Radiant Comics

Let me tell you about the Marvel Comics Tenth Anniversary covers. I’m going to tell you about them because I don’t think a lot of people know this information. Besides some people that I’ve told no one calls Marvel’s Tenth Anniversary covers anything but the covers in a box.

In the early 1970’s, for about a year (August 1971-September 1972), Marvel had a unifying cover design on their comic books. It consisted of a box in the lower two thirds of the cover that the art resided in with the logo and trade dress outside the box on the upper third of the cover and about a quarter inch border around the outside of the box on both sides and the bottom.

People are split on this period of Marvel’s covers. Some people really can’t stand the “Covers in a box” but then a lot of them are among my favorites. Being that I started collecting comic books in the mid-1970s, I put it at early 1976, those comics were a little before my time but I still occasionally found them around the neighborhood from older kids. They always caught my eye.

Over the years I would collect those particular covers whenever I saw them. There was never any organization to my collecting of them but if I saw one, and could get it, I would. One of the reasons I think I liked them is that a lot of them were done by Gil Kane. He did a lot of covers for marvel in the early to mid-1970s and he was good at them. He could draw, was skilled at design, and could tell a story with a cover.

Probably my favorite cover from this period was Sub-Mariner number 48. That cover is indeed pencilled by Gill Kane and inked by the creator of the Sub-Mariner Bill Everett. It features Dr. Doom on the cover and it hits home for me. Everett’s inks especially look good over Kane. He gives the piece a style and finish that wasn’t usual for Marvel covers.

In 1990 I got to work for Marvel Comics in the production bullpen and I had the privilege of working with art director and legendary artist John Romita. He had been at Marvel for over twenty years at that point and he was art director back when these cover come out. So one day I decided to ask them why they decided to go with a unifying design.

John told me that the design was to celebrate the tenth anniversary of something. He couldn’t remember if it was for the tenth anniversary of the Fantastic Four or Spider-Man. We both figured it must have been the FF because their comic came out before Spider-Man’s comic and the dates line up since 1961 was the year of Fantastic Four number one. But we ended up calling them Marvel’s Tenth Anniversary covers because that was what they were really celebrating. The birth of the Marvel Universe.

The odd thing is that despite this period of covers being well known I don’t think many people know they were done for a tenth anniversary. I’ve never read it anywhere. As far as I know I’m the only one who ever asked John Romita a question about it. I find that strange. But I try to spread the information. I have told this story more than once on my YouTube channel and whenever anyone shows one of the covers I leave a comment that they are the tenth anniversary comics.

I mention those covers because recently I’ve been buying some of them. Specifically issues of Sub-Mariner. On that book the covers lasted from issues 43-56. Fourteen issues. I already have issues 47-51 and 54 so that’s six out of the fourteen. Sub-Mariner isn’t a very desired book and none of these issue are “Key” issues so they don’t go for much money.

Last week was when I decided to look for some of these comics on eBay. There are plenty of them to be found but they are often in bad shape and sellers are looking for more than I want to pay. I ended up looking at a lot of different copies of these but settled on two issues that were fairly cheap and looked in pretty good shape.

I ended up with issues 45 and 46 and I paid, all in, ten dollars for one of them and eleven for the other. Being that there was a five dollar shipping cost the issues themselves were only around five dollars. I got the comics and at a glance I’d grade them at around a 6.5 to 7 out of ten. They both have covers that are in nice shape and that is what I really want. I don’t actually want to read these issues. I just like the covers.

Both of the covers are pencilled by Gil Kane and inked by Frank Giacoia. I like both of them. So now I have 45-51 and 54. Eight out of fourteen. Plus just yesterday I purchased issue 55 for about ten dollars all in. When that gets here I’ll have a ninth one in the set.

Now for the big purchase story. Well, relatively big. I mentioned up top that Sub-Mariner 48 was one of my all-time favorite comic book covers. It is and so I decided to see what a graded and slabbed copy of it would go for. That’s when someone pays a company to grade their comic and then put it in a tamper resistant archival plastic container (a slab). That makes it easier to buy and sell high-end comics.

I don’t usually buy slabbed comics since I’m much more of a reader than a collector but sometimes I do buy them. Usually they are cheap and even odd misfit slabbed comics. I find them to be conversation pieces.

I saw a slabbed copy that was an 8.5 and looked good. It had a price on it of $100 plus another $25 in tax and shipping. I didn’t want to spend that much but it had a “make me an offer” button and so I did. I offered $80 and the offer was automatically rejected. That happens when the seller has a minimum in mind and sets it up to automatically reject any offers below that minimum. So I said, “Oh, well” to myself and put it out of my mind.

Then two days later an offer showed up form the seller for $82.50. It was just $2.50 more than I was willing to spend two nights before so I gave it a little thought and then pulled the trigger. It cost about $105 dollars all in but I had the money and wanted the conversation piece. The copy I have had since childhood is actually in good shape but the 8.5 slab is in even better shape. It’s fun to look at. And sometimes I just need a little fun. And some Marvel Tenth Anniversary comics.

The passing of time is a strange thing. Time keeps on moving forward no matter what we do. I was reminded of that yesterday as I went into New York City in order to go to Bryant Park and take some street photos. From about 2011 until 2019 I used to go down to Bryant Park in the summertime around once a month. As I did yesterday I went to take street photos. Then COVID hit.

As with most people when COVID hit I stayed home. That meant no more trips down to Bryant Park. After two summers of that things went a little bit back to normal but I didn’t get back to Bryant Park. I have no explanation as to why except that I just didn’t want to go.

I did take a lot of street photos over the last two years. I’ve been commuting into NYC two days a week and I walk down Seventh Avenue between Penn Station on 33rd Street and 14th Street taking photos as I go. I have taken uncounted thousands of street photos as I walked. But that is actually a different type of street photo.

It turns out that I’ve developed two different street photo styles with two different cameras. My original street photo camera is the Canon SX60HS. It’s a nice camera with a really big zoom on it so I can take candid street photos from far away. But it’s a fairly large camera. It’s not especially large and, for the zoom size, is compact but even though I carried it everyday on my commute I wanted something smaller and lighter.

In December of 2022 I bought a Canon SX740HS. The zoom isn’t as large as the older camera but it’s much more compact. It’s now the camera that’s always in my bag when I’m commuting. I take it out after I get off the train and take photos as I walk down the street.

Until yesterday, when I got back to using the bigger camera, I didn’t fully realize that I had developed different styles with the different cameras. The style of street photos I take with the smaller one is quicker. Since I have somewhere to be I can’t stop and contemplate the picture. Something has to catch my eye in a moment and I take a photo. Often I take a photo when nothing catches my eye because why not? It’s digital and not film so it doesn’t cost anything to take a photo.

It turns out that I’m not looking too hard at the photos as I take them walking down the street. Often I even take pictures not looking at the LCD screen. I have the camera aimed in a general direction and I generally know what I’m going to get. Commutes are repetitive and so is taking photos along the way so I’m not looking for anything special. I’m just looking. I’ll find special in the photos later on.

I also have developed a sub genre of these photos and that is the “Walking past stores” genre. As I walk down the street I aim the camera sideways and take photos through the windows and doors of the stores I pass. Taking photos of the reflections of store windows is nothing new but these are made a little differently. I’m not stopping to line up the perfect shot and each photo I take is slightly different because I’m taking them as I move by the store. That and I don’t usually shoot sideways.

So getting back to Bryant Park and taking photos got me back to shooting in a different style. I took a train into NYC that got me there at 10:30AM and I walked around and took photos until I caught a 3PM train out of the city.

As I got onto the streets and started walking up to Bryant Park and taking photos as I went the first thing I had to tell myself was to slow down. I wasn’t on a commute and I could take my time and find the photo I wanted. This took some adjusting. Habits can take over if you don’t think about them. It got me thinking about the differences in my street photo styles too.

One of the things I learned taking street photos is to rest. In my younger days I could go, go, go. Somewhere around 2014 I learned to sit down for about ten minutes out of any hour of taking street photos. Plus I had to drink a lot of water. I drink a lot of water on a normal day but I have to drink even more water on a street photo day. Otherwise I end up with a headache when I get home that evening.

When I sit down and take a rest I usually don’t stop taking photos. I try to find a good spot to sit that affords me nice views of the park and the people. That way my body can get some time off from walking but my mind can still keep going. I also wear a backpack with my camera stuff, food, and water in it so it’s nice to get that off for a few minutes.

By the way I learned those lessons when I was about 47. It’s hard to believe that I’m now 57 and I was 52 last time I went to Bryant Park. That’s a lot of time passing. In hindsight it seems like it all happened in the blink of an eye. That’s how time can be. These are the things that have been going through my head thinking about the park.

I’ve also taken street video along with street photos over the years but a new stabilized video camera (in December 2023) has upped my game in that area. Most of my hand held street video from years past is shaky. That’s the nature of hand held video. But I recently bought a DJI Osmo Pocket 3. It’s a small 3-Axis stabilized camera and makes my street video a lot less shaky.

As a result I’ve developed a street video style where I walk the streets of NYC, show the sites, and talk as I walk. I’ve been posting these on my YouTube channel.

I took three such videos while I was in NYC yesterday. The first was a walk around Bryant park, the second was walking up Sixth Avenue through a street fair, and the third was the walk from the park back down to Penn Station. I’ve only watched and posted the first one so far but I think they came out well.

It was a good day and it felt good to be back to shooting street photos with my older camera in my older style. Despite the fact that five years had passed since I last did this everything else seemed to have stayed the same. The park was still there, it was still filled up with people, there were a lot of tourists, and here I was taking photos. Time is a funny thing.

Sometimes my brain is tired and just can’t handle making any art but my hands still want to do something. It’s kind of a weird situation that most people never face but it’s fairly common to me. At those times I’ll do some things that are closer to craft than to art.

The difference between art and craft is the difference between creation and recreation. Keep in mind that there is a lot of overlap between the two. Art only has to be made once. Craft is making something many times over. If I’m making a painting I don’t ever think about painting that exact same painting again. If I’m knitting a sweater I want to make a pattern for that sweater so I can make more of them. It’s a different thought process knowing you have to make more than one of something.

The two crafts that I was making were making prints form the covers of old comic books and painting an action figure.

Let’s take painting the action figure first. It’s an action figure of the original iron Man in his grey armor. I bought this one specifically because it is all grey and I thought it would be fun to paint. I’m going to paint him over time and so far I’ve only painted his arms.

This one has a lot of overlap between art and craft. It’s like painting a model and there are a lot of people who paint models and it’s mostly craft. They have learned a lot of techniques to paint models realistically and they do a terrific job of it because they know exactly what they’re doing. If they want to paint shiny armor they know the steps and can follow them precisely. That’s not what I’m doing.

I’m painting the toy in a more artsy way. I’m making Iron Man look like an abstract expressionist toy. So far one part of his arm is painted with swirls and the other with off color tiger stripes. I’m using acrylic paint pens and I have to invent my technique as I go.

The inventing of the technique is the artistic part. It’s like the person who comes up with the pattern for the sweater. That’s where the art is. Once the sweater pattern is done then anyone with knitting skills can recreate that pattern with their crafting skills. Anyone who learns these painting techniques that I’m coming up with (it’s not hard) can paint an Iron Man toy like mine. That’s the craft of it all.

The second thing I was doing is 100% craft. First of all let’s start off with the fact that I own an inkjet printer and if you own an inkjet printer you have to use it. If you don’t use an inkjet printer often its print heads will clog up and you have to waste ink running cleaning cycles. Is I like to print with mine at least a few time a week.

As you can tell from this blog I’m a comic book fan. One of the things I like to print out are 11×17 inch versions of comic book covers that I like. Just last week I bought a copy of The Flash #159 with a cover by Carmine Infantino with the intent of making myself a print of it. Just for fun. I looked on eBay for a copy of it that had a good clean cover, that means less digital clean up work for me, and I found one for about $20. Nice.

The process of making a print of the cover is all craft. Anyone can do it. At least anyone with a scanner and copy of Photoshop or the equivalent. I’ve been working digitally for thirty years so coming up with the technique for this was easy for me and it’s probably the same technique that anyone with digital skill would come up with.

First I scan in the comic book cover at 600 DPI. That’s as high a resolution as my scanner can do and it’ll be plenty. That’s my master file and I open it up to work on. The first thing that I do is to copy the image of the cover onto a new layer. I’ll make changes on this new layer/copy and leave the original untouched in case I have to go back to it.

After making sure the image is straight It’s mostly a matter of using the healing brush and clone tool to clean up any imperfections in the scanned art. Since the Flash comic is from the 1960s there are some nicks, scrapes, and ticks in the original ink. It takes some time and a sharp eye but these can be clean up fairly easily. I’ve also discovered over the years that “Content Aware Fill” does a good job of duplicating the line screen that comics are printed with. It duplicates the comic book dots well. That can help.

Printouts of Flash 159 and Company

Then I open up my 11×17 inch digital template (it’s at 300 dpi for printing) and paste in the new cleaned up comic book cover image. I have a black border in the template to cover up the ragged edges of an old comic book. At this point I will also clean up the edges to make sure they meet the border nicely.

I also have to color correct the comic. I convert the color to CMYK (Cyan, Magenta, Yellow and Black each color has its own “Channel”) from RGB (Red, Green, Blue) because the original comic was printed using the CMYK color space and I find it easier to color correct in CMYK. I’ve found that with these old comics the color had faded a little and also yellowed.

I use an adjustment layer and adjust the “Curves.” The curves are just a visual representation of what color is in the piece. I can adjust the curve of each individual channel. First I adjust the bottom of the curve. I move 10% down to 0%. That means that anything that was 10% of a color is now white. That gets rid of the paper greying over time. But the paper is still more yellow than any other color so I open the yellow channel and turn that down 20% to 0% and the “Paper” is white again.

Then I have to strengthen the top of the color curves. The original comic was printed only with 100% black ink but as I look in the black channel it’s much less than 100%. So I turn 60% black all the way up to 100% and the black channel is strong again.

Here is where knowledge of old school comic book coloring comes in handy. I know that the Flash’s costume is 100%M with 100%Y. My scan only has them at about 80%. So I go into the channels and turn them up. The same for blue.

Now that all the color correcting is done I print it out. Getting all the print settings correct is its own chore. If any of them are wrong the print comes out wrong. So I pick matte paper, the matte paper setting, 11×17 inch size, high quality printing, Photoshop manages color, hard proofing, and CMYK color space. I find that this gives me the best color. Then I print it out and have it to look at.

There you go. That is the couple of things that I was doing yesterday when I didn’t have the energy to make art. Sure craft takes energy too but it’s a different kind of energy. At least I had that kind.

Lots of Black Markers

I was making some drawings this week and I made some with my Three Marker technique (Art Writing Three Marker Technique Blog) for the first time in a little while. It’s actually not as accurate a name for the technique as it once was because I’ve added some markers to it but I decided to go back to basics and make some with just the three pens.

That’s when I ran into a problem. One of the three pens, the Tikky Graphic .8 was running out of ink and I went to pull out a replacement for it and I had none. That was my last Tikky .8 and I wondered how I could not have bought any more when I pulled out that last one. When I went online to try and get some more that’s when I realized that they don’t make them anymore. Bummer.

The world of art supplies is filled with tools that they don’t make anymore. Every artist has a favorite brand of art supplies art a favorite particular tool that stops being made. I’ve heard from many a cartoonist that the best white-out ever made was something called Snowpaque. I’m unsure of that spelling because there is a new company called Snopake that makes white out but it’s not the same one. The original was gone by the 1980s and I’ve only heard tell of it.

I have a friend who has been using Primacolor Art Stix for years and years but they just recently discontinued them. He went out searching for the last of them and spent hundreds of dollars buying up all the ones he could. You can still get them eBay but they cost between $200 to $400 for a set of 48 Art Stix. And how long before those too are sold out and used? Not a good time if you’re an Art Stix fan.

All this got me thinking of my favorite supplies and which ones are gone now. It turns out that all three of the markers from my Three marker technique are no longer made. How crazy is that? But two have decent supstitues. It’s that Tikky .8 that doesn’t have one so far.

Tikky Graphic .8 — By the way the .8 in the name refers to the fact that the tip in .8 of a millimeter. At least that’s what I learned a long time ago. I learned it so long ago that I’m not even 100% sure if it’s correct. But what else could it be?

The Tikky has an ink that I really like a lot. It’s very dark and flows off the pen tip in a more liquid way than my other markers. It makes a very pleasing line. It also uses a liquid ink reservoir rather than a sponge with ink in it so I can’t refill it. Other markers I pull the sponge out of and refill them with India ink. So once the Tikky is dry it’s done.

Tikky still makes other size Graphic pens but the .8 was the biggest one and that’s why I like it. On Tikky’s website I saw that they are now making a .7 Graphic pen but they are nowhere to be found to buy. I’m certainly willing to try that one out but I can’t.

I ended up finding some of the Tikky .8s on Amazon. They were going for around $6 a pen so I ordered a half dozen of them. The strange thing was that the six pens I ordered came from five different places in five different packages. They all must have been among the last pens in whatever warehouse they were in. I don’t think I’ve ever had pens delivered like that before.

Dong-A Computer Pen — I used to get these pens from Jetpens.com and they’re just cheap Japanese Sign Pens. I refill them with India ink and they go for a long time. They don’t make them anymore but I still have a few of them left and the Pentel Sign Pen is interchangeable with it. There is not much of a difference between the two but I like the yellow caps and black barrel on the Dong-A. I’ll be sad when the last one is used up.

Deleter Neopiko Line 2 – 2.0 — This pen tip is big (2 millimeters) and has nice black ink (I also refill it) and is my go-to thick marker for my Three Marker drawings. It’s got a black barrel and cap but it was replaced by the Neopiko Line 3 which has a white barrel and cap. The Line 3 model is a solid replacement but the tip, though just as wide, is a little bit shorter. That and the fact that my Line 2 pen is worn down (from use) makes the new model feel very different. But I’ll eventually get used to it. And it’ll wear down like the old one too.

Technical Pen 1.0 — I’m throwing this one in here but you can still get tech pens. They just don’t make them like they used to. There are all different sizes and I can’t even remember which one was my favorite but I think it was the 1.0. These are pens that you would fill with India ink and it would make a single weight line.

Technical Pens were kind of replaced in the 1990s when archival artist markers such as the Micron were invented. Small tipped black markers were easier to use than to tech pen that often clogged. I preferred tech pens to those artist markers but I have to say that I don’t really miss them anymore. It’s been over a decade since my last good tech pen and I’ve gotten along fine with the markers. Especially since I figured out I could fill them up again by rewetting the sponge with ink.

French Curves — Once again, they don’t make these as good as they used to make them. A lot of the curves have burrs in the plastic and the curves are not smooth and even. I recently tried to buy some old ones on eBay but the sale got cancelled because the seller no longer had them.

Haff Hatching Machine — I mention this one but I recently wrote a whole blog on it. I still haven’t bought a new one (the old one still works though) and I no longer see any of them on eBay. Such is life.
Art Writing Haff Again Blog/

DOT Covers Put on Actual Comics

Recently I’ve been thinking about what artistic things I want to get done this summer. I’m not big on list making but occasionally I do make them. So these are the things I’ve been writing down in my notebook that I’m going to try and get done in the near future. I don’t expect to get all of them done but I find it helpful to write it all down anyway.

A Story Told in Bookmarks – I’m not 100% sure what this idea is. It came to me one day not fully formed and I wrote it down. I think the idea is to tell a comic strip story across a series of bookmarks. Each bookmark will have a panel or two of the story and with ten or so of them together it will tell the whole short story. I guess it sort of makes the bookmarks collectable. I don’t know if this is a good idea or not but it’s what came to me.

Finish Great Gatsby Illustrated Book – This one is obvious. I’ve been working on my own illustrated version of “The Great Gatsby” for two and a half years. It’s almost done but I never seem to find the time to put the finishing touches on it. And now I also decided to do a smaller black and white version of it too. But first I have to actually finish the 9×12 inch full color one. Hopefully by the end of the summer.

Create New Characters for a Comic Strip – I’ve been toying with the idea of finishing my “Four Talking Boxes” comic strip and starting another one. What that other one is I have no idea. But it would require that I come up with that idea and a whole new set of characters. If memory serves it took me about two weeks (per character) to come up with all the character design drawings I needed for a single “Four Talking Boxes” character. So six more characters is twelve weeks of drawing. This might take a while so it’s only an idea in my head right now.

Message Tee Drawings – These are already underway. I’ve been working on a new set of 52 character drawings. Since these are just single drawings and not character designs they only take a short time and not the two weeks it would take to design a comic strip character. I have the pencil drawings for about forty of the drawings so far and when I get up to 52 then I’ll ink and color them. It’s going to take a bit of doing but these ones are for 2025 so I have time to get them done.

Message Tee Drawing Underway

Make Drawing Videos – I’ve got it in my head to make some instructional drawing videos for YouTube. Specifically I want to show a technique I use all the time called “Surrealist Automatic Drawing.” I’ve been using this technique for thirty years or so and I only recently realized that no one teaches it. I learned it on my own from reading about the ideas of the Surrealists. I’ve never seen a class that teaches this type of drawing and people really don’t know about it. So maybe I’ll tell them.

Spinal Tap Cover – This one is really a one-off joke that’s been on the list of ideas for a while. Y’see, years ago I got these CGC comic book slabs with no comic books in them. John from my local comic shop broke the comic book he bought out of them so he could look through the comic. So I took the now empty slabs to someday make something out of. I eventually got the idea to make a cover for a “Spinal Tap” (the movie) comic that goes to eleven. Comics are graded on a 1-10 scale so a comic that goes to eleven would be the bomb! But since the whole thing is just a goof I’ve never bothered to actually make it. But I’ve recently talked about it with some friends so maybe someday I’ll make it.

My Art Made Into Stickers

Stickers – I actually started this one just this week. I wanted to turn some of my art into stickers. I got some inkjet compatible sticker paper and after some trial and error with the formatting got some stickers printed out. They came out fairly well but I found that that came out much better if I put some self-seal lamination on them after printing. That’s just a sheet of clear 3mil plastic that’s sticky on one side. I had some on my shelf from a decade ago and I decided to give it a try. Not only does it make the stickers water resistant but it gives them more heft. Without the lamination sheet the 2×3.5 inch stickers curl up but with it they stay flat. Nice.

Make Prints – I’ve also started this one. I want to set up virtually all of my art as prints. This is a huge job. I’ve started with my actual prints and a bunch of my “Dreams of Things” covers. I’m setting them up first as 11×17 inch prints but I’m also sizing them down to 8.5.11 inch prints. The “Dreams of Things” ones take a little doing as I wrote about a couple of weeks ago. I also want to set up a lot of my large paintings as prints. That’s going to take even more doing. This could be a while.

Put “Dreams of Things” covers on Actual Comics – This is the last idea I came up with and wrote down in my notebook. I want to print out some of my “Dreams of Things” covers and attach them to an actual comic book thus making it look like a real comic book. I’ve done this sort of thing before with various pieces of art but somehow I’ve never done it with my “Dreams of Things” covers. I don’t know why it never occurred to me but now that it has I’m going to have to get it done.

There you go. That’s the list so far. I may add some other stuff to it if I think of new things to do. It’s okay with me if I put things on the list that never get done. The list doesn’t put pressure on me it just helps me visualize the future. But I also know that the future I visualize rarely becomes the actual future and I roll with it.