|After the standard set by Marvel's letterers during the 1960s, lettering became a more important part of the comic book art. Artists recognised the contribution good lettering brough to the page and worked to integrate it with their work.||During the last 1960s and 1970s, comic books artists strove to take advantage of the storytellig benefits of artfully crafted lettering, beginning with "good art" pioneers like Steranko and Adams and continuing with Smith and Simonson.||By the time of the independent comic companies and direct sales, a whole new wave of comic letterers like Ken Bruzenak and Todd Klein were bringing a new and powerful creativity to the artform.|
|Fantastic Four 32 (1964)
Sam Rosen, along with Art Simek, was one of the principle creators of logos and titles for Marvel Comics, he began lettering for Eisner's The Spirit in the 1940s and continuing with Marvel from 1962 to 1972, lettering on Fantastic Four, Spider-Man and The Hulk ...
|Alien Graphic Novel (1979)
Walt Simonson began working for DC in the 1970s. He was one of the first artists to letter his own work, and the tight integration between art and lettering can be seen in the above example ...
|American Flagg 6 (1984)
Bruzenak started out as an assistant to Jim Steranko, and his first pro lettering job was on Steranko's adaptation of Outland. Bringing a typesetter's sensibility to his lettering, Bruzenak achieved celebrity status with his work on American Flagg!
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