sensei wrote:Heh. I see we have a common interest in the animator Shigeyasu Yamauchi. I would be interested in a seeing closer scan or digital photo of the script you own to see how the handwriting compares with the handwritten storyboard for Condition Green that I just won on Mandarake (everyday auction, not the BWA).
On script is wrote "technical director" and this episode is attached to Yamauchi work. Crossing data is always helpful as from time to time on credits there are mistaken data (student substitute master and so on...).
Check your PMs, scan lands within 30 minutes. Cross PM appreciated.
sensei wrote:Your presentation of the St. Seiya cels/backgrounds is very effective, by the way! Even a non-Seiyaphile is impresses.
Technically they certainly decided first to set a pan-cel (see how the four character perfectly mix, two on first row, two on second row, in perfect symetry) but for some technical cost reused cut 279 as cut 285.
This October 2010 BWA was a Shindo Mitsuo festival with tons of arts, consequently this was extremely easy to identify those cels sourcing. Once done, I decided to reunite the sequences as a pair as if I'd be buying a pair of bookends. On the first purchase no problem, on the second a tricky guy made me waste half an hour with his 100 yens auction extend time trick every last 10 seconds... simply pathetic (Lord, I lost 2000 yens, ruined my life).
Killua wrote:Do we ever get to see any of the art you've bought framed? I'd like to see how you're actually going to be presenting it. Or have you even started the framing process yet? I imagine it'll be a ton of work.
Actual frames are CG, I already met several museum conservators to discuss about the project, in fact the way I use to present arts is lightyears from actual dynamism in museum exhibition settings.
There are now existing some companies specialized in exhibition arranging and in order to make art more understandable, there are framing one unique art per frame, multiplying framing costs.
Frames are indeed part of the deal, first is status control, then restoration process (expensive), then framing (almost as expensive as art itself). I've connection with framing guild to follow museum procedures.
Storage is an important aspect of the project, as non framed arts require less storage space than framed ones. Additionnaly it is easier to ventilate arts and control environment to reduce acidic prior damages.
GuyvarIII wrote:If the items are going to remain framed, I suggest undyed 100% cotton rag mattes, and OP-3 Acrylite facing. Your frames look like they’re going to have to be pretty big. OP-3 Acrylite provides UV protection, and is fairly light weight. Also, if anything falls, it doesn’t shatter like glass.
Sounds you collect photography too, if I'm right Acrylite is recommended for photography. I also own 4x5" films that were shot for action figure boxes mass production (in fact the production step after Hanken).
At my side I focus on Microchamber backboard including active acidic absorber. For cels, UV glass ain't priority, acidic management is crucial. There are not tons of framers able to handle cels for a long term storage, photography specialist are your best deal due to material similarities.
Note that I now own a "museum of horrors" with damaged arts bought in japan to study their chimical reaction to acetic acid.
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Note that I overpassed the planned schedule of a one year collection, as project not yet accomplished. This will run for some months more, not a matter of time
