Some time ago I was asked by Charles Kochman of Abrams and Paul Levitz to provide a title and chapter headings for Paul’s upcoming book about Will Eisner. They were looking for work done in Eisner’s own style or styles, and as I’m an Eisner fan, I was happy to agree.
The project was to be a large art book with lots of Will Eisner art, handsomely produced like all Abrams products, and it was only when I started working on my small part of it that the realization hit me: I had to produce work that would stand up to all the brilliant Eisner art around it. In other words, I had to draw and ink like Will Eisner! Or at least close enough that my efforts would not stand out as sub-par. As Charlie Kochman, Abrams Art Director Chad Beckerman, Paul and I began to trade ideas about what was needed, I began to think I’d taken on more than I could handle. Yes, they wanted title lettering in Eisner’s styles, but more than that, in some places they wanted actual artwork to go with it. I’ve done some drawing, but have never been good at figures. I thought if I could avoid that, I might make it work.
The book’s title lettering was the last thing I did on this project, but the first I’ll discuss here. For inspiration, I looked to the title page of Will’s landmark graphic novel, “A Contract With God,” above. I like the informal quality of the letters, and the way he left small openings or voids in it, not filling everything solid black, a style he developed later in his career. The letter forms are in a traditional serif style that mimics book type in some ways, except for the word GOD, but in others is unique to Will.
Chad had suggested he might want to use pencilled letters on the book cover and title page rather than inked ones, as he thought it would meld better with the the original art scan from “A Contract With God” that he planned to use there, and I think it does that well.
Moving on to the chapter headings, the first and last ones Paul provided both suggested a stage performance: “Overture” and “Curtain Call,” nice metaphors for the life of an artist at least sometimes in the public eye, I thought. I looked through the Eisner material I had on hand for theater references, and found this SPIRIT title page that I thought would work, or at least the rounded arch and curtain part.
Here are my pencils for the first chapter. In each case, I waited for approval from everyone before moving on to the inking stage. And that had me the most nervous. Will Eisner was a masterful inker, especially with a brush. I’ve never felt comfortable inking with a brush myself, and haven’t done much of it, but for this project I had to give it a go.
Since there would be two chapters using the arch, I inked that separately. I used my lettering pens, Faber-Castell TG-1 technical drawing pens, for the arch itself, along with a compass and straight edge, but the curtains really needed a brush. I cheated a bit here and there with my tech pens, but most of the curtain is inked with a brush in my best imitation of Eisner’s original SPIRIT page.
Will rarely used the same style twice for THE SPIRIT’S own name on his title pages, but over time he did tend to drift toward this serif style. Figuring out a way to make RISING work was tough, I settled on block letters on separate pieces of paper being blown up in a breeze.
…so I tried to give them a little more air in the inks. The spirit art on the book cover is by Will, and what you see here is just a “position” copy, a better image was dropped in by Abrams on the printed version.
While it doesn’t reference a particular Eisner title, I think most Eisner fans will recognize the kind of three dimensional letters and shadows that Will often used. It’s a very long word, so I saved some space by stacking the NN, something Will probably wouldn’t have done, but who knows?
The title of Chapter Six was “Teach the World,” and this had me stumped for a long time. I searched for any reference to schools and teachers and finally found this school slate, giving me half my design, with globe art found online for the other half.
I was really getting into major drawing with this one, and it worried me. I did know I wanted to reverse the first half so it would look like chalk on the slate, but how to handle the shading on the globe?
Here’s the end result. It’s telling that the original for this one is about twice the size of the others, giving me a little more room for errors not to show when it was reduced. I’m not sure how I managed that curved shading on the globe. I think I used tech pens and a french curve.
This project was a stretch for me, but I enjoyed the challenge. And, fortunately, my work is mostly pretty small in the book, so it has less chance to add any jarring notes to the end result. The book is just out, and I’m looking forward to reading my copy and enjoying Paul’s writing performance.
Other articles on Comics Creation can be found on that page of my blog.