![]() 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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