Before it Leaves Your Hands: Lettering Part 2

As I said last time, lettering should be just as big a part of the creative process as any other in comic book production. Sometimes, I reach beyond my job description and fix things regarding the actual artwork.

EXAMPLE 1) In this example, I didn't "fix" so much as add to the existing work. I got some very light scans of the original art (a) and crisped up the linework and also colored it in with some gradient duotone shading (b).

• a)
  

• b)
  
  

I don't know what possessed me, but I just felt it broke up the art a bit more from foreground and background elements. Since I knew it was going to be in black and white, I did this all in a separate layer, knowing it might not be what the client wanted.


Thankfully, they dug it. At least I THINK they did. Well, they didn't fire me at least.

EXAMPLE 2) Where I really go cookoo for cocoa puffs is where I actually get involved in tweaking the final art. The problem with being such a perfectionist is when I see things that to me look severely OUT OF PLACE. The artist in this story did such a great job with the vehicles and details, but on this one page (c) the wheels of the Camero seemed too simplified compared to the art around it.

So... . I used the artist's own wheel detail from a previous panel he did and worked it into the final art, so that it matched his own art seemlessly. (d).

• c)
  

• d)
  
  

Was this a bit much? Maybe. Unnecessary? That's up to debate. I'll let you decide. My point in all of this is that I am all about the final product. If it works and it looks good, that's my main goal. If I can help it, I leave all the art as is, and move along.

But, when I have the luxury of choice (which most pencilers, inkers, colorists, and letterers DON'T) I do my best to send it to the next step in the collaborative process as good as I can get it... BEFORE IT LEAVES MY HANDS.

Next, I'll go through a bit of my logo design process. Yipee!