The Aquaman logo that appeared on all his stories from More Fun #100 (November 1944) until he got his own solo series in 1962 is shown above. In part 1 of this study I attributed it to regular Aquaman artist at the time Louis Cazanueve, based on similarities to what that artist was drawing on the splash pages beforehand. I still think that’s the best guess, but it’s only a guess. Another possibility is that the DC production staff or the editor commissioned someone else to create a regular logo. The obvious choice for that would be Ira Schnapp, who I believe had created some of the company’s most famous logos like the 1940 version of SUPERMAN (based on Joe Shuster’s versions). There are no records as far as I know for who actually did any of those early logos, so my theories and guesses are just that, based on style and company insider knowledge. It’s possible Schnapp could have been asked to do the logo above. The style is not completely alien to his work, though what he did was rarely this bouncy and rounded. At some point around 1949 Schnapp made a transition from freelancer for DC to staffer. On SUPERMAN comics, for instance, his cover lettering, certainly done on staff, first begins appearing regularly in 1949, though there are isolated examples that might be by him as early as 1947. Some other freelancer or staffer might have created the logo, too. Just wanted to throw that out there.
In early 1960 Aqualad joined Aquaman in his stories, and with ADVENTURE COMICS 277 (Oct. 1960) his logo was added as well. It might have been designed by Ramona Fradon, regular Aquaman artist through most of the 1950s and early 60s, or by then-staffer Ira Schnapp, or by whoever lettered the story. Of those three possibilities, Schnapp seems the most likely, and the style is not inconsistent with his work.
1960 also saw the first appearance of The Justice League of America in THE BRAVE AND THE BOLD 28, and Aquaman was chosen to be part of that team of DC’s premiere heroes. DC must have felt it was time to try him in a solo book, and they gave him a tryout in their other test-case book, SHOWCASE. The first of two such appearances from 1961 is above, and as you can see, the logos from the inside stories were used on the covers.
The test must have been considered a success, because in 1962 DC launched AQUAMAN in a long-running solo series, with art by Nick Cardy for the most part. This new logo is clearly the work of Ira Schnapp, who took the letterforms from the previous logo, made them taller, squared off the bottom ends (and the tops of the U), and recalling earlier versions of the logo, put them in a nice arc with a larger initial A. Schnapp’s work is solidly constructed, classy, a bit staid at times, and always very readable. A fine logo, which retains the best elements of the previous ones: the bubble-like openings and rounded organic forms, and makes it even better. (And it might be only me, but I always thought the Q in this version looked a bit like a fish.) The fact that all the cover lettering is also by Schnapp gives the entire design a unified feel that carried through most of the DC covers of the time. Even DC’s annoying habit of covering parts of the logo with the price box and other trade dress elements does not significantly harm the appeal.
In 1969 the Schnapp logo was altered by making the letter outlines much thicker. The thickness was added to the outside of the previous lines, connecting the letters, and the result made the logo bolder and more readable against background art, which was beginning to go right to the top of the covers more often. The angle of the logo on this one also adds some interest.
The initial run of the AQUAMAN title ended with issue 56 in 1971. In 1977 it came back for another try, continuing the numbering and extending the title to 63 issues. For these, the previous logo gained a double-bordered box, as seen above. The idea, I’m sure, was to make the title pop off the cover, and allow for more colors in the logo, but I don’t think it works well. It takes up too much space, draws too much attention to itself. An open drop shadow would have been a much better solution. Even with fine art by Jim Aparo, the title didn’t last long, and ended again in 1978.
A bit short, this post, but not a lot happened with Aquaman’s logo from 1962 to the end of the 1970s. Next time we’ll look at Aquaman in the 1980s and beyond.
More chapters and other logo studies on my LOGO LINKS page.