Book on the horizon

I've done some mini-comics in the past.

I started doing mini-comics because I thought it would be an easy way to force myself to produce longer humorous stories. And it worked. Sorta.

What really happened along side of the longer stories was a format of graphics criticism and a representation of me on a tall horse making proclamations about typography.

And that was fun, too.

Anyway, I've now gathered all the mini-comics into a book, "The Big All Small Comics Collection." It's 180 or so pages of comics from 1983 to 2017. Since it's mini comics, the book is mini-comic sized, 4.25 by 5.5 inches. Plus an index of topics and people mentioned.

I hope to be selling the book at the upcoming SpringCon Comics convention in Minneapolis. Saturday and Sunday, May 20 - 21. Perhaps I'll see you there!

Type swap: "Shaft"

Not going to make the obvious "shafted" pun in the opening sentence. Oops.

I was watching Turner Classic Movies last Thursday night. They are showing Academy Award winning and nominated movies -- from the TCM library -- in alphabetical order. In-between 1976's Sherlock Holmes/Sigmund Freud pastiche, "The Seven Percent Solution" and 1937's Fred Astaire/Ginger Rogers confection, "Shall We Dance" was the original 1971 Gordon Parks-directed "Shaft."

I was watching the opening credits, enjoying Isaac Hayes Oscar-winning Best Original Song, "The Theme From Shaft," and then I noticed that something was weird with the credits.

Hi-def "Shaft" credits, substituting Arial for the original Helvetica. Also adding a thin black line around the letters. My photo doesn't capture the vivid red of the lettering. They got that part of the credits right. (Click on the photo for a larger view.)

Original "Shaft" credits using Helvetica.

The credits had obviously been re-done when they re-scanned the film for high-def blu-ray and HDTV release. The type was very crisp. It had a thin black outline around the red type that looked really sharp. Too good, maybe. But I won't quibble about type being too sharp.

The second thing I noticed was that the typeface used was Arial. Now, if you don't know about Arial, Mark Simonson wrote a wonderful essay about it and it's history. (And how to identify the typeface.)

I was pretty sure that Arial wasn't around in 1971 when the original "Shaft" credits were made. According to this Wikipedia article, Arial was designed in 1982.

Hi-def "Shaft" credits, substituting Arial for the original Helvetica. 

Original "Shaft" credits using Helvetica.

Anyway, all this was zooming through my brain and it took me a few moments to get my camera out and to take some shots of the new "Shaft" credits.

And after the credits were over, I went to YouTube to look up the original credits.

Hi-def "Shaft" credits, substituting Arial for the original Helvetica. 

Original "Shaft" credits using Helvetica.

It will not come as a shock to know that the original credits were actually done in Helvetica. And it kinda looks like the originals didn't have the black line around the type. But I can't really see that for sure from the YouTube video.

I was hoping the original credits would be in a typeface that has a little snap it. Maybe Franklin Gothic. But Helvetica is cool. I was very surprised that whoever scanned the movie and redid the credits didn't know that the original was Helvetica. Or didn't care enough to match the original. Or didn't have the budget to match the original. Whatever the excuse, to me, there's no excuse for this!

Mystery solved via Internet. The movie itself? It was kinda fun. Angry fun.

Process (silkscreening "Winter Cars")

I'm taking a  silkscreening class at the wonderful Society of Northern Alberta Print-Artists (SNAP) just down the street from our apartment. This is my second screen printing class there in two years and I think I'm getting the hang of it.

Anyway, here's the project.

I wanted to do something winter- and Edmonton-related.

I walk the neighborhood streets for exercise and I take photos as I walk. And I thought, "Cars with snow on them."

And that's it.

Here are the unedited photos.

The cropped photos. I did the composition and color work in Photoshop.

Swapped out a couple cars.

Black and white.

Reducing the photos to individual shades using the Curves pallet. Posterizing. Here's the pallet.

Here's the picture with the posterized look.

Making the background color cutout by using Photoshop's paths.

Making seps. Two grays, one black and one background color of light blue.

Light gray.

Darker gray.

Black.

Background blue.

Okay -- I decided to do a three-color print first to see how it was looking. But I still wanted four shades. So I did the black in solid, and dots for the darker gray.

Here's the Photoshop proof all the colors.

Here's two colors actually screen printed. Starting with the light blue. I'm printing on an 8.5 by 11 -inch (21.59 by 27.94 cm) sticker-back paper.

And the screen print of three colors.

Here's a close-up of the Photoshop proof.

Here's a close-up of the printed piece. That's some serious dot-gain!

So, we've gone from real world, into digital photos into Photoshop, out into the real world for silk screening and then finally, back into the computer for this blog post. Whew!

Next challenge: The four-color version on good paper.