Todd Klein's Blog, page 60

GASPAR SALADINO in ZATANNA and ZERO HOUR

All images © DC Comics. From ZATANNA SPECIAL #1, May 1987

As we finish up this alphabetical exploration of Gaspar Saladino’s DC Comics work, we have this cover for which he did the lettering. The scroll caption works well for the subject, and the bottom blurb is also fine.

From ZERO HOUR #4, Sept 1994

This was one of those company-wide events that were proven to draw in readers, and Gaspar Saladino lettered the entire five issue series. It counted down from 4 to 0, each book released weekly in September, 1994. It included just about every existing DC Universe character, and I’m happy Gaspar was asked to letter it. I’m sure everyone involved was happy with his fine work on the book, too.

From ZERO HOUR #2, Sept 1994

When sound effects were called for, Saladino delivered great ones.

From ZERO HOUR #1, Sept 1994

This special lettering style for The Spectre is one I developed for his own title. Gaspar did it better.

From ZERO HOUR #0, Sept 1994

Dan Jurgens and Jerry Ordway made a terrific team on story and art, and Saladino’s lettering added the gravitas of his 45 years at the company lettering so many of their books and characters. It’s excellent work by all of them, and a fine way to end this series of articles.

To sum up, here are the details of Gaspar’s lettering on this title.

#4 Sept 1994: 23pp

#3 Sept 1994: 23pp

#2 Sept 1994: 23pp

#1 Sept 1994: 24pp

#0 Sept 1994: 28 pp

That’s 121 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 ZATANNA and ZERO HOUR appeared first on Todd's Blog.

GASPAR SALADINO in YOUNG ROMANCE

All images © DC Comics. From YOUNG ROMANCE #125, Aug-Sept 1963

YOUNG ROMANCE was the first romance comic, created by Joe Simon and Jack Kirby in 1947. It was a huge success and ran 124 issues at Prize, but in 1963 that company got out of comics and sold the property with its sister title YOUNG LOVE to DC, who continued the numbering of both. This one ran 84 more issues to 1975. Gaspar Saladino lettered only a few stories inside the book, though early DC issues often had one or two of his “Romance in Fashion” fillers, usually one page each with both art and lettering by Gaspar. I’ve written more about that HERE. For some reason Saladino lettered the first DC cover, above, but most were lettered by Ira Schnapp until he left the company in 1968. After that, Gaspar did most of them. I’ll look at covers first, then inside pages. The cover above has Saladino’s wide, angular balloon lettering, the caption is trying to follow Schnapp’s style, but is still more angular than what Ira usually did.

From YOUNG ROMANCE #149, Aug-Sept 1967

By the time of this cover, Saladino was using his own styles, and working more confidently on covers. His top blurb and balloon are full of energy and drama.

From YOUNG ROMANCE #152, Feb-March 1968

With this issue, Gaspar was the regular cover letterer. The balloon shape is odd, an oval is used for speech balloons, thought balloons have scalloped edges. Perhaps Gaspar did this as a speech balloon and the DC production person assembling the cover corrected the tail at the editor’s request but not the balloon shape.

From YOUNG ROMANCE #154, June-July 1968

For a long time I thought this unusual logo was not by Saladino, but I’ve come around to that idea after studying all his logos of the time HERE. The heart caption is charming and rather sedate for Gaspar.

From YOUNG ROMANCE #157, Dec 1968-Jan 1969

The blurb on this cover is more typical of Saladino’s creativity and energy. I think he also did the album covers.

From YOUNG ROMANCE #160, June-July 1969

Gaspar was influenced by rock posters and other graphics of the time meant to appeal to teens, as the open letters in this blurb show.

From YOUNG ROMANCE #165, April-May 1970

Like his other styles, Saladino’s handwritten script evolved over time. By 1970 it had become truly elegant, as seen here. His own handwriting was not too different.

From YOUNG ROMANCE #170, Feb-March 1971

A more bland Saladino logo has replaced the previous one by this issue, and type is beginning to show up amid the hand lettering. Romance comics were falling out of favor with readers. Times had changed, and DC tried to change with them, but many teenage readers had other things to read and watch and listen to that they liked better.

From YOUNG ROMANCE #182, May 1972

This and other DC titles stayed alive with cost cutting by running many more reprints, though older stories were often given “facelifts”: revised hair and clothing styles. Note the appearance of Page Peterson in the sidebar, something that might attract new readers. Gaspar’s lettering is as wonderful and creative as ever.

From YOUNG ROMANCE #193, April-May 1973

Rather than trying the soap opera route like YOUNG LOVE, this title seemed to go for trashy sensationalism. Editors usually wrote the cover text, some were better at it and more up to date than others. This one seems like the wrong approach, but DC would try anything to help sales at this point. From here on, most of the covers used type rather than Saladino lettering.

From YOUNG ROMANCE #126, Oct-Nov 1963

From the second DC issue, this fashion feature appeared occasionally, with art and lettering by Gaspar Saladino. I’ve written more about that HERE. In brief, Gaspar had studied fashion art in school, and tried to break into that field with little success before joining DC Comics in late 1949 as a letterer. Someone, perhaps Gaspar himself, suggested he use those skills for this feature, and it appeared in all the DC romance books. He inked them with a dry brush, something he was quite good at, giving these pages a different look from the rest of the comic.

From YOUNG ROMANCE #130, June-July 1964

Readers often sent in fashion suggestions, making the job easier for Saladino, and his approach was right out of the slick fashion magazines.

From YOUNG ROMANCE #140, Feb-March 1966

Gaspar lettered more stories for this book than YOUNG LOVE, but I’ve still found only a few. As with that title, though, I am missing interior scans for quite a few of the later issues, so I may have missed some. On the other hand, those later issues were largely reprints, so maybe not.

From YOUNG ROMANCE #155, Aug-Sept 1968

The rock poster influence is seen in this story title.

From YOUNG ROMANCE #156, Oct-Nov 1968

This title, on the other hand, is just large and fun. I love the way the F runs down into the story.

From YOUNG ROMANCE #200, July-Aug 1974

For the large reprint issues, Gaspar did some contents pages like this elegant example. Again, I may have missed a few due to not having images to check.

From YOUNG ROMANCE #202, Nov-Dec 1974

Another fine one with handsome script to add variety.

To sum up, I found Saladino lettering on these covers: 125, 149, 152-172, 177-195. That’s 42 in all. Below are the details of his inside page lettering as far as I know it.

#126 Oct-Nov 1963: Romance in Fashion (RIF) 1pp, 1pp

#127 Dec 1963-Jan 1964: RIF 1pp, 1pp

#128 Feb-March 1964: RIF 1pp

#129 April-May 1964: RIF 1pp

#130 June-July 1964: RIF 1pp, 1pp

#137 Aug-Sept 1965: RIF 1pp, 1pp

#138 Oct-Nov 1965: RIF 1pp

#140 Feb-March 1966: Winter In My Heart 7pp

#155 Aug-Sept 1968: He’ll Break Your Heart 10pp

#156 Oct-Nov 1968: Surfbunnies 10pp

#158 Feb-March 1969: Driftwood 10pp

#200 July-Aug 1974: Contents 1pp

#202 Nov-Dec 1974: Contents 1pp

That’s a total of 50 pages. Other articles in this series and more you might enjoy are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in YOUNG ROMANCE appeared first on Todd's Blog.

GASPAR SALADINO in YOUNG LOVE

All images © DC Comics. From YOUNG LOVE #50, July-Aug 1965

This is one of two titles, with YOUNG ROMANCE, created by Joe Simon and Jack Kirby in the 1940s that essentially invented the romance comic. The publisher, Prize, got out of comics in 1963 and sold both titles to DC, adding to the existing stable of romance titles there. DC published 88 more issues from 1963 to 1977. This was the last DC romance title to be cancelled. Ira Schnapp lettered many of the covers until he left the company in 1968, but Gaspar Saladino did several of them as well before that, and lettered most of the covers after Schnapp left. He lettered only a few stories, but did provide art and lettering for some one and two-page fashion features, more on that below. I’ll start with covers, the one above has Saladino’s wide, angular balloon lettering, but the caption shows him trying to fit in with the Schnapp style at this point.

From YOUNG LOVE #53, Jan-Feb 1966

On this cover, Saladino is instead going with his own styles for the most part, though his work is a bit stiff, as he wasn’t yet quite used to doing cover lettering.

From YOUNG LOVE #58, Nov-Dec 1966

This caption is better, even with a tricky quote within a quote.

From YOUNG LOVE #62, July-Aug 1967

The editor must have liked what Gaspar was doing, as he lettered more pre-1968 covers for this book than most. Romance comics were falling out of favor with teenage readers, and DC tried to keep them going by making the stories even more like soap operas than before. The art was often terrific, as here.

From YOUNG LOVE #66, March-April 1968

This is Saladino’s first cover as the regular letterer. The boxy Schnapp logo didn’t suit his style well, but at least there was usually room for a large caption next to it.

From YOUNG LOVE #70, Sept-Oct 1968

Here we see the soap opera idea of a “continuing drama” being touted in Gaspar’s great bottom blurb with its excellent script lettering.

From YOUNG LOVE #78, Jan-Feb 1970

Finally a fine new logo by Gaspar helps bring this book into new territory with teen appeal similar to rock posters, also seen in the large story title. All this lettering is great.

From YOUNG LOVE #88, Sept-Oct 1971

That logo didn’t last long, it was replaced by this less interesting Saladino one. When sales were dropping, editors scrambled for any new look, often going for a new logo. Yeah, that will save it…! Certainly Gaspar’s lettering here is a fine selling point.

From YOUNG LOVE #94, April 1972

DC began using more type on covers, perhaps hoping to draw in readers of non-comics teen magazines. Here Gaspar lettered the balloon and the word SPECIAL at the top, the rest is headline type from the DC headline machine. The photo of “Marc” is actually one of letterer John Costanza, something I find amusing. John had been lettering at DC for about four years at this point, having been brought in by Joe Kubert. He had nothing to do with the advice column, but the editor must have thought his look would appeal to readers, and John was okay with them using it.

From YOUNG LOVE #121, Oct 1976

Amid all the type, a few covers used only Saladino lettering, and I think were better for it.

From YOUNG LOVE #126, July 1977

The final issue played on the topical theme from the time of C.B. (citizens band) radio. Readers were no longer interested in romance comics, though, times had changed.

From YOUNG ROMANCE #39, Sept-Oct 1963

From the first DC issue, this fashion feature appeared occasionally, with art and lettering by Gaspar Saladino. I’ve written more about that HERE. In brief, Gaspar had studied fashion art in school, and tried to break into that field with little success before joining DC Comics in late 1949 as a letterer. Someone, perhaps Gaspar himself, suggested he use those skills for this feature, and it appeared in all the DC romance books. I’ve left this one as it ran, sideways, to allow the lettering to be clearer. Readers’ fashion ideas were often used, as here.

From YOUNG LOVE #40, Nov-Dec 1963

Another one, where Saladino’s dry-brush inking is more obvious. The stylized figures were right out of slick fashion magazines.

From YOUNG LOVE #44, July-Aug 1964

Even more dry brush texture in this one. Saladino was quite busy with lettering for DC, so it’s clear he enjoyed doing these and made time to fit them into his schedule. One good thing about them was that they could be plugged into any romance title when they were completed, so no continuity or deadline issues.

From YOUNG LOVE #50, July-Aug 1965

This is one of only two stories lettered by Gaspar for the book. The title is rather bland, but I like the flag-wave arc.

From YOUNG LOVE #70, Sept-Oct 1968

Here’s a different fashion feature usually with art and lettering by others, but Saladino lettered this one. The logo is by Schnapp.

From YOUNG LOVE #112, Oct-Nov 1974

For some of the later larger issues (mostly reprints), Gaspar did handsome title pages like this one, full of creative styles. I don’t have access to every interior on later issues of this book, so it’s possible I’ve missed one or two of these, but I feel sure I haven’t missed any of his story lettering. He was too busy elsewhere at this time to letter many romance stories, and most of them were reprints anyway.

From YOUNG LOVE #114, Feb-March 1975

Another one showing that, even when trying to look similar to type, Gaspar’s work was much more interesting.

To sum up, these covers have Saladino lettering: 50, 53, 58, 62, 66-88, 90-105, 107, 111, 121, 123, 126. That’s 48 in all. Below are the details of his page lettering, at least as far as I know.

#39 Sept-Oct 1963: Romance In Fashion (RIF) 1pp, 1pp

#40 Nov-Dec 1963: RIF 1pp, 1pp

#41 Jan-Feb 1964: RIF 1pp, 1pp

#42 March-April 1964: RIF 1pp, 1pp

#44 July-Aug 1964: It’s You I Love 8pp, RIF 1pp, 1pp

#49 May-June 1965: RIF 1pp

#50 July-Aug 1965: Come Into My Arms 7pp

#52 Nov-Dec 1965: RIF 1pp

#55 May-June 1966: RIF 2pp

#58 Nov-Dec 1966: RIF 1pp

#69 Aug-Sept 1968: Contents 1pp? (I haven’t seen this, but it’s listed as possibly by Gaspar in the Grand Comics Database)

#70 Sept-Oct 1968: Mad Mad Modes for Moderns 2pp

#112 Oct-Nov 1974: Contents 1pp

#114 Feb-March 1975: Contents 1pp

That’s a total of 35 pages. Other articles in this series and more you might enjoy are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in YOUNG LOVE appeared first on Todd's Blog.

GASPAR SALADINO in YOUNG ALL-STARS

All images © DC Comics. From YOUNG ALL-STARS #10, March 1988

This title ran 31 issues from 1987 to 1989, building on Roy Thomas’s work in ALL-STAR SQUADRON. Gaspar Saladino lettered a few of the covers, but no inside pages. I’ll show all his covers here, as there aren’t many. The blocky slanted open lettering on this one is part of a pair…

From YOUNG ALL-STARS #11, April 1988

…completed on the next cover. Clever work by Thomas and Saladino, and the use of ellipses in comics was never illustrated better.

From YOUNG ALL-STARS #14, July 1988

Gaspar’s talent for cover lettering and design is obvious here. The contrast between the last line and the first two makes it interesting, and the treatment of MESOZOIC is full of rough character and texture, perfect for that word, evoking the dinosaur age.

From YOUNG ALL-STARS #15, Aug 1988

Again, look at the variety of styles, sizes and shapes in this blurb, all working together for an interesting result.

From YOUNG ALL-STARS ANNUAL #1, July 1988

There was just one Annual for this book, Saladino did the bottom blurb. Notice how some parts of some letters extend beyond the others to add interest, as does the double outline of the largest word.

From YOUNG ALL-STARS #27, July 1989

Gaspar’s final work on the book was these appealing blurbs. Think how dull this text would have been as type. Saladino’s creativity and talent add so much.

To sum up, these covers have Saladino lettering: 10-11, 14-15, 27, Annual 1. That’s six 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 YOUNG ALL-STARS appeared first on Todd's Blog.

GASPAR SALADINO in OTHER W TITLES

All images © DC Comics. From WEIRD MYSTERY TALES #3, Nov-Dec 1972

This article collects all the W titles from DC Comics which had only a small amount of Gaspar Saladino lettering, nearly all of it on covers. The series above ran 24 issues from 1972-1975, and Saladino lettered three of the covers as well as designing the logo. On this one only the words BLUE FLAME are lettered, the rest is type, probably set by Gaspar on the DC headline machine.

From WEIRD MYSTERY TALES #9, Dec 1973-Jan 1974

The same plan was followed on this cover with only EVIL POWER lettered by Gaspar. I find that much more interesting than the type in front of it, but perhaps Saladino was trying to expand his options by using type.

From WEIRD MYSTERY TALES #12, June-July 1974

Here the top line and the balloons are lettered, with the latter having larger display lettering to add drama.

From WELCOME BACK, KOTTER #3, March 1977

DC Comics had a long tradition of movie and TV tie-in comics, and this is one that ran just ten issues. Three were lettered by Saladino. I love the large question mark in the bottom blurb.

From WELCOME BACK, KOTTER #6, Sept 1977

I thought the art and stories on the book were fun, and here Gaspar’s burst points out the important detail.

From WILD DOG #1, Sept 1987

A four-issue miniseries, I did the logo, Gaspar provided THIS IS above it, which was used again on issues 2 and 3.

From WILD DOG #4, Dec 1987

For the last issue, he did a different top line.

From WINDY AND WILLY #1, May-June 1969

This was an attempt to reuse material from THE MANY LOVES OF DOBIE GILLIS from a few years earlier, changing the names, hairstyles and fashion choices. Gaspar did the logo and top line as well as the balloon, and probably the sign lettering.

From WINDY AND WILLY #4, Nov-Dec 1969

Saladino lettered all the covers, the book lasted only four issues. Here his balloon shapes are odd, I suspect some have been redone poorly by whoever put together the cover in the DC production department.

From THE WORLD OF SMALLVILLE #1, April 1988

Another four-issue miniseries. The cover blurbs all followed the same style with just the chapter number and story title changing. I think this first one is by Saladino, his style of R in SECRETS is the clue. He might have done the ones on issues 2 and 3, but I’m not sure, so I won’t count them. I did the one on issue 4.

From WRATH OF THE SPECTRE #4, Aug 1988

And one more miniseries, this one full of reprinted stories except in this case. There was no cover lettering on the first three issues, Gaspar did this fine blurb for the final issue.

From THE WANDERERS #8, Winter 1988

Finally we have this one inside story lettered by Saladino for a Legion of Super-Heroes spinoff that ran 13 issues. Unfortunately the dark color obscures his fine story title. There were 24 pages.

To sum up, here are the covers with Saladino lettering:

WEIRD MYSTERY TALES: 3, 9, 12

WELCOME BACK, KOTTER: 3, 6-7

WILD DOG: 1, 4

WINDY AND WILLY: 1-4

THE WORLD OF SMALLVILLE: 1

WRATH OF THE SPECTRE: 4

That’s 14 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 OTHER W TITLES appeared first on Todd's Blog.

GASPAR SALADINO in WORLD’S FINEST COMICS

All images © DC Comics. From WORLD’S FINEST #135, Aug 1963

This title had a very long run from 1941 to 1986, and was handled by several editors including Whitney Ellsworth, Jack Schiff, Mort Weisinger, Julius Schwartz and others. It was originally an oversized anthology featuring Superman as well as Batman and Robin, but they only appeared together on the covers until the book shrank to regular comics size with issue #71 in 1954. Other features filled out the rest of the book, many different ones over the years. Gaspar Saladino was never a regular story letterer, but some of his work from a cancelled series was in 1950s issues, and he did occasional stories after that. Gaspar filled in for regular cover letterer Ira Schnapp a number of times, and became the regular cover letterer in 1968 when Ira left the company. I will look at covers first, then stories. On the cover above, Gaspar’s first, his wide, angular lettering is clearly different from Schnapp’s narrower and rounder look, and his display lettering in the captions adds excitement, though the layout is not so good, too much empty space.

From WORLD’S FINEST #162, Nov 1966

The large caption at the bottom here is well done, but I’ve never liked feet over the caption border. Perhaps the text could have been trimmed down or made smaller to avoid that.

From WORLD’S FINEST #167, June 1967

This bottom blurb is type, Saladino did the one under the logo. Not sure who did the question marks.

From WORLD’S FINEST #173, Feb 1968

Gaspar was the main cover artist from this point on, though Schnapp’s lettering appeared on issue #175 (his last).

From WORLD’S FINEST #174, March 1968

Balloons with larger display lettering add drama, but why doesn’t Superman’s tail point to his mouth? Probably Saladino expected the balloon to go further up and left, but in most cases cover lettering was done on separate art paper and either the original lettering or photostats of it were pasted in place by whoever assembled the cover in the DC production department. That person should have fixed the tail.

From WORLD’S FINEST #176, June 1968

A well-designed cover with an intriguing premise well-explained by Gaspar’s balloons.

From WORLD’S FINEST #182, Feb 1969

After years of working together, in this period DC thought pitting their top heroes against each other was more interesting, apparently.

From WORLD’S FINEST #188, Oct-Nov 1969

In the 1960s and 1970s, DC often turned to reprints to fill issues and save the cost of new material. Annual-sized comics like this one needed lots of lettering to detail the contents, and Saladino made it interesting and exciting.

From WORLD’S FINEST #196, Sept 1970

Here at least Superman is helping Batman again. I love the energy and movement in the bottom blurb.

From WORLD’S FINEST #204, Aug 1971

By this time, THE BRAVE AND THE BOLD had become a Batman team-up book, and for a while this title became a Superman team-up book with Batman appearing only occasionally. Here he appears with the revamped and mostly powerless Wonder Woman. I still don’t like feet in the caption.

From WORLD’S FINEST #211, May 1972

Lots of Saladino lettering here, but I think the word EXTRA is headline type from the DC headline machine.

From WORLD’S FINEST #226, Nov-Dec 1974

Another split cover and more reprints filling out this large issue. Gaspar makes them all sound intriguing.

From WORLD’S FINEST #242, Dec 1976

Tired of the usual team? Try one featuring their super-sons. These stories by Bob Haney never fit into DC continuity, but readers seemed to like them anyway. Gaspar’s burst balloon adds energy.

From WORLD’S FINEST #246, Sept 1977

The book grew in length again in this format, but for a change all the stories were new. Gaspar’s open lettering blurb works well, an no one stepped on it.

From WORLD’S FINEST #261, March 1980

Arrow captions are always fun, and Gaspar did fine ones.

From WORLD’S FINEST #271, Sept 1981

The origin of the Superman-Batman team had had many explanations over the years, in this issue, writer Roy Thomas tried to fit them all together into one story.

From WORLD’S FINEST #293, July 1983

The creative character names in this Saladino bottom blurb show he was still at the top of his game. The black dry-brush swirls in VOID are his, the colorist added more.

From WORLD’S FINEST #309, Nov 1984

This round blurb is dynamic and vibrant, bursting with energy, as the character seems to be.

From WORLD’S FINEST #323, Jan 1986

After 45 years, the title came to an end with this issue, which includes Gaspar’s sober and appropriate lettering.

From WORLD’S FINEST #53, Aug-Sept 1951

Because of it’s longer length, WORLD’S FINEST was sometimes used to print leftover material from canceled titles, and that happed with DANGER TRAIL, a book that Gaspar lettered for editor Julius Schwartz. Material intended for it, like this story, appeared for several years, some lettered by Saladino.

From WORLD’S FINEST #64, May-June 1953

Another example with some Saladino style points: the open letter against a black shape in the first caption for instance.

From WORLD’S FINEST #66, Sept-Oct 1953

This example has one of the better early Saladino story titles I’ve seen. All this work for DANGER TRAIL would have been done in 1951 just before the book ended.

From WORLD’S FINEST #67, Nov-Dec 1953

On the other hand, this Tomahawk story would have been lettered in 1953, a rare one for Gaspar.

From WORLD’S FINEST #181, Dec 1968

He didn’t letter another story in the book until this one for editor Julius Schwartz.

From WORLD’S FINEST #223, May-June 1974

For the 100-page issues, Gaspar lettered several contents pages, making all those features and story titles interesting by using different sizes and line weights, not to mention putting them in perspective.

From WORLD’S FINEST #226, Nov-Dec 1974

He also did a few explanatory fillers like this one with its commanding title. METAMORPHO’S is dry brush.

From WORLD’S FINEST #227, Jan-Feb 1975

Another contents page with a variety of creative styles, so much more interesting than type would have been.

From WORLD’S FINEST #240, Sept 1976

When the book returned to normal size, Gaspar occasionally lettered stories for it in its last decade. I like his take on the word SUPERMAN.

From WORLD’S FINEST #256, April-May 1979

On this 15-page Shazam story he lettered only nine, perhaps helping the other letterer, Milt Snapinn, make a deadline.

From WORLD’S FINEST #263, June-July 1980

This might be the only Aquaman story Gaspar lettered. And finally, by this time, he’s able to add his own credit in his favorite way, just his first name in script.

From WORLD’S FINEST #277, March 1982

Saladino’s final story lettering for the book was this Shazam story with another excellent title.

To sum up, I found Saladino lettering on these covers: 135, 162, 167, 173-174, 176-205, 209-215, 217-218, 220-231, 233-234, 237-238, 240-243, 246-248, 250-252, 255, 257-261, 265-268, 270-278, 280-284, 290-298, 300, 303, 306-314, 317-323. That’s a total of 121. Below are the details of his story lettering.

#53 Aug-Sept 1951: Passage to Peru 8pp

#54 Oct-Nov 1951: Secret of Istanbul 8pp

#64 May-June 1953: King Faraday 12pp

#66 Sept-Oct 1953: A Special Spy Thriller 10pp

#67 Nov-Dec 1953: Tomahawk 10pp

#181 Dec 1968: Superman-Batman-Robin 19pp

#223 May-June 1974: Contents 1pp

#224 July-Aug 1974: Contents 1pp

#225 Sept-Oct 1974: Contents 1pp

#226 Nov-Dec 1974: Contents 1pp, The Tricks of Metamorpho’s Trade 2pp

#227 Jan-Feb 1975: Contents 1pp, DC Comics Stars on the Screen 3pp

#228 March-April 1975: The Amazing Reversals of Superman & Batman 2pp

#240 Sept 1976: Superman-Batman 17pp

#241 Oct 1976: Superman-Batman 17pp

#256 April-May 1979: Shazam pages 6-13, 15 (9pp)

#263 June-July 1980: Aquaman 8pp, Shazam 10pp

#277 March 1982: Shazam 10pp

That’s 50 pages in all. More articles in this series and others you might like are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in WORLD’S FINEST COMICS appeared first on Todd's Blog.

GASPAR SALADINO in WONDER WOMAN (1987)

All images © DC Comics. From WONDER WOMAN #2, March 1987

In 1985-86, the crossover event CRISIS ON INFINITE EARTHS had shaken up the DC Comics universe and continuity in major ways. After that, some characters vanished at least for a while, and some had revamps and new launches. Superman’s relaunch was handled by writer-artist John Byrne, and Wonder Woman’s was the work of writer-artist George Pérez with help from writer Len Wein and others. The book did well, and though Perez was not the artist for long, he continued as co-writer or writer for some time. The series ran 226 issues to 2006. Gaspar Saladino didn’t have as much work in it as in the original series, but he lettered some of the covers until 1993, and one story. His first cover, above, has one of those round captions he did occasionally. FACE-OFF is a squeeze, but still readable.

From WONDER WOMAN #3, April 1987

This caption is in a more typical shape, the upper and lower case letters make it more interesting.

From WONDER WOMAN #6, July 1987

This cover plays against expectations by making Ares (the God of War) and his lettering blue against a fiery red background. The texture in ARES adds interest.

From WONDER WOMAN #10, Nov 1987

There’s a lot to compete with in this cover art, but Saladino’s burst works fine.

From WONDER WOMAN #17, June 1988

A real test for cover letterers is what to do with a quiet single word that has no visual element. Gaspar handles this one beautifully, using joined serif letters of different heights to add interest.

From WONDER WOMAN #41, April 1990

This lower right blurb has text that floats amid wide margins from the notched border around it. This gives it a subtle quietness that works well with the art.

From WONDER WOMAN #42, May 1990

The next issue has appealing display lettering in two styles, the first part matching the art, the secont adding drama.

From WONDER WOMAN #69, Dec 1992

On this top blurb, the large words at each end are handled differently to created interesting contrast.

From WONDER WOMAN #79, Oct 1993

This is Saladino’s final cover lettering for the book. DC was moving away from the traditional styles he represented toward type, and toward lettering created digitally by myself and others, something Gaspar wasn’t interested in doing. It’s a shame, as his work was so memorable.

From WONDER WOMAN ANNUAL #4, Aug 1995

Gaspar was not done, though, he was still lettering plenty of story pages into the next decade. This was his only work on the second Wonder Woman series, a story of 48 pages.

To sum up, these covers have Saladino lettering: 2-4, 6, 10-13, 17, 41-42, 69, 79. That’s 13 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 WONDER WOMAN (1942)

All images © DC Comics. From WONDER WOMAN #140, Aug 1963

Gaspar Saladino’s involvement with this iconic DC Comics superheroine had three distinct phases. Very early in his career, he lettered short features and filler pages. Then from 1958 to 1965 he was the regular story letterer with two later examples beyond that. And from 1968 to the end of this series in 1986, he lettered many of the covers, with a few earlier examples like the one above, where he was filling in for Ira Schnapp, the main cover letterer until he left the company in 1968. There’s a lot to discuss, so I won’t dawdle, taking covers first, then stories. His first Wonder Woman cover lettering has an unusual balloon shape and an effective caption, both filled with his wide, angular lettering. Why are there three versions of Diana here? More on that later. The original Wonder Woman series ran to 1986, then was revamped and relaunched with new numbering in 1987. I will cover that in a separate article.

From WONDER WOMAN #147, July 1964

Another fill-in from the same year. Some of Saladino’s early cover lettering seems tentative and stiff, but here he was working with editor Robert Kanigher, who was a long-time fan of his lettering, and these seem more relaxed and confident.

From WONDER WOMAN #155, July 1965

As you can see, many of the story ideas were silly, but Gaspar always played it straight in his lettering.

From WONDER WOMAN #171, July-Aug 1967

Here the art is dynamic, and the lettering equally so, with several styles that work together well, including dry-brush on BATTLE.

From WONDER WOMAN #174, Jan-Feb 1968

Around this time, Saladino became the regular DC cover letterer, though the next one was by Ira Schnapp, his last. There was no good spot for this large blurb on such a busy cover, but Gaspar did his best.

From WONDER WOMAN #176, May-June 1968

I like this bottom blurb. Around this time DC seemed to think showing their heroes defeated was a good selling point. I think just the opposite.

From WONDER WOMAN #177, July-Aug 1968

And this sexist cover idea did neither heroine any favors.

From WONDER WOMAN #178, Sept-Oct 1968

With this issue, a revamp by writer Denny O’Neil and penciller Mike Sekowsky began, and Saladino’s psychedelic cover lettering and logo help sell it.

From WONDER WOMAN #183, July-Aug 1969

This version of the character put aside most past continuity and even Diana’s costume, though Paradise Island remained, well lettered by Gaspar, who also did the logo. Sekowsky was now the writer as well as the penciller.

From WONDER WOMAN #186, Jan-Feb 1970

Gaspar’s powerful bottom blurb adds drama to this cover.

From WONDER WOMAN #199, March-April 1972

Saladino’s bottom left blurb adds excitement to this fine Jeffrey Jones cover.

From WONDER WOMAN #204, Jan-Feb 1973

The revamp did not last long, and by this issue Diana was back in her familiar costume.

From WONDER WOMAN #211, April-May 1974

In the 1960s and 1970s, DC thrived on reprints, and many of their titles had occasional thick mostly reprint issues like this one. Gaspar had plenty to do describing the contents, and of course he did it well.

From WONDER WOMAN #233, July 1977

The peril is obvious in the art, but Saladino’s bottom blurb enhances it.

From WONDER WOMAN #247, Sept 1978

I’m not a fan of covers split into two or more images, but this design is clever and works well, with Gaspar’s fine lettering helping to sell it.

From WONDER WOMAN #266, April 1980

The side banner on this cover with story details works for me, as it allows the main art to be large. I particularly like Saladino’s script version of WONDER GIRL.

From WONDER WOMAN #288, Feb 1982

With this issue, a revised costume and a new logo were introduced, as well as a new writer-artist team. I did the logo incorporating the new symbol from the Milton Glaser studio, but Saladino’s large, exciting display lettering around it sells the idea.

From WONDER WOMAN #313, March 1984

On this cover, Saladino’s balloon and caption are as well-crafted and exciting as ever, well into the fourth decade of his career.

From WONDER WOMAN #329, Feb 1986

The final issue, as Gaspar’s burst caption states, but Diana would soon return in a new series.

From WONDER WOMAN #40, March-April 1950

From its inception in 1942 until 1958, the art for Wonder Woman’s stories was handled by co-creator Harry G. Peter and his studio of assistants. The lettering was always done with Leroy lettering tools, at first by Peter and his assistants, but starting in 1945, Jim and Margaret Wroten took over, and they lettered all the stories from Peter’s studio. To fill out the book there were short fillers, and the short continuing feature “Wonder Women of History,” which were handled by DC artists. When Gaspar Saladino was hired by editor Julius Schwartz to letter his comics in late 1949, Gaspar was soon also lettering for Julie’s office-mate Robert Kanigher, and some of these fillers were among his earliest lettering work. The first one, above, came out at the same time as the story in ROMANCE TRAIL that Gaspar remembered as his very first DC work, so it must have been done soon after. Certainly it looks like early work, not yet settled into his regular style, but this page does have some style points of his: the open letter in the first caption over a black brush shape, and the wavy and organic panel borders on some captions. His letter shapes were already better than those of some other letterers DC was using.

From WONDER WOMAN #43, Sept-Oct 1950

Another example. The feature logo is probably by Ira Schnapp, but notice the tiny zig-zags in the caption in panel two, another Saladino style point.

From WONDER WOMAN #43, Sept-Oct 1950

Fillers like this one were often done as freelance work by DC production staffers, but Saladino did a few of them early on in his lettering career when he was working in the DC offices. The scroll captions are typical of him.

From WONDER WOMAN #48, July-Aug 1951

By this time, Gaspar’s lettering had settled into the wide, angular style he would use for most of his career.

From WONDER WOMAN #50, Nov-Dec 1951

This was a backup feature in SENSATION COMICS, and this is the only one that appeared in WONDER WOMAN, perhaps an extra story that needed to see print. Gaspar’s title on the book is wonderful.

From WONDER WOMAN #98, May 1958

When artist H. G. Peter left WONDER WOMAN, editor Robert Kanigher brought in a new art team, Ross Andru and Mike Esposito to draw the stories he was by then writing himself, and Gaspar Saladino, his favorite letterer, did most of them for the next eight years. At that point, he was lettering everything with an italic slant, perhaps to save a little time, already very busy on other books for Kanigher and Schwartz, but able to fit this one into his schedule.

From WONDER WOMAN #100, Aug 1958

In comics, a hundredth anniversary was declared for issue #100, as seen in this fine title by Saladino. No matter that the book had looked completely different for most of that time, it was the number that counted.

From WONDER WOMAN #106, May 1959

In the Superman titles, the lineup was expanded by adding the adventures of Superboy, and Kanigher did much the same thing here with young Diana as Wonder Girl, having adventures on Paradise Island.

From WONDER WOMAN #113, April 1960

Those stories were popular, and soon Wonder Girl also had a uniform and was doing superheroic feats. Gaspar’s lettering and sound effects were a fine accompaniment.

From WONDER WOMAN #120, Feb 1961

Soon Kanigher was using both the teenage and adult versions of the character in the same stories in a way rarely done by the Superman editor Mort Weisinger.

From WONDER WOMAN #126, Nov 1961

Then, as with Superbaby, the idea went too far in my opinion, with stories about Wonder Tot, Diana as a baby.

From WONDER WOMAN #135, Jan 1963

Finally, throwing all logic out the window and glibly labeling them “Impossible” stories, Kanigher had all three ages of Diana appearing together with their mother as a sort of Wonder Woman Family. Look at the fine display lettering by Saladino on this page.

From WONDER WOMAN #151, Jan 1965

The stories were fun and popular even if they made little sense. For a while Wonder Girl sometimes became the lead feature, even as she joined other DC teen heroes in tryouts for a new book, THE TEEN TITANS.

From WONDER WOMAN #158, Nov 1965

In 1965, Kanigher decided to return Wonder Woman to her Golden Age roots, at least visually, this story is about fan reactions to that. Lots of great sign work here by Saladino, but around this time he cut back on his story lettering on this book as he got busier elsewhere.

From WONDER WOMAN #176, May-June 1968

This was Gaspar’s final story lettering on the book, and he didn’t do the title, it may have been by the artists, Ric Estrada and Mike Esposito, or filled in by someone in the DC production department.

To sum up, here are the covers with Saladino lettering: 140, 147, 155, 171, 174, 176-180, 182-199, 201-217, 211, 223, 226, 233, 235-236, 238, 242, 247, 251, 254, 260, 266, 268, 271-277, 279-281, 283-290, 294-296, 300-301, 308-329. That’s a total of 104. Below are the details of Gaspar’s inside page lettering. Most features are abbreviated after the first appearance.

#40 March-April 1950: Wonder Women of History (WWH): 2pp

#41 May-June 1950: WWH 3pp

#42 July-Aug 1950: Cindy 1pp

#43 Sept-Oct 1950: WWH, Cindy 1pp, Binny 1pp

#44 Nov-Dec 1950: Johnnie and Janie 1pp

#45 Jan-Feb 1951: WWH 2pp

#46 March-April 1951: WWH 3pp

#47 May-June 1951: WWH 2pp

#48 July-Aug 1951: WWH 2pp

#50 Nov-Dec 1951: Romance Inc. 8pp, WWH 2pp

#53 May-June 1952: WWH 2pp

#54 July-Aug 1952: WWH 3pp

#56 Nov-Dec 1952: WWH 3pp

#98 May 1958: Wonder Woman (WW) 8pp, 8pp, 9pp

#99 July 1958: WW 16pp, 10pp

#100 Aug 1958: WW 8pp, 8pp, 9pp

#101 Oct 1958: WW 10pp, 8pp, 7pp

#102 Nov 1958: WW 8pp, 8pp, 9pp

#103 Jan 1959: WW 10pp, 15pp

#104 Feb 1959: WW 8pp, 8pp, 10pp

#105 April 1959: WW 13pp, 12pp

#106 May 1959: WW 8pp, 8pp, Wonder Girl (WG) 9pp

#107 July 1959: WG 6pp, 7pp, WW 12pp

#108 Aug 1959: WW 12pp, 12pp

#109 Oct 1959: WG 12pp, WW 13pp

#110 Nov 1959: WW 8pp, 8pp, 9pp

#111 Jan 1960: WW 14pp, WG 11pp

#112 Feb 1960: WG 25pp

#113 April 1960: WW 16pp, WG 9pp

#114 May 1960: WW 16pp, WG 9pp

#115 July 1960: WW 12pp, WG 13pp

#116 Aug 1960: WG 13pp, WW 12pp

#117 Oct 1960: WW 13pp, WG 12pp

#118 Nov 1960: WW 25pp

#119 Jan 1961: WG 13pp, WW 12pp

#120 Feb 1961: WW & WG 26pp

#121 April 1961: WW Family 25pp

#122 May 1961: WW 26pp

#123 July 1961: WW, WG, Wonder Tot (WT) 25pp

#124 Aug 1961: WW Family 25pp

#125 Oct 1961: WW 25pp

#126 Nov 1961: WT 14pp, WW 11pp

#127 Jan 1962: WW 11pp, 14pp

#128 Feb 1962: WW 12pp, 13pp

#129 April 1962: WW Family 25pp

#130 May 1962: WT 13pp, WW 12pp

#131 July 1962: WW 12pp, 13pp

#132 Aug 1962: WW Family 13pp, 12pp

#133 Oct 1962: WW 10pp (2)

#134 Nov 1962: WW 13pp, WG 12pp

#135 Jan 1963: WW Family 25pp

#136 Feb 1963: WW 25pp

#137 April 1963: WW 25pp

#138 May 1963: WW Family 25pp

#139 July 1963: WW 25pp

#140 Aug 1963: WW Family 25pp

#141 Oct 1963: WW 25pp

#142 Nov 1963: WW Family 25pp

#143 Jan 1964: WW 10pp, 15pp

#144 Feb 1964: WW 15pp, WG 10pp

#145 April 1964: WW Family 25pp

#146 May 1964: WW 25pp

#147 July 1964: WG 25pp

#150 Nov 1964: WW Family 24pp

#151 Jan 1965: WG 25pp

#152 Feb 1965: WG 12pp, 13pp

#153 April 1965: WG 25pp

#154 May 1965: WW 25pp

#155 July 1965: WW Family 25pp

#156 Aug 1965: WW pp1-12 of 24 (12pp)

#157 Oct 1965: WW 24pp

#158 Nov 1965: WW 16pp, 8pp

#160 Feb 1966: WW 14pp, 10pp

#176 May 1968: WW 23pp

That’s 1,528 pages in all, a significant amount of work. Other articles in this series and more you might like are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in WONDER WOMAN (1942) appeared first on Todd's Blog.

GASPAR SALADINO in THE WITCHING HOUR

All images © DC Comics. From THE WITCHING HOUR #8, April-May 1970

This mild horror title ran 85 issues from 1969 to 1978. It was edited originally by Dick Giordano, then by Murray Boltinoff, and it followed the pattern of other similar DC titles like HOUSE OF MYSTERY, THE UNEXPECTED, and GHOSTS. At first it was full of short stories by DC veterans like Alex Toth, but over time it became dominated by art from The Phillippines, something DC did to keep costs down. Gaspar Saladino did the fine logo in the form of a giant word balloon, and he lettered many of the covers but just a few stories inside. His first cover above has a large balloon with large display lettering to add drama to this Neal Adams cover.

From THE WITCHING HOUR #12, Dec 1970-Jan 1971

Nick Cardy’s covers were equally impressive, and here Gaspar’s rough burst balloon enhances the creepiness.

From THE WITCHING HOUR #14, April-May 1971

Most stories involved the supernatural, with the hosts being three witches, but as with all DC anthologies, other genres like science fiction turned up too. I like Saladino’s treatment of HAUNTED HOUSE, and this is a cover I would have bought if I’d seen it.

From THE WITCHING HOUR #18, Dec 1971-Jan 1972

While there were few references to religious figures in DC Comics, I have to think Satan qualifies! Great bottom banner by Gaspar.

From THE WITCHING HOUR #21, June-July 1972

The treatment of the title in this caption is impressive, and ahead of its time. Gaspar’s use of dry brush was unequalled. I can imagine a logo in this style on a 1990s Vertigo comic.

From THE WITCHING HOUR #31, June 1973

Fine balloon and story title here by Saladino, and he also did the book lettering.

From THE WITCHING HOUR #43, June 1974

There’s another demon, and Gaspar’s bottom blurb pushes the evil theme well.

From THE WITCHING HOUR #50, Jan 1975

Over time the logo lost its word balloon, but the ideas were still creepy.

From THE WITCHING HOUR #62, Feb-March 1976

Unlike some DC anthologies, this one never had a continuing feature, it was always a collection of unrelated short stories, as Gaspar details here. The almost square word balloons are something he used occasionally.

From THE WITCHING HOUR #81, June 1978

These word balloons are about the same as what Saladino did on stories, but the stylish bottom blurb sells the concept.

From THE WITCHING HOUR #1, Feb-March 1969

Gaspar lettered two pages in the first issue of the series, imitating a style for the Three Witches pages set by Alex Toth, though this art is by Neal Adams.

From THE WITCHING HOUR #29, March 1973

Saladino’s story lettering was sporadic, and usually on art by veterans like Jerry Grandenetti here. His strong titles and wide, angular balloon lettering stand out.

From THE WITCHING HOUR #76, Jan 1978

The title on this story is huge and magnificent.

From THE WITCHING HOUR #81, June 1978

Another Grandenetti story with nice sound effects. The title was cancelled as part of the “DC Implosion” of 1978, but leftover inventory and even some new stories appeared in a sister title, THE UNEXPECTED, which became a larger book.

To sum up, these covers have Saladino lettering: 8, 12, 14-16, 18-26, 28, 30-32, 37, 40-41, 43, 45, 50-52, 54-55, 57, 59, 61-64, 66-69, 73-74, 77-79, 81, 83. That’s 44 in all. Below are the details of his story lettering.

#1 Feb-March 1969: Three Witches epilogue 2pp

#29 March 1973: A Time to Live–A Time to Die 8pp

#76 Jan 1978: The Man Who Bought Death 6pp

#79 April 1978: Beware the Killer Cactus 6pp

#81 June 1978: The Haunted Planet 6pp

#85 Oct 1978: Has Anybody Seen My Head? 6pp

That’s a total of 34 pages. Other articles in this series and more you might enjoy are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in THE WITCHING HOUR appeared first on Todd's Blog.

GASPAR SALADINO in WESTERN COMICS

All images © DC Comics. From WESTERN COMICS #31, Jan-Feb 1952

This title began in 1948 and ran 85 issues to 1961. Unlike other DC western comics, it was initially edited by Jack Schiff and his assistants George Kashdan and Murray Boltinoff. With issue #43 in 1954, Julius Schwartz became the editor, which made sense as he was already editing the other DC western titles. Gaspar Saladino lettered no covers for the series, nearly all were by Ira Schnapp. Under Schiff he lettered just two stories, but when Schwartz took over, bringing in his regulars, Gaspar became the main letterer, sometimes doing entire issues. On his first story, above, the feature logo is by Ira Schnapp, who did them all for the series, the rest is by Saladino. Gaspar’s wide and angular lettering is present, and there are two style points that help identify him: the open letter over a black shape at the start of the first caption and the organic border with tiny zig-zags around that caption.

From WESTERN COMICS #41, Sept-Oct 1953

On this second story by Saladino he’s done a creative wood OUTLAW in the title, and there are two of the scroll captions he often used.

From WESTERN COMICS #43, Jan-Feb 1954

With this issue, Schwartz became the editor and Saladino the main letterer. At the time there were usually four six-page features, later it would shrink to three, and then two longer stories. Julie continued the existing features, but also started this new one with art by Carmine Infantino. Gaspar didn’t plan the title well, it shouldn’t have gone over the figure.

From WESTERN COMICS #44, March-April 1954

Gil Kane was another of Schwartz’s regulars, and he took over Nighthawk. Both Infantino and Kane were friends of Gaspar, and I think he enjoyed working with them.

From WESTERN COMICS #45, May-June 1954

Under Schiff, the stories were full of people talking. Under Schwartz, they became somewhat more visually interesting. Gaspar’s sound effect makes the bottom row of panels work.

From WESTERN COMICS #47, Sept-Oct 1954

Gaspar rarely did display lettering with wavy edges, but used that idea on PERIL in this title.

From WESTERN COMICS #49, Jan-Feb 1955

This page is more typically full of lettering, but still has lots of action. Saladino does well with the newspaper, the sound effects, and the banner caption.

From WESTERN COMICS #55, Jan-Feb 1956

This story title is too long, but at least there was room for it.

From WESTERN COMICS #58, July-Aug 1956

This story title is appealing, with Gaspar’s usual well-done flame effects.

From WESTERN COMICS #64, July-Aug 1957

Over these years, Saladino’s titles gradually got larger, more original, and better. I like the energy in this one. He also did the signs in the first panel.

From WESTERN COMICS #79, Jan-Feb 1960

This new feature began in issue #77, replacing Nighthawk, with art by Gil Kane and Joe Giella. Lots of action and energy from both art and lettering.

From WESTERN COMICS #85, Jan-Feb 1961

Saladino lettered the main story and sometimes others right through to this final issue, but by 1961 he and Schwartz were both getting busier with superheroes like The Flash and Green Lantern, and their attention turned to that.

Here are the details on Saladino’s story lettering. Features are abbreviated after the first appearance.

#31 Jan-Feb 1952: Wyoming Kid (WK) 8pp

#41 Sept-Oct 1953: Nighthawk (NH): 6pp, Rodeo Rick (RR): 6pp

#43 Jan-Feb 1954: Pow-Wow Smith (PS): 6pp, RR 6pp

#44 March-April 1954: PS 6pp, NH 6pp, RR 6pp, WK 6pp

#45 May-June 1954: PS 6pp, NH 6pp, RR 6pp, WK 6pp

#46 July-Aug 1954: PS 6pp, WK 6pp, NH 6pp

#47 Sept-Oct 1954: PS 6pp, NH 6pp, WK 6pp

#48 Nov-Dec 1954: PS 6pp, NH 6pp, RR 6pp, WK 6pp

#49 Jan-Feb 1955: PS 6pp, NH 6pp, RR 6pp, WK 6pp

#50 March-April 1955: PS 8pp, NH 6pp

#51 May-June 1955: NH 6pp, WK 6pp

#52 July-Aug 1955: PS 8pp, NH 6pp, RR 6pp

#53 Sept-Oct 1955: PS 6pp, NH 6pp, RR 6pp

#54 Nov-Dec 1955: PS 6pp, NH 6pp, RR 6pp

#55 Jan-Feb 1956: PS 6pp, NH 6pp, RR 6pp, WK 6pp

#56 March-April 1956: PS 6pp, NH 6pp

#57 May-June 1956: PS 6pp, NH 6pp, RR 6pp

#58 July-Aug 1956: PS 8pp, NH 6pp, RR 6pp

#59 Sept-Oct 1956: PS 6pp, RR 6pp

#60 Nov-Dec 1956: PS 6pp

#61 Jan-Feb 1957: RR 6pp

#62 March-April 1957: PS 6pp, RR 6pp

#63 May-June 1957: PS 6pp

#64 July-Aug 1957: WK 6pp

#65 Sept-Oct 1957: NH 6pp, RR 6pp

#67 Jan-Feb 1958: PS 6pp, NH 6pp, RR 6pp

#69 May-June 1958: PS 8pp

#70 July-Aug 1958: PS 13pp

#72 Nov-Dec 1958: PS 12pp

#73 Jan-Feb 1959: PS 12pp

#74 March-April 1959: PS 12pp, NH 7pp

#76: July-Aug 1959: PS 12pp

#77 Sept-Oct 1959: PS 8pp

#79 Jan-Feb 1960: Matt Savage (MS) 12pp

#80 March-April 1960: MS 13pp, PS 12pp

#81 May-June 1960: MS 12pp, WK 6pp

#82 July-Aug 1960: MS 12pp, WK 6pp, PS 8pp

#83 Sept-Oct 1960: WK 6pp, PS 8pp

#84: Nov-Dec 1960: WK 6pp

#85 Jan-Feb 1961: MS 12pp, WK 6pp, PS 8pp

That’s 609 pages in all. Other articles in this series and more you might like are on the COMICS CREATION page of my blog.

The post GASPAR SALADINO in WESTERN COMICS appeared first on Todd's Blog.