Recently Comicraft logo designer JG Roshell sent me a link to this image promoting six future Marvel films with the excited message, “Looks like they’re using my Inhumans logo and your Dr. Strange!” We were both happily surprised by this. Even though there’s no guarantee these logos will continue to be used going forward, it was cool to see. Continue reading
On Feb. 24, 2014 I received an email from DC editor Kristy Quinn commissioning this logo. She told me it was for a new digital-first title along the lines of ADVENTURES OF SUPERMAN or LEGENDS OF THE DARK KNIGHT, in that it would run online first, then be released in a print version, and the logo would need to serve both. Kristy wrote:
“This is going to be a BIG logo, both literally and figuratively. It needs to offer a lot of flexibility for placement while speaking to both the original SENSATION COMICS logo and a more modern sensibilty.
1) can be used as two-three flat lines, or equally as well stacked into 5 lines
2) Something that reflects the original SENSATION COMICS logo & uses the WONDER WOMAN section to bring it forward in time.
3) Since this will cover 90% of the real estate on any digital graphics, it needs to “read” at 600×600 pixels, so we can use it as the entire graphic if we need to.”
I was happy to accept the assignment, and I soon got to work making sketches. Continue reading
A few months ago I was contacted by Leah Moore about designing some logos for a new project she and her dad Alan Moore were working on, an app for making and reading comics in digital form. They had the name, and a few sample logo treatments, but they weren’t completely sold on any of them and asked me to have a go, which I was happy to do. From the sample provided above, I liked the retro Victorian feel and the old light bulb. Continue reading
Images © Dark Horse Comics, Inc.
Sometimes when working on a logo you’re asked to do something that you can’t make work. That was the case with this assignment from Dark Horse editor Randy Stradley. He wanted the “virus” creatures from his story to appear somehow in the logo. Perhaps he was thinking of the original MAD logo where Harvey Kurtzman filled the centers of the letters with a crowd of crazy people. Unfortunately, I’m not that talented, so I suggested to Randy that I provide him with an open logo like this and perhaps his artist could add some of the creatures.
He must have agreed, and here’s a photocopy of the finished logo, simply a very tight and exact tracing of the sketch. except that I added a little space between the V and I so I could have that corner the same height as the ones to the right of it. I think it has strength and visual impact, and is easy to read even with the joined letters.
Apparently the creatures in the letters didn’t work for the artist either, or the idea was simply not followed, and the logo appeared as I designed it.
Images © DC Comics, Inc.
Here is a tight pencil layout for a one-shot logo I did in 1987. It’s a sword and sorcery fantasy book I think, though I haven’t seen it in decades, and that looks like the direction I was going in this design, perhaps emulating fantasy paperback logos or even epic movie logos. I’m not sure why I thought the shading lines in the deep telescoping behind the letters was a good idea, and the overlap of the L on the O bothers me now. The entire logo seems too tall as well, but logos were often taller then.
I don’t have a copy of the finished logo, but here it is on the cover. I probably hadn’t seen the cover art when I designed the logo. If I had I think I would have made it wider and less tall, and avoided the curve so it could be placed completely in the background and off the woman’s head. It was only used this once time, and perhaps it’s just as well!