FRIDAY, FEBRUARY 8, 1991
In the morning, I make a new drawing with a bolder outline on the letters. That drawing is followed by a version with the "R" and "V" apart; on that sheet is the design for the "R" (7).
Next, I make three marker comps of each version (one comp is missing); the little sun drawing indicates the light source for the shading on the beveled edges.
In the afternoon, I meet with David Vogler at the Kaestle office. He reviews the comps, picks number five, and keeps it for internal use. I return to my studio and finish a few odd jobs to free-up the weekend.
SUNDAY, FEBRUARY 10, 1991
In the morning, I photocopy the tracing paper logo, with the kissing "R" and "V", at 200 percent. With a red ball-point pen, I draw guide lines over the letters and edges. I use a slip of paper with two tic marks, as a guide, to maintain the consistent width of the beveled edges. I adjust the space between the "E" and "L" by cutting them apart then taping them together.
I secure the photocopy to a light box, then I place a sheet of Letramax over it. Using a T-square, adjustable triangle and drawing compass, I pencil the logo, then ink it. I correct mistakes by either scratching away the ink, painting over it with white gouache, or erasing it with an imbibed eraser. The finished art is mounted on illustration board and covered with a flap. Unfortunately, I do not have the original art to show.
MONDAY, FEBRUARY 11, 1991
I deliver the Marvel logo art, in the morning, to David Vogler. The logo was needed on short notice so it could be used to prepare promotional material for the upcoming book fairs, both domestic and international. The book is released in September. My one quibble with the printed logo is the crescent in the counter of the "R". In the photocopy, above, you can see the both sides of the bevel in the counter. In the printed version, the left-side bevel of the counter was filled in black; it should have been white, just like the right-side (see detail, below).
(Tomorrow, Part 3 of 4)