In 1994 I was asked by Marvel to design a logo for their character The Prowler. I didn’t know much about the character, so I stuck with logo styles that Marvel had liked in the recent past, and there were lots of them in 1994. My first marker sketch, above, has notes from suggestions made by the editor or editors. “Bolder” overall, and widen the inner spaces in the openings of the P and R’s. Continue reading
Some time in the early 1990s (I think) I was asked by Marvel to submit designs for a NEW MUTANTS logo. I’m not sure if it was for a proposed revamp or relaunch or special. In any case, they were not used. I have only two of the original four sketches. This one gets a little too cute with the reversing out of the block letters from the scratchy NEW, and would have been difficult to color. Continue reading
In 1990 Disney pulled their comics license from Arizona publisher Gladstone Comics and began creating comics using their characters such as Donald Duck and Mickey Mouse themselves for the first time in their history. In 1991 I received a call from comics editor Art Young, who I had worked with at DC on their pre-Vertigo titles such as SWAMP THING. Art had been hired by Disney to put together a line of mature-reader titles similar to what he’d worked on at DC, and he wanted me to design some logos for him, which I was happy to do. First I designed a logo for the overall line, Touchmark, which I’ve written about HERE.
Then I designed logos for the three initial Touchmark titles. After a year or so, Disney pulled the plug on the project, probably because they saw it didn’t fit well with the rest of their output, comics and otherwise. In 1993, Art Young brought the projects to DC, who published them in the now-active Vertigo line. Two, ENIGMA and SEBASTIAN O used the logos I’d already designed. The third, MERCY, used a new typeset logo. This post shows the logo designs I did for the project, the first two are above. I felt the story by J.M. DeMatteis and Paul Johnson would look good with a calligraphic logo style, and that’s where I started. Continue reading
In 1996 I was asked by DC’s licensing department to submit designs for a new Lois Lane logo. Either they suggested something very different from the original block-letter Ira Schnapp logo:
By 1996 I was doing some logo treatments completely on my first Mac computer, and the rest of these sketches were done that way. This one uses a font called Isadora Bold, which again suggests handwriting, but in a much more formal and elaborate way.
Another idea using the font American Typewriter. This is a more interesting approach, and I probably had fun creating the background story supposedly written by Lois. This font, in the bold weight, is rather balloon-like, though, and doesn’t look very much like real typewriting.
I have no record of being paid for any Lois Lane logo in 1996, so I’m guessing these were all rejected, and I was probably paid a kill fee. The only Lois Lane toy I can find uses the original Ira Schnapp logo.
More when I have time.
In 1992 I was asked by Tundra to design a logo for Mike Ploog’s graphic novel version of this Baum story, perhaps his best-known work after the Oz series. I love Baum and Ploog, and I loved having the chance to work in a style that evoked books of the early 20th century, so this one was a win on all counts for me. I only have two marker sketches, here’s the first. Continue reading