All images © DC Comics. From INFINITY INC. #1, March 1984

This title was spun off from ALL-STAR SQUADRON, and was writer Roy Thomas’s attempt to create a new Justice Society of America. It had a healthy run of 53 issues, and Gaspar Saladino did cover lettering for many of them, though he didn’t letter any of the stories. The burst at upper left is a bit awkward because of the tiny logos, but works fine. I did the new series logo. The banner caption at the bottom is great, but I’m not sure why it was placed beneath the characters’ boots when it looks like it could have just been lowered a bit to clear them. I would say that’s not Gaspar’s doing but the choice of the DC production person who assembled the cover.

From INFINITY INC. #2, May 1984

More effective captions and display lettering on this cover.

From INFINITY INC. #5, Aug 1984

Extra drama can be added with burst balloons, as here, signifying loud, excited speech. This is a busy cover, but artist Jerry Ordway left just enough room for them.

From INFINITY INC. #8, Nov 1984

THE GENERATIONS SAGA was a continuing story blurb that repeated on several covers, each handled a bit differently.

From INFINITY INC. #13, April 1985

Gaspar was always trying to emphasize things in different ways. Here THORN has letters that can’t get any thicker, and the R barely reads as one, but is clear in context.

From INFINITY INC. #16, July 1985

I love Gaspar’s treatment of MR BONES here. Roy Thomas and DC must have also liked it, they put a TM (Trademark symbol) on it, and it appeared on later covers.

From INFINITY INC. #19, Oct 1985

Three effective blurbs here, each handled in a different way for variety, each with different kinds of display lettering. I particularly like the angled VS. in a double circle. Artist Todd McFarlane first came to the attention of fans on this book before going on to Spider-Man at Marvel and his own Spawn at Image.

From INFINITY INC. #23, Feb 1986

Gaspar gets maximum impact from SOLOMON GRUNDY by overlapping the energetic letters and then adding a heavy outline around them.

From INFINITY INC. #38, May 1987

Mr. Bones’ rough double-bordered balloons here suggest a rough, unpleasant voice, as is appropriate. Gaspar has relettered his Mr. Bones character logo instead of having DC copy and paste the one from issue #16, perhaps because it wouldn’t have worked as well at this size, or simply because that’s how Saladino often did things.

From INFINITY INC. #43, Oct 1987

This scroll caption adds atmosphere and appeal with rock poster inspired letters and texture, or that’s what I see in it at least.

From INFINITY INC. #47, Feb 1988

The letters on HARLEQUIN’S are somewhat similar, but HOWL is pure rough energy, and the inner shapes are probably made with a dry brush.

From INFINITY INC. #52, July 1988

Gaspar’s final cover lettering for the book uses one of his familiar scary techniques, a little drippy, and perhaps suggesting graphitti as well. As always, he had a wide variety of styles to choose from.

To sum up, Saladino lettered these covers: 1-6, 8, 10-11, 13-29, 31-35, 37-40, 42-43, 46-47, 49, 52, Annual 1-2, and Special 1, a total of 44. Other articles in this series and more you might enjoy are on the COMICS CREATION page of my blog.

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