COMIC BOOK YETI: Thank you so much for joining me here in the Yeti Cave! If you have any other jobs other than lettering, what is it you do?
LETTERSQUIDS: I’ve worked as a professional designer/con artist for print and web for about seven years. I stole all the furniture I needed for a home office from my employers so I’m freelance now. I also have a useless art degree, but it’s a B.S. so I consider myself a scientist more than anything.
CBY: Makes sense to me. What are the comics that influenced you and made you want to work in comics?
LS: I started reading comics through weird alt/underground fringe stuff, since I have permanent 4 a.m. brain (Koyama, Fantagraphics, Kelloggs boxes, etc.). Lettering was really just background noise and something done by the artist as far as I could see.
I was in the library one day and thumbed through a TPB of All New Superman and saw you could get PAID to make a bunch of goofy sound effects. I needed money for a squat rack so I figured I’d give it a shot. 5000 DOOMs later, I’m a slightly more famous nobody and I’m loving it.
The one comic that completely overhauled my view on lettering was Daniel Warren Johnson’s Murder Falcon. When I saw the SFX I realized I’d been doing things completely wrong. I treat every sound effect like a living creature now.