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.

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