even within the same lettering boundaries, and without doing ghostly or monstrous voices or anything like that, there's a multitude of different ways to convey the tone of the dialogue. part of lettering is figuring out what the best to convey the acting of the speech visually. sometimes this is clearly dictated in the script, but not always. and seeing something on the page can give you different ways to break out the best visual version of that dialogue.

This page from Redfork is interesting. You’ve got a repeated shot to show the car travelling— so the locales become especially important in terms of what we read— and four clear moments. The moments are connected though via the characters on the left and right of the page— —which combines the panels with a vague sense of time. The characters exist outside the moments, outside the car, like we’re watching them as we drive by. They are present and important but by being washed out and placed outside the panels, they become purposefully periphery.

Doing this reread of Casanova and fascinated by how the pacing works across the 16 pages. Stories tend to start right into the briefing, which lasts a couple of pages, then few pages of world building, then a bit of action, wrap up the plot, then add to character/larger plot— —so you spend the opening three pages getting everything you need to understand the issue. You’re getting the crux of the plot, what the goal of the character is (and the secondary plot), and what stands in their way.

A lot of the day lettering is just staring at MOTHERFUCKER until it connects right with the script, the character's personality, the art, and the situation. Balance all of those, add some of yourself, and you get the correct motherfucker balloon. I went with the top right for this particular one, because the scene is someone like turning around and shouting in a particularly theatrical way-- so for me that has a balloon which starts out somewhat normal before erupting-- trying to capture that rising shout.

So much you could talk about in @danielwarrenart, @SpicerColor & @ruswooton’s WW: Dead Earth. First page builds the intimacy by contrast to the opening scale— as sequence moves forward the gap between mother & daughter closes. The final image is powerful but scale adds a *lot* So much of comics really is juxtaposition— without the huge grandiose opening panel, that final close up has less power. The contrast between the two is where the balance is held.

When I see YouTube videos and it's someone ripping up a comic they don't like, or stabbing (!!! what the fuck?!) it, and it's got like 4000 views and filmed on a phone... I think about the time it takes to make a Strip Panel Naked versus views - pushing hate is so much easier I tweeted about this before, but monetising hate seems so easy on these platforms. YouTube especially, but everywhere loves things that centre around negativity and attacking people and their work, and the platforms end up pushing them, so groups of people see it as acceptable.

The way this story (Batman New Gotham by @ruckawriter @smartinbrough & WildStormFX) used orange and teal is scary good. Orange here accents all the important clues that Gordon is scanning. Dead body, bullet holes, location... which then forces you to look at them, too. Kinda like Batman really just sees the dead body on the last panel, too, which highlights a slightly different viewpoint. Not that that’s all he sees, but it’s where the focus feels like it lands.