This is the front page of the Patrie publication, when Borden was Prime Minister of Canada. Along with Windsor and Cheltenham, and an unknown fat face are several Sans-Serifs & Grotesques (Miller & Richard), including Sans-Serif No. 6 or No. 8. The textura used for “La Patrie” is likely custom. Engravers Old English or Wedding Text come somewhat close.

The Kwicky Koala Show (1981, CBS) was meant as Tex Avery’s contribution to the Hanna-Barbera stable for their contributions to his own stable in the Golden Age (MGM Studios); he died the previous year, before it aired. It contained four short segments: Kwicky Koala, The Bungle Brothers, Crazy Claws and Dirty Dawg. The title design is credited to Bill Perez.

The Dirty Dawg titles feature caps from a film typeface of unclear origin. It is shown as Super Cooper in Photo-Lettering’s One Line Manual of Styles, and as Super Dooper in the Solotype catalog. A freebie digitization is named Coaster.

The Kwicky Koala typeface is Eightball (VGC), digitally available as Orotund (Canada Type).

The Crazy Claws title card is set in outlined and shadowed Banco.

The design of the book cover wouldn’t have looked out of place in the 1970s — which, like numerous typefaces dating at least 80 years back (in this case, to 1932), is when Futura Display really hit its stride. Yet this typeface, often used to convey a significant level of seriousness, fits.

“The rainforests on Canada’s West Coast produce large trees. Falling these trees manually is time consuming and hard work. So over the years, inventive loggers tried to build a machine that would do the job.” — Opening narrative, National Film Board of Canada Vignette, Logger.

If you’ve seen the output of the NFB in the late 1970s, chances are you also saw an animated or live-action Vignette. This classic Swiss typeface, with the series title shown in Univers 45 and the title of the clip in Univers 55, was used for almost all of them.

"By the way, do not turn your back on a fallen tree."

Like your favorite long-running series, production companies and studios have their own title cards and thus their own evolutionary process. Granada is no exception. For example, fans of Coronation Street in the 1970s and 1980s will instantly recognize this iconic simple white-on-blue title card. But they might also have seen it as a “teaser,” or something that appeared before the opening sequence … with or without the “Colour Production” byline on this card. The stylized “G” with the upward-pointing Mars arrow has changed very little over the decades. It remains a much-revered symbol in Corrie circles. TV Ark’s collection of classic endboards includes a number of other variations.

This is not the classic Frightenstein  opening title card of 1971 (CHCH-TV, a CTV station); it is actually a design available for merchandise that can be ordered on the Hipster Pig website.  Nevertheless, the drip effect shown in the text for the word Frightenstein is almost on point with the intro.  Meanwhile, whether the weathered effect shown in the Futura Display text is simplfied from the original introduction is up for discussion.

The outro, which opens with multiple showings of the Billy Van name, does not have either effect.

Unlike Home and Away, which has never severed its relationship with the Reporter face, Corrie’s title cards have gone through a handful of faces over its still-solid run. As evidenced by a combo of the text shadow and clear non-grainy appearance of the title sequence, this card dates at least (meaning at its earliest) to the mid-1970s.

Taken from a still on the Home and Away Twitter page, 2015.

The popular Australian soap first aired in 1988 and thus predates The Simpsons by about a year.

Not only does it continue to boast a solid following of fans over the Commonwealth, it has stuck solidly with the Reporter typeface since its inception (see timeline below).

Cover of a 7″ vinyl single selling on cdandlp.com; the song itself lasted 30 weeks in the top 75 on the British charts and became the #8 single of the year.

Q Magazine’s Worst Song of All Time, 2003.