Prospectus.

“The first complete printing and publication of an unique collection of 23 alphabets of wood-engraved ornamented letters in the collection of the St Bride Printing Library, London; with two additional alphabets.

The text is hand set in Scotch Roman (Monotype Series 137) with founders’ display types including Fry’s Canon and William Caslon IV’s Egyptian of 1816, which was specially recast [from original matrices found in Stephenson Blake foundry drawers] for this edition at the Oxford University Press.” — I. M. Imprimit

Title page.

The Introduction is written by James Mosley, Librarian of the St Bride Printing Library and the custodian of Pouchée’s wood-engraved alphabets.

Prospectus text, set in Scotch Roman Series 137.

Invitation to preview event.

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 type series 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 attributed 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,

Printed credits:
Design: Howard Wakefield and Marcus Werner Hed
Art direction: Peter Saville and Jarvis Cocker

According to PulpWiki, non-UK versions of the album have autumnal colors rather than green.

Australian promo poster using Chromosome.

Promo poster using the FF Dynamoe font rather than physical label tape.

Swedish promo poster also using FF Dynamoe.