Promethea 23. Client: America’s Best Comics. Medium: digital. Date: 2002. This uses the font I created similar to the logo on issue #1, which was already narrow, but it’s stretched here vertically to make it even more so to fit the space. The entire cover is full-on Alphonse Mucha poster style, but in metallic gold tones.

Promethea 24. Client: America’s Best Comics. Medium: digital. Date: 2002. This cover was an interesting challenge. The art showed two opposing aspects of the character representing a sort of war, and the logo had to do the same. Both sides had a Middle-East aspect, and so do the logo sides.

Promethea 25. Client: America’s Best Comics. Medium: digital. Date: 2003. Returning to the style of Little Nemo in Slumberland by Winsor McCay, but this time going further into that style in both the art and the logo/lettering, which was hand drawn, scanned, and incorporated into the cover design I think, or possibly lettered on the art.

Promethea 26. Client: America’s Best Comics. Medium: digital. Date: 2003. This cover and design came from J.H. Williams III, based on some independent comics, I don’t know which ones. I think the upper case ME was my idea, but it could have been his. All commercial fonts.

Promethea 27. Client: America’s Best Comics. Medium: digital. Date: 2003. Based on the Superman Vs. Spider-Man tabloid comic put out by DC in the 1970s. I had fun imitating those logo styles and the entire trade dress, which is a mix of commercial fonts and ones I designed. Something we probably couldn’t have done without the approval of DC. You can see and compare to the original HERE.

Promethea 28. Client: America’s Best Comics. Medium: digital. Date: 2003. Another design from J. H. with a post-apocalyptic feel. I found a commercial font that played with extra characters and diacritical marks in an interesting way, and it seemed to fit.

Promethea 29. Client: America’s Best Comics. Medium: digital. Date: 2004. In the style of Andy Warhol’s Campbell’s Soup can paintings, and other work by him. I happen to have two Campbell’s soup cans holding pens and pencils on my drawing board, so I didn’t have to go far for reference.

Promethea 30. Client: America’s Best Comics. Medium: digital. Date: 2004. A cover design from J. H. centered on the sun symbol that had been appearing in the book from the beginning, but here given a stylized treatment that suggests Native American art to me. I’m not sure if that was his intention. I found a commercial font that we liked with it.

Promethea 31. Client: America’s Best Comics. Medium: digital. Date: 2004. I’m not sure what style J. H. was going for here, but it reminds me of nineteenth century children’s book illustrators, and also a bit of Charles Vess. I think for the logo I found an appropriate commercial font and did a slightly loose tracing. Issue 32 didn’t have a logo really, just lines of type. Then there was the Magical Edition where the logo was part of the art by J. H.

Promethea Collected Editions. Client: America’s Best Comics. Medium: digital. Date: 2000. For these designs I used my other art nouveau title font, stretching each letter to the right shape to fit around the center art circle. Used on five collections, and the same logo was used on five trade paperback versions.

Proty. Client: DC Comics. Medium: pen and ink or marker. Date: 1986. For Who’s Who #18. A sentient blob that some readers loved, imitating his shape in letters was an obvious choice.

The Prowler. Client: Marvel. Medium: pen and ink. Date: 1994. Pointy and dangerous, for a four issue series. The high center horizontals give it a slightly different look. More on this HERE.

PSI. Client: DC Comics. Medium: pen and ink or marker. Date: 1986. For Who’s Who #18. Short name, fills the space available well.

Psions. Client: DC Comics. Medium: pen and ink or marker. Date: 1986. For Who’s Who #18. The ruthless scientists from The Omega Men, I tried for something alien and angular, which I think works okay.

Pulsar Stargrave. Client: DC Comics. Medium: pen and ink or marker. Date: 1986. A kind of similar approach on these letters as with the two above, but with lots more room.

Punisher. Client: Marvel. Medium: digital. Date: 1995. Based on one of my title fonts I think, or possibly just worked up in Adobe Illustrator from scratch. Marvel replaced the center of the P with Punisher’s skull symbol, which I should have thought of, and it worked well. Appeared on fourteen issues.

Punisher 2099 A.D. Agent of SHIELD. Client: Marvel. Medium: digital. Date: 1994. The one 2099 A.D. logo that didn’t start with that number. I’m not sure where the eagle came from, was it reference from Marvel? I doubt I would have made it up myself. First appeared on issue 28 and for the next several issues. More on this HERE.

Quislet. Client: DC Comics. Medium: pen and ink or marker. Date: 1986. For Who’s Who #19. The character traveled in a tiny metal space ship, so I guess metal letters makes sense, and the burst around them is also from his design.

Radar, The Hound Supreme. Client: one of Liefeld’s companies. Medium: digital. Date: 1998. Alan Moore’s run on Supreme included versions of many Superman characters, this was the Supreme version of Krypto. Made with a commercial font, not sure what issue or issues it appeared in.

(Paradise X) Ragnarok. Client: Marvel. Medium: digital. Date: 2002. An Alex Ross design that I rendered digitally. On the two covers it was made thicker and more three-dimensional by someone else.

Posts in this series are listed on the Logo Links page of my blog.