This new logo by Ira Schnapp for SECRET HEARTS (after only two issues for the previous one) follows the trend on other DC romance titles of more modern wide block lettering, moving away from the elegant script of Ira’s earlier logos for the line. This one is bland but gets the word out. By stretching the second word, the A seems too wide to me.
As part of editor Julius Schwartz’s new more realistic approach to the Batman titles, artists Carmine Infantino and Murphy Anderson created this new bat shape and Ira revamped the existing Batman and Robin logo lettering that had been done by Jerry Robinson in the 1940s. Ira’s Batman letters are more correctly proportioned in an Art Deco style than Jerry’s, and they also rejoin the two syllables into one word, where Robinson’s version had separated BAT from MAN with the head between them. The new bat shape had been used on BATMAN #170 with the old letters, and it was not a good mix, so I’m glad Ira redid them. The Robin subtitled version appeared mostly as a feature logo inside DETECTIVE, but sometimes also on covers.
Two more golden age heroes in a team-up and tryout in SHOWCASE. Hourman did not go far, but Doctor Fate was later revamped and had a long career at DC. I count this as two new logos for Ira.
Bob Hope got another new Schnapp logo after only eight issues for the previous one. It works better for me both in style and size, filling the top area and having some cartoony bounce. The character art is surely by Bob Oksner.
The three kid sidekicks teamed in BRAVE AND BOLD #54 added Wonder Girl and were now officially The Teen Titans with a new logo by Schnapp. His block letters are angled, have larger initial T’s and telescoping. For this first appearance the logo has been reversed.
The original from the DC files shows the way it was drawn, black lines on art paper. This logo would be on their own series when it began in 1966.
For some reason, this Schnapp logo was only used on one issue of TOMAHAWK before it went back to the previous one for a few more issues. It makes the hatchet a T, which seems a good idea, but the impact of that is lessened by the patriotic colors.
The original from the DC files. I don’t know how large it is, but written in blue pencil is the width wanted for the cover, 9.5 inches, telling the darkroom technician to make a photostat of that size. When I was on staff starting in 1977, we had to give a percentage worked out with a proportional scale tool.
Here Julie Schwartz was trying to bring back more golden age heroes, but this time closer to their original versions. The Justice Society of America was making guest appearances in JUSTICE LEAGUE, and the concept of multiple earths in multiple dimensions, one retaining those golden age characters, had become part of the DC mythos.
DC’s last surviving funny animal title THE FOX AND THE CROW was struggling, and trying new features. This is one that Schnapp designed a logo for.
A photostat of the original from the DC files shows the double outline better, and this one is full of bounce and has a variety of letter sizes.
The war titles were also struggling as kids began to reject World War Two themes and perhaps war comics in general, and new features were tried from other eras like this one from World War One. Ira’s logo is more like a feature logo than a cover one, but it appeared on four covers.
With issue #75, HOUSE OF SECRETS began cover-featuring two continuing series with new logos by Schnapp. They follow a similar layout, horizontal open letters over a reversed subtitle. Both have character art not by Ira, but he did do the gem in the Prince Ra-Man logo. Eclipso, a hero and villain in one man, had been appearing since issue #61 with a feature logo not by Schnapp. Prince Ra-Man was a new version of Mark Merlin, who had been a regular feature in this title from the beginning. I like the angular style of Prince Ra-Man’s logo, but Eclipso’s might be more memorable.
This one remains in the DC files, another large logo that had to be folded through the final N to fit in the file drawer.
Schnapp designed a new logo for issue #158 of WONDER WOMAN. I don’t like it as much as either of the previous ones. The most interesting thing about it is the telescoping using one-point perspective, but each word has a different vanishing point, something Ira hadn’t done before. It seems to work until you follow the perspective lines.
Yet another Doom Patrol logo by Schnapp on issue #100. This time only the word DOOM is revised with notches and a drop shadow, but I think it counts as a new logo. The character names at the top are also part of it…
…though this photostat of the original from the DC files does not have them perhaps because the lineup changed later. There’s nothing inherently wrong with this logo, but the layout is kind of a mess.
This new feature in MYSTERY IN SPACE had a logo by Schnapp along the same lines as the ones above from HOUSE OF SECRETS #75. I really like the shape of the R, and the multiple colors makes ULTRA more interesting.
This photostat of the original from the DC files is the same. The angles and diagonals add interest, and the tall H in THE is nice too.
For this issue of BRAVE AND BOLD, Ira revised his old Supergirl logo from the 1940s with a smaller S to fit the space better, and did a new version of his latest Wonder Woman logo on a single line. Both have telescoping, but it’s much thinner on Wonder Woman. I think the character art is by Jim Mooney on Supergirl and Andru and Esposito on Wonder Woman, though Mooney did the rest of the cover art. These team-up issues often presented difficult layout problems due to logos which did not go together well. I will only count this Wonder Woman as a new logo.
To sum up, I found 17 new logos by Ira Schnapp on issues with 1965 cover dates. More articles in this series and others you might like are on the LOGO LINKS page of my blog.