The Art of Doctor Who

Out this week in shops is the The Art of Doctor Who - the latest sumptuous special edition from Doctor Who Magazine, "celebrating six decades of design and illustration inspired by the series."

It's a beautiful, comprehensive thing, and I'm thrilled to have a couple of pieces in it.

For a short feature on Doctor Who animation, I got to speak to Steve Maher, who was responsible for the look of The Scream of the Shalka and The Infinite Quest, and the two animated episodes of The Invasion.

For a longer (but it could easily have been book length!) feature on Doctor Who comics since 2000, I got to speak to Lee Sullivan, Mike Collins, John Ross, Nick Roche, Pia Guerra, Adrian Salmon, Elena Casagrande and Alice X Zhang, as well as former DWM editor Clayton Hickman and current Titan Comics editor Andrew James. (There's also sage wisdom from Martin Geraghty, but he spoke to my comrades, not me.)

But I think my favourite bit is, without me asking, an episode of AAAGH! making it into the mag, with what I think might be Nervil and Mrs Tinkle's first appearance in DWM. 

AAAGH! and Bernard

Here's the AAAGH! from issue #234 of Doctor Who Adventures, out a few days after the broadcast of Night Terrors (in which a small boy who is scared of Peg Dolls and a dog must overcome his fears). Issue #235 - out in all good shops today - features some timey-wimey issues that might just possibly be inspired by The Girl Who Waited.

As ever, the script is by me, the art is by Brian Williamson and the strip is edited by Paul Lang and Natalie Barnes - and posted here by kind permission. You can also read all my AAAGH!s so far.

Technicolor™ type

Regular acolytes of this ‘ere blog might note a sudden and spangly facelift.

Looked through Blogger’s layout interface because of something I was proposing for work. It was too tempting not to click around and, I hope, make things a touch warmer.

The typeface is now all Trebuchet, named after the contraption for getting middle-aged men into castles.

If I understand these things even remotely, Mr Gill’s beautiful letterings come out of copyright in just fewer than three whole years. Gill Sans, designed for clarity and fine looks, even from far away, is ideally suited to both print and the screen (which is why the BBC use it). I beseech it then being a core font for the web, and will use it and Joanna here.