Seven and the Ragged Tiger is the third studio album by the English new wave band Duran Duran, released on 21 November 1983 through EMI and Capitol Records. From Wikipedia:

The album cover was shot at the State Library of New South Wales during a lavish photoshoot with photographer Rebecca Blake. Sleeve designer Malcolm Garrett was flown in from the UK, as well as a live Bengal tiger from Melbourne to be pictured on both the album cover and upcoming tour programme. […] Garrett’s final sleeve design solely features the tiger's eye and a small portion of its fur. Against the caramel-coloured artwork are various logos, including the band's new DD logo, a crescent moon, a triple-X glyph and a Chinese-style antique map depicting snowy mountains and rivers […]

The typography on the front cover uses a phototype version of Banjo. This Art Deco face was designed by Maximilien Vox and first cast by French foundry Deberny & Peignot in 1930. Banjo has no lowercase, but offers narrow alternates for all letters (except I J W Æ Œ). Additional text is set in vertically stretched caps from Futura. Malcolm Garrett recalls:

It was certainly typeset, probably in Clerkenwell, London at Focus Photoset or at The Printed Word […] I think it could well be Banjo, possibly photocopied to degrade it a little. And yes, squished Futura. Ouch!! In those early days of digital typesetting we allowed ourselves to take some horrific liberties with compression and expansion! No more!

“Love Battery” poster, 1977

Released in autumn 1977, “Orgasm Addict” was the first single by punk band Buzzcocks, following their debut EP Spiral Scratch. It also marked the first appearance of the band’s logo in its final form. A proto-version had been featured on a promotional poster designed by 21-year-old Malcolm Garrett, then in his second year at Manchester Poly.

“It was my first piece of professional work, and my first thing for Buzzcocks, which led to a relationship that continues to this day. People don’t really know the story of that original poster. I screen printed it by hand, in college. I was listening to Buzzcocks lyrics and this song Love Battery, from the first album, stood out.” — Malcolm Garrett, It’s Nice That

Over on BandLogoJukeBox, Jim K Davies has a detailed account of how the logo came to life:

[Garrett had] used the largest sized Compacta Regular Italic Letraset he could find, rubbed down the relevant letters, photographed them, printed them onto bromide paper, sliced them down the middle, stuck them down on board, and inked in the gap in Rotring pen. “It was a bit tricky, particularly to get the typeface thin enough,” he recalls.

But he wasn’t quite happy with this early incarnation. “I felt the spacing around the Zs wasn’t quite right, so I modified them,” he recalls. The new and improved logo duly took pride of place in the bottom right corner of ‘Orgasm Addict’ — in a dark blue, running on the vertical. Its forward-slanting letterforms give it a sense of attack, the outside Z’s a jagged punky edge. It was accompanied by a striking montage of an iron-headed woman created by Linder. The iron came from an Argos catalogue, while the female torso was lifted from a ‘top shelf’ magazine.

The logo with the nested double Z would appear on virtually all subsequent releases, in various forms including hand-painted and angular interpretations, and stayed in use until this day.

Detail of a Letraset “instant lettering” sheet with (upright) Compacta in 144pt. The largest available size for Compacta Italic was 72pt, according to a catalog from 1990.

This comparison shows unmodified Compacta Italic (resetting using the digital version by Bitstream) next to the Buzzcocks logo as it’s featured on the “Orgasm Addict” sleeve. See also the Soundgarden mark for another band logo with selectively elongated letterforms.

“Orgasm Addict”, United Artists Records, 1977.

The rounded sans-serif caps used for the song title are probably not made with dry-transfer type, or any other type. They rather resemble the letterforms found in templates available for pantographic scribing devices like Keuffel & Esser’s Leroy. The image shows the related Stano-Script by Standardgraph. See also “From Lettering Guides to CNC Plotters ”— A Brief History of Technical Lettering Tools”. Oscar & Ewan’s Leroy (Colophon, 2012) is a digital font family based on a similar lettering template.

Back cover. The title of the B-side, “Whatever Happened to?”, is rendered in caps from Rockwell Light, another face that was available as rub-down type from Letraset. This, however, is metal Rockwell, see the comments below.

7″ record with small print on the label in Univers.

The logo as it appears on nine studio albums released between 1978 and 2014, including sliced and sprayed variants.

An outlined version of the logo, used as stage decoration at a Buzzcocks concert in 2010.

Pinback button posted by Malcolm Garrett to commemorate Buzzcocks singer Pete Shelley, 1955–2018.