Lettering: Leary of the 90's, Part 2

WEDNESDAY, MAY 16, 1990

Back at the studio I began work on the finished art. The last refinement was enlarged slightly on a photocopier, and then secured to the light box. I placed a sheet of two-ply bristol board over the photocopy and penciled the letters, swirls and ornaments. Using a variety of french curves and ellipse guides, I inked it with a Rapidograph technical pen. Corrections were done with white gouache.

The art was scanned in two parts and stitched together; the

alignment is slightly off in the middle near the top and bottom.

THURSDAY, MAY 17, 1990

I delivered the artwork in the afternoon.

FRIDAY, MAY 18, 1990

David called and said he wanted a few additional ornaments: three boxes, two running heads and three folios. The quotes from Leary would be inside the boxes. The swirling running head and folios would replace the standard ones used in the magazine. I delivered the art later that day.

MAY 1990

Later that month, I picked up copies of the Laughtrack from David. (I saw Leary at the 1976 San Diego Comic-Con. My recollection is foggy, but fortunately, memories of his attendance were recalled quite clearly here and here.)

Related posts: Leary of the 90’s, Part 1; Psychedelitypes; Psychedelic Poster Postcards

(Next post on Monday: Titan Missile Museum)

Lettering: Leary of the 90's, Part 1

TUESDAY, MAY 15, 1990

David Vogler, of David Kaestle Inc., offered an assignment that I've always wanted to do: lettering in the style of the 1960s psychedelic poster era. The Kaestle studio handled the art direction and design of Laughtrack, a program distributed at comedy clubs. The topic of the May issue was the 1960s, and in particular, Timothy Leary. The title of the article was “Leary of the 90’s”; David wanted title to reflect the psychedelic poster era. He provided a photocopy of the Leary photograph.

Later that evening at home, I looked through my small collection of Bill Graham psychedelic concert postcards (reduced versions of the posters) and selected a Wes Wilson design.

WEDNESDAY, MAY 16, 1990

The next morning at my studio I began sketching out the design. David supplied a rough layout, which I do not have in my file. The title and text was on the left page of the spread, and, on the right, was the photo of Leary and a caption. In addition to the title, I had to include the writer and photographer’s names.

I chose one of the thumbnail sketches and developed it further.

I enlarged the sketch and began refining it. There were two graphic elements that David wanted in the layout: the peace sign and a flower.

Peace sign in the corner.

Flower above Leary’s head.

On the third refinement, I positioned the peace sign over Leary’s head, like a halo; the flower was moved to the left page. Tracing paper was placed on top of the sketch, then the lettering and swirls were refined.

Separately, I worked on the writer and photographer credits.

In the afternoon, I showed the layout to David, who got a laugh out of the halo, and he approved it.

(Today, October 22, is Leary's birthday; Tomorrow: Part 2; related posts: Psychedelitypes, Psychedelic Poster Postcards)

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)