Images © DC Comics.
The first collection of the new DOOM PATROL I’m lettering has arrived. I’m enjoying it a great deal, and you might, too. I think it stands on equal footing with the earlier series written by Grant Morrison, from which writer Gerard Way and artist Nick Derington took a lot of their inspiration. As I don’t get individual printed issues anymore, this is my first look at it printed and in color. Looks great!
One thing I’ve been noticing in recent DC printed comics is a different method of color separation. I’m not sure when it started, but fairly recently, I think. Gone are the regimented rows of dots in the colors, now they are dithered.
A closer look to explain what I mean. See how the tiny dots of color do not line up in rows, but instead are spread randomly? The previous regimented dots were a function of photographic color separations. Digital separations have other options, including this one. It gives the color a more evenly spread feeling, you notice the dots less, and those dots are much smaller than they used to be, too. I have no way of measuring how many dots per inch the color uses here, but it’s a LOT. Note, there’s no dots in the solid black lettering and balloon borders above, but when I used color in the lettering, it has the same kind of separations. Interesting and modern. The look is closer to what you’d get at home with an inkjet printer, which I think uses the same diffusion pattern of dots. Printed comics are now even more finely detailed than their digital versions available on sites like Comixology, though those look fine when I read them, too.
The collection goes on sale May 31st at comics sellers. I heartily approve.
My final report, last two full days in Savannah. Sunday morning, Dave, Ann and Ellen decided to attend Mass in Savannah’s Catholic Cathedral, St. John the Baptist. I opted to walk around outside instead, but got this photo of the outside. We regrouped at the Book Lady Bookstore, where we found a few things we wanted, then had lunch at the Mellow Mushroom pizza restaurant. Continue reading
This and all images © Marvel.
Continuing my ongoing series about the cover lettering of Danny Crespi at Marvel Comics, mostly from 1974-1979. Photocopies of saved cover lettering from Danny’s files were compiled into a collection by letterer and friend Phil Felix during the 1980s when he worked with Danny on staff at Marvel, and Phil sent me copies. This time I’ll look at pages 41 (above) through 44. Everything on this page is by Crespi except “The Trial of Colossus,” which is by Gaspar Saladino. Sources follow. Continue reading
Image © Mike Voiles.
Not long ago, lists of top comics creators in various categories from the website Mike’s Amazing World were being passed around and commented on in Facebook. It’s a site which lists and indexes American comics, with the main focus being DC and Marvel, and the lists come with lots of caveats such as: these lists represent items currently in their database, but are not complete; publishers other than DC and Marvel may be missing or not well represented; credits prior to the 1960s are often not available. Continue reading
Image © DC Comics, from HOUSE OF SECRETS 99, Aug. 1972.
My Facebook feed is full of mourning for the passing of Bernie Wrightson, one of the all time greatest comics artists, one of the greatest of any kind with brush and ink. I met Bernie a few times, including at The Studio (which he shared with Michael Wm. Kaluta, Barry Windsor Smith and Jeff (Catherine) Jones), but never talked to him much or really knew him. Loved his work. Sad at his passing from brain cancer. Condolences to his family, and especially our mutual good friend Michael Wm. Kaluta. Above is the only Wrightson art I ever owned, since sold. I lettered over Bernie just a few times, the logo for THE CULT comes to mind, and was amazed by his work. His illustrations for “Frankenstein” will remain one of the most incredible accomplishments of a long and legendary career, though his work on the original SWAMP THING is what I remember best. Rest in peace.
ADDED: Thanks to David Marshall for finding this example of my lettering over Wrightson pencils. I knew I did some, but couldn’t remember where. This was a 1988 four-issue series, THE WEIRD, 38 pages each, and I lettered all of them.