The characters are white cut outs, moving from the cover on through to each page.

With no extras or chapter dividers the only colour we have are the opening and closing, and Dahlk uses the four colours from the cover for each page spread. Randall Dahlk’s design is clever and appealing. Each strip has it’s date printed either above or below, depending on placement. No extras or gallery is included: the book moves through the strips by date and ends with a one page biography. The pages have aged well, ranging from mostly off-white to the odd brown. A few strips have handwritten notes to people Schulz must have gifted strips to. Every strip was folded in the middle, possibly for mailing or storage. There are the occasional dialogue paste ins. No art corrections here Schulz must have cleaned things up in pencil and then inked cleanly. Most likely that involved only one person scanning everything collected here. Schulz Museum in Santa Rosa, California“. From the notes in the indices “ All of the original art came from the collection of the Charles M. I was surprised to see no mention of this reduction in the book’s introductory pages it only appeared in the initial solicitation and isn’t on the IDW site. The strips in the book are 18.5-19″ x 3.8-4.4″, so it’s a significant size reduction. And the only Artist’s Edition to reduce the original art.įor this period of 1950-1960 original art was 26.5-27.25″ x 5-5.5″, based on information available from past auctions of material from this selected decade. The only non-sequential original art edition to be called an Artist’s Edition and not an Artifact Edition. The only complete newspaper strip edition Tor contains some strips but you have to turn the book sideways to read them. The only horizontal edition, measuring 20″ x 13″. A lot of unique features in this Artist’s Edition.

Charles schulz museum store