A History of Jinty Covers

As 1976 turned into 1977, the Lindy logo was changed to black and became smaller, indicating that the time the Lindy logo would be dropped from the cover was approaching. And the boxy panels were giving way to softer edging and more artistic arrangements.

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The issue for 16 April 1977 was the last to have the Lindy logo. It was also the last to have the blue boxy logo background. In the following issue, the logo background, while still blue against the yellow of the Jinty logo, became a soft edged blob like paintwork, which gives it a more relaxed look and less stiff and old fashioned. Without the Lindy logo, the Jinty logo had room to be much bigger. With the same issue, the cover also lost the page border, which gave it more room and freedom to become even more artistic.

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As 1977 progressed, Jinty turned the panel cover into high art and became a master of the panel cover. The stiff boxy look had given way to panels with more imaginative, dynamic and fluid layouts and panel edges. The stories themselves were helping to turn out spectacular, eye-catching Jinty panel covers because 1977 was the year Jinty hit her stride and was developing her approach to the genres she was so well known for: science fiction (with emphasis on environmentalism and dystopia), sports stories, and outlandish fantasy stories. Among them were some of the classics Jinty is still remembered for, notably “Land of No Tears“. Moreover, 1977 was the year Jinty added three key figures to her lineup who further helped her to come into her own: Gypsy Rose, the narrator and sometimes protagonist of spooky stories; the streetwise Alley Cat; and the irrepressible “Fran’ll Fix It!” In 1976 Jinty had added the humorous magical companion story “Sue’s Fantasic Fun-Bag!” to the mix, which continued for three years. During that time the magical hijinks of Fun-Bag contributed to the cover panels. All these characters and serials made for impressive cover panels to catch the eye of the reader.

The artwork itself went a long way to bringing the panel covers from this period. Jinty had many of the best artists on her team, including Terry Aspin, Jim Baikie, Guy Peeters, Douglas Perry and Trini Tinturé. The panel covers were the perfect way to show them off and entice readers with such gorgeous artwork.

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The 15 October 1977 issue was the last to have the blue logo background. And so the last remnant of the Jinty & Lindy merger was shed.

Jinty cover 15 October 1977

The logo now became part of the panel cover itself. This enabled for all types of backgrounds to stand behind it, and the logo no longer felt separate from the panel covers. It was part of the action.

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4 thoughts on “A History of Jinty Covers

  1. A super run through the history of Jinty’s covers! It really highlights some of the sorts of editorial / in house choices and thinking that would have been going on.

  2. That was a fun read. So much decision making goes into covers! Re that lettering design on the first issue: It’s a deliberate choice that the I is not linked to the other letters in the Jinty logo. What happens when you join the I to the N is that you get a U shape which makes the letter combination very ambiguous. Does that word spell JUNTY? JMTY? You’d have to look at it for a second or 2 to figure it out. And that’s no good for a cover logo which needs to be immediately readable from a distance. If it was a longer word, the rhythm of the links between the letters might make it perfectly okay to join them all up, but on such a short word, there aren’t enough to make that strategy work. Floating the I between the big J and the N is The only way to make sure it’s legible. It’s also very slightly flared at the base so that the right edge of the letter is closer to the N than the top, to help make a subtle visual link between them.

    1. Thanks for the expert input W! Our interested speculation, careful tho it may be, is no substitute for hearing from someone who’s been there and done it.

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