Bob Eg­gle­ton

ImagineFX: Sci-fi & Fantasy Art magazine - - Imaginenation -

The es­teemed artist gives us his take on to­day’s con­ven­tions

What do you do at cons and how valu­able are ap­pear­ances?

At mon­ster genre cons I have a ta­ble and sell prints, sketches, meet peo­ple and sign things. Sci-fi cons tend to have art shows and one buys some panel space and puts work up. When I was start­ing out 30 years ago cons were the way to go. Now it’s re­ally more about the fan con­nec­tion.

Do you make a profit at cons? And if not, why do you go?

It de­pends. At some sci-fi cons I do quite well, such as at a Bos­ton con­ven­tion called Boskone. I was at the re­cent Rhode Is­land ComicCon and I did quite well on prints. Some can be to­tal dis­as­ters in terms of cost to get to, ship work to and so forth. I know artists who pay thou­sands and thou­sands of dol­lars and then maybe make a few hun­dred dol­lars in re­turn! You have to know which one is best for you, then weigh up the costs.

What do love most about cons?

I love the con­nec­tion, the kind words and meet­ing peo­ple who tell me my work in­spires them. I dis­like some of the smaller sci-fi cons where the fo­cus is now overly fix­ated on fans-of-fans.

If you were in charge of cons, how would you make them more worth­while for artists?

Make the art more im­por­tant. This is how Il­lux­con and Spec­trum Fan­tas­tic Art Live were born. Comic cons have be­come more me­dia or elec­tronic gaming fests that are im­pos­si­ble to get around for the crowds. The artists – many are clas­sic comic artists – are shoved to the side. I get that some things are popular, but it seems the artists of­ten get the wrong end of it.

Fan­tasy, sci-fi and hor­ror artist Bob has won the Hugo Award eight times for his work. He’s also a big Godzilla fan.

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