For Pulp’s final album in 2001, Peter Saville contrasted two very different typographic styles — intricate floral letters cut by hand into wood, and plastic label tape stamped by a machine.
The large letters come from at least two designs (the ‘P’s are from different alphabets) in a decorative wood typeseries by the Louis John Pouchée foundry who was active in the early 1800s. As far as I know, no one has digitized these alphabets and they can only be seen in their original form in Ornamented Types: Twenty-three alphabets from the foundry of Louis John Pouchée, a 1990–94 printed specimen published by I. M. Imprimit with a very limited edition, or as reproductions in Nicolet(t)e Gray’s Nineteenth Century Ornamented Types and Title Pages where Pouchée’s type is misattributed to the Wood & Sharwoods London foundry. You can also see some glimpses of the I. M. Imprimit specimen in this clip from the film Typeface.
Lettres Ombrées Ornées is a similar design but is based on a slab serif model and is much less varied in its ornamentation.
“We Love Life” is made not with a font, but with a labeler (such as a DYMO) that stamps letters into plastic tape. But global promotional materials used various fonts derived from these label machines, including FF Dynamoe and Chromosome,
Design: Howard Wakefield and Marcus Werner Hed
Art direction: Peter Saville and Jarvis Cocker