Chip Kidd
3.7K posts
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@Jock4twenty @Ssnyder1835 @DCOfficial Even the Absolute telephone lines are really, REALLY strong!
(Sorry, just had to 😘)
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Re-mixed the colour on my ABSOLUTE BATMAN ‘Ark-M’ variant cover, for its third printing🔥
#absolutebatman
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Batman: The Animated Series
“Almost Got ‘Im”
Artwork by George Caltsoudas
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Chip Kidd retweetledi
“Pass That Peace Pipe” from Good News (1947) is still one of the most electrifying dance ensemble numbers ever put on film - and yet so few people today remember its striking soloist, Joan McCracken.
McCracken was a phenomenal acrobatic dancer, trained to be a ballerina by George Balanchine in the 1930s.
She became a Broadway sensation in Oklahoma! with her comic “fall” in the number, “Many a New Day.” She brought astonishing athleticism, musicality and wit to every performance.
She also helped change Broadway history: McCracken encouraged a young Bob Fosse (as her lover and later second husband) and helped open the door for his choreographing career in New York.
A brilliant talent, largely forgotten now (she has only two film credits) - gone far too soon, dying from complications of diabetes at only 43.
#GoodNews #HollywoodMusical
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Chip Kidd retweetledi
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Chip Kidd retweetledi
Happy posthumous birthday to Fred Astaire, who would have turned 127 today. Widely regarded as one of the greatest dancers in film history.
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Chip Kidd retweetledi
A #Batman drawing I did that was inspired by the Kirk Alyn #Superman that was inked by the GREAT @paulsmithdraws back in 98'
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Chip Kidd retweetledi
@nfloyd52 Hi there, I just saw this post. I love what you wrote, but I thought you might like to know that the architect referred to was not a phys-ed teacher. He was a graphic designer named Lanny Sommese, and he was my graphic design professor for three years at Penn State University.
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No dramatic promises. No plans to meet again. No declarations that they would find a way to make it work.
Just two people who had once loved each other, sharing a quiet moment before returning to the lives they had chosen.
Five years later, Dan Fogelberg sat down and wrote every single detail of that night into a song.
He called it "Same Old Lang Syne."
He changed only two small things. He made Jill's eyes blue instead of green because it rhymed better with the melody he had in his head. And he made her husband an architect instead of what he actually was—a physical education teacher—because the word sounded better in the rhythm of the verse.
Everything else was exactly as it happened.
The convenience store at the top of the hill. The spilled purse rolling across the floor. The six-pack of beer in the freezing car. The conversation that lasted hours. The kiss in the falling snow. The watching her drive away.
Every word. Every image. Every ache.
The song was released in 1980 as part of his album "The Innocent Age." It climbed to number nine on the Billboard Hot 100 and became a holiday staple almost immediately. Radio stations began playing it every December alongside "White Christmas" and "Silent Night" and all the traditional songs about joy and bells and snow.
But "Same Old Lang Syne" was not about joy.
It was about the quiet ache of going home and realizing that home has changed. That you have changed. That the people you used to know have become strangers wearing familiar faces.
It was about sitting with someone you once loved and feeling the full weight of all the years between then and now. The weight of choices made and roads not taken. The weight of knowing that some moments are perfect exactly because they cannot last.
It captured something no other holiday song ever had. Not the magic of the season, but the melancholy underneath it. The bittersweet knowledge that time does not stop, that people grow apart, that love does not always mean staying.
The first time Jill heard the song, she was driving to work at TWA before dawn. It was still dark outside. The radio was on, playing quietly as she navigated the empty streets.
Then a familiar voice came through the speakers.
At first, she thought, "That sounds like Dan."
Then she started listening more carefully to the words.
A chance encounter at a store. Two old lovers. A six-pack in a car. A snow-covered night on Christmas Eve.
The realization washed over her slowly and then all at once, the way cold water seeps through clothing until suddenly you are soaked to the bone.
Dan had taken their two hours in a parking lot and turned it into something the entire world would hear.
He had taken the most private moment of her life and set it to music.
She pulled over. She sat in her car and listened to the whole thing. And when it was over, she did not call him. She did not tell anyone.
She just sat there, holding a secret that would play on radios across America every December for the rest of her life.
For years, Jill kept that secret. Only a handful of close friends and family members knew she was the woman in the song. She did not go to the press. She did not seek attention. She did not try to claim ownership of a moment that belonged to both of them.
Dan kept her identity private too. He never publicly named her. His wife later said he believed in maintaining what she called "a gentleman's silence." He had written the song. He had shared the story. But he would not expose the woman at the center of it without her permission.
Jill stayed quiet partly out of respect for his personal life and his marriage. She did not want to cause disruption. She did not want to be the subject of tabloid speculation or gossip. She simply carried the knowledge quietly, hearing the song every December and knowing it was her story playing in millions of homes and cars and holiday gatherings.
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Chip Kidd ( @chipkidd ) dissecou o Quarteto Fantástico Nº 1 e provou: 1961 foi o ano que a Marvel saiu do zero pra virar a Marvel. Essa edição da @edexcelsior é foda!!!
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@oclubequadrinho @edexcelsior Wow, thanks! I didn’t even know that edition existed! C
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Chip Kidd retweetledi
Chip Kidd retweetledi
Watched "Superman: The Magnetic Telescope (1942)."
It’s genuinely incredible how well the Fleischer aesthetic holds up 80 years later.
Lights falling off the comet and hitting the streets is a masterclass in hand-drawn cinematography.
Honourable mention: the Rotoscoping. Gives Supes a fluid motion,a tangible presence in the frame, you can feel the momentum when he flies.
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@o_natsuo88 This character is so fully alive as you draw him! He becomes an actual human being who leaps from the page and into our hearts.
That is a rare, spectacular gift you have! xxoo C
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