Category Archives: Lettering/Fonts



Images © Ross F. George estate and/or Hunt Manufacturing Co.

Continuing my commentary on this 1941 lettering and design handbook. Previous chapters can be found under the “Lettering/Fonts” category tag on the right side of this blog page.

Ross F. George was a master with the Speedball pens he helped design, and this alphabet is full of appealing bounce and humor. It also looks quite old-fashioned to me now, though in 1941 it was probably right up to date. I particularly like the capital S. Continue reading

Pulled From My Files #23: The Spider’s Web


If you remember when nearly all comics had letter-columns, you’ll know that they needed a header with the column title (usually something relating to the book title or a pun version of it), and the address where readers could send their letters. I did a number of letter-column headers for both DC and Marvel, and this is one of the latter, for THE AMAZING SPIDER-MAN in 1994, utilizing my revamped Spider-Man logo in the title. I did new headers for all the Spider-Man books at that time, just as my pointy logo appeared on all of them.


Here’s a closer look at the fine print, all hand-lettered. The style of the larger lettering is highly influenced by Gaspar Saladino, my favorite letterer. I’m surprised at the abbreviation “SO.” for South, I don’t recall seeing that anywhere else.

Email has replaced nearly all mailed letters now, and internet message boards and social media have replaced letter-columns. Even when I was on staff at DC (1977-87) the amount of letters coming in to a particular title was quite small. It was often a challenge to find enough good ones to put together the letter-column every month. Some editors (or usually assistant editors) were forced to make up letters to fill the page. I don’t know how much communication there is now, but at least the editors, writers and artists can tap into it pretty easily with a web search. I know I enjoyed reading the letters that came in about the comics I wrote back in the day, even when they were negative.




Images © estate of Ross F. George/Hunt Manufacturing.

Continuing my look at the 1941 edition of this lettering how-to booklet, on these pages George takes us back to the beginnings of the Roman alphabet as we know it. By placing each letter on a five-by-five line grid, and also showing the angle he used to work out the thick and thin variations of the strokes on some of the circular sections, he’s made it easy for anyone to reproduce these letters much larger. Simply prepare a much larger grid and sketch out the black areas in each section. It’s a time-honored way of transferring small things to large surfaces reasonably accurately, before computers. Note that, while based on the Trajan Column letters, his forms have softer and more rounded serifs and corners.


The name Triple Stroke says it all in this classy use of round-tipped pen points to create decorative letters with a New Orleans flair to my eye. At the smaller size it’s still easily readable, too.


Here’s a very elaborately decorated open letter style with a Circus feel. It might also look nice on a party invitation. Rather hard to read, so something you would use sparingly.


George calls this Stunt Roman signifying that he considers it a lettering equivalent of showing off or performing for the crowd. The letter forms are very stylish, Art Deco in the extreme. I like it, though again would use it sparingly. There’s a font called University which is clearly based on this.


A patriotic style that works well for these large letters, the thin strokes would disappear at smaller sizes.


These alphabets use the idea of wobble, adding a rough or crude look by making all the strokes uneven in random ways. It’s an idea I used often when lettering comics, though not in these specific styles. “Western Letters” suggests the crudeness of signs in the Old West, I guess, though I’ve never seen anything like it in real Old West imagery.


The final page in this post is full of contrasts. On the left is a stylish condensed Art Deco alphabet that I like, though the strokes are a bit thin. On the right is an experiment in tone and rounded shapes that I find almost unreadable and rather ugly. Well, they can’t all be winners! More next time.


When Lettering Takes Center Stage


Image © DC Comics, Inc.

Usually in comics lettering takes a supporting role behind the writing, art, and even the coloring. It’s an important role, but not one that is meant to stand out, sort of like the soundtrack of a film or even more appropriately the title cards of a silent film. There are places where lettering is meant to be noticed, like the title page and certain places where sound effects are important, and occasionally lettering gets to walk right up to the front of the reader’s attention and show off. This was the case in a 1991 issue of THE DEMON, #16, written by Alan Grant, art by Val Semeiks and Bob Smith, lettering by myself. The script called for a representation of a page in a medieval book of spells, but one that was actually more of a crossword puzzle filled in. When I got the pencilled art, I probably drew in the lines of the crossword and put in the large calligraphic letters as indicated by Val Semeiks. It’s likely I also inked in his lettering on the central monogram, too. While that and the thorny borders are fine work, there’s no denying that the lettering had a chance to shine here, and I enjoyed that. When the art was eventually returned to Val, he gave me this page, a very kind gift. I thought you might enjoy seeing it. And, if you’re interested in owning this page, I have it on eBay HERE. While I’ve enjoyed owning it for many years, I feel it’s now time to pass it on. I’d be happy to sign it for you.

Pulled From My Files #22: X-MEN #30 cover


Image © Marvel Characters, Inc.

In late 1993 I was asked to letter the cover blurb for X-Men #30, as you can see, a special event. It’s always fun to have a place to use some decorative calligraphic script, and in this case I thought it worked well with some art deco open letters for the top line and character names. The lettering was done by hand.


The jagged oval burst balloon with a roughened outer edge added some energy to a generally static cover scene, though one with lots of implied movement. I thought it worked well.