Image © DC Comics.
Another new version of something I lettered that I wasn’t expecting. I’m no longer getting “Diamond Previews,” so I don’t see what’s coming anymore. KINGDOM COME was a great project to be involved in, I loved the art and the story. It was lettered by hand about 20 years ago, even though I was just starting to letter on the computer in 1996. Mostly it was lettered on vellum placed over photocopies of the art, so I didn’t see much of the art in color until the book came out. I loved it even more then. I think this wraparound cover by Alex Ross is new, at least I hope so. Least they could do for the anniversary. It’s nice to see the font I created for and with Alex being used on the title, but the lettering/type nerd in me sees several kerning errors: too much space between the first O and M, too little between the D and O and C and O. I’m sure most of you would never have noticed that, sorry…
More about working with Alex on this project and others is HERE.
Image © Michael Zulli and Dark Horse Books.
Here’s something I wasn’t expecting, a reprint of “Miss Finch,” the graphic adaptation of the Neil Gaiman story with art by Michael Zulli. I’m credited as “script adaptation and lettering.” How did that come about? This project was in the works for a few years. About once a year editor Diana Schutz would call me and talk about it, making sure I still wanted to letter it. Michael is a wonderful artist, but meticulous and pretty slow. Once he was done, a friend of Neil’s, Olga Nunes, did a lettering script, but Diana was not happy with it. Eventually she called me to say, “I don’t know what to do about this script.” I offered to take a look and see if I could come up with something she liked better. I rewrote the lettering script based on what Olga had done, but avoiding problems like describing what the art showed, things like that. Olga had the right idea, just not the experience of working in graphic storytelling. Diana was happy, so was Neil, and I was able to letter the book so it could be finished up and published. In the first printing, there’s a credit that reads, “with special thanks to Olga Nunes.” I’m sorry it’s not in the new version, she deserves mention. Some of her work definitely made it onto the pages, though I’m no longer sure how much. Both of us drew from the Gaiman story as much as possible.
Really like the new cover design by Rick DeLucco. Great type design, and it shows off the cover art beautifully.
Image © DC Comics, Inc.
Just arrived, and should be in shops near you soon, if not already. Grant Morrison re-imagines Wonder Woman from the beginning, with excellent art by Yanick Paquette. Nathan Fairbairn colored, I lettered. This is all new, not a collection of monthlies, a story of well over 100 pages. I don’t usually critique things I work on, but I really enjoyed this, and I suspect many fans will, too. Grant seems to have found a way to incorporate many of Wonder Woman creator William Moulton Marston’s ideas about the character back into the story. Some may find that controversial, I thought it worked. Yanick’s art is a delight, full of excellent design work, energy, drama, and a joyful celebration of heroics rarely seen in comics these days. I suggest you have a look!
Here’s a surprise that came my way this year. Months ago I was contacted by Randall Hasson to see if I’d be interested in having some of my lettering included in the upcoming 24th edition of the venerable Speedball Textbook, created in 1915 by William Hugh Gordon and Ross F. George to instruct and explain the uses of the then brand-new Speedball lettering pens. The book was a perennial seller, going through many editions and revisions, and this one celebrates the 100th anniversary with classy production values: color throughout, glossy paper, and nice design work. Mr Hasson had found the dissections of the 14th Edition from 1941 on my blog, which begin HERE, and liked what I had to say. He wanted to include a short piece on comics lettering in the new edition he was editing, and asked for my input and some art. I told him he was about 20 years too late for comics, as nearly all of them are now lettered with digital fonts, but he wanted my work anyway. Seeing the finished book, I realize he’s included lots of material involving the craft of making letters, from sign painting to the latest in calligraphy and hand-made logos, so I’m happy to be included. There are also many lessons, examples and alphabets from the entire run of past editions, so it’s a nice package.
Here’s the first half of the comics spread with art by Jim Woodring and text I had a hand in.
And here’s the other side with my work, some hand-lettering from my Comic Book Dreams print, and a color version of my Lettering Sampler print. What a fun place to see my work!
I’m not sure when the book goes on sale officially, but you can pre-order it on the Speedball website if you’re interested.
Image © DC Comics
Nice to see this finally in an elegant hardcover edition. It’s one of my favorite Superman stories, and I feel lucky to have lettered it. The writing by Kurt Busiek is excellent, as is the art by Stuart Immonen. It was digitally lettered, but I did get to recreate some hand-lettering styles from DC’s past on the first page of each of the four chapters, so that was fun. If you haven’t read it, I recommend it highly.