Tag: Comic Con International

With Further Ado #207: End of an Era

With Further Ado #207: End of an Era

San Diego Comic-Con, officially called Comic-Con International, is about to start up again as a live, in-person event. The past couple of years it’s sprung to life as Comic-Con@Home, and that’s been fun, but there is an eagerness amongst fans and professionals to get back to business.

Many changes are expected, and there’s been a lot of chatter about the big changes to the exhibitor line-up on convention floor. On The Beat and in Publisher’s Weekly, Heidi MacDonald’s reported on the absence of SDCC mainstays like Warner Bros/DC and Dark Horse. You can read more here.

For me, the one that “hurts the most” will be the absence of Graphitti Designs. Bob Chapman, called Chappy by many, is a guy who’s lived at the epicenter as a passionate entrepreneur and knowledgeable fan.

As a celebration of his extraordinary SDCC run, and the impressive business he’s built, I’d like to re-run this column. It was originally presented on ComicMix in 2016, right before that year’s San Diego Comic-Con.

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Ed Catto: Culture & Commerce – Bob Chapman’s Graphitti Designs

Over the past 47 years the SDCC has grown to become a pop culture behemoth. More than just a grand celebration of fan passion, it’s a driver of serious commerce. SDCC’s impact now makes waves on a national and international economic scale, far beyond the initial fan-centric puddles of the early days.

Bob “Chappy” Chapman is a fan and business owner who was part of the early days and is still actively involved today. He’s an energetic entrepreneur who’s built his business Graphitti Designs, catering to Geek Culture. Graphitti Designs has been creating fan-focused merchandise like T-shirts, statues, action figures, prints, books and more. And Bob has found a way to survive – and thrive – throughout the many iterations of SDCC over the years.

Bob is likeable, charming, infectiously enthusiastic, and effortlessly employs an extensive vocabulary. You just know he’s a big reader! He’s nostalgic, but always looking forward. As we prepare for the annual nerd prom that world calls SDCC, I was eager to learn how the convention got his business started and how it’s changed over the years.

The Secret Origin

All great superheroes have a great origin story, and Bob Chapman is no exception. Bob and his brother were rabid Silver Age comic fans and had accumulated an impressive comic collection. By the late 70s, they had become disillusioned with collecting and decided to sell their comics. They dutifully trotted their overflowing comic boxes to a myriad of dealers, but were shocked at how little money was offered.

In what would become a life changing decision, they decided that they could do better selling the comics directly to fans directly. They signed up for dealer’s table at SDCC.

(Hard to believe it was once that easy to secure exhibition space at SDCC.)

“We didn’t know what we were doing,” confessed Bob. But despite that, the brothers managed to walk away with several thousand dollars. And they made this profit by selling off only 10% of their collection. More importantly, they loved the comic convention culture, and they were in the thick of it with all their peers and favorite creators. For example, their dealer’s table was situated right next to comics legend Wally Wood.

The Creation

In the early days, there was a lot of camaraderie,” said Bob. He explained that they were all on a learning curve, and there were no official guidelines. “We all helped each other, learned from each other. It wasn’t contrived and was never articulated.”

When he started in 1982, there was no merchandise or specialty marketing. There wasn’t even a place for distributors. The direct sales market was evolving, but the marketplace was, at that time, still focused on the monthly sales cycle of periodicals. Evergreen products and licensed merchandise were rare and usually dismissed.

But in 1981, Bob developed a straightforward idea. He knew the screen-printing process, and he knew comics. He approached SDCC’s management team with an idea that was radical at the time, although it has become startlingly commonplace now: to make and sell official comic convention T-Shirts!

On the Frontier

That first shirt. Now in the Comic-Con Museum

In planning for this first T-shirt project, Bob told me how he was hopeful to work with one of his favorite artists, like Jack Kirby, or to use an iconic hero, like Batman or Spider-Man, in order to design a powerful shirt and logo. Instead, he was disappointed when the convention management team asked him to work with an up-coming-artist he hadn’t heard of and old comics character that hadn’t been published in years.

Crestfallen, he was determined to make it work.

The character was Sheena, an iconic super heroine (pre-dating Wonder Woman) and the artist was Dave Stevens. Bob soon met Dave and they hit it off. And Bob, like the rest of the world, would soon discover that Dave Stevens was a phenomenal artist. Together, they would create many gorgeous items for Bob’s fledging start-up. In fact, many of Graphitti’s “firsts” involved Dave Stevens. The first book Graphitti published was a Dave Stevens Book. The first cloisonné pin featured Dave Stevens’ Rocketeer character. The first statue Graphitti created was based on Dave Stevens’ artwork.

“He was our unofficial art director for all those years,” said Bob.

The Spirit of Entrepreneurship

The classic Dave Stevens shirt also in the Comic-Con Museum

As Bob talked about the business, he reiterated that he owes much of his success to all the kind people who wanted to see him succeed.

One particularly influential person was Will Eisner. The legendary storyteller and creator of The Spirit approached Graphitti to make Spirit T-shirts. “He allowed us to make Spirit T-shirts,” recalls Bob. “It had never been done before.” Looking back, this was especially important, as Eisner was also known as a very focused businessman.

Business Grows as Comic Cons Grow

Graphitti was, in many ways, the first specialty company to create statues and comics-focused hard cover books for the collector’s market. The entire collectible statue market can easily trace its parentage back to Bob Chapman’s efforts at Graphitti.
As a merchandising company, Graphitti blazed new trails and usually enjoyed first mover advantages.

“Now there’s a plethora of merchandise. I spawned some of that,” said Bob.

He’s practically a founding father of merchandising in the comic book industry.

“Not so sure how proud I am of that…it’s so saturated <now>,’ he muses.

Bob explains that they were “…a product of the times. On one hand… the timing was extremely fortunate. But at the same time, the timing was bad – as there was no guideline or framework. In hindsight, ignorance persevered.”

Graphitti was focused on being a champion for artists and comic artwork. “Being a facilitator to the vision is other is part of what gave us this look,” reasoned Bob.

“And now, we’re fortunate to be evolving back into creating books,” said Bob. He’s very pleased about that.

And Graphitti was purposefully small and was able to be malleable. They weren’t shackled to preconceived ideas.
In the beginning, Graphitti was the only game in the geek merchandise town. But things changed quickly. Bob had to learn how to juggle his money and still produce items.

“I had numerous opportunities to go out of business, and had to learn how to juggle air financially,” said Bob.

The Romantic Entrepreneur

Bob is a unique mix of the classic nuts-and-bolts businessman and the idealist romantic entrepreneur.

That’s evident in his love for the medium, and comics in general. But’s also evident in his staffing.

You see, Bob’s lovely wife Gina often works with him at the Graphitti Convention Booth. So much so, in fact, that she too has become a staple of the SDCC.

“I work more than I should,” lamented Bob. And to that end, he’s grateful that his wife often joins him on the convention circuit and at SDCC in particular.

“Sometimes it’s an asset to have such fresh eyes,” said Bob. “She’s not star struck and she’s a good sounding board. She makes the shows more enjoyable. It’s nice that she’s there with me.”

Standing Tall at San Diego Comic Con 2016

Bob makes it very clear about his relationship with SDCC. “I wouldn’t be here without it,” he said.

And he’s contemplative about the state of the industry. “We got what we wanted,” concludes Chappy. “The stink of comics from the fifties has dissipated.” But with the growth comes issues, and it’s a “double-edged sword.”

“I built Graphitti, but I didn’t do it properly,” Bob admitted. “I don’t want to be the poster child for doing it properly.”
As an entrepreneur, I just scratch my head and think that Graphitti’s amazing success, innovation and longevity all seem pretty proper to me!

 


Much of this article was published on ComicMix on July 11, 2016

With Further Ado #158: Comic-Con Begins: Five-and-a-Half Questions with Mathew Klickstein

With Further Ado #158: Comic-Con Begins: Five-and-a-Half Questions with Mathew Klickstein

The latest comic from Mark Evanier and Sergio Aragones, Groo Meets Tarzan, is brilliant.  Tom Yeates is also along for the ride, and if you, like me, are ravenous for more of his artwork beyond the weekly Prince Valiant Sunday strip, his contributions to this one won’t disappoint you.  The first issue kicks off with a double page spread showcasing the main floor of San Diego Comic-Con and it had me laughing out loud and missing it all -both at the same time.

To be sure, San Diego Comic-Con, or Comic-Con International, has grown to become a sprawling, wonderous event. It will be fantastic when things ‘get back to normal’ for this annual celebration.  So… while we’re waiting for that, maybe now is the perfect time to learn a little about the origins of this event?

The new podcast Comic-Con Begins, is informative, illuminating and just plain fun.  I had the pleasure of catching up with Mathew Klickstein to get the lowdown on it all.

Question 1:

Ed Catto: Why do you think there is such an interest in comic cons and specifically in the history of comic cons?

Mathew Klickstein: One of the many reasons we thought a history of “the” Comic-Con would be something worth investing massive amounts of blood-sweat-n-tears into is that there really hadn’t been a history like this put together before, at least not in such an extensive, extremely deep-dive investigative/exploratory way. Certainly not involving the entire force of folks who made it all happen back in the day.

There’ve been some great books – mostly academic/scholarly or personal memoir – about cons and fandom over the years, along with a handful of well-crafted documentaries and the like. But we just hadn’t seen too much in the way of such a long-form history, which again, was a principal motivator for us to plunge into the project with such breakneck insane passion, and certainly a major factor in why we wanted to do all we could to get it done “right.”

We wanted to fill in that lacuna, the gap in our shared cultural history. We aspired throughout the process to achieve that with Comic-Con Begins.

As for interest in the conventions themselves? I’m hoping too that that interest has been, if anything, bolstered by this past year+ of the lack of their happening in-person (or, in many cases, at all).

That this last year+, I hope and believe, has reminded people why a true in-person, “I’m there with the rest of the fans all together in a finite space” singular experience of being at a con is something we truly need as fans, as geeks, as “misfits” or whatnot who connect with members of their “tribe” through certain pop culture and creative/artistic entities and that going to conventions to see old friends and enjoy these experiences together, in person, is not simply a luxury. It’s something we desperately require as a social species. (Fan or otherwise!)

Question 2:

EC: And even though it’s not the biggest comic convention, many would argue that San Diego Comic-Con is still the most important. Do you think that’s true? Why or why not? Continue reading “With Further Ado #158: Comic-Con Begins: Five-and-a-Half Questions with Mathew Klickstein”

Comic Con International 2020 Cancelled in Response to Coronavirus Pandemic

Comic Con International 2020 Cancelled in Response to Coronavirus Pandemic

For the first time in its 50-year history San Diego Comic Convention (SDCC), the organizers behind the annual pop culture celebration, announced today with deep regret that there will be no Comic-Con in 2020. The event will instead return to the San Diego Convention Center from July 22-25, 2021.

Source: Comic-Con International: San Diego Comic Con 2020 Cancelled

With Further Ado #053: Entrepreneuring at SDCC 2019

With Further Ado #053: Entrepreneuring at SDCC 2019

The 50th annual San Diego Comic-Con was filled with creativity, passion and innovation. But it always seems to be. You can see it in everything from the cosplay (see the post from Tuesday) to the big corporate announcements about the next phase of the Marvel movies.

But I’d like to take a moment and focus on just a few of the creative entrepreneurs who find their own path in nerd culture. They don’t participate in the usual distribution channels, instead relying on the entrepreneurial power of exhibition, kickstarters and trail-blazing in general. And they were in full force at SDCC.  Continue reading “With Further Ado #053: Entrepreneuring at SDCC 2019”