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#320250 - 12/30/03 10:25 AM ABCs WITH ORZECHOWSKI
Jennifer M. Contino Offline
Member

Registered: 08/01/02
Posts: 22928
Loc: PA
BY JENNIFER M. CONTINO
Tom Orzechowski is one of the premiere letterers in the comics industry. Orzechowski's been in the industry over thirty years - through many changes and advances. He currently works on a handful of comics for several publishers including Dark Horse, Marvel, and DC, but isn't sure how long that will last. With all the changes to digital lettering and "in house" lettering, Orzechowski thinks freelance lettering may soon go the way of the dinosaur ...

THE PULSE: We'll start out easy, was printing your best subject in school?

ORZECHOWSKI:
No! With a name like mine, I lost patience early on.

THE PULSE: Did you ever think that when you were forced to practice printing over and over again that one day you'd be using those skills to letter comics?

ORZECHOWSKI:
Well, the comics in the late 50s, when I was a little kid, didnt have any credits except for the pre-Marvels, signed Lee+Kirby and Lee+Ditko. A few years later, a neighbor kid and I noticed that the Kirby who drew Fantastic Four had also drawn Fin Fang Foom and all those great monster comics. That was the start of it for me, really. Then Marvel added credits and the focus became more than just the characters. The look of FF kept changing in those first couple dozen issues, and hey, look, there were different inkers all the time. It was quite a revelation for an 11-year-old. A few years later, when John Costanza started lettering for DC, he was uncredited, but I had an eye for new styles and he stood out. In a way, though, I was also building toward what youre doing. In my teens I edited a zine that carried industry news, and also lettered the comics strips that ran in the back. Im sure I believed that in some way Id
find work with DC or Marvel, like we all did, but at the same time I didnt seriously expect it.

THE PULSE: When you started in the comics industry, how did you letter comics? Were computers used at all by publishers or was it all "hand-done?"

ORZECHOWSKI:
The only computer in comics then was Brainiac. The state of the art in 1973 was steel nibs and ink and correction paint. For me, lots of correction paint. A couple of bucks worth of supplies got you started.

THE PULSE: How tough was it to master the skill of hand lettering comics? How did you "learn" to do that?


ORZECHOWSKI:
At the 68 con in Detroit, when I was 15, I met some very talented young artists and joined their comics club. They were producing that news zine I mentioned. At the time I was drawing in the edges of my notebooks, but I gave up on it when I saw what they could do. But! None of them wanted to do the lettering, so I took on that job. At the urging of one of the guys I modeled my lettering on the Flash Gordon strips of the 1930s. This got me looking at everything from the 30s, movie posters, advertising and what not. Meanwhile, Zap Comics was coming out, and Robert Crumbs title work was clearly derived from the brush techniques of that same era, the 20s and 30s. This was great! I bought everything of his I could find, at the same time as the DCs and Marvels, and developed an approach based on all of it. Then, a writer for my own zine sent me a type catalogue, and I was struck by the realization that printing type had to be hand-drawn in the first place. Here were the lessons in printing that Id missed in grade school.

When I joined that club a lot of us were about 15, but a few guys on the fringes were a little older... Rich Buckler, Jim Starlin, Al Milgrom, Mike Vosburg. The zine work I lettered for them got my name into print. The relatives were very impressed!

Tony Isabella, who I knew from the 'zines, was hired by Marvel editorial in 72. He soon got me a job doing lettering retouch on the earliest FF and Thor, Hulk, Spider-Man and Daredevil stories, for British release. Little things had to be modified. Check became cheque, that sort of thing. Also, the anti-Communist references had to be modified. So, at a distance, I got to work over Lee, Kirby and Ditko when it was all brand new. Very cool.

Within a few months, our boss Sol Brodsky saw that I didnt do well under supervision, and suggested I work at home. I was lucky to be doing a job that no one else wanted, or he might just as well have fired me. By then I was doing some lettering for the black and white monster magazines. One of my first, for Monsters Unleashed, was on one of the first stories written by Chris Claremont, a couple of years before X-Men was relaunched.

The old connections paid off when Rich Buckler pulled me over to letter his Black Panther (Jungle Action) issues, and Starlin very kindly got me his Captain Marvel. I wasnt getting the top books, but these were more fun. When Uncanny X-Men came around, I had enough of a rep as a new projects guy that I was able to grab the odd issue, and then the series.

THE PULSE: Prior to computer lettering, was the larger special "effects" type lettering was that done by letters or did the artists draw them in? If you did a "special effects type" of lettering, how did you design it?

ORZECHOWSKI:
Everyone assumes that the artists design the titles and sound effects. Barry Windsor-Smith is one of the few who actually does work out his own titles, back to his time on Conan. Except for Gene Colan, who roughed in some of the sound effects, its always been the letterer who did, well, all the lettering. Titles. Sound effects. Balloons.

I was living in California by the mid 70s. While Marvels production boss and cover letterer Danny Crespi was developing a tight, attractive house style, I was 3000 miles away and buried in design books. Since X-Men didnt overlap the rest of the Marvel Universe, I figured there was no reason not to draw influence from calligraphy, record jackets, old movie posters...everything except comics. The logo I did for Wolverine is based on 30s elements, and Im proud to see its one of the few old ones still in use. Designing a logo is probably a lot like designing a costume, to catch the tone of the character while pulling some unexpected elements together.

THE PULSE: What were some of the toughest parts of hand lettering to master? Were there any particular letters or symbols that gave you trouble?

ORZECHOWSKI:
Letter X is the toughest. Seriously. Ive probably drawn X more often than anyone in the history of written language, and half of them were lousy. After that, numeral 8 is the one that will give you nightmares. Letters J, R and S will show the most variety. Id bet money I spotted the letterer on the 40s stories in the Black Canary Archive by his Js. Im sure it was Gaspar Saladino, who later worked on all of the late 50s DC hero revivals for Julie Schwartz.

THE PULSE: What have been some of your favorite projects to letter? What about each made it such a treat?

ORZECHOWSKI:
Chris Claremonts Uncanny X-Men was the top of the stack for me. Theres no way to describe how it felt to watch those characters evolve under one writer for such a remarkably long spell. Considering X-Men, all the annuals, then New Mutants and Wolverine, I lettered something on the order of 6,000 pages of Chris scripts over a couple dozen years. X-Treme X-Men and MekaniX just added another 750 or
so.

Spawn continues to be fun. My title was Copy Editor for most of the first six years. Some of the scripts I received were just rough drafts, which left me to second-guess it at times on Spawn and Curse of the Spawn. This didnt extend to the dialogue in Spawn, though. Todd McFarlane never got the credit he deserved for his way with dialogue.

The manga packaging outfit Studio Proteus has kept me busy since their first project, Nausicaa, in 89. Appleseed, Dominion, and Ghost in the Shell forced me to stretch a lot since theyre so sound effect driven. Right now Im finishing Ghost in the Shell part 2, entirely digitally. The sound effects used to be draw with pen and ink and lots of correction paint, right over the original Japanese effects. Now Im using a Wacom pen on a graphics tablet, in Illustrator. Thankfully, Shirow has deleted the sound effects layer, so Im just left to match his attitude without having to cover all those impossible Kanji. Even that taught me a lot about how far the letters can be exaggerated without losing readability. Fonts can never match the feeling.

THE PULSE: How do you pick which upcoming projects you want to work on now? What influences your decision - besides the monetary aspects?

ORZECHOWSKI:
No no no no, we dont get to state preferences, not in any way that matters. Last year, Joan Hilty said Id get either Scooby-Doo or Looney Tunes. I was glad when the assignment turned out to be Scooby, since its less sound effect intensive. After a while, she gave me Looney as well. That one turned out to be more fun, BECAUSE of all the sound effects. Its a lot more time consuming, but theres nothing like Porky Pig going nuts after trying to be polite to Yosemite Sam. To answer your question, I put my hand up for the fun books and hope for the best.

THE PULSE: Do you still hand letter or do you use the computer now?

ORZECHOWSKI:
Its been over a year since Ive picked up a pen. Even then I was losing the knack, as the majority of my work had been digital for a couple of years. The fine motor control slips if the muscles arent in continual use.

THE PULSE: When did you make the switch from hand lettering to computer lettering?

ORZECHOWSKI:
I was among the first to experiment with fonts, in 92. The sound effect work on Nausicaa was so demanding that fonts seemed like a way to save time on the dialogue, which was extensive. But the font program was primitive and there were conflicts with DOS, so I did that series entirely by hand after all. Even with fonts in place, by maybe 94, it was still a matter of printing out the text blocks and pasting them onto photostats. My first entirely digital work, no hard copies involved, was an Excalibur mini in 2001. By then, of course, some people had been working with fonts exclusively for years.

THE PULSE: Why do you think comics moved generally towards computer lettering over hand lettering?

ORZECHOWSKI:
It had simply become possible, is all. In a broader sense, monthly deadlines have always been a problem, and digital lettering allows a book to be lettered off scans of the inks while the book is being colored.

THE PULSE: A lot of publishers are now having a lettering team "in-house." What does this mean to freelancers like yourself?

ORZECHOWSKI:
Kiss most of us goodbye. The venerable ole job description of freelance letterer may be about to become history. Sales are low, budgets are tight, and this will cut their cost of lettering by half, maybe more. After this, though, I cant imagine where any economies will come from. Simplify the coloring, or bring it in-house as well? Abandon the glossy paper? Well just have to see.

THE PULSE: How are "in-house" groups like that going to "help" comics - if at all? What does that offer that freelancers don't?

ORZECHOWSKI:
No one reading the books will notice any difference, since most of the lettering has been digital for nearly a decade anyway. Chris Eliopoulos designed the fonts for Marvels unit, and hes terrific. Likewise, Ken Lopez at DC. If their staffs are tight, the results will be as good as, or better than, what youre already used to seeing.

THE PULSE: What projects are you currently lettering?

ORZECHOWSKI:
Spawn, who had come to terms with being dead, and who is now wrestling with being alive again. Lobo Unbound, where Keith Giffin takes the series back in a grungier direction. Ghost in the Shell 2, which is incredibly gorgeous. There are a couple of other manga projects on the way.

THE PULSE: With the new policies, what are you no longer lettering?

ORZECHOWSKI:
Scooby and Looney. X-Treme X-Men, just as the long-delayed Storm solo adventure is getting underway. The Thing mini by Dorkin and Haspiel had coincidentally ended at the same time as the others.

THE PULSE: What happens next for you? IF there is just "in-house" letters from this point in the game and on ... what do you do? How worried are you about the future right now?

ORZECHOWSKI:
Im hardly the first person to undergo a career change. Do you need an assistant? I can spell and all that. But seriously... no worries. Things continue to crop up. Ill just miss Storm and Wolvie and the rest of them, but Ive been through that already a decade ago when I left after the Claremont shakeup.

THE PULSE: What do you think needs to be done to "save" comics?

ORZECHOWSKI:
Thats easy! Young readers need to be brought in!

THE PULSE: How do you think comics got to the point it is now ... where the majority of readers are adults and hardly any company is doing anything to change that?

ORZECHOWSKI:
Weve all had this conversation. No single element went wrong, so theres no easy fix. DC has always published a wide range of books, so that wasnt the problem. Prices are way up due to high paper costs, low print runs and so on. The fantastic stuff that used to show up only in comic books is now on view everywhere. It may just be that we needed comic books to take heroic fantasy to its present state, and that theyre now irrelevant except as a place to test new ideas, which are then spun into more profitable media. Matrix 3 had super powered guys punching each other out in mid-flight. Thematically at least, Id say weve won!

THE PULSE: What upcoming projects are you working on?

ORZECHOWSKI:
DC just sent me a fun three-issue Harley Quinn and Poison Ivy mini, by Bruce Timm and Paul Dini. A Byrne and Claremont arc of JLA is on the way. Studio Cutie, a new Manga lettering production company, has me developing some special use fonts. At the same time, though, Im punching up my Photoshop skills. There are no long term guarantees anymore. On to the next thing.

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#320251 - 12/30/03 12:24 PM Re: ABCs WITH ORZECHOWSKI
mattdangerously Offline
Member

Registered: 01/18/02
Posts: 335
Loc: Parts Unknown
To hell with computer lettering. Orz rocks.

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#320252 - 12/30/03 12:31 PM Re: ABCs WITH ORZECHOWSKI
Chris Eliopoulos Offline
Junior Member

Registered: 09/15/99
Posts: 5
Tom is a stand up guy. I look at his work with awe and amazement. When I look at his work, I feel like a 3 year old trying to compete with a master craftsman.

I hate it to hear that he hasn't used a pen in over a year. What a waste.
_________________________
Chris Eliopoulos
Franklin Richards: Son of a Genius

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#320253 - 12/30/03 12:53 PM Re: ABCs WITH ORZECHOWSKI
Satan Kitty Offline
Junior Member

Registered: 12/30/03
Posts: 25
Loc: Virginia
I've always liked Tom's lettering.

It's a shame that the companies don't care how many letterer they put out of work.

They've leaned on these guys (and gals) very heavily to 'pick up time' on the schedule when books are late.

Now technology and economics dictate that the companies toos 'em aside.

That's gatitude for you!

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#320254 - 12/30/03 01:27 PM Re: ABCs WITH ORZECHOWSKI
gOzOOKs Offline
Member

Registered: 03/08/02
Posts: 720
Spawn is one of the best lettered comics out there. Go buy it.
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"gOgIver's The LIST! accept no substitutes."

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#320255 - 12/30/03 02:36 PM Re: ABCs WITH ORZECHOWSKI
Steve Chung Offline
Member

Registered: 08/01/02
Posts: 3800
Loc: San Bruno
I've enjoyed Tom's work on such titles as Warlock, Captain Mar-Vell, and of course, Uncanny X-Men.

It is always a treat to check out his work on the books, which accentuates the story, and is never intrusive.

Steve Chung

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#320256 - 12/30/03 02:38 PM Re: ABCs WITH ORZECHOWSKI
MMBomber Offline
Member

Registered: 12/04/02
Posts: 35
Tom was the guy that made me first take notice of who was doing the lettering in a comic and appreciate the craft.

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#320257 - 12/30/03 09:49 PM Re: ABCs WITH ORZECHOWSKI
JKCarrier Offline
Member

Registered: 12/13/98
Posts: 155
Loc: Cincinnati, OH USA
I remember reading an issue of Claremont's X-MEN back in the day (I think it was #113), and thinking that it felt "off" somehow. Finally I flipped back to the credits to see if maybe it was a different inker or something. Nope, the difference was that Mr. Orzechowski hadn't lettered it. The fill-in letterer was by no means bad, but the different style was very noticeable. That's when I realized how much a good letterer contributes to the look and "feel" of a comic. And Tom O. is one of the best. My hat's off to you, sir.
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-JKC-
Minicomics - Webcomics - Blog

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#320258 - 12/30/03 09:54 PM Re: ABCs WITH ORZECHOWSKI
donmafia Offline
Junior Member

Registered: 12/30/03
Posts: 4
this guy is one of the reasons that uncanny looked so great, for so long. i loved the fall of the mutants stuff best but all of it was awesome. keep up the great work.
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#320259 - 12/31/03 06:50 AM Re: ABCs WITH ORZECHOWSKI
Todd Klein Offline
Junior member

Registered: 03/12/00
Posts: 17
Loc: Ocean View, NJ USA
Great interview, Jen and Tom. This man is one of the best letterers ever seen in comics! Hire him, publishers.

Todd Klein

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