The front cover features stylized art of a cowboy wielding a six-shooter.

The Arizona Clan (1958) is a Western novel by Zane Grey, one of many published by Harper and Brothers (now HarperCollins, a part of News Corp.) after his death in 1939. Shown here is the first paperback edition published by Pocket Books in 1966.

From the back cover:

Ex-gunslinger, Dodge Mercer, hungry for the quiet life, drifts west looking for a spread of his own.
In the rugged Tonto Basin country, he meets up with the struggling Lilley clan—hard-drinking old Rock, his six sons and beautiful daughter Nan.
The Lilleys—mysteriously connected with the fiery moonshine liquor known as Arizona white mule—are in bad trouble. And when Dodge meets their conniving neighbor, Buck Hathaway, he knows he is close to solving the mystery. It is a solution that nearly costs him his life as he matches wits and guns in a blazing showdown.

On the front cover, Grey’s name is set in Benguiat Indian (Photo-Lettering, c.1965), in alternating purple/magenta color. The title set in stretched Grotesque #479 (also by Photo-Lettering, by 1965), a film typeface that looks like a cross between ATF’s Alternate Gothic and Swell Type’s Thornwood. The subtitle is in Grotesque No. 9 Italic (Stephenson Blake, 1949). Catalog number and price tag set in Alternate Gothic No. 1 (ATF, 1903).

Author and title on the spine are set in Akzidenz-Grotesk (bold/Serie 58).

The tagline on the back cover is set in Grotesque No. 9 Italic. The synopsis uses News Gothic while “FICTION” is set in Alternate Gothic. The publisher info is probably set in Copperplate Gothic.

CD cover

Flood is the third album by alternative rock band They Might Be Giants, released in 1990. The front cover features a union seal-style emblem. From Wikipedia:

The photograph used for the cover of the album depicts a man rowing a boat made out of strung-together washbasins. The image was captured by Margaret Bourke-White as part of a series taken to document the Ohio River flood of 1937. The cover, which was designed by band member John Flansburgh with Elizabeth van Itallie, originally featured only the photo; however, an emblem including the band's name, inked by Flansburgh's former coworker Barbara Lipp, was later added. The emblem resembles the logo of the International Alliance of Theatrical Stage Employees.

It’s not clear if the contoured caps for the title are from a font. The Black Extra Condensed style of Neuzeit-Grotesk comes close. Copperplate Gothic is used for the band's name and album title on the vinyl’s back cover and disc labels, while the Black Extended style of Univers, is used for the track listing on the LP, and for the band name/album title/track listing on the CD. It was also featured on the back of a promotional flat.

[More info on Discogs]

Vinyl cover

"The Cramp Twins" series logo. Screenshot taken from Series 1 Episode 1 - "Fashion Passion".

From Wikipedia:

The Cramp Twins is an animated television series created by British cartoonist Brian Wood based on his 1995 graphic novel of the same name. The show was produced by Sunbow Entertainment (in season 1), Telemagination (in season 2), and TV-Loonland AG, in association with Cartoon Network Europe.

The series debuted on BBC One during the CBBC programming block on 3 September 2001. Episode titles and the creator/writer/director credits were set in P22 ToyBox; whilst the closing credits were set in Copperplate Gothic Bold. The Cramp Twins logo probably is custom drawn.

Episode title for “Fashion Passion”, Series 1 Episode 1

Creator, writer and director credits, Series 1 Episode 1

Credits, Series 1 Episode 1

Front cover with an allegory of Historia and a title in Moderne Versalien

In 1854, three years after London’s Crystal Palace was completed, Munich proudly opened its own Glaspalast, or Glass Palace. Located in the Old Botanical Garden, it hosted dozens of major art exhibitions until its destruction in a fire in 1931 – a fate that the London model would share a few years later.

Shown here is the cover of the catalog to the annual exhibition of 1902 – and a selection of pages with adverts.

Section page for the appendix with adverts – which were handled by Rudolf Mosse. Römische Antiqua is paired with Angelus-Mediäval. The small type at the bottom is Mediäval-Egyptienne or similar.

Greif is a condensed companion to Ludwig & Mayer’s Aurora. It’s here used with various alternates, see for example the two forms for g, s, H and M. In this ad for E.A. Fleischmann’s Hof-Kunsthandlung it’s used together with Breite magere Grotesk.

The ad by Passage Schüssel features Eckmann, a typeface that was ubiquitous in German commercial printing in the first decade of the 20th century. It can here be seen with some of the accompanying Schmuck, or ornaments.

The ad for L. Bernheimer, purveyor to the Royal Bavarian court, mixes several of the aforementioned typefaces, plus Etienne schmal, Schelter & Giesecke’s Etienne, Breite magere Grotesk, a condensed sans (possibly Schelter & Giesecke’s Schmale Steinschrift which originated at Figgins), one of the many German copies of Bradley, and a couple more.

Art dealer M. Wagmüller specified Isis for the name and Römisch for everything else.

More Eckmann (here with long s (ſ)), Angelus-Mediäval, and Greif, the latter used alongside the wider Aurora – for “Photochrom”, with a CH ligature. “Maler” is in Holsatia.

Krause & Finckh promoted their Magazin für bildende Kunst with Georg Schiller’s Neudeutsch.

Back cover with more Römische Antiqua

Toulouse Olympique Aviation Club was founded on October 4, 1944, through a
merger of Toulouse Olympique XV and the Omnisport Aviation Club Toulousain. Since March 6, 1990, the club from the capital of France’s southern Occitanie region is known under the name Toulouse Olympique Aérospatiale Club (TOAC).

This membership card from 1945/1946, issued to Joseph Goulounes (1924–2001), features the club’s emblem with a winged dragon and a compass rose.

“Membre actif” is set in Elegant-Grotesk licht, an all-caps inline version of Stempel’s Futura follower, Elegant-Grotesk. The specific version likely is Universelles éclairées, a local copy sold by the Dutreix foundry in Limoges.

The plain sans has German roots as well: it’s Simplex, a variant of Berthold-Grotesk with a monocular a, produced by Fonderie Olive in Marseille.

The italic serif used for “Année” is Cheltenham with the alternate swash A, available in France from Fonderie Caslon. The wide grot used for the club’s name is yet unidentified.

Looking through my way-back files, I found that I used Letraset’s Pump for a second logo project in the early 1970s. I used Pump because it was an absolute natural for combining the three lowercase initials, c s b. They flow one into the other in a satisfying way. In my mind's eye I saw it further as a three-dimensional tubular metal sculpture set on a patch of lawn in front of the bank, but that was not in the cards.

Bad Head is a monthly event held every third Thursday at Pintology, a craft beer and whisky bar in Sasazuka, West Tokyo. The series features vinyl DJ sets, craft beer, and distinctive posters designed by Ian Lynam since the beginning. Many of them feature various Future Fonts fonts.

This poster seems to exist only on Instagram, but it’s an exemplary use of Superfluous. Ian goes all in, using, abusing, and overusing its features and emoji to turn the composition into a delightful postmodern mess. The supporting typeface appears to be a customized Copperplate Gothic.

The Killing of Idi Amin is the first novel by Fleet Street journalist Leslie Watkins, inspired by his experiences in the crazed dictator’s Uganda where he was covering a minor war. First published in 1976 by Everest Books, this is Avon’s US paperback edition from 1977, featuring two contrasting styles from the Gill Sans family for the title, Kayo and Bold Extra Condensed. The cover artist is unknown. It could be Hector Garrido.

Tru Calling is an American TV series that aired from 2003 to 2005. It was canceled after only a few episodes of its second season. The story centers on Tru Davies (played by Eliza Dushku), a young woman with a unique calling. Working at a city morgue, she has the ability to hear the pleas of the recently deceased. When one of them asks for help, time rewinds to the beginning of that day, giving Tru a chance to prevent their death and change the course of events.

The logo of the show was designed by using Copperplate Gothic. This version was used for promotional purposes only. The second version was created by using Rotis SemiSerif. This typeface was also used throughout the opening credits for the actors credits.

Opening credits with Rotis SemiSerif

Voice of Thunder is an album by Jamaican reggae deejay and produce Prince Far I (1945–1983), released by Trojan Records in 1981. The cover was designed by Bamber Forsyth, using a photo by Dave Hendley and Flash for the typography.

[More info on Discogs]

Branding and identity system for Early Works, a product design studio with offices in New York and California, active in the areas of applied AI, adaptive interfaces, digital health, education, and gaming.

Source: jellobiafrasays.tumblr.com License: All Rights Reserved.

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

The Mind of a Mnemonist presents the psychological case of Solomon Shereshevsky, a.k.a. “S.”, a man with highly advanced memory.

From the inner flap:

Written by Alexander Romanovich Luria (1902–1977) – often is credited as a father of modern neuropsychology – the book was translated to the English by Lynn Solotaroff. Shown here is the jacket of the first English edition, published by Basic Books with a foreword by Jerome S. Bruner. Loretta Li’s design uses Benguiat Montage Extra Condensed and Copperplate Gothic Extended.

This picture of a typographic freight car is reproduced from an article that appeared in the June 1896 issue of the Inland Printer. It reads:

A Large Shipment of Type
The accompanying illustration was made from a photograph of the first carload of type ever shipped from St. Louis. The shipment was made by the American Type Founders’ Company to their Texas agents, the Scarff & O’Connor Company, of Dallas. The car contained over 30,000 pounds of type, and was turned out with other orders between February 6 and the date shipment was made—March 25. This is pretty good evidence that there is some material being used in the Southwest, and also that St. Louis is well able to supply the demand.

The wagon was used as a self-referential billboard on wheels, with a sign on the side that advertised its contents – out-of-home advertising in the 1890s. The text is rendered in a wide roman with considerable contrast. It’s way too large to be itself typeset and printed, of course. This was a job for a sign painter. Still, I’d like to think that the letterforms were loosely based on a typeface, making this an example of fonts in indirect use.

The typeface that served as the model is De Vinne Extended. At least that’s what the C with the distinctive underbite suggests. In addition to weight and proportion, other shared characteristics include the big-headed R with diagonal leg, the E and F with thin long arms, the u with angled top terminals, and the r with ball terminal. Granted, the S is not really a match – but then again, it just as hard to faithfully copy an S as it is to draw a good one. One more reason that speaks in favor of De Vinne Extended is that this style was a brand-new product at the time, having been introduced the same year.

Carload of type for
TEXAS PRINTERS
Bought by
SCARFF & O’CONNOR CO.,
Dallas, TEXAS
of the
American Type Founders’ Co.,
Via Frisco St. Louis, Mo.

Composite image with specimens for De Vinne Extended from ATF’s Desk Book of Type Specimens from 1900

The Bienal de Arte Flamenco de Málaga is a cultural gathering that celebrates flamenco as an artistic expression and living heritage. A space for exchange and visibility around cante singing, dance, and guitar playing, it highlights flamenco tradition and its connection to the city, bringing together artists, audiences, and diverse contexts around a deeply rooted culture. It took place in Málaga from May 27 to August 2, 2025.

To develop its visual identity, we began with a process of research and visual archaeology, diving into flamenco posters from the 1970s and 80s. We were interested in reviving their way of communicating: the typography, the abundance of text, the colors, and that distinctive style characteristic of popular graphic culture. With respect, we reinterpreted this tradition through a contemporary lens, preserving the authenticity, energy, and passion of flamenco.

For the main masthead, we opted for a combination of 20th-century typefaces, bringing together Umbra and Copperplate Gothic. The dialogue between Umbra’s expressiveness and play of shadows and Copperplate Gothic’s solid, classical character creates a headline with presence, personality, and a certain timeless quality. This pairing strengthens the identity’s character while connecting it to the graphic tradition that inspired the project.

For secondary information, we used Annonce and, for residual information, Futura. A project with a highly typographic character. A revision of flamenco aesthetics brought into the present day.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

The first page of a large 480-page catalog advertising goods offered by Feldheim, Gotthelf & Co., an Australian importer of “British, Continental and American Merchandise”. Founded in the 1850s, the company entered a period of growth starting with a new warehouse in 1892. This catalog, published around 1905, offers an extensive window into essentially the entire breadth of goods available to Australian households at the time. The company entered a period of decline a few years later due to partners retiring from business, and in 1924 began the process of shutting down the company which concluded in 1927.

The catalog is set in a smorgasbord of period typefaces. The shown page features Facade for the company’s name, followed by Maltese Shaded, Condensed Sans Serifs Italic (see Condensed & Elongated Sans Serifs), Grotesque No. 4A, and Reed’s Runic Extended (for “Sydney”). “On Sale” is in DeVinne Ornamental and the list of items in De Vinne. The caps used for the name and location shown integrated in the red border are from Concave. Some of the typefaces used for smaller text are yet unidentified.

I Am Somebody is the title of a spoken word album by Reverend Jesse Jackson that was released on Respect, a sublabel of Stax Records. It contains a recital of the poem “I Am – Somebody”. The cover typography by David Krieger of The Graffiteria features Folio in its mager and fett weights.

[More info on Discogs]

Jackson became active in civil rights protests already as a student. In 1960, he was one of the Greenville Eight, a group of African American students that successfully protested the segregated library system in Greenville, South Carolina. Since 1966, he was involved in the Operation Breadbasket movement, a department of the Southern Christian Leadership Conference (SCLC).

The album came out in 1971, three years after Martin Luther King Jr. – the SCLC’s first president and a close friend and mentor of Jackson – was assassinated. The same year, the “Country Preacher” broke off from SCLC and formed Operation PUSH (People United to Save Humanity). In 1996, it merged with the National Rainbow Coalition, another organization founded by Jackson to pursue social justice, civil rights, and political activism, into Rainbow/PUSH. He served as the organization’s head until July 16, 2023.

Jesse Jackson died February 17, 2026, at the age of 84. The New York Times commemorates him as “charismatic champion of civil rights”. RIP.

The quotes on the back cover are set in Helvetica.

The gatefold shows photographs of Jackson together with several of his companions and fellow campaigners, including Martin Luther King Jr., his widow Coretta Scott King, as well as Richard G. Hatcher and Carl Stokes, the first elected African-American mayors of Gary, Indiana, and Cleveland, Ohio, respectively. The liner notes by Rev. G.E. Redic are set in Helvetica, and the credits at the top right in News Gothic.

The Bantam-Seal edition of this Inspector McDumont mystery by Canadian novelist Hugh Garner (1913–1979) was published in 1979. The font in use is Photo-Lettering’s Rubens Bold. Issued by 1965, this style is the widest of several extra widths added to their adaptation of Rubens.