special occasions, birthdays, for artworks and many
more. Business solutions and marketing services use the common movie
poster size, 27 x 30.

With that said, choosing the right poster sizes for the proper
application is significant to make your posters effective and
appealing.

Resolution

Setting up your file with the right resolution is as important as
choosing the right poster size. Posters meant as art-piece
reproductions will need higher resolution values since they have
larger size compared to posters intended for day-to-day promotions.
Likewise, posters that require a lot of small text (such as movie and
event production posters for example) would benefit from files with a
higher PPI (pixels per square inch) values than ones that contain
nothing more than an image and a tagline – like a typical political
campaign poster for instance.

Regardless of size, posters intended to be viewed from a few feet can
get away with lower resolution.

Pixels Per Inch (PPI) ratings of viewer experienced quality

100 PPI – Poor to barely fair

150 PPI – Fair to good

200 PPI – Good to very good (recommended)

300 PPI – Excellent

The farther you expect your posters to be from your audience, the
lower you can set PPI values. For photo-quality prints, graphic design experts recommend
as high a resolution as you can manage.

As for DPI (dots per square inch), you won’t have to worry about that
with a professional printer as much as you would if you were printing
at home, as most professional printers running a digital press would
typically print at 1200 x 1200 DPI / 300 x 300 PPI. The vast majority
of home digital printers cannot manage producing prints at high
resolutions reliably, or as cost effectively. When printing offset,
the gap for price and quality becomes much greater.

CMYK vs RGB: A good rule of thumb is anything dealing with the web
should always be in RGB and printed material should be in CMYK. But
very few designers and clients know why this is the standard. Back in
the printing press days, to achieve color, each ink (cyan, magenta,
yellow, and black) had its own plate.

When designing your poster for print, make sure that you are working
in CMYK color space rather than RGB. In Photoshop, all you have to do
is go to Image > Mode > CMYK. For Illustrator, Select File > Document
Color Mode > CMYK color.

If you already have a design in RGB, you can easily convert it to CMYK.

Stock and Finish

The type of stock and finish you choose will affect the overall look
of your posters. Different situations will also call for different
materials. Your choices will typically boil down to matte or glossy
finishes and paper or card stocks. Outdoor and super heavy-duty
applications will typically be on PVC board or a similar material.

3D embossed textures that rise from the paper stock are also available
such as fabric and artistic brush stroke.

But when we talk about Batman related fine art, the number one of them
all, for very high quality, high resolution fine art, are the ones jet
printed in the best inks and paints, on high quality artist painting
canvas.

Things you will also have to consider include:

Lighting Conditions

Glossy finishes, while classy-looking in a lot of cases (movie posters
are almost universally in glossy finishes, for instance), reflect
light, creating glare – obscuring details and making text less
readable. If you’re setting up posters in brightly-lit areas where
readability is a major concern, matte finishes might be more suitable.

Glossy finishes on the other hand, tend to show colors and contrast
better and look nicer in dimmer light, and other situations where
glare is not a problem.

Handling/Durability requirements

If your posters are intended to be reposted or otherwise regularly
handled, cardboard or PVC stock would be a better choice than paper.
However this brings us to the next item.

Cost per unit

Paper stock is almost always cheaper than cardboard or PVC. If posters
are meant to stay in just one place and not be constantly handled,
paper stock would be the more economical choice, allowing you more
copies for the same dollar amount.

Taking into consideration these essential poster printing elements
will definitely result to a successful poster. The size, resolution,
stock and finish you choose contribute to its effectiveness. Aside
from these elements, it is also important to consider economic factors
and the type of application you poster will be used for.
Remember, your poster design isn’t always what will make it memorable; but
will be considered for the overall quality. vertigo


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Batman ART.jpg (4 views, 141.24 KB)
Batman ART-2.jpg (4 views, 94.62 KB)
batman art-6.jpg (4 views, 73.20 KB)
Batman ART-5.jpg (8 views, 142.67 KB)
Batman ART-4.jpg (5 views, 146.21 KB)
Post #150132
Posted 8/13/2016 7:21:21 PM
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So, what about Batman related fine art?

When we talk about Batman related fine art, the number one of them
all, for very high quality, high resolution fine art, are the ones jet
printed in the best inks and paints, on high quality artist painting
canvas.

Giclee Canvas

Giclée (/ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/) is a neologism coined in
1991 by printmaker Jack Duganne for fine art digital prints made on
inkjet printers. The name originally applied to fine art prints
created on Iris printers in a process invented in the late 1980s but
has since come to mean any inkjet print.

There are many companies on the web that do canvas printing such as
BABOO: Fine Art Printing Graphic Solutions
www.baboodigital.com/giclee-fine-art-printing

Giclee Canvas

Baboo’s pigmented inks and high quality canvas choices create a
high-definition, versatile giclee canvas print. Canvas prints are an
exquisite, beautiful, and impressive way to produce pieces that
closely represent the original work in color, detail, and quality.
After the giclee images print, they are gallery wrapped or stretched
onto canvas for framing.

Archival canvas is very durable and can last for over a hundred years
without deteriorating or yellowing when kept out of extreme moisture
or sunlight. Giclee canvas prints are suitable for resale at Art Shows
and Fine Art Galleries.

Giclee Watercolor

To produce stunning giclee watercolor print reproductions of the
original piece, Baboo uses pure cotton textured papers identical or
similar to traditional watercolor paper. With giclee watercolor
printing, there’s virtually no difference between the print and the
original piece. Gamut rendition and pigmented inks produce spectacular
results and transforms digital files into spectacular artwork.
Archival watercolor papers come in smooth or textured options and they
offer one free test print with every order.

Fabrics

Photo quality prints on fabric offer a unique way of presenting Batman
related art with exquisite full color and impressive high resolution.
Fabric is a versatile printing media suitable for fine art
reproduction, flags, signs, and other personal and business
applications. Printing on fabric adds creative dimension, value,
quality, and opens up new expressive possibilities. vertigo


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Batman fine art.jpg (3 views, 29.92 KB)
Batman fine art-2.jpg (3 views, 111.31 KB)
Batman fine art-3.jpg (4 views, 8.38 KB)
Batman fine art-4.jpg (3 views, 139.42 KB)
Batman fine art-5.jpg (3 views, 70.88 KB)
Post #150180
Posted 8/18/2016 5:51:49 PM
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Before we look at: “WHAT SIZES, SHAPES, AND PRICE RANGES DOES BATMAN
RELATED POSTERS AND PAINTINGS COME IN?” we need to know the difference
between paintings that are painted with acrylics vs oils.

ACRYLIC vs OILS
www.itsallart.com
"There are many in the world of art who believe that oil paintings are
superior or somehow worth more than those painted using acrylics. This
belief is borne out of the fact that oils have been around longer and
are the medium of choice for many well-known professional fine
artists. As well, many universities and art schools tout oils as being
the best choice for an artist to paint with and incorrectly tell their
students that oil paintings have a much longer archival life than
acrylics.

However, there is little or no evidence to support any of the above
theories. Scientific studies have been conducted on both acrylic and
oil in side-by-side comparisons and both fare about the same under
carefully controlled light, temperature and moisture tests.

As well, it has been shown that many oil paintings may fare worse than
acrylic since many of the ingredients used are organic and have a
decay rate much faster than acrylics which are now made from synthetic
polymers.

Many paintings from the 1800s are decaying rapidly and a constant need
for restoration has created an entire business revolving around this
need. Restorers charge exorbitant fees for their work and rightly so.
I can't imagine having to handle a masterwork and recreate sections.

Some would even argue that oils look better "due to that nice sheen
they have" but with the advent of acrylic varnishes - both in gloss
and matte - that argument doesn't hold much credence.

Much of the current "oils are superior" type of thinking is left over
from an earlier era - the 1940s and 1950s - when the first acrylic
paints came into use by artists. At that point, acrylics were new and
still evolving into the excellent product they are today. Early
acrylic paints had a tendancy to break down, lose color and even flake
off of the canvas or substrate. Many argue that oils carry a heavier
pigment load, but my own research has shown that the largest and best
acrylic paint manufacturers use the same amount of pigment (and in
some cases, more) as oil painting manufacturers. This becomes
abundantly clear when the manufacturer produces both types of
products. It would be laughable to imagine that they would, for any
reason, hold back pigment on their acrylic lines.

I've gone to many galleries where the proprietor announces with much
gusto that they only carry oil paintings and refuse to carry acrylic.
It always comes as a surprise and, in my opinion, the loss is theirs.
Imagine ignoring an entire swath of artists whose works may better the
ones they currently carry simply based on what looks, to an informed
mind, like superstition.

Talking to artists who work exclusively in oils, one sometimes meets
with the same stubborn refusal to budge from their ideological
position. I find it humorous and at the same time somewhat puzzling,
mainly because of the constant waiting that an artist goes through
when working with oils. For that reason alone, many oil painters will
have several paintings in progress at once, which in my opinion, leads
to a loss of consistent thought processes that many artists use
working on one piece.

Thankfully, there's a new breed of artists who work in both mediums.
Many use acrylics for the underpainting but prefer oils for their
final layers due to the ability to rework areas and make corrections
days later. As well, some artists will work in acrylic only on some
works because of the drying time and the ability to layer paint
quickly over older layers. Many artists (myself included) have changed
from using oils to using acrylics because of the well-known toxicity
of oils and the mediums and thinners used alongside them. Most
importantly, the toxins in many oil paints and oil-based mediums are
not only bad for the environment but bad for we humans as well and can
be blamed for headaches, sinus problems and other illnesses including
cancers.

In any case, the old "oils are better than acrylics" thinking may
still take some time to diminish and fade away altogether. It is my
hope that the art-buying public will educate themselves and not be led
astray by those galleries and artists who are stubbornly living in the
past. Those in the know thankfully realize the truth and because of
that fact they are open to an entire bright and colorful world of art
created in acrylic or oil or both, depending on their particular bent.

This debate is nearly as old as acrylic paints themselves and you will
get various opinions on the subject depending on who you ask,
especially artists. Various oil painters will defend oils and an
acrylic painters will defend acrylics for the most part. I happen to
like both, but choose to use acrylics because of health concerns and
the fact that they fit my style and process. Each has their own merits
and it really comes down to personal taste for the artist using them.

However, the same should never be applied when buying art. I only hope
that those of you who actually collect or purchase art will buy it for
what you see in the end result, not for what was used to create the
work."
Post #150230
Posted 8/21/2016 9:00:08 PM
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Here is an excellent diorama of the Bat Pod. vertigo

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Post #150243
Posted 8/24/2016 5:02:44 PM
Has NO LIFE!!

Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!Has NO LIFE!!


Last Login: 12/4/2023 11:08:55 PM
Posts: 3,232, Visits: 5,166
WHAT SIZES, SHAPES, AND PRICE RANGES DOES BATMAN RELATED POSTERS AND
PAINTINGS COME IN?

In general the most common sizes for posters and paintings are the
ones that follow the ¾ formula; where the poster or canvas width is
3/4th of the height. Square posters and paintings are not popular.
Many art professors believe this is due to the width of our visual
field. One wrote, “The square painting is always displeasing to one
eye or the other.”

(4 x 6 inches) (5 x 7 inches) (8 x 10 inches) – popular for
photography prints but not common in art.

(10 X 15 inches) and (11 x 14 inches) - (extremely popular – Art sizes
start here. There are many stretched canvases available in this size,
however this size is mostly used for prints, posters, drawings etc..
and not commonly used for oil or acrylic paintings. There is large
selection of frames available in every shape, color, material, etc.
for this size. Posters start at 5.00 and prints on canvas start on
average at around 85.00.

(16 x 20 inches) - (extremely popular – almost the same as 11x14, and
the frames availability is really good. Posters start at 6.00 and
prints on canvas average around 100.00.

18 x 24 inches - This is the smallest size that has right proportions
for an artist to start painting, and that is why it is mostly used for
that. There are many of these found at Ebay and starving artist shows.
However, this is considered to be the first paintings only used size.
Posters start at 7.00 and prints on canvas average around 125.00
Original paintings range on average between 100.00 to 150.00 depending
on content and execution.

Note: Keep in mind that small paintings will not look good in a large
room, and the monster frame added to it to make it appear larger can
only go so far. So, now we are getting into the sizes that are not
used frequently for prints, posters, art photography, drawings, etc.
but primarily used for paintings – mostly oil and acrylic. And the
logic here is that a painting with frame (or even without it) should
be large enough so it will not get lost in the room. Also, keep in
mind that, where other artwork can be displayed in smaller rooms the
paintings usually go into the largest room in the house.

The rating for large sizes is different. Obviously it will be harder
to find painted canvases and frames for these sizes, but they are
given a higher rating if at least some are available.

20 x 24 inches - Not very common but both painted canvas and frames
are available, occasionally still used for posters, prints.)

22 x 34 inches - not very common but both painted canvas and frames
are available, occasionally still used for posters, prints.)

24 x 36 inches - not very common but both painted canvas and frames
are available, occasionally still used for posters, prints.) Posters
start in the range of 8.00 to 10.00 and paintings range 300-500.00 on
average

30 x 40 inches - very popular – this is where paintings are getting
large enough that it makes sense to use oil and create ‘professional’
artwork.

Posters start at 10.00 and paintings range 400-600.00

36 x 48 inches - very popular – this size is used a lot for the
paintings, probably more so than the 30 by 40 inches, however premade
frames are more difficult to find. Posters start around 20.00 and
original paintings range 500-2000.00

48 x 72 inches – most popular of the very large sizes.

I’ve seen a good number of paintings in this size, but again something
like this requires a lot of special handling – framing, shipping, and
even simply having enough room to hang it in. The canvas will probably
have been custom stretched as well. Usually sold in 3-4 piece poster
sets that assemble into one poster or assemble into a poster grouping.
These usually start in price between 60-100.00 Paintings typically
range between 3,000.00 – 20,000.

72 x 96 inches and even bigger are custom sizes that start around
10,000.00, often costs 20,000.00, and range as high as 50-100,000.00

Much of the price depends on who the artist is. vertigo
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