Aardvark Comment: Todd Klein, part three

Hi, Everybody!

Mail there, or just Fax: 519 576 0955. Or email me at momentofcerebus@gmail.com and I'll take care of it. 

This started here. And continued here. (There's all sorts of Rigmarole you can click in those two...)

Okay, Dave sent a fax at the last minute that I squeaked into the last installment, and Mr. Klein replied in the comments, but I'ma run it here (ya know, for posterity...)

Hi Matt,

Here’s my reply which you can forward to Dave.

Dave, let’s stick to the subjects at hand, which are your Cerebus lettering and my book. I’ve written about working on Starstruck on my website here:

http://kleinletters.com/Kaluta1.html

and several times on my blog such as here:

https://kleinletters.com/Blog/incoming-starstruck-artists-edition/

and here:

https://kleinletters.com/Blog/incoming-starstruck-old-proldiers-never-die-1/

If I wanted to write in detail about Starstruck, which I really don’t at present, I would do it on my blog, but it would be difficult because after forty years the memories are fading. I think the work speaks for itself. Almost everything that is not standard comics lettering was new for me at the time, though I did have experience with callligraphy that I used where I could. If there were any disagreements between Michael and Elaine, they didn’t happen when I was around. They were a good team, they knew what they wanted, and I gave it to them as best I was able. As I recall, I met with both of them at Michael’s place, we talked about what they wanted on the first batch of pages at hand, I was given the pencilled art and the typed script together, as was the usual practice at the time, and took it home and did my part, then brought it back to Michael. Pages were done in batches. Sometimes I saw both of them, sometimes just Michael. I don’t remember any major problems with what I did, though when I look at it today there are things I would improve here and there. Generally it was a great project that I loved working on. I’ve continued to letter new Starstruck pages over the years from time to time, including a lot for the recent series Starstruck: Old Proldiers Never Die, which was about two-thirds older material and one third new.

There’s plenty about me and my work on my blog and website. have a look at these topics, for instance:

https://kleinletters.com/Blog/logo-links/

https://kleinletters.com/Blog/category/pulled-from-my-files/

Todd

I faxed that up to Dave (with the blog posts included so he knew what Mr. Klein was talking about) and Dave responded:

I sent that to Mr. Klein, and he responded:

Okay, here’s my reply to Dave’s latest email.

A few things about Starstruck. First, it was not done for Marvel. The original publisher was Ilustracion+Comic Internacional in Spain, and there was also a deal to publish it in Heavy Metal. The Spanish magazine ran seven episodes starting with their April 1982 issue, and Heavy Metal ran nine episodes beginning with their Nov. 1982 issue. Before that, it was an off-Broadway play that Elaine co-wrote and Mike did some work on: sets, props, maybe costume designs, having met Elaine and become interested in her project. Elaine had never written comics, so I’m sure there was plenty of collaboration and discussion about how to do that, but I wasn’t there for it. When I came in, the script was set and the first batch of pages were done with the lettering roughed in. A few years later Archie Goodwin bought it as a graphic novel for Epic, and more pages were produced for that. So, technically the first publication didn’t even have most of my lettering, as it was replaced with Spanish, but the Heavy Metal version was, of course all my lettering on the art. The original coloring was from the Spanish edition.

However the script and adaptation evolved, I wasn’t there for it. By the time I saw the pages, Elaine and Michael were agreed and happy with what they had and they had ideas about the lettering styles of the different headings and titles and characters. That’s what we talked about. I don’t recall how tight Michael’s lettering roughs were, it’s been too long, but it was mostly not a matter of inking what he pencilled, except perhaps for some of the sound effects.

Your theories are interesting, Dave, but I have no other information for you on Starstruck. You might try getting in touch with Elaine or Michael for that. Personally, I think we’ve reached the end of the subject.

Todd

I sent that to Dave, and he responded:

Which I sent to Mr. Klein, and he responded:

Hi Matt,

Please convey to Dave that I understand his desire to have me participate on this website, and I’m fine with that, but at some point I have to move on. I will wait a few more days for further comments on page choices, but at the moment I’m happy with the two I’ve chosen from Guys, and I hope they’re okay with him too. Once the decision is final, I will fax him a non-exclusive license for use of the pages in my book which he can sign and fax back to me. I will also need 600dpi images of the pages. Could you scan them for me? If not, I can buy the Guys collection and do it. Thanks again for your help.

Todd

And, I $#!* you not, as I was finishing this post, Dave faxed...

The players:

THE Todd Klein

Todd Klein’s comics career began in 1977 when he was hired to work in the DC Comics production department. During ten years on staff there, Todd tried many kinds of freelance work including writing (TALES OF THE GREEN LANTERN CORPS, THE OMEGA MEN), inking and coloring, but found lettering suited him best, and developed a freelance career as a letterer and logo designer. Todd learned from and was inspired by the work of Gaspar Saladino, John Workman, John Costanza, Tom Orzechowski, and other letterers then working in comics. After leaving staff in 1987, Todd continued to work mainly for DC, but also for Marvel, Dark Horse, Disney, Gladstone, Image and many other companies, doing lettering and logo designs. Through the years he’s lettered over 65,000 comics pages and covers and designed over 800 logos. Todd has been presented with 16 Eisner Awards for Best Lettering, as well as 8 Harvey Awards and other honors. Recent projects include SANDMAN OVERTURE with Neil Gaiman and J.H. Williams III, STARSTRUCK with Elaine Lee and Michael Wm. Kaluta, THE LEAGUE OF EXTRAORDINARY GENTLEMEN with Alan Moore and Kevin O’Neill, and many other projects for Vertigo/DC Comics. You can learn more at his website: kleinletters.com.

THAT Dave Sim

Dave Sim is the creator of Cerebus the Aardvark, which ran for three hundred issues from December 1977 to March 2004 (and is available digitally here.) His latest project is the ongoing Cerebus in Hell? (Daily strips are posted here, and the next #1 is Attractive Cousins (available at the end of July),  Batvark PENIS! or the "Censored for Grandma" variant: Batvark XXXXX! are currently available for order from your local Comic Book Store. And if you want a copy of Vark Wars: Walt's Empire Strikes Back signed by Dave & Me, details at the link.) And every Friday he posts a video "update".

And since there weren't enough pictures in this post, here's something Dave faxed me, that I "Matt-ed up" and faxed back to Dave, saying "And I thought it was funny:". 

It's one of the POSSIBLE covers for the Remastered Spawn #10 (Ya know, with my guys and gags added...)

And he faxed back:

My guys won't be on the cover if this is used, I just liked the gag...

Next Time: I got this in the mail,

It's NOT what it looks like... (no, really. It's not. But what it IS, is still pretty cool...)