Age, Biography and Wiki

Tom Orzechowski is an American comic letterer who was born on March 1, 1953 in Michigan, United States. He is best known for his work on Marvel Comics titles such as The Uncanny X-Men, The New Mutants, and The Amazing Spider-Man. Orzechowski began his career in the early 1970s, working as a letterer for Marvel Comics. He has since worked on a variety of titles, including The Uncanny X-Men, The New Mutants, The Amazing Spider-Man, and The Incredible Hulk. He has also worked on several independent titles, such as The Savage Dragon and Spawn. Orzechowski has been nominated for several awards, including the Eisner Award for Best Lettering in 1992 and 1993. He has also been inducted into the Will Eisner Comic Industry Awards Hall of Fame in 2011. As of 2021, Tom Orzechowski's net worth is estimated to be roughly $1 million.

Popular As Thomas Orzechowski
Occupation N/A
Age 71 years old
Zodiac Sign Pisces
Born 1 March 1953
Birthday 1 March
Birthplace Michigan
Nationality United States

We recommend you to check the complete list of Famous People born on 1 March. He is a member of famous with the age 71 years old group.

Tom Orzechowski Height, Weight & Measurements

At 71 years old, Tom Orzechowski height not available right now. We will update Tom Orzechowski's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
Parents Not Available
Wife Not Available
Sibling Not Available
Children Not Available

Tom Orzechowski Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Tom Orzechowski worth at the age of 71 years old? Tom Orzechowski’s income source is mostly from being a successful . He is from United States. We have estimated Tom Orzechowski's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income

Tom Orzechowski Social Network

Instagram
Linkedin
Twitter
Facebook Tom Orzechowski Facebook
Wikipedia Tom Orzechowski Wikipedia
Imdb

Timeline

2019

Chris Claremont’s Uncanny X-Men was the top of the stack for me. There’s no way to describe how it felt to watch those characters evolve under one writer for such a remarkably long spell.

2018

Letter "X" is the toughest. Seriously. I‘ve probably drawn “X” more often than anyone in the history of written language, and half of them were lousy. After that, numeral "8" is the one that will give you nightmares. Letters "J," "R" and "S" will show the most variety. I'd bet money I spotted the letterer on the '40s stories in the Black Canary Archive by his "J"s. I’m sure it was Gaspar Saladino, who later worked on all of the late '50s DC hero revivals for Julie Schwartz.

2000

In the early 2000s, with many publishers beginning to use "in-house" lettering teams, freelancers like Orzechowski lost a lot of work. Though Orzechowski still does the occasional job for DC Comics and a manga company called Studio Cutie, he did not letter comic books regularly until 2009, when he started doing the lettering for Chris Claremont's X-Men Forever books, and in 2010 for the New Mutants Forever book, also written by Claremont.

1993

Orzechowski left the X-Men books shortly after Chris Claremont, in 1993. He joined the team putting out Image Comics' Spawn 1992, where his title was copy editor for most of the first six years. Orzechowski worked for the manga packaging outfit Studio Proteus from 1989 until their demise in 2004. Studio Proteus titles on which Orzechowski worked included Nausicaä, Appleseed, Dominion, and Ghost in the Shell.

1992

In 1992, Orzechowski was among the first letterers to experiment with computer fonts. Working on Studio Proteus's Nausicaä of the Valley of the Wind, Orzechowski found the sound-effect work to be so demanding that computer lettering seemed like a way to save time on the extensive dialogue. His font program, however, was primitive, and he ended up doing that series entirely by hand after all. By 1994, however, Orzechowksi was lettering mainly on the computer, and in 2002 he switched completely to digital lettering, using a Wacom pen on a graphics tablet, in Adobe Illustrator. He explained in a 2003 interview on Comicon.com's The Pulse that "even then [2002] I was losing the knack, as the majority of my work had been digital for a couple of years. The fine motor control slips if the muscles aren’t in continual use."

1979

By the time of the debut of the New X-Men in X-Men #94, Orzechowski had developed a reputation as a "new projects guy," and was given the odd issue, and then with issue #122 (June 1979) finally the title. After a number of years on X-Men over Chris Claremont's scripts, the two men paired together on many future X-Men-related projects. (Orzechowski also designed the logos for The New Mutants and Wolverine comics, among others.)

1972

Tony Isabella, who knew Orzechowski from the comics club, joined Marvel Comics in 1972, and soon got Orzechowski his first professional work, lettering retouches on the Marvel UK editions of classic Fantastic Four, Thor, Hulk, The Amazing Spider-Man, and Daredevil stories. Within a few months, Orzechowski had worked his way up to lettering for some of Marvel's black-and-white monster magazines. One of his first jobs of that kind was for Monsters Unleashed, on one of the first Marvel stories written by future X-Men scribe Chris Claremont.

1970

Having moved to California by this time, Orzechowski lettered a number of underground comix titles in the mid-to-late 1970s.

Orzechowski's letters are almost perfectly square, with the exception of the letter "I." Everything has a solid, uniform look to it. Letters stand straight up and down, not at a tilt. They are all painstakingly the same height. Similarly, Orzechowski's standard word balloon outlines are meticulously uniform. He also helped popularize non-standard (non-bubble-shaped) designs for word balloons, to reflect different character voices (square for robots, jagged/dripping for demons, etc.). In the mid-1970s, while Marvel’s production boss and cover letterer Dan Crespi was developing a tight, attractive house style, Orzechowski was 3,000 miles away in California, "buried in design books." Orzechowski figured that "since the X-Men didn’t overlap the rest of the Marvel Universe," there was no reason not to be influenced by calligraphy, record jackets, old movie posters — everything except comics.

1968

In 1968, when Orzechowski was 15, he met a group of aspiring comic book artists at the Detroit Triple Fan Fair comic convention in Detroit, and joined their comics club. Some older members of the club included future comics professionals Rich Buckler, Jim Starlin, Al Milgrom, and Mike Vosburg. An aspiring comic book artist, Orzechowski quit drawing when he saw their work. None of the club members wanted to letter their own amateur comics, however, so Orzechowski took on those jobs.

1953

Tom Orzechowski (born March 1, 1953) is a comic book letterer, primarily known for his work on Uncanny X-Men. Over the course of Orzechowski's career, he has lettered something on the order of 6,000 pages of (long-time X-Men writer) Chris Claremont's scripts.

1930

Early influences on Orzechowski's distinctive style included the work of Alphonse Mucha, and the comics lettering of Artie Simek and Abe Kanegson. Orzechowski modeled his lettering on the Flash Gordon newspaper strips of the 1930s. Another influence was Robert Crumb's Zap Comix: Orzechowski recognized that Crumb’s title work was clearly derived from the brush techniques of that same era, the 1920s and '30s. Orzechowski studied everything of Crumb's (as well as the late 1960s DCs and Marvels), and developed a lettering style based on all of those influences.

The logo I did for Wolverine is based on 1930s elements, and I’m proud to see it’s one of the few old ones still in use. Designing a logo is probably a lot like designing a costume, to catch the tone of the character while pulling some unexpected elements together.