Todd Klein's Blog, page 159

And Then I Read: BUILDING BLOCKS by Cynthia Voigt

Cover art by Eileen McKeating.

The other early works by Voigt that I’ve read have been realistic dramas about broken families and troubled teens written very well. This one from 1984 is a departure in that the main character, Brann Connell, goes back in time. In the present, Brann’s family is having their own troubles. Brann’s mother wants to go back to school to become a lawyer and help the family’s flagging fortunes. Brann’s father is an architect with a good job but no ambition. He’s recently inherited a family farm that he wants to go live and work on, but that would mean quitting his current job. If the farm was sold and they stay where they are, the money from it would allow Brann’s mom to go back to school.

Tired of their arguing, Brann retreats to the basement and builds a fort around himself with a set of wooden blocks built by his father. He falls asleep there, and when he wakes up he’s in a different time and place, in the room of a boy named Kevin whose family is also troubled. Kevin’s father is a tyrant with strict rules that, when broken, result in severe punishment. His mother is exhausted from caring for their large family, and pregnant with another child. As Brann tries to fit in to this new situation, he finds a friend in Kevin, and tries to help him through family mishaps and adventures gone wrong that Kevin, the oldest, always seems to get the blame for, something none of his siblings seem willing to do. It takes a while, but Brann finally figures out that Kevin is his own father as a boy. Voigt uses the time travel experience to give Brann new insight into his father in a story that, as usual, is well written and satisfying. The plot spirals back to the present eventually, where Brann sees his own family through new eyes.

Recommended.

HOUSE OF SECRETS #92: How the Cover was Made

Images © DC Entertainment except as noted.

Much has been written about this wonderful cover by Bernie Wrightson from 1971 depicting the first appearance of Swamp Thing. Inside the issue is a short story written by Len Wein with art by Wrightson simply titled “Swamp Thing” that was so popular it begat a series about the character from the same creative team. The art is remarkable for its mood, dramatic lighting and emotional tension that stood out at the time, using soft textures and artful coloring that seemed to transcend the usual comics techniques of the era, when printing, paper and reproduction were at a low point.

A closer look at the face of the woman on the cover shows that the black ink has almost no line work. Instead it’s softened by a stippled effect. For many years I thought it was produced that way by Wrightson using a type of paper or illustration board called Coquille.

Image © Stephen Fabian.

I’d seen art done on Coquille board, and even owned this small example by fantasy artist Stephen Fabian. The surface has a pebbled texture, and when a black china marker or litho pencil is used on it, a stippled effect is produced that can be made lighter or darker depending on how much black is laid down. I even bought some Coquille board and used it myself on a few art pieces, and it’s still available today.

Recently I first saw this scan of the original art for the cover, which appears on the front cover of the BERNIE WRIGHTSON ARTIFACT EDITION – NYCC Variant from IDW, which will be available at that show next week. It’s VERY different from the printed cover art! All the grays are done in watercolor wash or other painting techniques, and there’s MUCH more detail than the printed version.

Here’s the same area of the woman’s face I showed above from the printed comic. It has a vast amount of detail and subtlety missing from that one, especially in the black ink on the printed cover. Wrightson was a master with a brush, and here his technique includes gray wash, gray and black drybrush inking, and white paint highlights in the hair. It’s almost a completely different piece, except that the color manages to capture some of the nuance missing from the black texture in the printed version.

I own the original color guide for the cover by Jack Adler, a gift from him. (Received for helping him sort out a large pile of his color guides and comps so he could pack them and take them home, when I was on staff at DC with him around 1978 or so.) Jack was a masterful colorist who knew a great deal about the separation and printing processes used at the time. I’m sure he also had Wrightson’s original art in front of him while doing the color guide, to help him capture details lost in the black stippling.

Here’s a detail of the same face area, compare it to the Wrightson art and you’ll see that the black stippling is pretty sparse, with some added lines to bring out the eyes and teeth, quite possibly by Adler, but it could also have been by Wrightson after the stippled version was made. And how did that happen? I happen to know exactly how.

Since the late 1800s, the standard way of converting a continuous tone image like the Wrightson original art for this cover to something that can be printed on a four-color press is to create a halftone screened version, breaking up all the different values into different-sized black dots. Four-color presses cannot print with gray ink, all the grays have to be treated in some way to make them into areas of black ink on white paper. A standard halftone dot screen used on comics at the time might have looked something like this. As you can see, lots of detail would have been lost this way too. The reproduction on covers was much better than inside pages, but even so, the number of dots per inch used then (called LPI or Lines Per Inch because the halftone screen itself was actually made up of lines not dots) was pretty coarse. Much finer screens (more dots per inch) are used today giving much more detail.

But there are types of halftone screens other than ones that make dots, and Jack Adler had some in the DC Production Department. I experimented with one of them myself on this Batman art. Here’s my original done in black ink and gray paint.

Here’s that art with a halftone screen that looks something like scratchboard art. One of the non-standard screens that Adler had created a stippling effect just like Coquille board, and that’s what he used on the Wrightson art for the cover of HOUSE OF SECRETS #92.

This dropped out many of Wrightson’s subtle details, but it captured more of them than a standard halftone, and as Adler knew, it also kept the blacks from becoming muddy. Jack would have probably experimented with different exposures in the DC darkroom until he came up with one he thought worked best.

Then the color guide he made would have gone to the color separators who had to interpret Jack’s colors by using gray wash and airbrush themselves on each color (Blue, Red and Yellow or Cyan, Magenta and Yellow to use the correct printer terms). They also were artists, and their skills added to the final result. Only the most skilled separators worked on covers for just that reason.

Their work in gray for each color would then have been halftone screened to produce the dot patterns in the correct sizes to make the printed version as close as possible to Adler’s color guide. You can see some of those dots here. Interior colors were generally flat and did not have the subtle gradients and variations that appeared on the covers. That kind of work would have been largely wasted there anyway, even if DC wanted to pay for it, because of the very poor quality of the paper and ink.

Wrightson’s original art is a masterpiece, and I’m glad it’s finally seeing print in the IDW book. The printed cover is another kind of masterpiece, a collaboration between Wrightson, Jack Adler, and the unknown separator. Both versions are well worth celebrating. I hope this explanation of the process sheds new light on them.

Other articles you might enjoy are on the COMICS CREATION page of my blog.

And Then I Read: BUG! #2

Image © DC Entertainment.

Despite the presence of many characters drawn by Jack Kirby and/or Joe Simon and Jack Kirby, this book definitely has the “Young Animal” vibe. Forager has been sent back in time and to a very different place, the Himalayas in World War Two, where he’s dropped into a mission to take back the hidden city of Nanda Parbat from the Germans, with the mission soldiers being The Losers (Gunner and Sarge at first), Sandman and Sandy, Blue Beetle and the Bazooka Boys (Brooklyn Brand and Buddy Blankenship). These characters at first think Bug is an enemy robot, then the costumed hero The Red Bee, and finally they listen to who he really is and accept his help.

The German operation is being run by a young General Electric, the villain who sent Bug into this mess in the first place. Then we have the actual robots, amusingly designed with giant plug heads, Abominable Snowmen, the rest of The Losers (already prisoners of the Germans), a strange little girl, and the six-armed blue-skinned goddess Rama Kushna. Does this all make a story? Yes, an entertaining one, if rather odd and sometimes illogical and dreamlike, but that’s the Young Animal model. Lee Allred’s story kept me turning pages, and the art by Michael and Laura Allred is highly groovy, as always.

Recommended.

And Then I Read: ASTRO CITY #47

Image © Juke Box Productions.

A few issues back there was a super-cat story, and this time it’s a super-dog, G-Dog, a human-Corgi meld created by a magic medallion. Andy is a small-time thief who picks up the amulet, and when he gets home to his Corgi puppy, Hank, something happens that creates G-Dog, a creature with Andy’s mind and Hank’s canine abilities. Hank’s part of the meld does more for Andy than he first realizes. Somehow Andy knows that Hank disapproves of his thievery, and wants them both to do good by fighting crime. This change in Andy’s direction brings him many new opportunities, and a new girlfriend, Esme. But Andy is in debt to bigger criminals, and won’t get out of that so easily.

Damn, this is cute! Fun to read, charming, and wise, too, which is no surprise for this title. Joining writer Kurt Busiek is artist Mike Norton of BATTLEPUG fame, and it continues to the next issue, which I’m looking forward to.

Recommended.

Incoming: LUCIFER VOL. 3, BATMAN YEAR ONE

Images © DC Entertainment.

Just arrived is the third and final collection of the recent LUCIFER series I lettered written by Richard Kadrey and Holly Black, art mostly by Lee Garbett. I enjoyed working on this, you might give the series a try, if you haven’t yet. Nothing like the TV show, based on the Neil Gaiman version of the character as written in a previous series by Mike Carey too.

I also received this new printing of BATMAN YEAR ONE, something I lettered thirty years ago that has remained in print ever since. Not my best work in my opinion, but the story and art are tops.

Both should be available soon if they aren’t already.

Baltimore Comic-Con 2017 Sunday

Sunday morning I had breakfast with Andrew Pepoy and Mark Buckingham, a mini-FABLES reunion. It was good to catch up with Bucky, who I hope to be working with more soon.

I had a lot to do Sunday morning: pack my suitcase and bring it out to my car, then get my convention stuff together and take it over to the show. When I got there, no one was getting in. A small fire had triggered a fire alarm. It was a short delay, about 15 minutes, and the Con staff and volunteers handled the crowd well.

I didn’t have much time left at the show, but time enough to walk around and see more friends and work-mates. Here’s Marc Hempel with one of his Sandman print images.

I met Lee Bermejo for the first time, after working with him on a number of projects, most recently DARK NIGHT, A TRUE BATMAN STORY. Lee was great to talk to, and I hope we will work together again.

I was very happy to see Don Rosa at the show, once again giving away the hot peppers he enjoys growing. Don is able to do large marker sketches of his favorite characters like Uncle Scrooge, but eye problems prevent him from doing comics art. He is as funny and entertaining to talk to as ever, though.

One of my former DC editors, Alisa Kwitney stopped by to talk at my table, and we enjoyed catching up. Alisa has several new projects in the works, both in and out of comics (she’s also a novelist), and she recently helped Neil Gaiman with his book, “Norse Mythology.”

I had to leave the show at 2 PM in order to be home for dinner, so that’s what I did. Andrea Bergner was again there to help today, making my show much easier. John and Cathy Workman were also packing up to head home. Not only did I enjoy the show a great deal, it was the most profitable one ever for me. I sold lots of prints, enjoyed meeting fans and signing their books, and had an excellent time.

I don’t go to a lot of comics conventions these days, and even more rarely am I a guest with a table to sell things, but I have to say Baltimore Comic-Con has become my favorite show. It’s not too big, the attendees are friendly and often interested in comics and creators, the staff is courteous, and ready to provide help when needed. They even come by with sandwiches for guests at lunch time, something I’ve never seen at any other con. Hats off to Marc and Shelly Nathan for putting together such a fine event. The ‘Ringo Awards team headed by Randy Tischler were equally adept, and everyone on the staff that I dealt with was great. If you are thinking of coming to Baltimore for next year’s con, I highly recommend it!

Baltimore Comic-Con 2017 Saturday

After having a very busy Friday, I wasn’t sure what to expect on Saturday, usually the busiest day of a con. It turned out to be even busier! Above is my volunteer booth assistant for Saturday and Sunday, Andrea Bergner. She was not only very helpful, but an excellent salesperson! While I was signing a few hundred more books and comics, she handled much of the print sales, which have hit 50 for the con so far, about double what I’ve ever sold at a con. I’m thrilled about that, and will be sending Andrea a special print as a thank you.

John and Cathy Workman, at the booth behind me, were also busy and doing well with sales. In fact, everyone I asked said about the same thing. Saturday, the aisles were full, but not packed, and many people were there not just to strut costumes, but to have a look at things for sale, talk to creators and vendors, and have fun. My kind of con.

I didn’t have much time to walk around and chat with friends, but did manage to connect with a few. Jerry Ordway is one I haven’t seen in quite a few years.

But as that goes, artist Jose Delbo and I haven’t seen each other since I was on staff at DC Comics, a position I left in 1987, so about 30 years. It was good to see him, and he’s still doing very fine commission drawings. I told him I always remembered him calling me “sir,” or even “commendatore” at the DC offices, an even more respectful title, but always with a friendly twinkle in his eye. I was a kid, he was a seasoned pro even then, drawing Wonder Woman, among other things. It was nice to reconnect.

From 1:30 to 2:30 in the afternoon, John and I did a panel moderated by Bob Greenberger, another old friend from DC. Bob was the lettering coordinator for some years, and handed out lettering assignments to us, as well as an editor and writer. There were some technical difficulties getting the slide show I prepared up on the screen, but once those were worked out, everything went well, and I think the audience of about 50 people enjoyed our conversation. I made an audio recording of the panel, and if it came out audibly I will transcribe parts of it and put it up on my blog with the images from the slide show. Among the audience members were Tom Orzechowski and other lettering friends, as well as former DC editor Jack C. Harris. And probably other friends I didn’t notice!

Mike Manley, another friend I chatted with, a commission he was working on, and some of his prints. To his right is his assistant Mimi Simon. They do art for The Phantom daily newspaper strip, and both daily and Sunday strips for Judge Parker.

Steve Conley, whose webcomic THE MIDDLE AGE is a favorite read of mine, which I recommend you check out. Steve also did lots of work on the Con website, ads, and related graphics.

In the evening I attended the inaugural Mike Wieringo Comic Book Industry Awards, and was the proud recipient of this, the first one for lettering. I never met Mike, but after hearing much about him at the ceremony and elsewhere at the show, I wish I had. The ceremony was fun and entertaining, the the dinner before was fun, too. Congrats to the awards administrators, the con, and the winners and nominees, happy to take part in this new tradition.

Time for breakfast with friends, then back to the con until 2 PM today. I hope to report on that tomorrow.

Baltimore Comic-Con 2017 Friday

Friday morning I drove to Baltimore, about three hours with two stops, arriving around 11:15 AM. I checked into the hotel and then gathered my stuff and went to the Convention Center to set up my booth. John and Cathy Workman were already there and set up. I had thought we’d be next to each other, but they were behind me, through the curtain. I set up my new banner, put out my print samples, and was ready to meet the public by the time the con opened at 1 PM.

It turned out to be a very busy afternoon for me, surprisingly so. I hardly had time to do anything but sign comics and books I’ve worked on (had to be about 300), sell prints, and do three marker commissions for sketchbooks. That’s something I rarely have time for except at cons like this where I have a table, and that doesn’t happen often. This one is for my long-time friend and super-fan from Denmark, Henrik.

Of course I also talked to lots of people, lots of fans and a few friends who stopped by to chat, including fellow letterer Tom Orzechowski. We last saw each other in 2014.

Mid-afternoon my volunteer assistant for Friday, letterer Justin Birch, arrived, and was a big help with print sales, and manning the booth while I took a bathroom break. Justin letters for Action Labs and other companies. Here he is with the print he chose as his reward for services rendered. Thanks again, Justin!

Another of the sketchbook pieces I did Friday. As someone on Facebook pointed out, I forgot to sign it. Hope the person brings it back for that before the show is over.

Friday evening I had dinner in Baltimore Harbor with friends including Tom, inker and artist Andrew Pepoy third from the right, and John Workman, right. Cathy Workman took the photo. The other two are friends of the Workmans, didn’t get their full names.

Today, Saturday, will be my longest day at the Con, and then I’ll be at the ‘Ringo Awards in the evening. I will report on that when I can. My internet connection is running at glacial speed this morning, so I’m not sure when that will be, but you can check my page on Facebook for updates.

 

Baltimore Comic-Con tomorrow!

In case anyone’s forgotten or didn’t see my earlier post on this, I’ll be at the Baltimore Comic-Con Friday through Sunday. I’ll be at table 2016 much of the time, right next to my friend John Workman in 2116. John and I will be doing a panel together with moderator Bob Greenberger on Saturday from 1:30 to 2:30. We will also both be at the inaugural ‘Ringo Awards Saturday evening, as we are nominated. Hope to see you there if you’re going!

And Then I Read: WONDER WOMAN #22

Image © DC Entertainment.

Here’s part 4 of the “Godwatch” storyline, taking place in the present time. As it opens, Wonder Woman is taking part in a charity event where she will be the date of the highest bidder. Though both Bruce Wayne and Lex Luthor are in a bidding war that runs into millions of dollars, Doctor Veronica Cale tops them both. Diana is surprised to say the least, as she knows Cale has been one of her enemies, but agrees to an instant dinner date. Just her, Dr. Cale, and two of Cale’s bodyguards. Diana is clearly not worried, at least until the party is attacked by unknown assailants on a lonely stretch of road.

This was fun more because of the frank talk between enemies than for the rest of the story, but it reads well and looks good. Artist Mirka Andolfo does a fine job in the somewhat less realistic style than Liam Sharp on the other storyline. As the two stories begin to merge, it is a bit confusing to have the art style change this much from issue to issue, but Greg Rucka’s fine writing pulls it all together.

Recommended.