First published in 1985, this is a paperback edition of Margaret Atwood’s dystopian novel The Handmaid’s Tale, issued in Bantam’s Seal imprint in 1986, with a striking cover painting by Fred Marcellino.

With the typography limited to the top quarter of the format, in (mostly) all-caps ITC Benguiat and featuring two lines in color as well as fine rules, this design is similar to the one for Bantam’s Choose Your Own Adventure books from 1984. That’s where the similarities end: the women in the Republic of Gilead hardly “choose their own adventure”, of course.

In the Flesh. Tales of Terror is a collection of stories by British horror writer Clive Barker (b. 1952). First published in Great Britain by Sphere as Books of Blood, Volume V, this is the first US edition by Poseidon Press, 1987.

The jacket design and illustration is by Fred Marcellino. In his nightmarish interpretation of the panopticon, a dozen flying eyeballs are monitoring a single inmate who’s lying on a bunk, hovering in a wire cage. The extrabold caps with triangular serifs are from Basalt, a German design from the 1920s. It’s paired with tracked out Futura Extra Bold. The praise by Stephen King is set in Cloister.

[More info on ISFDB]

The Sweet Dove Died, 1980.

These covers, designed between 1980 and 1984 by Fred Marcellino, feature Belwe, a 1976 reissue by Letraset of an early 20th-century typeface. Two letters on each cover have been redrawn for a bracketing effect.

Barbara Pym (1913–1980) was an English novelist, often compared to Jane Austen, whose work was revived from obscurity in 1977. Her books continue to be popular today.

A Few Green Leaves, 1980; and Less Than Angels, 1982.

A Glass Of Blessings, 1981; and No Fond Return Of Love, 1984.

Another one for our humble but steadily growing collection of Alphabet Lapidaire Monstre in use! Once more, the 19th-century decorated slab caps served as the basis for an individual reinterpretation. In this case, they got a deep (bright) shade and were filled with multicolored patterns. The letterforms themselves were adjusted as well – M and N have pointed vertices, the middle bar in E was made longer and the counter in A bigger – but Jean Midolle’s underlying design still shines through. The monster caps also appear as initials for the song titles that are presented in the gatefold alongside the lyrics.

The album title appears to use Davison Spencerian. It doesn’t match the digital version in all the details. The original film version by Photo-Lettering came in a number of styles and variants, and my understanding is that there additionally were alternates.

As I See It Now was released in 1974 on Melanie’s own Neighborhood Records. Design by Fred Marcellino, with art direction by Bill Levy and photography by Serge Nivelle. Robert L. Heimall is credited for coordinating the graphics.

Art Director: Louise Fili
Designer/illustrator: Fred Marcellino