Category Archives: Logo Studies


All images © DC Comics except as noted. From 1ST ISSUE SPECIAL #10, Jan 1976.

After the truckload of extra logo work in 1975, Gaspar settled back into his usual busy design role for DC Comics and Marvel Comics for books cover-dated 1976. This was a Joe Simon concept that did not go further. The S shapes are ones Gaspar began to use more often at this time, with the top and bottom loops extending toward the center. The bottom loop on the first S has been made wider to fill in the extra space next to the T, which only bothered me when I finally noticed it just now.

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From THE BARBARIANS #1, June 1975, image © Nemesis Group, Inc.

Continuing with Gaspar Saladino’s busiest logo year, as he was designing them for DC Comics, Marvel Comics, and Atlas/Seaboard Comics, who produced a flood of 67 issues dated 1975, and then were no more. This Seaboard title has two logos. BARBARIANS nicely flanked by swords, appeared only this once. Gaspar was certainly capable of doing the swords, but these are so detailed they might have been added by someone else. IRONJAW we’ve already seen on his own title, though the right leg of the N has been shortened to make room for FEATURING in type. Why this was not simply an issue of IRONJAW I don’t know, but Seaboard continued to swamp the market with titles, perhaps at owner Martin Goodman’s request.

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From PHOENIX #1, Jan 1975, image © Nemesis Group inc.

We’ve come to Gaspar Saladino’s busiest year for logo designs. Not only was he continuing to create them for both DC and Marvel Comics, he was crafting logos for a new line published under the Atlas name, but known as Atlas/Seaboard or simply Seaboard today to avoid confusion with Marvel, who also used the Atlas name in the 1950s. Atlas/Seaboard was begun by Marvel Comics founder Martin Goodman, who had sold his interest in Marvel in 1968 and left the company in 1972. Some saw Atlas/Seaboard as an attempt at revenge against Marvel for failing to keep his son Chip Goodman in charge, others as simply a new business to make money for the Goodman family doing what they knew best. Goodman hired Warren editor Jeff Rovin and Stan Lee’s brother Larry Lieber as editors, and Steve Mitchell (from the DC Comics production department) as Production Manager. Over the course of a year, from fall 1974 to fall 1975, the new company put out a large line of color comics and a smaller one of black and white magazine-size comics. Creators were wary, thinking the plan was too ambitious to succeed (which proved true), so Goodman had to offer top rates and creator-ownership of properties to attract big-name artists and writers. As a comics reader of the time, it was an interesting year trying to keep up with three busy comics publishers of somewhat similar material. Atlas/Seaboard modeled their product on Marvel’s for the most part, and to get a similar look, they hired Gaspar Saladino to design all the logos. I’m sure Gaspar was delighted with this windfall of new logo business, and as usual he rose to the challenge to create many fine logos. The one above is an example, with handsome design elements including a winged X. This character predates the transformation of Marvel’s X-Men character Jean Grey to the character Phoenix by a few years.

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Images © DC Comics and Marvel respectively. From Marvel’s FEAR #20, Feb 1974.

From the fall of 1973 to the fall of 1974, when books with 1974 cover-dates were being produced, Gaspar Saladino continued to be very busy with all kinds of lettering work for both DC Comics and Marvel Comics, including logo designs. This one is for a new Vampire character, Morbius, for which he used standard block letters except for the word MORBIUS itself, which has rough-edged ones. The R in VAMPIRE has the signature Saladino style with the indent on the right side lowered so it looks like a P with the right leg added. I don’t know where Gaspar got that idea, but it stayed with him. THE MAN CALLED looks like type.

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All images © DC Comics except as noted. From ADVENTURE COMICS #428, July-Aug 1973

Moving on through the rest of Saladino’s logos for both DC and Marvel Comics for 1973, we continue with this one, or actually this two. ADVENTURE is Gaspar’s redrawn version of the previous logo by Ira Schnapp. Ira’s was curved, and this straight version makes a better fit with the feature logo below it. BLACK ORCHID is all new and the two words follow the same flag-wave shape, but are in contrasting styles. BLACK is thicker and more square, and filled black with either dry brush or many large pen strokes, while ORCHID is more elegant. I like this logo, I would have suggested the right side of the O be the same width as the left side if anyone asked, but I think both logos work well and I will count them as two for Gaspar.

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