Anatomy of a Logo: Marvel, Part 3

SEPTEMBER 13, 1991

David Vogler calls and says he wants me to work on the 1993 Marvel calendar cover. He faxes a layout with John Romita's sketch. On the fax it says

Alex—This should be in the same perspective as the characters!

The fax has a rough sketch of the Marvel logo, in perspective, behind the characters. Very quickly, I figure out the vanishing point and begin re-drawing the logo. I use the photocopier to adjust the height of the logo while keeping the width constant.

I cut a window out of the fax and position it over each logo, then I photocopy the composite. Next, I fax the three treatments to David. After reviewing the faxes, David decides not to alter the Marvel logo.

The 1993 calendar (see detail, below) is in stores around August 1992. The logo is used again on the 1994 calendar (see detail, bottom).

(Tomorrow, Part 4 of 4)

Anatomy of a Logo: Marvel, Part 2

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).

Advertisement appeared in 1991 Marvel comic books

(Tomorrow, Part 3 of 4)

Anatomy of a Logo: Marvel, Part 1

Marvel: Five Fabulous Decades of the World's Greatest Comics was published by Harry N. Abrams in September 1991. The book design was handled by David Kaestle Inc. The late David Kaestle had been an art director at National Lampoon. David Vogler, the principal designer of the book, hired me on some earlier projects.

WEDNESDAY, FEBRUARY 6, 1991

David Vogler calls to see if I'm available today to discuss the Marvel logo. I am. At the Kaestle studio, David explained the project and what he wanted in the logo: make it big and bold. And, by the way, the logo is due on Monday. After our meeting, I return to my studio with a photocopy of the cover dummy (10 by 12 inches / 25.4 by 30.48 centimeters). As you can see, the logo has beveled edges and a shadow in one-point perspective, and appears to be loosely based on the Marvel Comics logo in the corner of the comic book covers. I put the photocopy away and finish another job. At home, I find a Marvel Mystery Comics cover logo to use as reference.

THURSDAY, FEBRUARY 7, 1991

(After I delivered the logo artwork, I numbered the photocopies and sketches with a number in a red circle; in the following text, they are noted parenthetically.)

In my studio, I photocopy the dummy logo at 75 percent (1). I place tracing paper over the photocopy and re-shape the letters; I make the sides of the "M" perpendicular to the baseline, and use the "R", from Marvel Mystery Comics, as a guide; the "R" and "V" touch or kiss (an industry term I learned of when I was in college). Then I draw red guide lines over the sketch (2).

Next, I place tracing paper over the sketch and make a tight drawing of the letters (3). Then I refine that drawing (4). Not satisfied with the "R", I draw several versions (5).

In the next drawing, I add the beveled edges and tweak the "R" (6). Satisfied with the result, I file the drawings away.

(Tomorrow, Part 2 of 4)