Here was an alphabet that was designed for word bubbles, hand lettered, and historically appropriate. Bradley, a cartoonist for the Chicago Daily News in the late 19 th and early 20 th centuries. The alphabet, drawn by Joseph Almars, is abstracted from the comics of Luther D. ![]() In this book, I found an incredible example of cartoon lettering. Of particular interest to me was Book 4: Commercial Lettering. It so happened that my mother-in-law was cleaning out her attic, and found a series of textbooks from a mail-away art course, published in 1953. And, as I gradually realized, not historically appropriate to the aesthetic of the comic. My first word bubble font was uneven, though. So, I tried creating a typeface based on my handwriting, which you can see in the first forty or so webcomics. Appropriate to the medium, but fitting to my own style. I wanted my lettering to be legible, but not too cookie-cutter. In my own comics, I wanted to avoid these extremes. There are artists who hand-letter, so their pictures and words have matching quality of line…but it often hurts their legibility. My other option: I could hand-letter everything. I could use a BlamBot or Comicraft font, sure, but none of them felt right for the 1920s feel I was trying to create in Rudek and the Bear. There’s a conventional style of word bubble font-based mainly in the lettering style of Artie Simek and Sam Rosen in the 1960s. I mean, the word bubble font should match the style of the comic itself, right?įor most of us, there aren’t really too many choices, though. ![]() How important is the word bubble font to the overall experience of a comic? Let’s think for a moment about word bubbles.
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