One thing in particular I enjoy about Everett's work is the lettering, which I assume he did himself. Whether it's the sound-effect shout with a drop-shadow, or the italic-bold combos done in a very fancy style--it's all pleasing to the eye, hyper-professional and extremely unique, without being obnoxiously distracting as the lettering one finds in Bernard Bailey or Howard Sherman's work.
Billy, Everett for sure lettered his early work (the original Sub-Mariner, for instance) and I assume he lettered his later work, also. The "tells" -- the drop shadow sound effects, and the thick and thin bold lettering make me believe he did the rest of it as well.Even when I started art school in 1969 hand lettering was still being taught. We worked on display lettering, fonts, etc., all done by hand. Now it's becoming a lost art. I doubt most artists ever bother to learn how to letter nowadays, and why should they when it can be done digitally?
Boy, do I love Everett's Venus. That Gargoyles story has been a favorite of mine since I saw it reprinted in some 70's Marvel comic that I don't recall the title of offhand. Clever, surreal stuff.
David, that was a giant-sized issue of Werewolf by Night. I love get the chance to mention that comic!I love how fluid Everett's style can be. If you look at both the Venus story and his pre-code Atlas horror work, it's obviously Everett, but he is able to mold his style to the genre. Really a master.
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