Todd Klein's Blog, page 50

GASPAR SALADINO IN OTHER PUBLISHERS: 1950s

From AMAZING ADVENTURES #4, July 1951, Ziff-Davis

Gaspar Saladino began his long career as a comics letterer at DC Comics in the fall of 1949 when he was hired by editor Julius Schwartz. He was soon also doing lots of lettering for Julie’s office mate Robert Kanigher, and when Gaspar was not busy lettering pages for those editors, he would take work from other DC editors. Gaspar worked in the DC offices for his first few years, working 9 to 5 first at a desk in the production department alongside Ira Schnapp, Ray Perry and others, and soon at a drawing board right in the office of Schwartz and Kanigher. Gaspar was a 1945 graduate of Manhattan’s School of Industrial Art (later the High School of Art and Design), and many of his classmates also went on to careers in comics. Some classmates Gaspar probably knew included Carmine Infantino (class of 1943), Joe Orlando, Charles “Jerry” Grandenetti, Jack Abel (class of 1944), Joe Giella (also class of 1945), Sy Barry (class of 1946) and Alex Toth (class of 1947). Gaspar renewed his friendship with those classmates at DC, and made new artist friends like Gil Kane and Murphy Anderson. While DC kept Saladino busy five days a week, he would occasionally take lettering jobs at other publishers to work on at home in the early to mid 1950s, I think often at the request of his artist friends. The earliest example I know of is above, a seven page story that the Grand Comics Database suggests was penciled by either Murphy Anderson or Sy Barry. I think the latter is more likely. The page has some of the style points of his work at DC in 1951, including the title style, a fancy open initial capital M in the first caption, and his wide, angular letter shapes.

With this article, I begin detailing Gaspar’s comics lettering at publishers other than DC and Marvel. When I searched for his work at those companies, I looked at every story published by DC from 1950 to 2003, and by Marvel from 1965 to 2003. It was time consuming, but rewarding in that I found many examples so far unnoticed by other researchers. When it comes to all the other comics publishers though, I can’t be that thorough, I have to use the Grand Comics Database as my guide, relying on the identification skills of other fine experts who’ve found Gaspar’s work. I went through all the Saladino credits at the GCD from the beginning to about 2005 (by then all reprints), and looked at every example listed for publishers other than DC and Marvel. In almost all cases I was able to find scans of the stories online, fortunately. A few of those citations I thought were incorrect, but most were spot on, and when I confirmed Gaspar’s lettering on a title, I looked at other consecutive issues before and after to see if I could find more. I found a few more, but the GCD listings are generally accurate, and I feel comfortable relying on them. Once you know it, Saladino’s lettering style, it’s distinctive and easy to spot, so that makes identification easier.

Gaspar didn’t do many stories for other publishers in the 1950s, I’ll show pages from all of them here. In future articles I’ll discuss his work from the 1960s on for seventeen other publishers. Gaspar was good and he was fast, and he managed to fit quite a bit of work beyond DC and Marvel into his busy schedule. I’ll say up front that it’s likely I and others have missed some from this decade and going forward, and if other examples turn up later, I’ll add them.

From THIS IS WAR #7, Jan 1953, Standard (Pines)

By 1953, Gaspar was already lettering lots of war stories at DC for editor Robert Kanigher, and one of Kanigher’s main war artists was Jerry Grandenetti. This seven page story for Pines is penciled and inked by Grandenetti, who no doubt asked Gaspar to letter it. Saladino was still figuring out story titles at the time, and this one is not so good, but perhaps he just inked what Grandenetti penciled there. The balloon lettering and sound effects are very typical of his work at the time.

From YOUNG ROMANCE #55, March 1953, Prize

Gaspar and artist Carmine Infantino were certainly friends and liked working together by 1953. In fact, at some point in the 1950s, Gaspar began working in Carmine’s home to help him meet his DC deadlines. They also worked on these two romance stories for Prize, under editor Joe Simon, who probably added the typeset top caption and title to the first six page story, while the second seven pager is all by Saladino. Note the open initial capital letters in captions over a black shape, something Gaspar often did at DC.

From COWBOY WESTERN COMICS #46, Oct 1953, Charlton

Saladino was also lettering lots of western stories for DC for Julie Schwartz in the 1950s, so doing one for Charlton was not a stretch, but I’m not sure how Gaspar was brought in on this seven pager. The GCD suggests it might be penciled by John Belfi. He attended Gaspar’s high school probably in the 1930s, and did some work for DC in the 1940s, but before Saladino started there. Perhaps this is actually penciled by one of Gaspar’s regular DC artists instead.

From HOT RODS AND RACING CARS #12, Oct 1953, Charlton

This story has art by another graduate of the School of Industrial Design in 1947, Dick Giordano, a mainstay at Charlton in the 1950s, later one at DC. This seven page story has the same publication date at the western story above, so perhaps Giordano gave Gaspar both stories at the same time. The story title here is still a bit off-model for Saladino, but again perhaps he just inked what was penciled.

From HOT RODS AND RACING CARS #22, May 1955, Charlton

I’m less sure about this story, “Hair-Pin Curve,” four pages. The letter shapes look about right for Gaspar, but the space between lines of lettering is tighter than he usually worked, but I will call it for him. Possibly that was at the request of the artist or editor. The GCD suggests Gil Kane as a possible penciler, I don’t see that myself, but I don’t know who it might be. Researcher Nick Caputo suggests it might have been prepared for another company that went out of business and then sold to Charlton.

These stories total 45 pages. From 1956 to 1962 I’ve found no work by Saladino other than at DC, where he was kept very busy. Going forward, he next began working at Western Publishing (Dell) in 1963, and I’ll write about that next time. Many other articles about Gaspar’s lettering can be found on the COMICS CREATION page of my blog.

The post GASPAR SALADINO IN OTHER PUBLISHERS: 1950s appeared first on Todd's Blog.

GASPAR SALADINO in OTHER MARVEL TITLES W to Z

All images © Marvel. From WAR IS HELL #9, Oct 1974

This final article in my study of Gaspar Saladino at Marvel Comics includes books with a small amount of his lettering work through the end of the alphabet. WAR IS HELL was a war title using both reprints and new material that ran 15 issues from 1973-75. Gaspar did the two blurbs on this cover, the best indication is the style of INTRODUCING in the left one.

From WAR IS HELL #9, Oct 1974

Saladino lettered just the first page of this story otherwise lettered by Charlotte Jetter, whose style was different. He also did the title in the top banner, which I like better than the cover logo.

From WAR IS HELL #13, June 1975

War story cover lettering was old hat to Gaspar, he’d been doing it for decades at DC Comics, and his confident approach here works well.

From WARLOCK #6, June 1973

WARLOCK ran 15 issues from 1972-76. Saladino lettered the first page of this issue. His dynamic character logo/title for THE BRUTE is a bit hard to read because of the dark color on this reprint, but still effective.

From WARLOCK #7, Aug 1973

Lots of sharp corners and angles in this balloon lettering, one way Gaspar added energy and drama.

From WESTERN GUNFIGHTERS #16, July 1973

This was a reprint title for some of Marvel’s many western stories of the 1950s-60s that ran 33 issues from 1970 to 1975. Marvel’s number of titles had been restricted by their distributor Independent News (owned by DC) in the 1960s, but once that was lifted, all kinds of reprints rolled out.

From WESTERN GUNFIGHTERS #28, March 1975

I think at Marvel the balloon tails were often added later by the production staffer assembling the cover. The tail on the top burst should have been curved so that the upper end pointed toward the center.

From WESTERN TEAM-UP #1, Nov 1973

This title had only one issue. I think Gaspar did the logos as well as the cover blurbs, though some of those use type. RAWHIDE KID is great, the other one doesn’t look very western.

From WHERE MONSTERS DWELL #19, Jan 1973

This reprint book lasted 38 issues from 1970-75. Saladino did the cover lettering, though TIME CAPSULE on the bottle uses press-down type.

From WHERE MONSTERS DWELL #32, Nov 1974

Frankenstein’s monster was a favorite with readers, he had his own Marvel series for a while, this old story is not connected to that.

From WORLDS UNKNOWN #6, April 1974

This series featured new adaptations of science fiction stories. I don’t know how similar it is to the TV version, but Saladino did a fine logo and word balloon for the talking bulldozer.

From WORLDS UNKNOWN #8, Aug 1974

This issue is sword and sorcery based on a film, as described in Gaspar’s bottom blurb. I’m sure there were legal reasons for those film credits.

From ZOMBIE #4, March 1973

You may have heard of Marvel Zombies, here’s one. The covers of this black and white magazine-size comic had the title TALES OF THE ZOMBIE, but only the last word was in the indicia. Gaspar’s stylish title and credits work well, and he lettered the whole story.

To sum up, I found Saladino lettering on these covers:

WAR IS HELL #9, 13

WARLOCK #7

WESTERN GUNFIGHTERS #16, 28

WESTERN TEAM-UP #1

WHERE MONSTERS DWELL #19, 32

WORLDS UNKNOWN #6, 8

That’s ten in all. Below are the details of his story lettering.

WAR IS HELL #9: page 1 only

WARLOCK #6: page 1 only

ZOMBIE Vol 2 #1 (#4): 23pp

That’s 25 pages total. That wraps up my study of Gaspar Saladino’s lettering at Marvel. You can find all the articles in the series on the COMICS CREATION page of my blog. I’ll be moving on the Gaspar’s work at other publishers next.

The post GASPAR SALADINO in OTHER MARVEL TITLES W to Z appeared first on Todd's Blog.

GASPAR SALADINO in X-MEN

All images © Marvel. From X-MEN #95, Oct 1975

One of Marvel’s most successful and longest-running superhero titles, X-MEN began in 1963, but by the early 1970s when Gaspar Saladino returned to lettering at the company, it was mostly reprints until 1975 when Len Wein and Dave Cockrum launched a revised team with new characters. It was a hit, and the book soared to new heights of success. Gaspar lettered this second appearance of the new team in their own title, his style is most obvious on the rough, angular and dynamic WARHUNT.

From X-MEN #99, June 1976

Saladino also lettered just the first page of some stories otherwise lettered by others, this is the first of those. The clever design of DEATHSTAR is evidence of that here (and before Star Wars). Gaspar always credited the letterer of the remaining pages, in this case Irv Watanabe, whose style is quite different.

From X-MEN #102, Dec 1976

The amazing and eye-catching design of JUGGERNAUT here is a good example of why Marvel hired Gaspar to do these. Who could resist that lettering? Not me. John Costanza, who lettered the rest, did fine titles himself, but not as good as this one.

From X-MEN #104, April 1977

The style of MAGNETO in this title is nearly as good.

From X-MEN #105, June 1977

I like the way this title is made larger by pushing the exclamation point off to the right. The extensions of the H and X in PHOENIX make it more interesting.

From X-MEN #112, Aug 1978

Another amazing version of MAGNETO adds a ton of energy to this page, though I don’t like the way the character’s head goes over the burst.

From X-MEN #113, Sept 1978

The very angular S in this title is unusual, but Saladino liked sharp angles, they add energy, and the drama in this title is impressive.

From X-MEN #114, Oct 1978

I’m sure this title is by the artists, but I like Saladino’s icy captions and snow-covered credit box.

From X-MEN #117, Jan 1979

The contrast between the two words of this title makes it more effective, and the style of PSI is creative.

From X-MEN #121, May 1979

The shapes and thin outlines of the open letters in these blurbs suggest the work of Gaspar, and the lettering in the burst is also in his wide, angular style with slight arches in the horizontal strokes of each E.

From X-MEN #123, July 1979

Here Saladino did the burst and the title under the logo, but the rest of the pin-ball machine lettering is by the artists.

From X-MEN #125, Sept 1979

The lettering on this iconic cover has not been credited to Saladino in the Grand Comics Database, but I feel sure it’s by him. The style of the open letters in DANGER ROOM is diagnostic.

From X-MEN #132, April 1980

The only thing to go on in this balloon is the wide, angular lettering typical of Gaspar. I think he also lettered the Eagle Awards label.

From X-MEN #133, May 1980

There isn’t much room on this cover, so the lettering is small, but I feel it’s by Saladino.

From X-MEN #134, June 1980

Jim Novak was also doing cover lettering by this time using styles similar to Gaspar, this is the last cover I feel sure was lettered by Saladino, his flaming letters are unmistakeable.

To sum up, I found Saladino lettering on these covers: 95, 121, 123, 125, 132-134, that’s seven in all. Gaspar also lettered just the first story page on these issues: 99, 102, 104-105, 112-114, 117, eight total. Other articles in this series are on the COMICS CREATION page of my blog.

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GASPAR SALADINO in WHAT IF?

All images © Marvel. From WHAT IF? #1, Feb 1977

Marvel fans loved the complicated continuity of the superhero line, and Marvel added twists to that with these imaginary stories showing what might have happened if things were a little different. Gaspar Saladino lettered some covers and first story pages for the original run of 47 issues from 1977 to 1984, and he also lettered two full issues in the second series of 1989 to 1998. I’ll look at everything chronologically. The first issue, above, has some exciting, energetic lettering by Gaspar, including the small burst left of the logo.

From WHAT IF? #2, April 1977

More dramatic Saladino work helps sell this comic, though he didn’t do the logo lettering, which changed with each issue, and must have been something a production staffer often did.

From WHAT IF? #3, June 1977

Here’s Gaspar lettered just the first story page, including the top title. His wide, angular balloon lettering is distinctive, and different from that of Denise Wohl, who did the rest.

From WHAT IF? #4, Aug 1977

On this cover I think Saladino did letter the bottom section of the logo, almost a sub-title. The burst at right is classic!

From WHAT IF? #5, Oct 1977

Lots going on here, and the lettering has to dodge and weave around it, but it all works. Here Gaspar was lettering on the pencils of George Tuska, who he was about to work with on “The World’s Greatest Superheroes” comic strip for DC.

From WHAT IF? #11, Oct 1978

I didn’t read many of these, but I remember this one, with the Marvel Bullpen as the FF. Gaspar’s lettering plays it straight and dramatic, as was correct.

From WHAT IF? #13, Feb 1979

Here Saladino clearly lettered the bottom line of the logo, the dramatic TODAY is typical for him, as well as the burst at lower right.

From WHAT IF? #14, April 1979

Here Saladino lettered everything below WHAT IF in the logo. The bottom blurb shape is an odd one, and the tail of the top burst is strange and probably added by someone else.

From WHAT IF…? #75, July 1995

In the 1990s, Saladino was back at Marvel sometimes lettering stories, and he did two for the second WHAT IF series. He had begun lettering at DC Comics in late 1949. Almost fifty years later, his work is still as dynamic and appealing as ever.

From WHAT IF…? #82, Feb 1996

It’s likely many of the creators sharing the credits with Gaspar on these issues were not yet born when he entered comics, and he would continue for a few more years until the switch to all-digital lettering pushed him out for the most part.

To sum up, I found Saladino lettering on these covers:

WHAT IF? #1-2, 4, 11, 13-14, six in all. Below are the details of his story lettering.

WHAT IF? #3: page 1 only

WHAT IF? #5: page 1 only

WHAT IF…? #75: 27pp

WHAT IF…? #82: 26pp

That’s 55 pages in all. More articles in this series and others you might enjoy are on the COMICS CREATION page of my blog.

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GASPAR SALADINO in WEREWOLF BY NIGHT

All images © Marvel. From WEREWOLF BY NIGHT #6, June 1973

After a tryout in MARVEL SPOTLIGHT, this title ran 43 issues from 1972-77. Gaspar Saladino lettered some of the covers and a few first story pages. His first cover, above, has his wide, angular balloon lettering and a sign with one of his scary styles on FEAR. The sign is poorly cropped, which is not Gaspar’s fault, but it’s still readable.

From WEREWOLF BY NIGHT #9, Sept 1973

The first of Saladino’s page ones. He was asked by Marvel to do these I think because they felt his energy and skill might sell a few comics to browsers. The treatment of TERROR is eye-grabbing, I like the inner texture. Tom Sutton is credited as letterer, since he did the rest of the story, and one odd thing is listing the main character, Jack Russell, as “narrator.” I never read this book, but I think naming the character after a dog breed might have made me laugh when I should have been at least a bit scared.

From WEREWOLF BY NIGHT #12, Dec 1973

There’s no definite clue to the idea of Gaspar lettering this caption except for it’s creativity, which I don’t see from others lettering covers at Marvel at this time like Danny Crespi.

From WEREWOLF BY NIGHT #14, Feb 1974

The thin outlines on the open letters in this caption, and the style of MONSTER, indicate Saladino work.

From WEREWOLF BY NIGHT #19, July 1974

Lots of Gaspar styles in this lettering. Notice the larger initial T in the first caption, I don’t think anyone else was doing that.

From WEREWOLF BY NIGHT #24, Dec 1974

Gaspar’s style here for BRUTE reminds me of the logo he did for a character with that name a few years later at Atlas/Seaboard. Or maybe it’s just the name being the same.

From WEREWOLF BY NIGHT #27, March 1975

I don’t like the way the title goes over the character’s face here, but it’s a long title, and there probably wasn’t enough room at the top for it without covering the hands. Still, if it were ten percent smaller, the face would be in the clear. As story lettering was usually done right on the art, that would have been a difficult fix for Gaspar.

From WEREWOLF BY NIGHT #29, May 1975

On this cover, the long character name causes the second balloon to be very wide and almost rectangular, but it looks fine. The caption just fits.

From WEREWOLF BY NIGHT #30, June 1975

This story title must have been penciled in by Don Perlin, so Saladino just inked what was there, perhaps adding the texture.

From WEREWOLF BY NIGHT #32, Aug 1975

Here’s the first appearance of Moon Knight, who went on to his own popular series. Saladino’s balloons and caption add drama.

From WEREWOLF BY NIGHT #33, Sept 1975

Gaspar’s treatment of MOON-KNIGHT in this caption is unusual, the second word might be type, it’s hard to tell. I think it should have all been the same style, but the scary lettering is still effective.

From WEREWOLF BY NIGHT #34, Oct 1975

Gaspar did the spooky stuff so well, and I should add the word WEREWOLF in the logo is also by him.

From WEREWOLF BY NIGHT #37, March 1976

Lots of words to letter in these captions, but the open lettering stands out.

To sum up, I found Saladino lettering on these covers: 6, 12, 14, 19, 24, 29, 32-34, 37, that’s ten in all. He also lettered just the first story page in these issues: 9, 27, 30, three total. More articles in this series are on the COMICS CREATION page of my blog.

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GASPAR SALADINO in OTHER MARVEL T TO V

All images © Marvel. From TARZAN #2, July 1977

This article is a catch-all for titles that have a small amount of Gaspar Saladino lettering. The Edgar Rice Burroughs characters were licensed to Western Publishing for many years, then were at DC Comics for a few years, and Marvel got the license next in 1977. The two blurbs on this cover are the work of Gaspar, who does his usual scary treatment for DEATH.

From TARZAN #3, Aug 1977

As they liked to do, Marvel has reversed the banner at upper left, ruining the shape, but it does make Saladino’s flaming letters look good.

From TARZAN #14, July 1978

Gaspar was expert at adding excitement and energy with his lettering, and here’s a good example.

From TARZAN ANNUAL #2, Nov 1978

Here’s a first story page lettered by Saladino, the rest was lettered by Jean Simek, as the credits indicate, but her work was quite different. Marvel often hired Gaspar to do these, perhaps thinking his skills might sell a few comics to browsers.

From TERROR, INC. #1, July 1992

About twenty years later, Gaspar lettered the first issue of this horror series. I’m not sure if he designed the story title, but the credits and lower right caption are his.

From TIMESPIRITS #1, Oct 1984

Gaspar was often called in to letter the first issue of a new series, this is another where his handsome captions add gravitas to the excellent Tom Yeates art.

From 2099 UNLIMITED #9, July 1995

Numbers are sometimes put before the alphabet, but I’m taking my cue from the Grand Comics Database, where numbers in titles are placed as if they were spelled out, so TWENTY NINETY-NINE in this case. Here editor Joey Cavalieri brought Gaspar in for a short feature about this version of Spider-Man, and his large display lettering helps to sell it.

From TWO-GUN KID #109, March 1973

One of Marvel’s longest-running western comics, surprisingly Saladino lettered only this one cover. The speed lines in FASTEST suggest his work on THE FLASH.

From 2001: A SPACE ODYSSEY #10, Sept 1977

This Jack Kirby spinoff from the Kubrick science-fiction film had just one cover lettered by Gaspar, but it features the long-running character later known as Machine Man.

From UNCANNY TALES #1, Dec 1973

Another of Marvel’s many horror titles with a logo and cover lettering by Saladino. Here he used type on the first two lines of the burst at left, his hand-lettered work is so much better.

From UNCANNY TALES #6, Oct 1974

The title changed with issue #3, but not the indicia. Logo and lettering again by Gaspar, with lots of drama in the second balloon.

From UNCANNY TALES #7, Dec 1974

Notice the larger first letter in the caption, something Saladino liked to do, and VAMPIRE is one of his scary styles.

From VAMPIRE TALES #3, Feb 1974

One of Marvel’s magazine-size black and white comics, for which Gaspar lettered two stories, this is the first. His handwriting on the photo at middle right is a good clue.

From VAMPIRE TALES #9, Feb 1975

Gaspar only lettered the first page of this story, the rest is by someone else. These books didn’t have lettering credits, but his style in BLOODMOON is unmistakeable. The open double outline inside the letter O’s suggests he did the same on the outside of all the letters, but the space between was filled black by someone else.

From VIDEO JACK #2, Nov 1987

This short series from Cary Bates and Keith Giffen had two issues lettered by Saladino using his pen name L.P. Gregory, perhaps signaling he didn’t like the material much.

From VIDEO JACK #3, March 1988

This page includes Giffen’s parody of editor Archie Goodwin, and lots of fine Gaspar styles.

To sum up, I found Saladino lettering on these covers:

TARZAN #2-4

TWO-GUN KID #109

2001: A SPACE ODYSSEY #10

UNCANNY TALES #1, 6-7

That’s eight in all. Below are the details of his story lettering.

TARZAN ANNUAL #2: page 1 only

TERROR INC. #1: 23pp

TIMESPIRITS #1: 30pp

2099 UNLIMITED #9: 5pp

VAMPIRE TALES #3: 12pp

VAMPIRE TALES #9: page 1 only

VIDEO JACK #2: 28pp

VIDEO JACK #3: 27pp

That’s a total of 127 pages. More articles in this series and others you might like are on the COMICS CREATION page of my blog.

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GASPAR SALADINO in VAULT OF EVIL & WEIRD WONDER TALES

All images © Marvel. From VAULT OF EVIL #1, Feb 1973

This article covers two Marvel horror books with no other connection than alphabetical proximity. When Gaspar Saladino came back to Marvel freelance work in late 1972, one thing they put him on right away was doing logos and cover lettering for horror comics, something he was already known for at DC Comics. He did both on the first issue of this title, which ran 23 issues from 1973-75. Gaspar’s wide, angular balloon lettering is partnered with lots of his scary styles in the captions and logo, but I don’t think he did the line above the logo.

From VAULT OF EVIL #2, April 1973

Gaspar’s open display lettering was generally also angular with pointed corners, as here. The other cover letterer starting around this time was staffer Danny Crespi, and their work is sometimes similar, but Danny’s was usually softer and more rounded, with heavier outlines.

From VAULT OF EVIL #4, Aug 1973

Gaspar also used oddly-shaped block letters to suggest horror, as in this blurb.

From VAULT OF EVIL #8, Dec 1973

Using a story title in a word balloon can be tricky, but this one works perfectly in my opinion. I would have connected the tail to the other balloons, though, to make it clear who is saying it.

From VAULT OF EVIL #10, April 1974

This word balloon is a study in what and how to emphasize for drama, again handled well by Saladino.

From VAULT OF EVIL #12, Aug 1974

Great use of a scary balloon style on this cover at upper right.

From VAULT OF EVIL #15, Nov 1974

Marvel’s production people loved to reverse Gaspar’s captions, which sometimes makes them harder to identify, but that’s not the case here.

From WEIRD WONDER TALES #1, Dec 1973

Another fine logo by Gaspar for this series, which ran 22 issues from 1973-77, mostly reprinting old 1950s stories. Lots of Saladino lettering here, but the burst right of the logo is press-down type he sometimes used.

From WEIRD WONDER TALES #2, Feb 1974

This is the kind of thing often seen in editor Julius Schwartz’s science fiction titles at DC, but Marvel did some too.

From WEIRD WONDER TALES #6, Oct 1974

More typical Marvel fare on this cover, with great Saladino lettering on GHOST in the lower caption.

From WEIRD WONDER TALES #11, Aug 1975

I love Gaspar’s style for SHANGRI-LA in the bottom caption for a scene that reminds me of Doctor Strange’s origin.

To sum up, I found Saladino lettering on these covers:

VAULT OF EVIL: 1-2, 4, 8, 10, 12, 15

WEIRD WONDER TALES: 1-2, 6, 11

That’s eleven in all. More articles in this series and others you might enjoy are on the COMICS CREATION page of my blog.

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GASPAR SALADINO in TOMB OF DRACULA Part 2

All images © Marvel. From TOMB OF DRACULA #28, Jan 1975

Continuing my look at the lettering of Gaspar Saladino on covers and stories for this series, Part 1 has his work in 1973-74, this article has the rest. He was always creative, finding new ways to letter the word VAMPIRE each time it appeared.

From TOMB OF DRACULA #35, Aug 1975

One key to Saladino’s open display lettering is the sharp angles and corners. Note also that the open centers of the letters in BROTHER VOODOO have a thinner outline than the outside edges. Gaspar would first outline the whole thing with that thin pen, then go around the outside edge again to make it thicker.

From TOMB OF DRACULA #37, Oct 1975

For variety, this cover lettering is less scary and more what Saladino might have done on a superhero title except for the word UNDEAD.

From TOMB OF DRACULA #39, Dec 1975

The blurb at lower left is meant to suggest an award medallion, but I’m not sure it quite works, though I like the big number one.

From TOMB OF DRACULA #40, Jan 1976

The treatment of DR. SUN here is unusual and intriguing.

From TOMB OF DRACULA #41, Feb 1976

Lots of lettering on this cover, including a clever version of BLADE, and it all fits and reads well.

From TOMB OF DRACULA #42, March 1976

My description of this cover lettering is “classy and exciting.” This is also a better take on an award medallion at bottom right.

From TOMB OF DRACULA #43, April 1976

I think this was Bernie Wrightson’s only work for this the, and Gaspar’s lettering fits it perfectly. A reunion of sorts from their work together on DC’S SWAMP THING.

From TOMB OF DRACULA #44, May 1976

This cover is full of great Gene Colan art and Saladino lettering.

From TOMB OF DRACULA #45, June 1976

Another fine version of BLADE, and Gaspar curves HANNIBAL KING to fill the available space.

From TOMB OF DRACULA #46, July 1976

These captions have some of Gaspar’s upper and lower case script for variety.

From TOMB OF DRACULA #48, Sept 1976

A rare close-up of the main character is framed by excellent display lettering.

From TOMB OF DRACULA #51, Dec 1976

Notice the small breaks in the border of the burst at right, something Gaspar did to add texture and interest.

From TOMB OF DRACULA #58, July 1977

This is the only full story lettered by Saladino, he’s credited himself with just his first name, as he liked to do, and matched it with a short version of colorist Marie Severin’s name, with her okay I’m sure. UNDEAD is done with a dry brush, something Gaspar was good at.

From TOMB OF DRACULA #62, Jan 1978

Another dynamic and creative title on this title page, all that Saladino lettered.

From TOMB OF DRACULA #65, July 1978

It looks like extra space was left for the repeating top banner, Gaspar’s title should have been moved up to fill it. I like the credits style here.

From TOMB OF DRACULA #69, April 1979

Saladino’s final cover lettering, and nearly the end of the series, these open letters have serifs in some places and are impressively odd.

To sum up, I found Saladino lettering on these covers: 6-8, 10, 14-17, 19-28, 35, 37, 39-46, 48, 51, 69. That’s 31 in all. Below are the details of his story lettering.

#10: page 1 only

#58: 18pp

#62: page 1 only

#65: page 1 only

That’s 21 pages in all. More articles in this series and others you might enjoy are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in TOMB OF DRACULA Part 2 appeared first on Todd's Blog.

GASPAR SALADINO in TOMB OF DRACULA Part 1

All images © Marvel. From TOMB OF DRACULA #6, Jan 1973

This classic horror series ran 70 issues from 1972 to 1979. Gaspar Saladino lettered many of the covers as well as one full story and a few first story pages. I’m splitting it in two chronologically, with totals in Part 2. Gaspar was the perfect choice as cover letterer for this book, as his scary styles were excellent, and he was already known for that at his main employer, DC Comics. That skill is already evident in this bottom caption.

From TOMB OF DRACULA #7, March 1973

For whatever reason, Gaspar began doing lots of cover work at Marvel in late 1972, perhaps just expanding his options, and he quickly became the go-to letterer on these covers, though some were also done by Danny Crespi. Crespi’s work can be similar at times, but is generally more rounded and softer. The sharply pointed corners of SLAYER in this burst are typical of Saladino.

From TOMB OF DRACULA #8, May 1973

The open letters of this bottom banner are angular and oddly shaped to suggest something creepy, and they do.

From TOMB OF DRACULA #10, July 1973

Gaspar plays up the first appearance of Blade in the large burst here, no doubt encouraged to do so by creator/writer Marv Wolfman.

From TOMB OF DRACULA #10, July 1973

He goes even bigger on the story title here, where he lettered only the first page. HIS NAME IS is type. If the character had been given his own series, this would have been a fine logo for it.

From TOMB OF DRACULA #14, Nov 1973

The drippy points on VAMPIRE and GRAVE are something Gaspar did well.

From TOMB OF DRACULA #15, Dec 1973

Gaspar did all this lettering including the sound effect, though I think that was drawn with a double outline that someone filled black.

From TOMB OF DRACULA #16, Jan 1974

This blurb is full of Saladino styles, including the K he liked with the top right leg cut at an angle.

From TOMB OF DRACULA #17, Feb 1974

Saladino had to letter VAMPIRE many times for this series, and he did it a little differently each time.

From TOMB OF DRACULA #19, April 1974

In this caption, Gaspar makes good use of creative styles to match the words. His flaming letters are always great.

From TOMB OF DRACULA #20, May 1974

Another version of VAMPIRE full of rough texture.

From TOMB OF DRACULA #21, June 1974

This blurb is a bit small to fit the space available, but still effective.

From TOMB OF DRACULA #22, July 1974

I’m surprised Gaspar didn’t do more with the word LIGHTNING here, but that would have drawn attention away from the character’s name.

From TOMB OF DRACULA #23, Aug 1974

This cover lettering is all about what and how to emphasize, with lots of style variety too.

From TOMB OF DRACULA #24, Sept 1974

Here the burst and open lettering adds drama.

From TOMB OF DRACULA #25, Oct 1974

If you found vampires scary, this cover would make you want to read more.

From TOMB OF DRACULA #26, Nov 1974

Yet another style used on VAMPIRE. The reversed lettering in the bottom caption is a bit small and hard to read, but the important words in open letters jump out.

From TOMB OF DRACULA #27, Dec 1974

With this effective cover lettering, Saladino completed 11 of 12 covers for the year date 1974. He was rarely used this often, but he was the perfect choice. I’ll continue with 1975 covers in Part 2, and do totals there. More articles in this series and others you might like are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in TOMB OF DRACULA Part 1 appeared first on Todd's Blog.

GASPAR SALADINO in THOR Part 2

All images © Marvel. From THOR #255, Jan 1977

Continuing my chronological look at the lettering of Gaspar Saladino for this popular Marvel title, this time covering 1977 to 1981. I like the top blurb on this cover, and the bottom one has a creative approach to STONE MEN.

From THOR #256, Feb 1977

In the first balloon, look for Gaspar’s wide letter S with a horizontal center stroke. That letter is perhaps the most variable of the alphabet, since it combines curves in two directions.

From THOR #257, March 1977

The last of Gaspar’s page one lettering on this series has an interesting title using lower case.

From THOR #263, Sept 1977

The lettering on this cover shares a lot of similarities between Saladino and Danny Crespi, but it’s just angular enough, especially WHO in the round caption, to tip it toward Gaspar.

From THOR #267, Jan 1978

Gaspar’s style of banner caption borders, like the one at the bottom here, was distinctive, as was the larger first letter in that caption.

From THOR #273, July 1978

Thicker and rougher outlines were added to the open letters in the caption and the first balloon border here for emphasis.

From THOR ANNUAL #7, 1978

I don’t know the release date of this Annual, but summer is a good guess. Three effective caption styles work well together here.

From THOR #275, Sept 1978

Drama and excitement are added by these captions. TV in the arrow is cleverly placed.

From THOR #276, Oct 1978

Part of the job of a cover is to make readers want to find how how this scene happened, and what happens next. The lettering helps on both counts here.

From THOR #283, May 1979

Gaspar’s unusual style choice for CELESTIALS gives it an appropriate science-fiction flavor.

From THOR #284, June 1979

Usually a jagged balloon tail is reserved for something electrical, but here it’s just adding volume and emphasis, and I think works fine.

From THOR #285, July 1979

Marvel’s habit of reversing captions makes this one harder to identify, but I think it’s by Saladino because of the angular shapes. At least this time they also reversed the lines of the banner so it makes sense.

From THOR #297, July 1980

This subject suggested Germanic lettering to Gaspar, and it works well.

From THOR #304, Feb 1981

On many Marvel titles, Gaspar’s work ended in 1979, but on some it continues into the early 1980s. The letter shapes in WRECKING CREW and the W in WASTE both indicate his work.

From THOR #305, March 1981

In addition to the top blurb, I think Saladino also lettered the billboard, which is still readable despite the leg in front of it.

From THOR #307, May 1981

The rough outlines and texture in the open letters of DREAM DEMON are typical of Gaspar.

From THOR #308, June 1981

Snow-capped letters in this caption show Saladino’s creative approach.

From THOR #310, Aug 1981

This banner uses two frequently-seen Saladino styles.

From THOR ANNUAL #9, Aug 1981

This bottom blurb is too small, but still effective, with Gaspar’s touch on the open letters.

From THOR #312, Oct 1981

All this lettering is very Saladino.

From THOR #313, Nov 1981

The word MONSTER here is diagnostic. Jim Novak was also lettering covers by this time, and often imitating Gaspar’s styles, but I’m sure this is not by him.

To sum up, I found Saladino lettering on these covers: 208-209, 214, 217, 220, 230, 240, 244-246, 253, 255-256, 263, 267, 273, 275-276, 283-285, 297, 304-305, 307-308, 310, 312-313, Annuals 7, 9. That’s 31 in all. Below are the details of his story lettering:

#212: page 1 only

#219: 19pp

#243: page 1 only

#245: page 1 only

#247: page 1 only

#249: page 1 only

#251-253: page 1 only on each

#257: page 1 only

That’s 28 pages in all. Other articles in this series and more you might enjoy are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in THOR Part 2 appeared first on Todd's Blog.