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A lot of the day lettering is just staring at MOTHERFUCKER until it connects right with the script, the character's personality, the art, and the situation. Balance all of those, add some of yourself, and you get the correct motherfucker balloon.
I went with the top right for this particular one, because the scene is someone like turning around and shouting in a particularly theatrical way-- so for me that has a balloon which starts out somewhat normal before erupting-- trying to capture that rising shout.
But I think you can argue any of those work depending on the scene at hand. Honestly the top left would work, too-- but if you see the art (I don't think I can show you), it wouldn't have the right tone.
Quicking googling Wolverine gives you this Yu piece, and for example, this balloon just doesn't work with the acting, right?
But the second example feels a lot better, matching the acting.
The third probably a little stronger, even, smaller, quieter, to himself.
But the second example feels a lot better, matching the acting.
The third probably a little stronger, even, smaller, quieter, to himself.
We talk about this on Letters & Lines a *lot* ( http://soundcloud.com/lettersandlines ), but the base level of good lettering is legibility. Who is saying what and when. But I think you also gotta be acting, too, otherwise you can start to work against the art.
You're in conversation with both the script and the art. The script is a letter to the artist, the art & script are a letter to the letterer (confusing). Both are very relevant to what you gotta do on the page (to me).
Anywhoo, back to work.